The word “multiplicity” has been used in literature to capture a range of ideas—from the surprising and diverse nature of everyday impressions to the complex interplay between unity and variation in both thought and reality. In Edith Wharton’s work, for example, it evokes the manifold appeals and unexpected contrasts that enrich our sensory experiences [1]. In philosophical texts, especially in Arthur Schopenhauer’s writings, multiplicity is employed to describe the myriad phenomena that emerge within the conditions of time and space, standing in contrast to an underlying, unified will [2, 3, 4]. Plato's discussions further deepen this exploration by debating whether the world should be understood as a unity of ideas or as a multiplicity of appearances [5, 6, 7]. Meanwhile, other authors such as John Dewey, Edgar Allan Poe, and Jane Austen use the term to illustrate societal discord, the diversity of cultural elements, or the layered manifestations of individual experience [8, 9, 10, 11]. Overall, “multiplicity” serves as a versatile concept that bridges aesthetic, philosophical, and social realms, highlighting the rich complexity of both human perception and the world at large.