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    Default Multi-dimensionality lecture

    "Wondrous spatial realms that may lie beyond the ones we experience."

    Quote
    PARTICIPANTS: Escher String Quartet, Brian Greene, Lawrence Krauss, Linda Dalrymple Henderson, Shamit Kachru
    Original Program date:June 5, 2010

    Brian Greene and a moment of Physics. 0:29

    Einstein and what is gravity. 04:40

    Three dimensional space and the warps and curves of Gravity. 06:33

    What does 3D space look like? 10:55

    Escher String Quartet. 16:34

    John Hockenberry Introduction. 21:22

    Participant Introductions. 24:17

    The history of Multi-dimensions. 25:43

    Who preceded mathematician Kaluza. 31:14

    Whats the difference between math and physics 33:21

    Graviton's and quantum particles. 40:42

    Do experimental physicists except the math as truth? 45:45

    Quarks, Leptons and Forces. 53:10

    The Calabi-Yau manifold 55:34

    Einstein's lunar eclipse experiment. 01:00:00

    Describing the fourth dimension 01:05:56

    Will there be discoveries outside of just mathematics? 01:07:10

    Physics... It;s not easy and it takes along time. 01:15:25

    Everything we see is just pollution. 01:19:35

    The excitement the super string theory. 01:23:22

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    Default Re: Multi-dimensionality lecture

    Quote Posted by mojo (here)
    "Wondrous spatial realms that may lie beyond the ones we experience."

    http://youtube.com/watch?v=h9MS9i-CdfY
    Great.

    (What's really encouraging here is that nearly 870,000 people have watched this)

    Btw, this is world-class physicist Brian Greene, who introduces the presentation:
    http://en.wikipedia.org/wiki/Brian_Greene

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    Default Re: Multi-dimensionality lecture

    It's funny because I've experienced multidimensionality and I've never had to use psychedelics to do it, mostly just marijuana and meditation which run hand in hand with me. Now I dont use it all and still get the same effect's, smoking cannabis for me was like returning to a higher state of mind no pun intended. It was like my higher self being present in every single moment hence now no pun intended again😂 then once I would return to the now I would instantly have all these abilities and psychic phenomenon happen to me. Now it's just permanent. But as far as multidimensional happenings, I can see timelines, we create them together. There are many versions of ourselves living in different timelines as well. This is the only one we know or have the most consciousness in, same could be said about the other ones as well.

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    Default Re: Multi-dimensionality lecture

    that is a very neat video, thanks Mojo.

    I like seeing all those passionate nerds who do not look too much like nerds anymore.I also love to hear about the different theories and views on multidimensionality. It is great to have the artistic components as well.

    I also noticed that none of them, except for the journalist, are fat. They are all slim. I wonder if the guts biodome, which often determine if you are fat or slim, or autistic or not, has anything to do with having a Phd in physics or mathematics (certainly not in business, those are on the thicker side). Now that I think of it, I have been surrounded with PhDs researchers in different science fields for years in my previous married life and none were fat. And they did not all exercise. Hum..... and most had a weird humour which I enjoyed, as these in this video have.
    Last edited by Flash; 7th October 2016 at 06:06.
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    Default Re: Multi-dimensionality lecture

    .
    There are a couple of things here which I find particularly interesting (but Flash, your hypothesis about PhDs rarely being overweight needs serious investigation ) -->

    1) Over and over again, I hear and read world-class physicists, with IQs (presumably!) of 150+, totally blind to the enormous mountain of evidence, right there to be studied, that there are beings out there (and maybe here, too) who can manipulate space and time at will.

    High intelligence sometimes means that the belief filters are even more firmly locked in place.

    2) The really bright physicists have all been cherry-picked for sworn-to-secrecy participation in government black projects. (That happens in Russia and China, too.)

    We never know their names, and of course their breakthrough work is never published. They just disappear out of grad school (and in some cases, high school -- I have a personal story about that, highly recommended ). The ones we see in the public domain -- Brian Greene (here), Kip Thorne, Sean Carroll, even Stephen Hawking -- never made the cut.

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    Default Re: Multi-dimensionality lecture

    I also noticed that lots of science PhDs have obsessive compulsive tendencies. Anyhow. ...

