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Evokation
  
 
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.....

 

 

THE NUCLEAR FAMILY 1977

 

 

 

 

 

 

 

 

A
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1
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12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
-
-
-
-
-
-
-
-
-
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
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T
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X
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-
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-
-
-
-
-
-
-
-
-
-
-
-
 -
-
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-
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-
-
-
-
A
B
C
D
E
F
G
H
I
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K
L
M
N
O
P
Q
R
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T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
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X
Y
Z

 

 

A

HISTORY OF GOD

Karen Armstrong 1993

The God of the Mystics

Page 250

"Perhaps the most famous of the early Jewish mystical texts is the fifth century Sefer Yezirah (The Book of Creation). There is no attempt to describe the creative process realistically; the account is unashamedly symbolic and shows God creating the world by means of language as though he were writing a book. But language has been entirely transformed and the message of creation is no longer clear. Each letter of the Hebrew alphabet is given a numerical value; by combining the letters with the sacred numbers, rearranging them in endless configurations, the mystic weaned his mind away from the normal connotations of words."

 

 

THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY

THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE

AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED

THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF

THE

ALPHABET

IS

GIVEN

A

NUMERICAL

VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS

REARRANGING THEM IN ENDLESS CONFIGURATIONS

THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS

 

 

THIS IS THE SCENE OF THE SCENE UNSEEN

THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE

 

 

3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
18
First Total
189
90
18
1+8
Add to Reduce
1+8+9
9+0
1+8
9
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
9
Essence of Number
9
9
9

 

 

THE DIVINE COMEDY

OF

DANTE ALIGHIERI (1265-1321)

THE FLORENTINE

CANTICA I

HELL

(L'INFERNO)

INTRODUCTION

Page 9

"Midway this way of life we're bound upon

I woke to find myself in a dark wood,

Where the right road was wholly lost and gone."

 

M
=
4
-
6
MIDWAY
75
30
3
T
=
2
-
4
THIS
56
20
2
W
=
5
-
3
WAY
49
13
4
O
=
6
-
2
OF
21
12
3
L
=
3
-
4
LIFE
32
23
5
W
=
5
-
4
WE'RE
51
24
6
B
=
2
-
5
BOUND
56
20
2
U
=
3
-
4
UPON
66
21
3
-
-
30
-
32
-
406
163
28
-
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
W
=
5
-
4
WOKE
54
18
9
T
=
2
-
2
TO
35
8
8
F
=
6
-
4
FIND
33
24
6
M
=
4
-
6
MYSELF
80
26
8
I
=
9
-
2
IN
23
14
5
A
=
1
-
1
A
1
1
1
D
=
4
-
4
DARK
34
16
7
W
=
5
-
4
WOOD
57
21
3
-
-
45
-
28
-
326
137
56
-
-
-
-
-
-
-
-
-
W
=
5
-
5
WHERE
59
32
5
T
=
2
-
3
THE
33
15
6
R
=
9
-
5
RIGHT
62
35
8
R
=
9
-
4
ROAD
38
20
2
W
=
5
-
3
WAS
43
7
7
W
=
5
-
6
WHOLLY
95
32
5
L
=
3
-
4
LOST
66
12
3
A
=
1
-
3
AND
19
10
1
G
=
7
-
4
GONE
41
23
5
-
-
46
-
37
-
456
186
42
-
-
-
-
-
-
-
-
-
-
-
121
-
97
First Total
1188
486
126
-
-
1+2+1
-
9+7
Add to Reduce
1+1+8+8
4+8+6
1+2+6
Q
-
4
-
16
Second Total
18
18
9
-
-
-
-
1+6
Reduce to Deduce
1+8
1+8
-
-
-
4
-
7
Essence of Number
9
9
9

 

 

THE DIVINE COMEDY

OF

DANTE ALIGHIERI (1265-1321)

THE FLORENTINE

CANTICA I

HELL

(L'INFERNO)

INTRODUCTION

Page 9

"Power failed high fantasy here; yet, swift to move

Even as a wheel moves equal, free from jars,

Already my heart and will were wheeled by love,

The Love that moves the sun and other stars."

