The Feeler’s Algorithm

When considering an individual, there are three interacting realms:
W1: Hardware level
W2: Software level
W3: Qualia level, the feeler’s algorithm (a mathematical algorithm that turn mathematical relationships without considering the value of contributing components into feelings)
W1 body (which is part of W1 as a whole) gives rise to W2 body (individual's thoughts, memories, and so on). Then individual W1 and W2 bodies give rise to W3 (which is the individual's qualitative experiences). All W1, W2, W3 compositions are interconnected with some mysterious and deterministic laws and mathematics. Sciences like physics, chemistry, biochemistry, and so on try to address the laws and mathematics of W1. Psychology tries to discover W2 and W3 laws and mathematics.
The most mysterious and magical phenomenon happens when W1 and W2 compositions give rise to creation of certain qualitative experiences in W3.
This means that W1 and W2 compositions give rise to different tastes and consequently different experiences (because of those tastes). The feeler's algorithm is the standard of evaluation that creates those tastes and complex preferences. The feeler's algorithm transforms quantitative W1 and W2 bodies to qualitative W3 experiences.
It is hard to exactly define feeler's algorithm.
A unique set of mathematics originates from your W1 body, as well as your W2 body, and evaluates every composition that it looks upon.
It is impossible to separate the content of W1 and W2 bodies from the feeler's algorithm. In other words, the standards of evaluations is formed partly of the composition is judges. The content of W1 and W2 bodies gives rise to the feeler's algorithm, and when the feeler's algorithm judges W2 content, both the feeler's algorithm and W2 content changes.
For instance, all fundamental memories of experiences of pleasure and pain in W2 through some unknown mathematics contribute to creation of the feeler's algorithm (its tastes and standards of aesthetics) and at the same time the same W2 compositions are judged by the feeler's algorithm. Again a creature judges the creator. This is a dynamic two-way interaction. When a new component is introduced to W2, the composition of W2 changes, and then the feeler's algorithm changes, and consequently the feeler judges the same W2 composition and try to change it toward a more preferable composition. This is dynamic interaction continues until it reaches an equilibrium. However, the feeler's algorithm cannot remain unchanged for long since the castle of thoughts (as a part of W2 body) is a ever-changing composition that every brick is interacting with other bricks. The castle of thoughts usually incorporate many contradictory ideas that can end its stability (they can make it chaotic like a boiling pot). The concept of thesis, antithesis, and synthesis applies to castle of thoughts. W2 as a whole is a composition of contradictory components, and as W2 body changes, the feeler's algorithm changes.
Eventually every preference that a conscious being has is an outcome of the feeler's algorithm (no matter he wants pleasure, pain, W1 control, or certain meanings). The magic of aesthetics lies in a mathematical evaluation of every composition with feeler's algorithm.
The feeler's algorithm and the feeler itself are the most mysterious.
Understanding X and the feeler's algorithm imply that even when a person pursues an external goal and want to make certain changes in W1 realm (such as building a beautiful mansion), it is still an internal goal. Success in achieving that external goal (in this example building that mansion) creates certain preferable feelings for the feeler. The content of W1 and W2 bodies of that person has made such an external goal a symbol of pleasure or meaning. That person attaches scenarios of pleasure and meaning to that external goal.
The feeler's algorithm is deterministic. It is an unknown mathematical algorithm that turns mathematical relationships into preferences and experiences without considering the value of contributing components. When this mathematical evaluator of composition wants to compute the feelings, it takes into account the basic blocks of negative and positive feelings (pleasure and pain). This means, for instance, a vulture may use the same computational mathematics, but its definition of pain and pleasure (that root in its W1 hardware) are different than a human. For a vulture, a rotten flesh is beautiful because its W1 hardware find the smell and taste of rotten flesh preferable.