    Those may be picked up for blacks projects, but the true scientists who have taken off their sometimes heavy filters are more, in my views, those that are spiritually developed as well. And obsessive behaviors are under control. Carmody and Snowden would be amongst those in my book (although Snowden does not even has college) as well as a few others. Otherwise, the catacteristics of scientists are often paired with low emotional intelligence. Same with IT PhD's, engineers PhD's etc

    I do not think you can have a science PhD without being over 140 of IQ

    Now, spiritual development plays as big a role in science and those highly developed spiritually would not make the cut for black projects. They become uncontrolable to have them on destructive projects given bits of time. Yet, they may be kept alive because of their usefulness in open projects adding to covert ones

    Addition: Bill, any idea what was so interesting that your contact wanted to see it once again?

    Quote Posted by Bill Ryan (here)
    .
    There are a couple of things here which I find particularly interesting (but Flash, your hypothesis about PhDs rarely being overweight needs serious investigation ) -->

    1) Over and over again, I hear and read world-class physicists, with IQs (presumably!) of 150+, totally blind to the enormous mountain of evidence, right there to be studied, that there are beings out there (and maybe here, too) who can manipulate space and time at will.

    High intelligence sometimes means that the belief filters are even more firmly locked in place.

    2) The really bright physicists have all been cherry-picked for sworn-to-secrecy participation in government black projects. (That happens in Russia and China, too.)

    We never know their names, and of course their breakthrough work is never published. They just disappear out of grad school (and in some cases, high school -- I have a personal story about that, highly recommended ). The ones we see in the public domain -- Brian Greene (here), Kip Thorne, Sean Carroll, even Stephen Hawking -- never made the cut.
    Last edited by Flash; 7th October 2016 at 16:30.
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    Default Re: Multi-dimensionality lecture

    A researcher on CERN named Anthony Patch mentions how CERN is using D-wave computers to communicate into other dimensions and surprisingly Patch mentioned one of the lead scientist of CERN said they are retrieving resources back from other dimensions!

    In this video the speaker mentions the D-wave, "gives access into new resources, maybe you could call them parallel universes." about 9:28

    Last edited by mojo; 7th October 2016 at 18:00.

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    Default Re: Multi-dimensionality lecture

    Quote Posted by Bill Ryan (here)
    .

    1) Over and over again, I hear and read world-class physicists, with IQs (presumably!) of 150+, totally blind to the enormous mountain of evidence, right there to be studied, that there are beings out there (and maybe here, too) who can manipulate space and time at will.

    [/I]
    Exactly what I also wonder from time to time. Very possibly this blindness is attributed to "scientism" as a rigid belief system. When you're caught in this belief system - no matter what the pile of evidence says - somethings do not exist for you (as a "credible" scientist).

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    Default Re: Multi-dimensionality lecture

    Catalysts for evolution: maintain authority over our personal energy field which paradoxically is part of the all One spirit of consciousness. Realms are open to investigation with or without plant or chemical enhancements.

    Currently, I'm enjoying exploration naturally, with no enhancements. I'm not a stranger to enhancements, I needed the personal experiences to "see" for myself.

    Current evolution is causing a sharper discernment for perception of Absolute truth. We are all helping each other, no matter what path or method.

    Having experience and education in the realm of AI, alongside daily inner travels, makes me realize how our Actual Real Intelligence continues to outpace or out-evolve the emanations of our creations (AI). Any fear of our creations, AI technologies, taking us over is only dangerous due to the fear factor itself. We can buy into it, or laugh and overcome it with True Absolute attunement to the highest intelligence of our soul/Spirit.

    I appreciate the positive impact that those who attempt control over others through AI have on the overall evolution of humanity. It bears hard on my heart the suffering it causes who don't see behind it. Compassion will reverse the apparent damage, and ultimately those who perceive and stand for truth, will lead the way into our better world.

    Tricks and traps notwithstanding, I hold the vision of victorious overcoming and the activation of never before seen potentials unfolding.

