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    Canada Avalon Member Jane Tripp's Avatar
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    Default Re: Proof of time travel by Jane Tripp

    You might like to try using ACDSee photo-editor Sunpaw. They always have a month's free trial for the full version. It's all I use at the moment.

    http://www.acdsee.com/en/products/acdsee-pro-8
    Last edited by Jane Tripp; 9th September 2015 at 23:23.

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    Default Re: Proof of time travel by Jane Tripp

    Thanks for telling me about the dead links Breal. I'll have to see if they've put the proposed plans somewhere else or scrapped them.

    I think I photographed a scene from a possible future or future timeline, but it has occurred to me that someone, such as the architect who designed them, may have visualized the buildings very strongly to the point where they created a photographable thought-form or tulpa. I imagine it would have to be an extremely powerful and long-term process of concentration to accidentally create something that can be photographed though.

    Unless they build them I'll have no way to know.

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    Default Re: Proof of time travel by Jane Tripp

    Quote Posted by Jane Tripp (here)
    Thanks for telling me about the dead links Breal. I'll have to see if they've put the proposed plans somewhere else or scrapped them.

    I think I photographed a scene from a possible future or future timeline, but it has occurred to me that someone, such as the architect who designed them, may have visualized the buildings very strongly to the point where they created a photographable thought-form or tulpa. I imagine it would have to be an extremely powerful and long-term process of concentration to accidentally create something that can be photographed though.

    Unless they build them I'll have no way to know.
    That's okay I did spend some time looking for new plans or drawings but came up empty handed.

    Very interesting thoughts about the tulpa.

    I wonder if the architect spent a lot of time there and was so immersed in the project to the point of being passionate about it - maybe it was a tulpa.

    The thought just occurred to me, could it also be perhaps a 'bleed-through' from a parallel universe?
    Last edited by Constance; 10th September 2015 at 04:51.

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    Default Re: Proof of time travel by Jane Tripp

    You're right, it could be a parallel world I briefly photographed into. The ones closest to or own would probably be very, very similar.

    The answers are right there, just beyond my reach (for now) but my curiosity will keep me searching for answers and I have an insatiable passion for the subject.
    Sooner or later all of this will be understood and someone will have figured it out, but I think (and hope) that there will always be other mysteries to explore!

    I imagine the architect would have spent a lot of time both looking at the site and picturing/designing the details. Some people are very good at that. I never thought about trying to find out who the architect was - I'd like their take on it.

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    Default Re: Proof of time travel by Jane Tripp

    The story described here is very interesting indeed. It seems to have involved a whole town. Never heard of it though!
    "When the power of love overcomes the love of power the world will know peace."
    ~ Jimi Hendrix

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    Default Re: Proof of time travel by Jane Tripp

    I wrote most of this post nearly a month ago, but never got round to finishing it: my apologies to Jane, and I hope I haven’t forgotten anything. I confess I don’t fully understand how this software allows constant magnification without encountering issues of pixellation, but it definitely seems to work, and for some reason the results are almost invariably aesthetically pleasing!
    Quote Posted by Jane Tripp (here)
    Hi Araucaria,
    I think there might probably be many ways in which time can be manipulated, from our own innate abilities to transcend time and space, as with remote viewing or precognition.

    A lot of advances have been made recently in spirit communication. The dead appear to have greater interdimensional access than we do. They seem to find it quite easy to visit us here when they want to. I think we are temporarily trapped here in an engineered matrix of time and gravity, a false reality, as you mentioned.
    Jane, your analysis of photos with ‘contamination’ from the future (time travelers) and from the past (that motor-cycle accident on a street corner) led me to the following thoughts.

    If an empty street corner still bears the signs of a motor-cycle accident, then I’m sure Dealey Plaza would reveal some interesting things as well, although I doubt if that would solve anything. I get the feeling the JFK assassination has come in for more than its share of visits, notably by time travellers, who may have been among the eye-witnesses who subsequently disappeared, allegedly murdered. If you place yourself out of time, then it doesn’t really matter whether they were contemporary or post-contemporary residents: whatever they saw has been recorded somewhere. But I want to explore how the Big Dealey Plaza affair is one of those ultimate “big deals” and how we get from there to the “big heal”.

    I examined here and here how past, present and future time interact in the very trivial occurrence of hitting a tennis ball. What happens in the split second of impact is dependent on what happens immediately before and what happens immediately afterwards. There will also be similar repercussions all the way into the distant past and the distant future. And the same goes for the Kennedy assassination; for example, in the past a string of amazing coincidences with the Lincoln assassination; in the future, various time travellers and remote viewers likely homing in, not to mention the modern batch of unidentified aliens who, according to Dan Burisch and Henry Deacon, are us 27,000 (and 52,000) years into the future.


    If you apply what we see in the trivial example to the not so trivial one, we get the following. If you miss-hit the tennis ball, you may not even lose the point, but it is no big deal if you lose the point, the game or even the match, although all these things seemed crucially important at the time. Ultimately none of this is a big deal because there is no moment more crucial than any other. The stroke itself is not stuck in the present; it is also the past for what comes next, and the realized unplanned future of what came before. All these other moments are equally important because they function in exactly the same way. The lesson of tennis is that if you make a big deal of anything, it will divert your focus and surely spoil your game until you get over it. You might even start misbehaving until you are penalized to bring you back to your senses. To be successful, you need to make no big deal about failure and no big deal about success; that’s how it works. There are no big points that you absolutely must win, except perhaps the last one, and even then you can always play another match, in the bigger scheme of things it doesn’t really matter. But this is how we like to play, to add a little spice to the game. However, in terms of enjoyment, you cannot focus on the split second of impact, you enjoy the whole business of swinging a racket: as the song goes, It don’t mean a thing if it ain’t got that swing

    Now transpose that to the JFK assassination. Over sixty years on, we have still collectively not got over this moment like any other. We still recall what we were doing when we heard the news, we are still reading up on all the conspiracy theories; our government is dysfunctioning to this day, basically because of this open wound. And we are told the entire human race is still dysfunctioning – terminally so – another 27,000 years down the line. Nothing has changed compared with the trivial example, except the scale: this is collective meltdown on the grandest scale, but it is ultimately the same problem of crying over spilt milk, not living in the present. Why should we live in the present? Because as I explained, it encapsulates in this one moment everything that has ever gone before and everything that is ever coming. That fact is what also emerges from our recent discoveries of possibly millions of years of history, and what possibly awaits us eons into the future.

