Variable(s) noun.

an element, feature, or factor that is liable to vary or change.

Aristotle's 5 types of change:

- perishing (change in the category of substance)

- alteration (change of quality)

- increase and decrease (change of quantity)

- locomotion (change of place)

- coming-to-be

Dionysos

the Dionysian vision of the world is more direct. This is an intoxicated but clear-eyed vision of radical becoming, of "everlasting and incessant coming-to-be and passing away", of the chiasmic unity or simultaneity of being and non-being.

Becoming is the unseparatedness of being and nothing, not the unity which abstracts from being and nothing; but as the unity of being and nothing it is this determinate unity in which there is both being and nothing.

all coming-to-be as though it were an illegitimate emancipation from eternal being, a wrong for which destruction is the only penance.

panta rhei

"Variables" mirrors turmoil in Dionysos, manifests being by becoming.

variable

adjective

1a : able or apt to vary : subject to variation or changes variable winds variable costs

1b : fickle, inconstant

2 : characterized by variations

3 : having the characteristics of a variable

4 : not true to type : aberrant —used of a biological group or character

noun

1a : a quantity that may assume any one of a set of values

1b : a symbol representing a variable

2a : something that is variable

2b : a factor in a scientific experiment that may be subject to change

3 : variable star

First Known Use of variable

Adjective

14th century, in the meaning defined at sense 1a

Noun

1816, in the meaning defined at sense 1a

History and Etymology for variable

Adjective

Middle English, borrowed from Anglo-French, borrowed from Late Latin variābilis "changeable," from Latin variāre "to make changeable, vary" + -ābilis -able

Rhei is aesthetic in its very becoming, simultaneity of coming into being and passing away. For its becoming dynamics, an alternative planet of earth with total liquid surface serves as the primary infrastructure. The collected urban artifacts are drifting around the planet according to the analogous air and ocean surface current circulation.

Rhei depicts the tension between destructive and constructive projection of reality. In Rhei, we know, the seeming of reality is material; we believe, all of material is decaying; we doubt, form´s permanence and presence of nowness.

Rhei is the termial of cities, where Dionysos celebrates the third birth.

Nietzsche is rejecting a Platonic opposition between Sein(Being) and Schein (appearing), between Seienden (existents) and Erscheinungen(phenomena), an opposition in which Being
simply is, outside of all time and appearance.

...that nature is a source or cause of being moved and of being at rest in that to which it belongs primarily, in virtue of itself and not in virtue of a concomitant attribute.

From what has been said, then, it is plain that nature in the primary and strict sense is the essence of things which have in themselves, as such, a source of movement; for the matter is called the nature because it is qualified to receive this, and processes of becoming and growing are called nature because they are movements proceeding from this. And nature in this sense is the source of the movement of natural objects, being present in them somehow, either potentially or in complete reality.

The term ‘according to nature’ is applied to all these things and also to the attributes which belong to them in virtue of what they are, for instance the property of fire to be carried upwards- which is not a ‘nature’ nor ‘has a nature’ but is ‘by nature’ or ‘according to nature’.

In the measurement of any physical system, there are macroscopic and microscopic variables to be taken into account.

Nothing which is and becomes can be or become without the simultaneous being and becoming of something else; and even the death of one product of nature is nothing but penance for an obligation which it has assumed towards all the rest of nature. Consequently, within nature there is nothing primal, nothing absolute, nothing which exists by itself.

Displayed in themselves, emptied of all resemblances, cleansed even of their colours, visual representations will now at last be able to provide natural history with what constitutes its proper object, with precisely what it will convey in the well made language it intends to construct. This object is the extension of which all natural beings are constituted an extension that may be affected by four variables. And by four variables only: the form of the elements, the quantity of those elements, the manner in which they are distributed in space in relation to each other, and the relative magnitude of each element.

A substance ontology wants to grasp the reality of being, but the world of becoming does not allow for such grasping.

If we add to this horror the ecstatic rapture, which rises up out of the same collapse of the principium individuationis from the innermost depths of human beings, yes, from the innermost depths of nature, then we have a glimpse into the essence of the Dionysian, which is presented to us most closely through the analogy to intoxication.

The cause of this behaviour is believed to be a regular build-up of carbon dust in the star's atmosphere. The sudden drop in brightness may be caused by a rapid condensation of carbon-rich dust similar to soot, resulting in much of the star's light being blocked. The gradual restoration to normal brightness results from the dust being dispersed by radiation pressure.