    Loving all and caring deeply,
    MM

    PS. "The Physics of Angels" by Rupert Sheldrake and Matthew Fox presents fascinating perspectives on the abilities of angels compared to the characteristics and attributes of photons. A must read for those into this stuff.
    Last edited by Michelle Marie; 7th October 2016 at 18:34.
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    Default Re: Multi-dimensionality lecture

    Quote Posted by Bill Ryan (here)
    (What's really encouraging here is that nearly 870,000 people have watched this)[/URL]
    Well, it depends on who these people are: hopefully a few chemists in there. Michio Kaku in one of his books says that chemists are not taught this stuff because they would go crying home to their mothers. I know a biochemist, now retired, who once told me that they had an introductory course on quantum physics that seemed deliberately designed to be way over their heads, just to let them know that it was out there (and - my inference - Here Be Monsters!). This is not going to change until we develop disciplines like quantum chemistry and string chemistry, whatever they might entail. Meanwhile, whether intentionally or through willful ignorance, we have particle chemists in big pharma and big farming racing to find more and more new compounds to kill us with – just as fast as physicists are going in the opposite direction, smashing atoms into ever smaller pieces, yes particles, seemingly in the hope of showing that string theory is just a deeper branch of particle physics.

    It is refreshing however – at least for its honesty – to hear that string physicists are also 50 years or more away and that 95% of our current physics is very possibly science fiction. Some of these guys’ colleagues need a little more humility. This is why it seems to me the art historian should have been the “strong force” on this panel but actually comes across as the “weak force”. The problem for me is that Cubism as presented here is art for scientists: a popularization of art as an introduction for non-specialists. Art and art history are all about the collective: you cannot just take one picture in total isolation, even for the sake of brevity. For the less superficial, more technical presentation of other dimensions in art which a forum post allows, you would do well to go back at least to Edouard Manet. Given that a museum painting has two dimensions (left/right, up-down), and a third dimension (depth) simulated by classical perspective, Manet was probably the first to expand this setup somewhat explicitly into a “fourth” dimension, of space and/or time, or rather spacetime.

    The time factor is seen in Manet’s portrait of Berthe Morisot with a Bouquet of Violets (1872). The writer Paul Valéry, who married her niece and lived in with this painting for a time, describes it as his finest work, focusing notably on the “big eyes, vaguely gazing in profound abstraction, and offering, as it were, a presence of absence.” What he is describing, in my opinion, is a slight squint: the young lady seems to be looking at the viewer, slightly to her left, and at the same time slightly to her right, as confirmed in a lithograph Manet also made. See here.

    This is no physical deformity, if we remember that Berthe Morisot was herself an accomplished painter (already one of the very best), something that Manet would find essential to any portrait. What he has captured is in fact the movement of the artist’s eyes constantly passing between her model and her picture. She is in fact in the process of portraying the viewer, and the viewer in turn is sitting for her. We have other terms to describe what is going on here: time travel between then and now (but who, and in which direction?); remote viewing (seeing Berthe Morisot through Manet’s eyes); or free energy: when information is being channelled in both directions in this manner (cf. Nostradamus with Dolores Cannon), you have to ask where/what the actual source of the information really is (the conventional alternative answer would be “the Akashic record”). For me, Valéry’s “presence of absence” is the smoking gun of other dimensions – not so much a scientific experiment as the aesthetic experience par excellence.

    This means that the viewer is transported to another time, and another place: the artist’s studio in 1872. He (she) is no longer an outside observer but an integral part of the production of the work, at once artist and model and inspiration. This was long felt as aesthetic bliss long before scientists stumbled on the crucial role of the observer in any experiment, which is yet to be fully explained.

    Bilocation (being in two places at once) is a major upshot here. It has been suggested that Manet’s The Luncheon on the Grass actually features models in the studio sitting in front of an already existing painting of an outdoor scene originally called Le Bain (Bathing) featuring the same female model. You then have the same character (entity) on two different levels of reality (or fiction): in the artist’s studio, and one step away from that reality, in the artist’s outdoor memory consigned to the canvas within the canvas – the viewer in the museum being a further step away. This amounts to an early form of Kubrick’s front-screen projection as described by Jay Weidner, but far from being extraordinary, it merely reflects the artist’s freedom to paint whatever he likes in as many layers as he likes; but it is also far from extraordinary in a rather extraordinary way: this idea is no more than a very primitive inkling of general nonlocality in the cosmic village. There is no reason, beyond the limits of our perception, why this process of embedded images should ever stop. In art and literature, we talk about “mise en abyme” to describe a phenomenon found in places like football stadiums with TV coverage including the large screen offering TV coverage etc., or a Camembert cheese box featuring people holding a Camembert cheese box... The thing is that if you take this process to its logical conclusion, you have to consider the likelihood that you yourself are part of someone’s TV coverage or a picture on someone’s Camembert cheese box. And that someone might well be another dimension of oneself.