    All this is familiar territory to Avalonians – the need to understand and then let go to complete the grieving process. What we are doing here is basically applying a broad range of healing techniques. This leads to a question for Jane: ought not a second photo of the same spot produce a different result (in other words, a photo is time-sensitive, a snapshot of a given moment)? and if not, what might the healing process be that could bring about such a result? I guess what I’m saying is, the viewer will be having an effect on the experiment, and should therefore be able to detect her own presence and action in the material itself. This might become more easily detectable over a period of time.
    Last edited by Paul; 7th October 2015 at 20:14.


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    Canada Avalon Member Jane Tripp's Avatar
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    Default Re: Proof of time travel by Jane Tripp

    Hi Araucaria,
    Thanks for getting back on this, and sorry for my delay also - a host of annoying little things going on right now that I'm trying to fix.

    About the software allowing for continual magnification - I don't know myself exactly what happens, but here is my take on it. I'm writing an article (I write quite a few at a time) called 'Beyond the Pixel' A pixel is supposedly the smallest addressable component in a digital image, and there are sub-pixels, but there is no present explanation for the results I get, and although I've discovered how to do this, I'm not actually technically that knowledgeable about digital imaging.

    Pixelation occurs when an image is over-enlarged to the point where the little colored squares of the bitmap is revealed. Usually, this ruins an image, so who would normally start cropping and enlarging, looking further? Some anomalies discovered in this way are almost microscopic, yet they retain all their detail and color.

    When I suspect or see evidence of photographic anomalies, I just keep cropping and enlarging images, sometimes dozens of times or more, and new color images - entire scenes often - just keep appearing through the layers, so I just keep on editing them.

    To me, this just means that we do not yet properly and fully understand the nature of certain photographic images. Clearly there is more to some of them than a flat 2D picture. In fact, these special photos have layers which can be travelled through, giving them quite literally an extra dimension.

    As I travel through them, cropping and enlarging as I see different imagery come forward, I find that some of the pictures are themed - miniature scenes connected by subjects, i.e. hospital imagery, restaurant-related themes, religious images, or more exciting to find, images from the past, sometimes seemingly hundreds of years old.

    I discover things because I'm completely dissatisfied with the amount of real information available, and I decide to know more, and go after more with insatiable curiosity. My research and experimentation begins at the point where most people who investigate paranormal images stop.

    You're the first person who has mentioned some the resulting images as being esthetically pleasing, but this is something I've noticed as well, so much so that I have a folder for the ones I like best as concepts for future art.

    As well, I've collected some images of electrical activity on and around equipment and little screens in photos with evidence of time travel in them, simply because they are like miniature psychedelic works of art, regardless of their source.

    About Dealey Plaza: because of the very strong emotions connected to the event it would probably continue to resonate very strongly in the general locale for many years (millennia), especially if the buildings, or building remains, were still present in the area. Such images would solve nothing I agree, but would certainly be interesting.

    I too imagine that time travelers were there. The entire event could have been recorded accurately and in detail by people using temporal access technologies. Somewhere in the future, people might know exactly what happened on that day.

    It will most likely one day be discovered that human/animal emotional involvement might serve to strengthen the holographic (probably) image and sound records, enabling them to be accessed more readily.

    If one event, however notable or traumatic, occurs to a single person while they are alone, the visual data forming the 'memory' of the incident might be difficult, even impossible to extract.

    If however the event happens to a lot of people (as in Pompeii when Vesuvius erupted), it may well be a lot easier to access. In fact it might be a crucial component when it comes to extracting image and sound bites from the past.

    The thoughts and feelings of many people having a similar experience would be projected as scalar waves, which would then be stored in physical matrices holographically in a semi-permanent way.

    As we hardly know anything about this subject yet, a lot is open to conjecture, but we may well find that the 'unlock' process is also to some extent reliant upon human thought and emotion. Thoughts as projected scalar waves would not be impeded by time and space.

    I have taken photos that I believe contain images from possible futures as well. Everything is really happening at the same time.

    Similar or resonant emotions released through compassion or imagination and visualization could be attracted to and then interact with the original stored data, causing a replay of events that could under the right circumstances be captured digitally.

    As with your thoughts about repercussions and 'coincidences', something that we're presently largely unaware of is operational behind the scenes of these perhaps not so unconnected events.

    I like the tennis ball analogy a lot. Some moments, like the assassination, seem to be definitive of a much larger event. One person dying, however important or well-thought of, does not usually leave such an echo. But these 'linked' events, they stay in the collective unconscious for a very long time, clearly having more layers of meaning culturally and spiritually than we are on the surface aware of, even though all we ever have is this moment right now.

    In answer to your question, it's my belief that a second snapshot taken at the spot might still have images relating to the one event on it - that event being the one that is resonating most strongly in the area. Now, if it's to some degree dependent upon the thoughts of other people - say me as the photographer - if I'm thinking of this event at any level, I might reasonably expect to get connected imagery partially reanimated by my own interactions.

    I would expect this even if I were re-photographing someone else's video footage from many miles away. Experiments with different methods will definitely be taking place at some point and I have plans for experimentation myself in the future.

    I'm always very interested by the idea of experimenting in this way, but I have so much to do, and ironically I wish I had a lot more of the partially non-existent shadowy time substance to work with!

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    Default Re: Proof of time travel by Jane Tripp

    This might be interesting: floating city in the clouds
    http://projectavalon.net/forum4/show...e-Sky-in-China

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    Default Re: Proof of time travel by Jane Tripp

    I've downloaded a video showing this phenomenon to hopefully snag some good still shots and then edit them. This fascinates me. I know it's supposed to be due to a Fata Morgana, but I have to wonder. It seems a bit unusual doesn't it?