 

 

P
=
7
-
5
POWER
77
32
5
F
=
6
-
6
FAILED
37
28
1
H
=
8
-
4
HIGH
32
32
5
F
=
6
-
7
FANTASY
86
23
5
H
=
8
-
4
HERE
36
27
9
Y
=
7
-
3
YET
50
14
5
S
=
1
-
5
SWIFT
77
23
5
T
=
2
-
2
TO
35
8
8
M
=
4
-
4
MOVE
55
19
1
-
-
49
-
40
First Total
485
206
44
-
-
4+9
-
4+0
Add to Reduce
4+8+5
2+0+6
4+4
Q
-
13
-
4
Second Total
17
8
8
-
-
1+3
-
-
Reduce to Deduce
1+7
-
-
-
-
4
-
4
Essence of Number
8
8
8

 

 

E
=
5
-
4
EVEN
46
19
1
A
=
1
-
2
AS
20
2
2
A
=
1
-
1
A
1
1
1
W
=
5
-
5
WHEEL
53
26
8
M
=
4
-
5
MOVES
74
20
2
E
=
5
-
5
EQUAL
56
20
2
F
=
6
-
4
FREE
34
25
7
F
=
6
-
4
FROM
52
25
7
J
=
1
-
4
JARS
48
12
3
-
-
34
-
34
First Total
384
150
33
-
-
3+4
-
3+4
Add to Reduce
3+8+4
1+5+0
3+3
Q
-
7
-
7
Second Total
15
6
6
-
-
-
-
-
Reduce to Deduce
1+5
-
-
-
-
7
-
7
Essence of Number
6
6
6

 

 

A
=
1
-
7
ALREADY
66
30
3
M
=
4
-
2
MY
38
11
2
H
=
8
-
5
HEART
52
25
7
A
=
1
-
3
AND
19
10
1
W
=
5
-
4
WILL
56
20
2
W
=
5
-
4
WERE
51
24
7
W
=
5
-
7
WHEELED
62
35
8
B
=
2
-
2
BY
27
9
9
L
=
3
-
4
LOVE
54
18
9
-
-
34
-
38
First Total
425
182
47
-
-
3+4
-
3+8
Add to Reduce
4+2+5
1+8+2
4+7
Q
-
7
-
11
Second Total
11
11
11
-
-
-
-
1+1
Reduce to Deduce
1+1
1+1
1+1
-
-
7
-
2
Essence of Number
2
2
2

 

 

T
=
2
-
3
THE
33
15
6
L
=
3
-
4
LOVE
54
18
9
T
=
2
-
4
THAT
49
13
4
M
=
4
-
5
MOVES
74
20
2
T
=
2
-
3
THE
33
15
6
S
=
1
-
3
SUN
54
9
9
A
=
1
-
3
AND
19
10
1
O
=
6
-
5
OTHER
66
30
3
S
=
1
-
5
STARS
77
14
5
-
-
22
-
35
First Total
459
144
45
-
-
2+2
-
3+5
Add to Reduce
4+5+9
1+4+4
4+5
Q
-
4
-
8
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
4
-
8
Essence of Number
9
9
9

 

 

 

A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
-
-
-
-
-
-
-
-
-
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

 

 

T
=
2
-
3
THE
33
15
6
G
=
7
-
3
GOD
26
17
8
M
=
4
-
4
MIND
40
22
4
-
-
13
-
10
First Total
99
54
18
-
-
1+3
-
1+0
Add to Reduce
9+9
5+4
1+8
-
-
4
-
1
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
4
-
1
Essence of Number
9
9
9

 

 

THE

FAR YONDER SCRIBE

AND OFT TIMES SHADOWED SUBSTANCES WATCHED IN FINE AMAZE

THE

ZED ALIZ ZED

IN SWIFT REPEAT SCATTER STAR DUST AMONGST THE LETTERS OF THEIR PROGRESS

 

 

NUMBER

9

THE SEARCH FOR THE SIGMA CODE

Cecil Balmond 1998

Cycles and Patterns

Page 165

Patterns

"The essence of mathematics is to look for patterns.