    So actually we are talking about more than two places at once. The other aspect of this is that the viewer has actually gone nowhere, and is still very much there in the museum looking intently at a picture. The issue with classical perspective that Manet was addressing is that it provides depth only in one direction: away from the viewer. What he does is to extend the perspective out in the other direction, into the gallery to take in the viewer. This can have very different consequences depending on the viewer. When Olympia was first shown, it revealed something extremely unsavoury about one category of viewer, who found himself transported to another time, and another place all right, but one he would have preferred to have kept quiet about. The old lecher dividing his time between admiring nude goddesses in the Louvre and ogling nude prostitutes in brothels discovered to his horror that his wires had been crossed and his secret life laid bare for all to see. The howls of rage came from the whistle being blown on the hypocrisy of people airing this aura of respectability, and likewise on academic artists playing the game of dressing up (i.e. undressing) typically hard-up models as goddesses.

    Hence in addition to, and in contrast with, the aesthetic experience, you have the moral experience whereby one is brought back to the here and now of a single reality: there is no place to hide, you have to be one thing or another, you have to have personal integrity. As Michio Kaku points out with reference to a two-dimensional Flatland (and by implication to our own world), “It would be impossible to keep secrets away from a hyperbeing. Gold that is locked in a vault could be easily seen from the vantage point of the third dimension, since the vault is just an open rectangle” (Parallel Worlds, p.183). There are countless alternative and mainstream terms to describe this phenomenon. The existence of Evil, original sin, archontic/archonic influence, beings from a lower dimension, global conspiracy, disclosure, call it what you will, is another smoking gun for other dimensions. Negativity is basically what you get when a dimension is removed or ignored.

    Manet also explores yet another dimension of painting. In addition to left-right, up-down and in-out, a picture can be rotated. This is not obvious from the museum hanging, but in the studio it is easy enough to place a canvas on its edge and still easier to view a loose sheet drawing from any angle. This option is also available to the general public looking at a reproduction, but most people are so set in their ways that they never think of looking at something right under their eyes. Manet once did a painting of a bullfight scene, which he later cut up and is mostly lost, but one fragment seems to be The Dead Toreador, a title he later changed to The Dead Man, possibly to protect his little secret. See this post.

    If you turn this picture through 90°, what appeared to be a very dead matador turns out to be very much alive, bracing himself as the bull charges only inches away out of the picture. This is not a matter of interpretation: it is in-your-face evidence that once seen cannot be unseen. Since this is another portrait of the artist – the cape symbolizing the canvas, the bull the artist’s animal nature – we can draw several conclusions from this other dimension introduced here. From an interdimensional standpoint, death and the intensest form of life (living dangerously) are the same thing viewed from different dimensions: the artist having a Schrodinger’s cat out-of-body experience. Hence death-to-life experiences, whether it be NDEs, shamanic trances, Jesus’ miracles, or visions of dead loved ones, are all smoking guns evidencing other dimensions. But physics, which our panel reminds us is an empirical science, looks the other way. Like with aliens: if science were truly empirical, then the best way forward would surely be to question people claiming to have had personal contact with aliens; but no, we have the completely 3D SETI project, using large particles (telescopes) to try and observe small particles (e.g. radio signals), thereby actively avoiding possible interference from another dimension.

    The commonality of art and bullfighting is that both are outwardly entertainment, but both are deadly serious. Art would truly life-threatening to Manet in 1870 during the Franco-Prussian War when the siege of Paris made it impossible to carry on his work. He very literally risked his life manning the barricades for a time, until a desk job was found for him with the general staff in the relative safety of the Elysée Palace. And Berthe Morisot, who obviously could not fight, nonetheless stuck it out in Paris, where there was very little to eat, and suffering long-term effects on her health. This was a time when top restaurants were serving elephant steaks, rhinoceros stew and other fare from the local zoo, while everyone else starved. And most of all, both artists lost a very good friend in a fellow painter, Frédéric Bazille (Frédéric who? Precisely), who was actually killed in action – a real-life dead toreador. Bazille was a close friend and benefactor of Monet and Renoir, who secured their place in history notably by painting on for another fifty years and more, but there are signs that Bazille was at least their equal. We shall never know, because he died at only 29, well before reaching his prime.