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    Default Re: Proof of time travel by Jane Tripp

    I don't think its a Fata Morgana. 'Fata Morgana' is just an explanation (scientists (key word) voiced in) - for whatever reason.
    I haven't looked into 'Fata Morgana' yet - however I think a 'Fata Morgana' can't be recorded or photographed. And 'hundreds of witnesses' its also unusual for a FM.
    The 'City' looks rather solid, with details - which for being 'just clouds' is ... odd.

    I am curious if you find anything interesting in it

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    Default Re: Proof of time travel by Jane Tripp

    Meggings Dear,
    Not enough just to click 'thank you', need to express my wholehearted agreement with you, about 'Official Secrets", redactions, and Private Collections............ there should be none ! If we had an Open society, without Secrecy, Evil would find no refuge.

    We could then show the World, whether it was the Titanic or the sister triplet ship ' Olympia (?) ', which was deliberately sank. As well as the part Judyth Vary Baker played in the JFK Murder, Karen Silkwood, Jill Dando, Diana.....................

    Gosh, a few generations lifetimes work to set out the facts.................;

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    Default Re: Proof of time travel by Jane Tripp

    Many thanks, Jane, for this detailed explanation of your method. Actually there are very few of your shots that I find less than esthetically pleasing, and this surely has something to do with the obvious connection between scalar waves and our inner being as transmitter/receivers of said waves.

    Your system of barging through the closed door of pixelation and carrying on regardless plainly works when after many enlargements you come to geometrical shapes clearly interpretable as manmade objects; and the clincher is of course letters recognizable as words that should really have been mangled out of existence long before. I am fascinated because your approach is very similar to my own literary research, which I’d like to present “briefly” so that each may shed light on the other.

    In literary theory, you have a concept called overdetermination, a Freudian term used to describe the interconnectedness of elements in a constructed piece of writing; the basic imagery of the word text is itself the tissue, or fabric, of cross-woven strands. This is the “craft” of “fiction”. Taken to extremes, ultimately every part works in synergy with every other part. One result of this is the mise en abîme, where a whole sequence will be a reflection in miniature of the whole, like a hologram. The best-known example of this is Shakespeare’s play within a play in Hamlet: Hamlet’s play re-enacts his father’s murder to establish his killers’ guilt. This can happen on every scale, from the very largest element down to the tiniest detail. The very largest element would be the book itself: this happens at the end of Proust’s In Search of Lost Time, when it turns out that the narrator is about to embark on writing the book we are just finishing. And of course there is the proverbial rabbit hole of tiniest details.

    Already with this type of writing, you have a much richer texture than you get with a traditional novel telling a story in linear fashion. “Lost time” is “Time Regained” in a timeless interconnected whole. But I have noticed something different happening when the material of outside-world fact is enlisted more or less wholesale in this process; rather than overdetermination I prefer the Jungian concept of synchronicity. Interestingly, the couple of cases I have looked at involve trauma, and the story of that trauma lies in the same relationship to the overdetermined fabric as “deep structure” to “surface structure” in the Chomskian theory of language. Briefly, you have a deep structure meaning that can be expressed in various surface structures; e.g. “John ate the apple” and “the apple was eaten by John” are two surface structures (active and passive voice) with the same deep structure: briefly, the same event from John’s viewpoint and from the viewpoint of the apple. But the layer I am talking about turns that kind of deep structure into its own surface structure. If we had, say, “Adam (or Eve) ate the apple”, you could probably dig down into this even deeper structure to find the entire human trauma from a third party perspective such as ours.

    The French writer Georges Perec (1936-1982), was orphaned by Nazism, responsible for the deaths of both his parents: his father was killed in action in June 1940; his mother was put on a train to Auschwitz on February 11th 1943 where she disappeared presumably in the gas chambers and crematoria of the holocaust, having earlier put her son on a train to safety. One of the last experiences they will have shared is the blast of a whistle giving the driver the all-clear to pull out of the station. In his novel La Disparition (published in 1969: 300 pages written famously without using the letter E), I have found dozens of references to his father’s and probably hundreds to his mother’s deaths. A single word will suffice to illustrate this: the place name “Quintinshill”, which conjures up all of the above. At Quintinshill (Scotland) in 1915, a troop train collided with another train; the gas lighting caught fire and a total 473 soldiers (11 x 43) were killed or injured in this mass tragedy.

    When Perec saw his mother’s certificate of Disparition (disappearance, i.e. missing person) in lieu of a death certificate, it must have been very much as if he were seeing his own. This coloured everything he wrote and eventually culminated in his actually seeing his mother (not a hallucination), as reported by the eminent psychoanalyst J. B. Pontalis—anonymously of course: it was Perec’s cousin who disclosed his name. The astronomer Camille Flammarion spent a lifetime studying such after-death apparitions. In his book Après la mort, he describes at length how such happenings tail off steeply and quickly to very few occurrences after about a year. By this yardstick, Perec’s experience after more than 35 years is truly astonishing; and it has to be understood in the context of his writing, taking him to places way beyond the common experience.

    I want to take this maybe a bit further than the topic of this thread, or maybe broaden its scope, because this is really where I am coming from and why I became a member here at all. If creative writing becomes a paranormal experience, then it becomes natural to compare it with other paranormal experiences such as Jane’s and others’. The main feature I see myself sharing with Jane is this idea that the deeper you look the more you find; if ever you stop at some point, it is not because you cannot go on, but because you can go on, indefinitely.

    There are two ways of looking at this novel La Disparition. Either you see Perec’s authorial viewpoint: potentially the whole world bearing the imprint of his parents’ absence (death); this I think is what Jane is doing, at least with the motorcycle accident picture, depicting trauma. Or you consider the reader’s viewpoint: the missing parents as a major human archetype. This was my interpretation of Shane The Ruiner’s big picture.