Our minds seem to be organised to search for relationships and sequences. We look for hidden orders.

These intuitions seem to be more important than the facts themselves, for there is always the thrill at finding something, a pattern, it is a discovery - what was unknown is now revealed. Imagine looking up at the stars and finding the zodiac!

Searching out patterns is a pure delight.

Suddenly the counters fall into place and a connection is found, not necessarily a geometric one, but a relationship between numbers, pictures of the mind, that were not obvious before. There is that excitement of finding order in something that was otherwise hidden.

And there is the knowledge that a huge unseen world lurks behind the facades we see of the numbers themselves."

 

 

THE DEATH OF GODS IN ANCIENT EGYPT

Jane B. Sellars 1992

Page 204

"The overwhelming awe that accompanies the realization, of the measurable orderliness of the universe strikes modern man as well. Admiral Weiland E. Byrd, alone In the Antarctic for five months of polar darkness, wrote these phrases of intense feeling:

Here were the imponderable processes and forces of the cosmos, harmonious and soundless. Harmony, that was it! I could feel no doubt of oneness with the universe. The conviction came that the rhythm was too orderly. too harmonious, too perfect to be a product of blind chance - that, therefore there must be purpose in the whole and that man was part of that whole and not an accidental offshoot. It was a feeling that transcended reason; that went to the heart of man's despair and found it groundless. The universe was a cosmos, not a chaos; man was as rightfully a part of that cosmos as were the day and night.10

Returning to the account of the story of Osiris, son of Cronos god of' Measurable Time, Plutarch takes, pains to remind the reader of the original Egyptian year consisting of 360 days.

Phrases are used that prompt simple mental. calculations and an attention to numbers, for example, the 360-day year is described as being '12 months of 30 days each'. Then we are told that, Osiris leaves on a long journey, during which Seth, his evil brother, plots with 72 companions to slay Osiris: He also secretly obtained the measure of Osiris and made ready a chest in which to entrap him.

The, interesting thing about this part of the-account is that nowhere in the original texts of the Egyptians are we told that Seth, has 72 companions. We have already been encouraged to equate Osiris with the concept of measured time; his father being Cronos. It is also an observable fact that Cronos-Saturn has the longest sidereal period of the known planets at that time, an orbit. of 30 years. Saturn is absent from a specific constellation for that length of time.

A simple mathematical fact has been revealed to any that are even remotely sensitive to numbers: if you multiply 72 by 30, the years of Saturn's absence (and the mention of Osiris's absence prompts one to recall this other), the resulting product is 2,160: the number of years required, for one 30° shift, or a shift: through one complete sign of the zodiac. This number multplied by the / Page205 / 12 signs also gives 25,920. (And Plutarch has reminded us of 12)

If you multiply the unusual number 72 by 360, a number that Plutarch mentions several times, the product will be 25,920, again the number of years symbolizing the ultimate rebirth.

This 'Eternal Return' is the return of, say, Taurus to the position of marking the vernal equinox by 'riding in the solar bark with. Re' after having relinquished this honoured position to Aries, and subsequently to the to other zodiacal constellations.

Such a return after 25,920 years is indeed a revisit to a Golden Age, golden not only because of a remarkable symmetry In the heavens, but golden because it existed before the Egyptians experienced heaven's changeability.

But now to inform the reader of a fact he or she may already know. Hipparaus did: not really have the exact figures: he was a trifle off in his observations and calculations. In his published work, On the Displacement of the Solstitial and Equinoctial Signs, he gave figures of 45" to 46" a year, while the truer precessional lag along the ecliptic is about 50 seconds. The exact measurement for the lag, based on the correct annual lag of 50'274" is 1° in 71.6 years, or 360° in 25,776 years, only 144 years less than the figure of 25,920.

With Hipparchus's incorrect figures a 'Great Year' takes from 28,173.9 to 28,800 years, incorrect by a difference of from 2,397.9 years to 3,024.