    In light of the above and of Bazille’s closeness to Manet and reported maturity beyond his years, one would expect to find evidence of other-dimensionality even in this youthful work. As it happens, researchers have made an interesting new discovery using X-radiography: a painting thought to be lost has been found, underneath his last work, Ruth and Boaz. Painting over an abandoned work was common practice, usually after painting a neutral ground over it first; it might be a vase of flowers turned on its side and painted over with a landscape. But here there are obvious connections (reversals) between the earlier and the later paintings. Also this was a work carefully finished and submitted for display at the Salon of 1866. It was rejected not because it was no good but more likely because it was good in an original way that flouted established academic rules. It is known that Bazille came to collect his picture, but only now do we know what he did with it. The subject matter is youthful and a little trite: a young girl at right playing the piano, sprawled on a sofa at left a young man listening to her – the artist tuning into his inner muse (Bazille was an accomplished pianist). This indoor, daytime scene is turned into an outdoor, nocturnal scene. At right the sleeping Boaz is a biblical Abraham-type figure destined in extreme old age, close to death, to father a nation; the Moabite Ruth approaches his bed to make a start on that miracle. The outdoor scene beneath a crescent moon is inspired by a poem by Victor Hugo, “Booz endormi” (Boaz Asleep) who likens the moon to a sickle left behind by some immortal reaper. The roundish settee has now become a group of egg-shaped haystacks produced with the sickle by that other-dimensional reaper, and symbolizing these descendants from the female viewpoint. Meanwhile, the male counterpart, just behind/above Boaz’s head, is a tree copied from one on the family estate, a family tree in other words, literally on his mind, seemingly rooted in his brain, or as we say in French, une idée derrière la tête, literally an idea behind his head.

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    Since Boaz on his couch in front of his rectangular tent is painted directly over the girl at her piano, and the girl is now lying (crawling on the ground) roughly where the young man was, it would indeed seem that we have come a long way from the youthful declaration of intent of the earlier picture. Bazille’s skill and confidence in his originality have grown to such an extent in such a short space of time that he seems to see himself already as this bald old man with a long white beard – Booz in French, with the obvious link Boz-Baz(ille) – saying, How can I, being so young and so close to death, be the originator of generations of artists (a kind of free energy device)? The holographic universal answer being of course, How could it possibly be otherwise? Consciously, he expected to live, one day saying he could not possibly get killed because he had so much to do, and the very next day lying dead. Deep down though, he seems to have known that his time was up. When he painted that picture, he had been called up for the draft in the south of France. His father had the money and the law on his side to buy a stand-in for him, but at some point around this time he decided that he would accept the bullet with his name on it – actually two to the stomach. To read this story of an artist that comes to this sudden violent end is indeed gut-wrenching. The whole thing, start and finish, is wonderfully encapsulated in these superimposed pictures, the one visible the other practically invisible, one more example of time being condensed into minimal space, here as thin as a layer of paint. Such prescience counts of course as another smoking gun, but by this stage we have a whole battlefield of smoking guns...

    Anything indicating Less is more and Small is beautiful qualifies in my view as a smoking gun of enfolded dimensions. With this picture, Bazille literally turns off the light and goes to sleep, already looking like Monet would in 1924! Monet of course went on to paint haystacks, haystacks and water lilies, acres of water lilies. If you visit the Musée Marmottan in Paris, acreage almost seems to be the right order of magnitude for the huge Monet collection. At the risk of committing sacrilege, one feels that for an open-air painter of all people, one is being asked to spend a long, long time cooped up indoors: life is simply too short. Meanwhile, in the corner of another small gallery, there are half a dozen wonderful Berthe Morisots to be admired at leisure, before quickly slipping back out into the sunshine. Unlike Monet, Bazille seems to have known that he had come a full circle and it was time to stop. In his three months with the army, among boys he describes in similar terms to his fellow art students when just starting out, he never so much as drew another doodle. So, if we see Monet and Bazille in the visual terms of string theory (strings and tubes), it is like looking at spaghetti and macaroni respectively!