    I want to get into more detail about what I found, but for anyone not interested in the fine print, this might be a good point to stop reading. I understand

    Using the surface structure model with successive deep structure layers, the surface structure here is the letter-dropping principle (lipogram), which is as superficial as you get until you see what can be done with it. It is often seen as little more than a word game. You can drop any letter, but if you drop e’s, you get things like:
    Quote Mary had a tiny lamb,
    Its wool was pallid as snow,
    And any spot that Mary did walk
    This lamb would always go;
    This lamb did follow Mary to school,
    Although against a law;
    How girls and boys did laugh and play,
    That lamb in class all saw.
    This is indeed about as futile as it gets, or at least it seems so at first glance; until you find yourself in a universe parallel to our own, one in which certain things cannot be said, at least not directly or totally explicitly. The one thing you absolutely cannot say is “I am not using the letter e” without using it: game over – self-contradiction places you outside of the fully understood game. What you can do is use roundabout allusions or a whole array of subtle to broad hints to make your point through characters who do not understand. This marks the boundary around a 25-dimensional world into which our own 26-dimensional one is leaking in various surreptitious ways, much as in “Flatland” you have a 2-dimensional world with inklings of a third dimension from whistle-blowers and prophets who are promptly silenced.

    So one surface structure / deep structure relationship is between lipogrammatic language and normal language. Most lipogrammatic language is based on and copies normal language, just as the above poem is based on and copies “Mary had a little lamb”. Another is between the fictional world so created and our “real world”, the one always being a pale reflection of the other. There is always something missing, something going wrong. Taking the above example of Quintinshill: on the language level, the lack of e’s is reflected in the multiple i’s, while on the real-world level the named place locates a human tragedy. The book is a catalogue of such disasters: natural ones like earthquakes at Tristan da Cunha, Agadir, or even Skopje (under its old name Uskub); and unnatural ones, beginning with Auschwitz itself.

    Hence the characters, when they begin to understand the damaged world in which they live, they are going to start disappearing or dying mysteriously, i.e. move behind the curtain into a world possessing this extra dimension. Since there is a suspected hidden hand or overriding cause behind it all, the novel’s aptly named “plot” becomes a conspiracy theory. And like any good detective story, the conspiracy theory proves wrong and makes way at the end for conspiracy fact. You see where this is heading: an innocent little word game has turned into a realistic model of the real world as perceived by the alternative media.

    Hence, twenty years ago, it was while researching things in this book with this powerful new tool the Internet that I was brought to the alternative media for answers. For example, when I looked at Iron Mountain, a place mentioned as being on the Wisconsin-Michigan border – i.e. smack in the middle of the Great Lakes, which can be seen as being in the shape of a huge E – I learned about the infamous “Report from Iron Mountain” published in 1967 just 2 years before Perec’s novel. This is allegedly a hoax: maybe it was a hoax, but it too has turned into a realistic model of the real world as perceived not just by the alternative media but also by President Johnson, who reportedly “hit the roof and ordered it to be suppressed for all time” (https://en.wikipedia.org/wiki/The_Re..._Iron_Mountain). Ultimately there is no such thing as a total hoax or fiction when you have self-similarity between the microcosm and the macrocosm. In May 1944, there was a security alert when the Daily Telegraph crossword started making liberal use of D-Day codenames (Utah, Omaha, mulberry…); it turned out that there was no leak: reassuringly for some, but perhaps unreassuringly for others, because it means the guy was plucking the words out of the ether. Secrets do get out because they are always hidden in plain sight.

    Later, when I researched the presence of the word “cosmic” at the top of a fictitious intelligence report, I was referred to a Camelot interview in which Bob Dean explained how Nato’s “cosmic top secret” clearance gave him access to Cold War UFO/ET data. This has got to be one of the stranger ways of coming into contact with Bill Ryan

    The guy who drafted that intelligence report for Perec was a newspaper reporter called Alain Guérin, who at the time was writing the first of two books on the CIA. I’m guessing Perec either got his info from him or directly from his articles in the alternative media of the day, the communist daily L’Humanité. Either way, he wasn’t just plucking words out of the ether. He knew what he was doing.

    As the novel’s plot progresses, various strangers discover themselves to be family and targeted as such; and the fear ramps up as they find themselves increasingly in the firing line with their numbers dwindling to zero. Some of the “deaths” are totally unrealistic, except from a language point of view: the victims discover the e-less nature of their world and so have to move on before they can fully articulate that finding, for reasons explained above. But while there is plenty of doom and gloom on the “25D” (alphabetical) level, it is against a backdrop of playfulness and unreality viewed from the 26D level. In particular, if we take that view, which incidentally most readers don’t do, death is to be seen more as a positive graduation than a negative elimination, which is in line with spiritual teachings we find both on forums like this and in material mentioned in the book itself.

    Since the latter 26D level corresponds to our everyday world, the issue then becomes seeing our world from the standpoint of a higher (“27D”) level, which would amount to a similar reversal of perspective, from the doom and gloom to something entirely different. Once you have seen the fictional story from that reverse angle, you become removed from it, you die to it, thereby leaving even more doom and gloom behind, since the most traumatic experience in this lower world is death itself, namely this leakage to the higher sphere. In other words, the apocalyptic scenarios of a human extinction event on the one hand and the ascension or mass enlightenment scenarios on the other are simply two perspectives on the same event, the latter being a kind of speciation involving the same population. What you have then is a grieving process after a loss, until that loss is understood as a gain, leading to a rejoicing process instead.


    This is just an overview of some of the aspects that I see in common with Jane’s work. If you zoom in on the phrase “Iron Mountain”, from the e-less surface structure, you come first to a description of the writing constraint itself: it is unbending (iron), and daunting (hugely difficult). Digging deeper, you come to a designation of the letter E alongside its alphabetical neighbor F in the chemical symbol for iron, Fe. Also a reference elsewhere to Chinese poetry suggests the reading of “Mountain” in terms of the ideogram shan, which resembles an E sideways on: Ш. And then deeper still, you come to the underground bunker, Iron Mountain NY, where the desirability of peace – or of war – is cold-bloodedly discussed, and now placed in the context of huge trauma from both parents being killed by war.

    This is where the true boundary lies: between animate and inanimate. In French, you cannot write “homme” (man) without using an e; similarly, “sans e” (without e) sounds the same as “sans eux” (without them, i.e. people, notably family or parents). You can make your point however by repeated use of “human” and “inhuman”, or through reference to an inanimate iron mountain that stands like a massive gravestone to eliminated humanity. And conversely, in this way, a mere book can be brought to life and revive our humanity. And so can a photograph.


