(* editor's note: Full disclosure: this is the scene of a concept at risk of death-by-avalanche of words. Perhaps wordy carpets in mythical fashion, or rose petals if you like a roman motif.)
An orrery, if nothing else, is just the sort of symbol GRR Martin would put in a story.
This is because it can serve as an excellent symbol of narrative itself (and of a "self") - it has understandable boundaries and has internal cyclic elements that may, or may not, have correspondences, intentional, or not.
Long-term creative moves are crucial to establishing evidence of competence and foresight since adroit or fortuitous moves in-the-moment could merely be the result of honed reflexes or mere chance, rather than an accurate schema. The cycles of a working orrery can go on indefinitely so when there *is* a change there's a possibility it is significant rather than just another spin on reality's roulette wheel. A working narrative purports to accomplish the same thing (for at least as long a term as any attention is directed toward it).
Syncopation between elements can provide a baseline and a pattern that registers to that baseline. Together they can imply one or more other points. Voila! Suspense and mystery!
Yes. I realize that is perhaps a vague and nebulous assertion. Maybe a ted espresso-fueled. I'm working on it folks. B)
I definitely have an ornery-ass self.
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