Since Nicholas Copernicus (AD 1473-1543) has always been credited with giving the correct numbers (although Arabic astronomer Nasir al-Din Tusi,11 born AD 1201, is known to have fixed the Precession at 50°), we may correctly ask, and with justifiable astonishment 'Just whose information was Plutarch transmitting'

AN IMPORTANT POSTSCRIPT

Of course, using our own notational system, all the important numbers have digits that reduce to that amazing number 9 a number that has always delighted budding mathematician.

Page 206

Somewhere along the way, according to Robert Graves, 9 became the number of lunar wisdom.12

This number is found often in the mythologies of the world. the Viking god Odin hung for nine days and nights on the World Tree in order to acquire the secret of the runes, those magic symbols out of which writing and numbers grew. Only a terrible sacrifice would give away this secret, which conveyed upon its owner power and dominion over all, so Odin hung from his neck those long 9 days and nights over the 'bottomless abyss'. In the tree were 9 worlds, and another god was said to have been born of 9 mothers.

Robert Graves, in his White Goddess, Is intrigued by the seemingly recurring quality of the number 72 in early myth and ritual. Graves tells his reader that 72 is always connected with the number 5, which reflects, among other things, the five Celtic dialects that he was investigating. Of course, 5 x 72= 360, 360 x 72= 25,920. Five is also the number of the planets known to the ancient world, that is, Saturn, Jupiter, Mars, Venus Mercury.

Graves suggests a religious mystery bound up with two ancient Celtic 'Tree Alphabets' or cipher alphabets, which as genuine articles of Druidism were orally preserved and transmitted for centuries. He argues convincingly that the ancient poetry of Europe was ultimately based on what its composers believed to be magical principles, the rudiments of which formed a close religious secret for centuries. In time these were-garbled, discredited and forgotten.

Among the many signs of the transmission of special numbers he points out that the aggregate number of letter strokes for the complete 22-letter Ogham alphabet that he is studying is 72 and that this number is the multiple of 9, 'the number of lunar wisdom'. . . . he then mentions something about 'the seventy day season during which Venus moves successively from. maximum eastern elongation 'to inferior conjunction and maximum western elongation'.13

Page 207

"...Feniusa Farsa, Graves equates this hero with Dionysus. Farsa has 72 assistants who helped him master the 72 languages created at the confusion of Babel, the tower of which is said to be built of 9 different materials

We are also reminded of the miraculous translation into Greek of the Five Books of Moses that was done by 72 scholars working for 72 days, Although the symbol for the Septuagint is LXX, legend, according to the fictional letter of Aristeas, records 72. The translation was done for Ptolemy Philadelphus (c.250 BC), by Hellenistic Jews, possibly from Alexandra.14

Graves did not know why this number was necessary, but he points out that he understands Frazer's Golden Bough to be a book hinting that 'the secret involves the truth that the Christian dogma, and rituals, are the refinement of a great body of primitive beliefs, and that the only original element in Christianity- is the personality of Christ.15

Frances A. Yates, historian of Renaissance hermetisma tells, us the cabala had 72 angels through which the sephiroth (the powers of God) are believed to be approached, and further, she supplies the information that although the Cabala supplied a set of 48 conclusions purporting to confirm the Christian religion from the foundation of ancient wisdom, Pico Della Mirandola, a Renaissance magus, introduced instead 72, which were his 'own opinion' of the correct number. Yates writes, 'It is no accident there are seventy-two of Pico's Cabalist conclusions, for the conclusion shows that he knew something of the mystery of the Name of God with seventy-two letters.'16

In Hamlet's Mill de Santillana adds the facts that 432,000 is the number of syllables in the Rig-Veda, which when multiplied by the soss (60) gives 25,920" (The reader is forgiven for a bit of laughter at this point)

The Bible has not escaped his pursuit. A prominent Assyriologist of the last century insisted that the total of the years recounted mounted in Genesis for the lifetimes of patriarchs from the Flood also contained the needed secret numbers. (He showed that in the 1,656 years recounted in the Bible there are 86,400 7 day weeks, and dividing this number yields / Page 208 / 43,200.) In Indian yogic schools it is held that all living beings exhale and inhale 21,600 times a day, multiply this by 2 and again we have the necessary 432 digits.