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    Default Re: Proof of time travel by Jane Tripp

    Wow, John. I now officially wish I'd had a French education. Is it a structuralist reading? A post-structuralist reading that you're applying?

    Whatever it is it's fascinating. I'm going to read this one several more times- but first I'm going to put on a helmet so I don't hurt myself.

    Honestly, though it's surely uncool to say it, I definitely want to learn your Kung Fu, my friend. Even just a few of the basics.
    Last edited by Curt; 17th November 2015 at 16:56.

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    Default Re: Proof of time travel by Jane Tripp

    Quote Posted by Curt (here)
    Wow, John. I now officially wish I'd had a French education. Is it a structuralist reading? A post-structuralist reading that you're applying?

    Whatever it is it's fascinating. I'm going to read this one several more times- but first I'm going to put on a helmet so I don't hurt myself.

    Honestly, though it's surely uncool to say it, I definitely want to learn your Kung Fu, my friend. Even just a few of the basics.
    i had completely missed on this reading of Araucaria and Jane posts (72 and 67). This is breath taking in its extrapolations, in its globality, in its details.

    I totally agree with Curt' I want to learn Araucaria's Kung Fu as well.

    Therefore bumping. Thanks Araucaria for referring to this post of yours in another thread (here and now).

    En passant, I did not know that lots of people see the deceased person about a year later after their death (although the author you are referring to took 35 years to see his mother).
    This happened to me about one year after my dad was deceased. It was an incredible experience because through that sight of him sitting in a chair looking at me came an overflowing of love I had never experienced, as if every single cell of my body, was dipped in a bath of pure love. It did change my ways of seeing life. (A Jewish friend had told me this is written in the bible as well, seeing the decease after a while, precisely sitting on a chair)

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    Default Re: Proof of time travel by Jane Tripp

    Quote Posted by Jane Tripp (here)
    Hi Araucaria,
    Thanks for getting back on this, and sorry for my delay also - a host of annoying little things going on right now that I'm trying to fix.

    About the software allowing for continual magnification - I don't know myself exactly what happens, but here is my take on it. I'm writing an article (I write quite a few at a time) called 'Beyond the Pixel' A pixel is supposedly the smallest addressable component in a digital image, and there are sub-pixels, but there is no present explanation for the results I get, and although I've discovered how to do this, I'm not actually technically that knowledgeable about digital imaging.

    Pixelation occurs when an image is over-enlarged to the point where the little colored squares of the bitmap is revealed. Usually, this ruins an image, so who would normally start cropping and enlarging, looking further? Some anomalies discovered in this way are almost microscopic, yet they retain all their detail and color.

    When I suspect or see evidence of photographic anomalies, I just keep cropping and enlarging images, sometimes dozens of times or more, and new color images - entire scenes often - just keep appearing through the layers, so I just keep on editing them.

    To me, this just means that we do not yet properly and fully understand the nature of certain photographic images. Clearly there is more to some of them than a flat 2D picture. In fact, these special photos have layers which can be travelled through, giving them quite literally an extra dimension.

    As I travel through them, cropping and enlarging as I see different imagery come forward, I find that some of the pictures are themed - miniature scenes connected by subjects, i.e. hospital imagery, restaurant-related themes, religious images, or more exciting to find, images from the past, sometimes seemingly hundreds of years old.

    I discover things because I'm completely dissatisfied with the amount of real information available, and I decide to know more, and go after more with insatiable curiosity. My research and experimentation begins at the point where most people who investigate paranormal images stop.

    You're the first person who has mentioned some the resulting images as being esthetically pleasing, but this is something I've noticed as well, so much so that I have a folder for the ones I like best as concepts for future art.

    As well, I've collected some images of electrical activity on and around equipment and little screens in photos with evidence of time travel in them, simply because they are like miniature psychedelic works of art, regardless of their source.

    About Dealey Plaza: because of the very strong emotions connected to the event it would probably continue to resonate very strongly in the general locale for many years (millennia), especially if the buildings, or building remains, were still present in the area. Such images would solve nothing I agree, but would certainly be interesting.

    I too imagine that time travelers were there. The entire event could have been recorded accurately and in detail by people using temporal access technologies. Somewhere in the future, people might know exactly what happened on that day.

    It will most likely one day be discovered that human/animal emotional involvement might serve to strengthen the holographic (probably) image and sound records, enabling them to be accessed more readily.

    If one event, however notable or traumatic, occurs to a single person while they are alone, the visual data forming the 'memory' of the incident might be difficult, even impossible to extract.

    If however the event happens to a lot of people (as in Pompeii when Vesuvius erupted), it may well be a lot easier to access. In fact it might be a crucial component when it comes to extracting image and sound bites from the past.

    The thoughts and feelings of many people having a similar experience would be projected as scalar waves, which would then be stored in physical matrices holographically in a semi-permanent way.

    As we hardly know anything about this subject yet, a lot is open to conjecture, but we may well find that the 'unlock' process is also to some extent reliant upon human thought and emotion. Thoughts as projected scalar waves would not be impeded by time and space.

    I have taken photos that I believe contain images from possible futures as well. Everything is really happening at the same time.

    Similar or resonant emotions released through compassion or imagination and visualization could be attracted to and then interact with the original stored data, causing a replay of events that could under the right circumstances be captured digitally.

    As with your thoughts about repercussions and 'coincidences', something that we're presently largely unaware of is operational behind the scenes of these perhaps not so unconnected events.

    I like the tennis ball analogy a lot. Some moments, like the assassination, seem to be definitive of a much larger event. One person dying, however important or well-thought of, does not usually leave such an echo. But these 'linked' events, they stay in the collective unconscious for a very long time, clearly having more layers of meaning culturally and spiritually than we are on the surface aware of, even though all we ever have is this moment right now.