    In his late picture of his Studio on the Rue de la Condamine (1869-70), we have a foretaste of this closure even before he started on Ruth and Boaz. Several of his paintings are displayed around the room, and several more stacked together on the floor rather like the group of haystacks. But the Girl Playing the Piano gets special treatment: not a painting of a painting within the painting (i.e. a third degree in the direction of fiction/virtuality), but depicted as the original sofa and the original piano in the same left-right configuration in a corner of the room. Only this time, the sofa is empty and the young man (his friend Edmond Maître) is playing the piano, the female model having disappeared up onto the wall. This represents a step in the opposite direction, back towards reality (just one degree of fiction) and suggests as a kind of testament the idea of an oeuvre about the size of a single exhibition. This is what visitors to Montpellier, France have been treated to over the summer; the exhibition is now about to move to Paris, and next year will be heading straight for the global capital of Huge is Beautiful, Washington DC.

    I would also want to touch on the subject of literature. I have provided an example of a multi-dimensional novel here.
    Another example of this kind of thing is a poem by Raymond Queneau called Cent Mille Milliards de Poèmes (A Hundred Thousand Billion Poems). This is a set of ten fourteen-line sonnets where each line is printed on a separate strip.
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    As each first line is written so as to be interchangeable, each second line likewise, and so on, there are that many potential poems to be read – by interweaving fourteen different dimensions – and just one of them will be realized whenever a reader opens the book in a particular way. In some ways this is just a gimmick: the author has only written ten sonnets, and the reader is most likely to read them primarily as written and maybe a handful of other variations. In fact, normal reading of the whole collection will in any case subliminally activate a number, possibly a large number, of these potential alternative readings (actually many more than a mere 10^14!), which is basically what we mean by poetry. Hence the poetic principle, akin to the aesthetic experience, is another way of referring to a holographic or multi-dimensional effect. That smoking gun again: life is too short, we don’t have 200 million years to read this stuff, we have to wormhole our way through it – inside the tube, not running along an endless piece of string.

    This is no more than we find with language in general. Chomskyan “generative grammar” posits a set of rules of grammar and syntax (called “deep structure”) which, when applied to a given lexicon (the words in the dictionary), will generate all utterances (the technical term) both realized and potential in that language (“surface structure”). Once you’ve mastered the deep structure, you can begin to explore the endless surface structures. Our very language is another smoking gun, and so of course is this post. Some of the things I am saying have never been said before, and yet they are perfectly intelligible – or at least somewhat intelligible! You read it here first, as they say. Indeed, the Internet seems to be a combinatorial machine to generate anything and everything that can possibly be said, mostly nonsense of course! A better approach would be to learn the generative grammar of the universe in order to make more more meaningful utterances in the language of the universe.

    I have said enough. By now we have so many smoking guns that we are unsurprised to find smoking bans and the outlawing of small arms. The Buddhist monk who asked the physicist (somewhat prematurely, I think) “What took you so long?” has his answer: too much smoking gun control...


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    Great Britain Avalon Member Baby Steps's Avatar
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    Default Re: Multi-dimensionality lecture

    ' In quantum theory, there has to be a particle - called a graviton - to tell space time how to bend'
    This seems to be the orthodoxy. Let's be clear, these guys are excellent, because they are very open about the fact that they have no idea of what is going on. These are the kind of scientists worthy of respect.THEY WILL NEVER FIND A 'GRAVITON', however.

    MOST forget that they have no idea what is going on. The arrogance and mind control is evidenced by the usual reaction to any information that is outside the box. The reaction is - that is rubbish and pseudo science. Not - great- please can I have some evidence?

    The model that was given to me is that GRAVITY is GEOMETRICAL. It does not need more spatial dimensions (although other forces do). First, apply the schwarzchild equation (describing the radius of a black hole) to fundamental particles. Let's say that the particle's surface is spinning at the speed of light.

    The two components are expansion or contraction - at the square root of C, and spin at the square root of C.

    As one flies in to this particle in a conceptual 'thought ship' , space-time is getting more and more stretched. At the actual surface , it FLIPS OVER.

    This means that the smallest particle in the universe ACTUALLY ENCAPSULATES THE REST OF CREATION (this version). this is true for each particle, and the 'outside' of the universe- which the universe expands into - is INSIDE the particle.

    The particle's surface is rotating around the rest of the universe at c divided by the square root of 2.