Joseph Campbell discerns the secret in the date set for the coming of Patrick to Ireland. Myth-gives this date-as-the interesting number of AD.432.18

Whatever one may think-of some of these number coincidences, it becomes difficult to escape the suspicion that many signs (number and otherwise) - indicate that early man observed the results of the movement of Precession and that the - transmission of this information was considered of prime importance.

With the awareness of the phenomenon, observers would certainly have tried for its measure, and such an endeavour would have constituted the construction-of a 'Unified Field Theory' for nothing less than Creation itself. Once determined, it would have been information worthy of secrecy and worthy of the passing on to future adepts.

But one last word about mankind's romance with number coincidences.The antagonist in John Updike's novel, Roger's Version, is a computer hacker, who, convinced, that scientific evidence of God's existence is accumulating, endeavours to prove it by feeding -all the available scientific information. into a comuter. In his search for God 'breaking, through', he has become fascinated by certain numbers that have continually been cropping up. He explains them excitedly as 'the terms of Creation':

"...after a while I noticed that all over the sheet there seemed to hit these twenty-fours Jumping out at me. Two four; two, four. Planck time, for instance, divided by the radiation constant yields a figure near eight times ten again to the negative twenty-fourth, and the permittivity of free space, or electric constant, into the Bohr radius ekla almost exactly six times ten to the negative twenty-fourth. On positive side, the electromagnetic line-structure constant times Hubble radius - that is, the size of the universe as we now perceive it gives us something quite close to ten to the twenty-fourth, and the strong-force constant times the charge on the proton produces two point four times ten to the negative eighteenth, for another I began to circle twenty-four wherever it appeared on the Printout here' - he held it up his piece of stripped and striped wallpaper, decorated / Page 209 / with a number of scarlet circles - 'you can see it's more than random.'19
This inhabitant of the twentieth century is convinced that the striking occurrences of 2 and 4 reveal the sacred numbers by which God is speaking to us.

So much for any scorn directed to ancient man's fascination with number coincidences. That fascination is alive and well, Just a bit more incomprehensible"

 

 

A

MAZE

IN

ZAZAZA ENTER AZAZAZ

AZAZAZAZAZAZAZZAZAZAZAZAZAZA

ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ

THE

MAGICALALPHABET

ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA

12345678910111213141516171819202122232425262625242322212019181716151413121110987654321

 

 

-
THE RAINBOW LIGHT
-
-
-
3
THE
33
15
6
7
RAINBOW
82
37
1
5
LIGHT
56
29
2
15
THE RAINBOW LIGHT
171
81
9
1+5
-
1+7+1
8+1
-
6
THE RAINBOW LIGHT
9
9
9

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

15
THE RAINBOW LIGHT
-
-
-
-
THE
33
15
6
-
R
18
9
9
-
A
1
1
1
-
I
9
9
9
-
N+B+O+W
54
18
9
-
L
12
3
3
-
I
9
9
9
-
G+H+T
35
17
8
15
THE RAINBOW LIGHT
171
81
54
1+5
-
1+7+1
8+1
5+4
6
THE RAINBOW LIGHT
9
9
9

 

 

 

.....

 

26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
9
-
-
-
-
5
6
-
-
-
1
-
-
-
-
6
-
8
+
=
43
4+3
=
7
=
7
=
7
-
-
-
-
-
-
-
-
8
9
-
-
-
-
14
15
-
-
-
19
-
-
-
-
24
-
26
+
=
115
1+1+5
=
7
=
7
=
7
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
-
-
1
2
3
4
-
-
7
8
9
-
2
3
4
5
-
7
-
+
=
83
8+3
=
11
1+1
2
=
2
-
1
2
3
4
5
6
7
-
-
10
11
12
13
-
-
16
17
18
-
20
21
22
23
-
25
-
+
=
236
2+3+6
=
11
1+1
2
=
2
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
+
=
351
3+5+1
=
9
=
9
=
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
+
=
126
1+2+6
=
9
=
9
=
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
+
=
1
occurs
x
3
=
3
=
3
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
+
=
2
occurs
x
3
=
6
=
6
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
+
=
3
occurs
x
3
=
9
=
9
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
+
=
4
occurs
x
3
=
12
1+2
3
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
+
=
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
+
=
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
+
=
7
occurs
x
3
=
21
2+1
3
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
+
=
8
occurs
x
3
=
24
2+4
6
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
+
=
9
occurs
x
2
=
18
1+8
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
45
-
-
26
-
126
-
54
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
4+5
-
-
2+6
-
1+2+6
-
5+4
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
-
-
-
-
-
-
-
-
-
-
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