    In answer to your question, it's my belief that a second snapshot taken at the spot might still have images relating to the one event on it - that event being the one that is resonating most strongly in the area. Now, if it's to some degree dependent upon the thoughts of other people - say me as the photographer - if I'm thinking of this event at any level, I might reasonably expect to get connected imagery partially reanimated by my own interactions.

    I would expect this even if I were re-photographing someone else's video footage from many miles away. Experiments with different methods will definitely be taking place at some point and I have plans for experimentation myself in the future.

    I'm always very interested by the idea of experimenting in this way, but I have so much to do, and ironically I wish I had a lot more of the partially non-existent shadowy time substance to work with!
    Just stumbled upon this thread again after time... the whole thread deserves the bump action IMHO,

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    Default Re: Proof of time travel by Jane Tripp

    Quote Posted by araucaria (here)
    Many thanks, Jane, for this detailed explanation of your method. Actually there are very few of your shots that I find less than esthetically pleasing, and this surely has something to do with the obvious connection between scalar waves and our inner being as transmitter/receivers of said waves.

    Your system of barging through the closed door of pixelation and carrying on regardless plainly works when after many enlargements you come to geometrical shapes clearly interpretable as manmade objects; and the clincher is of course letters recognizable as words that should really have been mangled out of existence long before. I am fascinated because your approach is very similar to my own literary research, which I’d like to present “briefly” so that each may shed light on the other.

    In literary theory, you have a concept called overdetermination, a Freudian term used to describe the interconnectedness of elements in a constructed piece of writing; the basic imagery of the word text is itself the tissue, or fabric, of cross-woven strands. This is the “craft” of “fiction”. Taken to extremes, ultimately every part works in synergy with every other part. One result of this is the mise en abîme, where a whole sequence will be a reflection in miniature of the whole, like a hologram. The best-known example of this is Shakespeare’s play within a play in Hamlet: Hamlet’s play re-enacts his father’s murder to establish his killers’ guilt. This can happen on every scale, from the very largest element down to the tiniest detail. The very largest element would be the book itself: this happens at the end of Proust’s In Search of Lost Time, when it turns out that the narrator is about to embark on writing the book we are just finishing. And of course there is the proverbial rabbit hole of tiniest details.

    Already with this type of writing, you have a much richer texture than you get with a traditional novel telling a story in linear fashion. “Lost time” is “Time Regained” in a timeless interconnected whole. But I have noticed something different happening when the material of outside-world fact is enlisted more or less wholesale in this process; rather than overdetermination I prefer the Jungian concept of synchronicity. Interestingly, the couple of cases I have looked at involve trauma, and the story of that trauma lies in the same relationship to the overdetermined fabric as “deep structure” to “surface structure” in the Chomskian theory of language. Briefly, you have a deep structure meaning that can be expressed in various surface structures; e.g. “John ate the apple” and “the apple was eaten by John” are two surface structures (active and passive voice) with the same deep structure: briefly, the same event from John’s viewpoint and from the viewpoint of the apple. But the layer I am talking about turns that kind of deep structure into its own surface structure. If we had, say, “Adam (or Eve) ate the apple”, you could probably dig down into this even deeper structure to find the entire human trauma from a third party perspective such as ours.

    The French writer Georges Perec (1936-1982), was orphaned by Nazism, responsible for the deaths of both his parents: his father was killed in action in June 1940; his mother was put on a train to Auschwitz on February 11th 1943 where she disappeared presumably in the gas chambers and crematoria of the holocaust, having earlier put her son on a train to safety. One of the last experiences they will have shared is the blast of a whistle giving the driver the all-clear to pull out of the station. In his novel La Disparition (published in 1969: 300 pages written famously without using the letter E), I have found dozens of references to his father’s and probably hundreds to his mother’s deaths. A single word will suffice to illustrate this: the place name “Quintinshill”, which conjures up all of the above. At Quintinshill (Scotland) in 1915, a troop train collided with another train; the gas lighting caught fire and a total 473 soldiers (11 x 43) were killed or injured in this mass tragedy.

    When Perec saw his mother’s certificate of Disparition (disappearance, i.e. missing person) in lieu of a death certificate, it must have been very much as if he were seeing his own. This coloured everything he wrote and eventually culminated in his actually seeing his mother (not a hallucination), as reported by the eminent psychoanalyst J. B. Pontalis—anonymously of course: it was Perec’s cousin who disclosed his name. The astronomer Camille Flammarion spent a lifetime studying such after-death apparitions. In his book Après la mort, he describes at length how such happenings tail off steeply and quickly to very few occurrences after about a year. By this yardstick, Perec’s experience after more than 35 years is truly astonishing; and it has to be understood in the context of his writing, taking him to places way beyond the common experience.

    I want to take this maybe a bit further than the topic of this thread, or maybe broaden its scope, because this is really where I am coming from and why I became a member here at all. If creative writing becomes a paranormal experience, then it becomes natural to compare it with other paranormal experiences such as Jane’s and others’. The main feature I see myself sharing with Jane is this idea that the deeper you look the more you find; if ever you stop at some point, it is not because you cannot go on, but because you can go on, indefinitely.

    There are two ways of looking at this novel La Disparition. Either you see Perec’s authorial viewpoint: potentially the whole world bearing the imprint of his parents’ absence (death); this I think is what Jane is doing, at least with the motorcycle accident picture, depicting trauma. Or you consider the reader’s viewpoint: the missing parents as a major human archetype. This was my interpretation of Shane The Ruiner’s big picture.

    I want to get into more detail about what I found, but for anyone not interested in the fine print, this might be a good point to stop reading. I understand

    Using the surface structure model with successive deep structure layers, the surface structure here is the letter-dropping principle (lipogram), which is as superficial as you get until you see what can be done with it. It is often seen as little more than a word game. You can drop any letter, but if you drop e’s, you get things like:
    Quote Mary had a tiny lamb,
    Its wool was pallid as snow,
    And any spot that Mary did walk
    This lamb would always go;
    This lamb did follow Mary to school,
    Although against a law;
    How girls and boys did laugh and play,
    That lamb in class all saw.
    This is indeed about as futile as it gets, or at least it seems so at first glance; until you find yourself in a universe parallel to our own, one in which certain things cannot be said, at least not directly or totally explicitly. The one thing you absolutely cannot say is “I am not using the letter e” without using it: game over – self-contradiction places you outside of the fully understood game. What you can do is use roundabout allusions or a whole array of subtle to broad hints to make your point through characters who do not understand. This marks the boundary around a 25-dimensional world into which our own 26-dimensional one is leaking in various surreptitious ways, much as in “Flatland” you have a 2-dimensional world with inklings of a third dimension from whistle-blowers and prophets who are promptly silenced.