    This circular motion is the mathematical cause of the particle's continual acceleration (ie attraction) to the rest of the Universe.

    feel free to call this rubbish as I provide no evidence. I wonder if it has any truth vibrations?

    God bless.
    we have subcontracted the business of healing people to Companies who profit from sickness.

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    Default Re: Multi-dimensionality lecture

    The science is way above my head, but if as Arthur Neumann has said, secret ops have created dangerous anomalies in space/time which they've been unable to correct, it seems to me our more mainstream scientists' perceptions of space/time, dimensions, etc. would be affected by that, and so it would be difficult to get accurate data.
    And mainstream scientists probably aren't in the know about it, since it's all so secret.
    Too bad Arthur's no longer here!
    But it's nice to see Araucaria back after his vacation.
    Last edited by onawah; 12th October 2016 at 17:33.
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    Default Re: Multi-dimensionality lecture

    Just some quick thoughts, hope they makes sense:

    1) If you believe that all time: past, present and future are all at one.
    That takes out most of the 'Old Established Science' from the equations.
    That takes out distance, timing/time, up, down, left, right, forwards and backwards etc

    2) If you also believe that we are held in a 'Prison-Planet' reality (Old-Established-Science being an enforcing tool of our prison)

    Well any scientist who wants a life long job needs to toe-the-line and be within the 'Old-Established-Science' (Pre-programmed by your first schools etc').To have their jobs they need to learn so much 'False Knowledge' there is no room or time to think other than Old-Established-Sciences.

    Well most of so called science has been woven into our prison limiting minds and is meant to be over our heads, to keep us in prison, to keep them in controll Doh

    Is great to see the 'Old-Established-Sciences' getting boxed in and seeing chinks in their deceptions happening and letting light in.
    I'm a simple easy going guy that is very upset/sad with the worlds hidden controllers!
    We need LEADERS who bat from the HEART!
    Rise up above them Dark evil doers, not within anger but with LOVE

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    United States Avalon Member onawah's Avatar
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    Default Re: Multi-dimensionality lecture

    Rupert Sheldrake’s 10 Dogmas that Are Holding Back Science

    https://forbiddenknowledgetv.net/10-...heldrake-ph-d/
    Quote 10 Dogmas that Are Holding Back Science
    * Nature is mechanical
    * Matter is unconscious
    * The laws of nature are fixed
    * The total amount of matter and energy is the same
    * Nature is purposeless
    * Biological heredity
    * Memories are stored inside of the brain as material traces
    * The mind is inside the head
    * Psychic phenomena, like telepathy are impossible
    * Mechanistic medicine is the only kind that works – if natural remedy or other healing practice seems to affect physical healing, this is merely due to chance or the placebo effect.

    Biochemist, Dr. Rupert Sheldrake begins this fascinating talk on how scientific materialism is a kind of dogmatic religion. He begins by describing how mainstream science portrays the phenomenological world as entirely mechanistic and how it denies the existence of anything outside of the world of molecules. He explains how machinery became the founding metaphor in the sciences, in a rupture from the older European scientific model that preceded the Scientific Revolution of the 17th century.

    He describes this earlier model as a kind of “Christian Animism”. It was then taught that the Earth was a living organism, that stars were alive, the heavens were alive with angelic minds and that animals had souls. In fact, the word “animal” comes from the Latin word, anima which means “animating principle” or “soul”. Everything including God was previously alive and purposeful.

    He says the new scientific model removed the souls from everything outside of humanity and turned it all into “purposeless machinery” as he calls it.

    Sheldrake launches into a discussion of modern cosmology and intelligent design, neither of which he supports. He believes in God but not in an intelligent, engineering Designer outside of the cosmos. He tells a humorous account about his close friendship with Martin Rees, the current Astronomer Royal in Britain and former President of the Royal Society and about how a current physics theory about quadrillions of universes was designed with the specific purpose of enabling science to “get rid of God.”

    He says the debate between this theory and intelligent design wouldn’t be necessary if the laws of nature didn’t need to be fixed but if they were seen to be more like tendencies or “habits”.

    Since the 1980s, Rupert Sheldrake has been bravely discussing his original thoughts, such as his hypothesis on morphic resonance (which was recently censored by TED) and this talk is a real treat.

    Alexandra Bruce
    Alexandra Bruce
    Last edited by onawah; 10th August 2017 at 23:47.
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