0
-
Z
=
8
-
4
ZERO
64
28
1
1
-
O
=
6
-
3
ONE
34
16
7
2
-
T
=
2
-
3
TWO
58
13
4
3
-
T
=
2
-
5
THREE
56
29
2
4
-
F
=
6
-
4
FOUR
60
24
6
5
-
F
=
6
-
4
FIVE
42
24
6
6
-
S
=
1
-
3
SIX
52
16
7
7
-
S
=
1
-
5
SEVEN
65
20
2
8
-
E
=
5
-
5
EIGHT
49
31
4
9
-
N
=
5
-
4
NINE
42
24
6
45
-
-
-
42
-
40
Add
522
225
45
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
9
-
-
-
6
-
4
Deduce
9
9
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
0
-
Z
=
8
-
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
1
-
O
=
6
-
3
ONE
34
16
7
-
-
-
-
-
-
-
7
-
-
2
-
T
=
2
-
3
TWO
58
13
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
-
5
THREE
56
29
2
-
-
2
-
-
-
-
-
-
-
4
-
F
=
6
-
4
FOUR
60
24
6
-
-
-
-
-
-
6
-
-
-
5
-
F
=
6
-
4
FIVE
42
24
6
-
-
-
-
-
-
6
-
-
-
6
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
7
-
S
=
1
-
5
SEVEN
65
20
2
-
-
2
-
-
-
-
-
-
-
8
-
E
=
5
-
5
EIGHT
49
31
4
-
-
-
-
4
-
-
-
-
-
9
-
N
=
5
-
4
NINE
42
24
6
-
-
-
-
-
-
6
-
-
-
45
-
-
-
42
-
40
Add
522
225
45
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
6
-
4
Deduce
9
9
9
-
1
4
3
8
5
9
5
8
9

 

 

1
-
O
=
6
-
3
ONE
34
16
7
2
-
T
=
2
-
3
TWO
58
13
4
3
-
T
=
2
-
5
THREE
56
29
2
4
-
F
=
6
-
4
FOUR
60
24
6
5
-
F
=
6
-
4
FIVE
42
24
6
6
-
S
=
1
-
3
SIX
52
16
7
7
-
S
=
1
-
5
SEVEN
65
20
2
8
-
E
=
5
-
5
EIGHT
49
31
4
9
-
N
=
5
-
4
NINE
42
24
6
45
-
-
-
34
-
36
Add
458
197
44
4+5
-
-
-
3+4
-
3+6
Reduce
4+5+8
1+9+7
4+4
9
-
-
-
7
4
9
Deduce
17
17
8
-
-
-
-
-
-
-
Produce
1+7
1+7
-
9
-
-
-
7
-
9
Essence
8
8
8

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
O
=
6
-
3
ONE
34
16
7
-
-
-
-
-
-
-
7
-
-
2
-
T
=
2
-
3
TWO
58
13
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
-
5
THREE
56
29
2
-
-
2
-
-
-
-
-
-
-
4
-
F
=
6
-
4
FOUR
60
24
6
-
-
-
-
-
-
6
-
-
-
5
-
F
=
6
-
4
FIVE
42
24
6
-
-
-
-
-
-
6
-
-
-
6
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
7
-
S
=
1
-
5
SEVEN
65
20
2
-
-
2
-
-
-
-
-
-
-
8
-
E
=
5
-
5
EIGHT
49
31
4
-
-
-
-
4
-
-
-
-
-
9
-
N
=
5
-
4
NINE
42
24
6
-
-
-
-
-
-
6
-
-
-
45
-
-
-
34
-
36
Add
458
197
44
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
3+4
-
3+6
Reduce
4+5+8
1+9+7
4+4
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
7
4
9
Deduce
17
17
8
-
1
4
3
8
5
18
14
8
9
-
-
-
-
-
-
-
Produce
1+7
1+7
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
7
-
9
Essence
8
8
8
-
1
4
3
8
5
9
5
8
9