    So one surface structure / deep structure relationship is between lipogrammatic language and normal language. Most lipogrammatic language is based on and copies normal language, just as the above poem is based on and copies “Mary had a little lamb”. Another is between the fictional world so created and our “real world”, the one always being a pale reflection of the other. There is always something missing, something going wrong. Taking the above example of Quintinshill: on the language level, the lack of e’s is reflected in the multiple i’s, while on the real-world level the named place locates a human tragedy. The book is a catalogue of such disasters: natural ones like earthquakes at Tristan da Cunha, Agadir, or even Skopje (under its old name Uskub); and unnatural ones, beginning with Auschwitz itself.

    Hence the characters, when they begin to understand the damaged world in which they live, they are going to start disappearing or dying mysteriously, i.e. move behind the curtain into a world possessing this extra dimension. Since there is a suspected hidden hand or overriding cause behind it all, the novel’s aptly named “plot” becomes a conspiracy theory. And like any good detective story, the conspiracy theory proves wrong and makes way at the end for conspiracy fact. You see where this is heading: an innocent little word game has turned into a realistic model of the real world as perceived by the alternative media.

    Hence, twenty years ago, it was while researching things in this book with this powerful new tool the Internet that I was brought to the alternative media for answers. For example, when I looked at Iron Mountain, a place mentioned as being on the Wisconsin-Michigan border – i.e. smack in the middle of the Great Lakes, which can be seen as being in the shape of a huge E – I learned about the infamous “Report from Iron Mountain” published in 1967 just 2 years before Perec’s novel. This is allegedly a hoax: maybe it was a hoax, but it too has turned into a realistic model of the real world as perceived not just by the alternative media but also by President Johnson, who reportedly “hit the roof and ordered it to be suppressed for all time” (https://en.wikipedia.org/wiki/The_Re..._Iron_Mountain). Ultimately there is no such thing as a total hoax or fiction when you have self-similarity between the microcosm and the macrocosm. In May 1944, there was a security alert when the Daily Telegraph crossword started making liberal use of D-Day codenames (Utah, Omaha, mulberry…); it turned out that there was no leak: reassuringly for some, but perhaps unreassuringly for others, because it means the guy was plucking the words out of the ether. Secrets do get out because they are always hidden in plain sight.

    Later, when I researched the presence of the word “cosmic” at the top of a fictitious intelligence report, I was referred to a Camelot interview in which Bob Dean explained how Nato’s “cosmic top secret” clearance gave him access to Cold War UFO/ET data. This has got to be one of the stranger ways of coming into contact with Bill Ryan

    The guy who drafted that intelligence report for Perec was a newspaper reporter called Alain Guérin, who at the time was writing the first of two books on the CIA. I’m guessing Perec either got his info from him or directly from his articles in the alternative media of the day, the communist daily L’Humanité. Either way, he wasn’t just plucking words out of the ether. He knew what he was doing.

    As the novel’s plot progresses, various strangers discover themselves to be family and targeted as such; and the fear ramps up as they find themselves increasingly in the firing line with their numbers dwindling to zero. Some of the “deaths” are totally unrealistic, except from a language point of view: the victims discover the e-less nature of their world and so have to move on before they can fully articulate that finding, for reasons explained above. But while there is plenty of doom and gloom on the “25D” (alphabetical) level, it is against a backdrop of playfulness and unreality viewed from the 26D level. In particular, if we take that view, which incidentally most readers don’t do, death is to be seen more as a positive graduation than a negative elimination, which is in line with spiritual teachings we find both on forums like this and in material mentioned in the book itself.

    Since the latter 26D level corresponds to our everyday world, the issue then becomes seeing our world from the standpoint of a higher (“27D”) level, which would amount to a similar reversal of perspective, from the doom and gloom to something entirely different. Once you have seen the fictional story from that reverse angle, you become removed from it, you die to it, thereby leaving even more doom and gloom behind, since the most traumatic experience in this lower world is death itself, namely this leakage to the higher sphere. In other words, the apocalyptic scenarios of a human extinction event on the one hand and the ascension or mass enlightenment scenarios on the other are simply two perspectives on the same event, the latter being a kind of speciation involving the same population. What you have then is a grieving process after a loss, until that loss is understood as a gain, leading to a rejoicing process instead.


    This is just an overview of some of the aspects that I see in common with Jane’s work. If you zoom in on the phrase “Iron Mountain”, from the e-less surface structure, you come first to a description of the writing constraint itself: it is unbending (iron), and daunting (hugely difficult). Digging deeper, you come to a designation of the letter E alongside its alphabetical neighbor F in the chemical symbol for iron, Fe. Also a reference elsewhere to Chinese poetry suggests the reading of “Mountain” in terms of the ideogram shan, which resembles an E sideways on: Ш. And then deeper still, you come to the underground bunker, Iron Mountain NY, where the desirability of peace – or of war – is cold-bloodedly discussed, and now placed in the context of huge trauma from both parents being killed by war.

    This is where the true boundary lies: between animate and inanimate. In French, you cannot write “homme” (man) without using an e; similarly, “sans e” (without e) sounds the same as “sans eux” (without them, i.e. people, notably family or parents). You can make your point however by repeated use of “human” and “inhuman”, or through reference to an inanimate iron mountain that stands like a massive gravestone to eliminated humanity. And conversely, in this way, a mere book can be brought to life and revive our humanity. And so can a photograph.
    I must take a break and watch my daughter play softball this sunny Saturday afternoon in July but will surely be rolling this around my mind through out the day into ...

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    Default Re: Proof of time travel by Jane Tripp

    Thanks for the info on overdetermination and all the points raised - very interesting stuff! I see the connections being made. I would think it applies to our holographic reality in general. It's going to lead people to do some fascinating research into the interconnectedness of all life/things in the future.

    I do have the same feeling that you don't ever reach the end once you begin to look more deeply. I suspect a barrier, or several barriers, are in place and that they may have always successfully stopped most people from continuing further explorations in various fields.

    The first barrier would be met in our own minds, and in the way we assess information. In the paranormal field these would consist of pre-conditioned assessments such as:
    'Nobody can photograph faeries or elementals; they just don't like to be photographed.'
    'A person would be very fortunate to get even one or two photos containing anomalies. Nobody could get that many. It must be a hoax.'
    'We have to leave anomalies in photos unedited to prove non-tampering. It's probably only pareidolia anyway.'
    'Look at the creepy face in this photo. It must be a demon!'
    'See the wings? It's an angel!'
    'Nothing to see here - move along!'

    These are the kind of 'rules' we teach each other. I think it leads to a lack of willingness to explore further, largely because of the way people police each other, especially on the internet, which is today where interested people learn about such subjects.

    If we are experimentally minded and decide to search to a greater depth anyway, we next hit the natural barrier, and in the case of the paranormal this lies at the borderline of our Earthly reality, between what we know of Newtonian physics and the quantum science we don't yet know.

    We have not yet designed a set of suitable tools specifically to allow us to see more deeply into and explore other-dimensional realities, although some are in use in their early stages, but we can use more ordinary tools, such as a photo editor, to push those boundaries and discover much more.

    Many experimenters in the field of ITC (Instrumental TransCommunication), including myself (I experiment a lot), have made considerable progress, and more is being made all the time, but this is rather quiet progress. Most people with a general interest rather than a passion for the subject are sated with the average paranormal fare on TV.
    http://www.transcommunication.org/
    http://www.worlditc.org/
    http://www.afterlifeuncovered.com/?p=11361
    https://www.youtube.com/results?sear...unication+film

    I am not personally affiliated with any of these groups, by the way. They have done fantastic work in the field of spirit communication via electronic instruments. I would say these experimenters are also pushing through some of the boundaries that separate dimensions.

    Although I don't make EVP's, if I ever do, I'm pretty sure that I'll take an audio editor and push the boundaries in the same way I do with images. I'm also fairly certain that I would find a lot, and I hope someone who works with audio files will do this soon.

    Secrets are hidden in plain site, even if it takes a little work to separate them from the mix and illuminate them so that they are no longer secret. We won't run out of secrets. There will always be more, and each new discovery will contain a pointer, or prompt to the next.

    But we do need to exercise our minds as well as broaden them, simply because many of these discoveries are and will be on the very edge of belief.

    There's something to be said for working backwards, accepting a premise and looking for evidence or data in reverse. It can help to start the jigsaw in a different area, but in order to do so we first have to accept that there will be a picture available, becoming clearer as we go and also showing unexpected details, perhaps leading to new puzzles and understandings.

    I think that the people who discover the most are frequently the ones who apply creativity and imagination while also bringing an insatiable curiosity to their research and experiments. The truth is out there, and it will be hidden in plain view, but because we've been conditioned to expect only certain results, we often do not actually see what is right there before us. Perhaps passion and focus are a necessary part of discernment.
    Last edited by Jane Tripp; 22nd July 2016 at 23:58.

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    Default Re: Proof of time travel by Jane Tripp

    ..........
    Last edited by TODD & NORA; 19th August 2016 at 23:57.

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    Default Re: Proof of time travel by Jane Tripp

    Jane when you mention mind barriers it reminds me of the quotation "
    Instinct is a lie, told by a fearful body, hoping to be wrong".


    Quote Posted by Jane Tripp (here)
    Thanks for the info on overdetermination and all the points raised - very interesting stuff! I see the connections being made. I would think it applies to our holographic reality in general. It's going to lead people to do some fascinating research into the interconnectedness of all life/things in the future.

    ...

    The first barrier would be met in our own minds, and in the way we assess information. In the paranormal field these would consist of pre-conditioned assessments such as:
    'Nobody can photograph faeries or elementals; they just don't like to be photographed.'
    'A person would be very fortunate to get even one or two photos containing anomalies. Nobody could get that many. It must be a hoax.'
    'We have to leave anomalies in photos unedited to prove non-tampering. It's probably only pareidolia anyway.'
    'Look at the creepy face in this photo. It must be a demon!'
    'See the wings? It's an angel!'
    'Nothing to see here - move along!'

    These are the kind of 'rules' we teach each other. I think it leads to a lack of willingness to explore further, largely because of the way people police each other, especially on the internet, which is today where interested people learn about such subjects.

    If we are experimentally minded and decide to search to a greater depth anyway, we next hit the natural barrier, and in the case of the paranormal this lies at the borderline of our Earthly reality, between what we know of Newtonian physics and the quantum science we don't yet know.

    ...

    But we do need to exercise our minds as well as broaden them, simply because many of these discoveries are and will be on the very edge of belief.

    There's something to be said for working backwards, accepting a premise and looking for evidence or data in reverse. It can help to start the jigsaw in a different area, but in order to do so we first have to accept that there will be a picture available, becoming clearer as we go and also showing unexpected details, perhaps leading to new puzzles and understandings.

    I think that the people who discover the most are frequently the ones who apply creativity and imagination while also bringing an insatiable curiosity to their research and experiments. The truth is out there, and it will be hidden in plain view, but because we've been conditioned to expect only certain results, we often do not actually see what is right there before us. Perhaps passion and focus are a necessary part of discernment.
    "The artist takes in the world, but instead of being oppressed by it, reworks it in their own personality and recreates it in the work of art"

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    United States Avalon Member Valerie Villars's Avatar
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    Default Re: Proof of time travel by Jane Tripp

    I am bumping this thread for araucaria's breathtaking essay above.
    "The only true currency in this bankrupt world is what we share with someone when we are uncool." From the movie "Almost Famous""l "Let yourself stand cool and composed before a million universes." Walt Whitman

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