 

 

0
-
4
ZERO
8
5
9
6
-
=
28
2+8
=
10
1+0
1
1
-
3
ONE
6
5
5
-
-
=
16
1+6
=
7
-
7
2
-
3
TWO
2
5
6
-
-
=
13
1+3
=
4
-
4
3
-
5
THREE
2
8
9
5
5
=
29
2+9
=
11
1+1
2
4
-
4
FOUR
6
6
3
9
-
=
24
2+4
=
6
-
6
5
-
4
FIVE
6
9
4
5
-
=
24
2+4
=
6
-
6
6
-
3
SIX
1
9
6
-
-
=
16
1+6
=
7
-
7
7
-
5
SEVEN
1
5
4
5
5
=
20
2+0
=
2
-
2
8
-
5
EIGHT
5
9
7
8
2
=
31
3+1
=
4
-
4
9
-
4
NINE
5
9
5
5
-
=
24
2+4
=
6
-
6
45
-
40
Add
42
70
58
43
12
-
225
-
-
63
-
45
4+5
-
4+0
-
4+2
7+0
5+8
4+3
1+2
-
2+2+5
-
-
6+3
-
4+5
9
-
4
Reduce
6
7
13
7
3
-
9
-
-
9
-
9
-
-
-
-
-
-
1+3
-
-
-
-
-
-
-
-
-
9
-
4
Deduce
6
7
4
7
3
-
9
-
-
9
-
9

 

 

-
THE SOLAR SYSTEM
-
-
-
3
THE
33
15
6
5
SOLAR
65
29
2
6
SYSTEM
101
38
2
14
THE SOLAR SYSTEM
199
82
10
1+4
-
1+9+9
8+2
1+0
5
THE SOLAR SYSTEM
19
10
1
-
-
1+9
1+0
-
5
THE SOLAR SYSTEM
10
1
1
-
-
1+0
-
-
5
THE SOLAR SYSTEM
1
1
1

 

 

3
SUN
54
9
9
7
MERCURY
103
40
4
5
VENUS
81
18
9
5
EARTH
52
25
7
4
MOON
57
21
3
4
MARS
51
15
6
7
JUPITER
99
36
9
6
SATURN
93
21
3
6
URANUS
94
22
4
7
NEPTUNE
95
32
5
5
PLUTO
84
21
3
59
First Total
863
260
62
5+9
Add to Reduce
8+6+3
2+6+0
1+0
14
Second Total
17
8
8
1+4
Reduce to Deduce
1+7
-
-
5
Essence of Number
8
8
8

 

 

3
SUN
54
9
9
5
EARTH
52
25
7
4
MOON
57
21
3
12
First Total
163
55
19
1+2
Add to Reduce
1+6+3
5+5
1+0
3
Second Total
10
10
10
-
Reduce to Deduce
1+0
1+0
1+0
3
Essence of Number
1
1
1

 

 

 

 

 

 

O
=
6
-
3
OUT
56
11
2
O
=
6
-
2
OF
21
12
3
Z
=
8
-
4
ZERO
64
28
1
C
=
3
-
6
COMETH
64
28
1
O
=
6
-
3
ONE
34
16
7
Q
Q
29
Q
18
Q
239
95
14
-
-
2+9
-
1+8
-
2+3+9
9+5
1+4
-
-
11
-
9
-
14
14
5
-
-
1+1
-
-
-
1+4
1+4
-
-
-
2
-
9
-
5
5
5

 

 

THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY

THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE

AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED

THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF

THE

ALPHABET

IS

GIVEN

A

NUMERICAL

VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS

REARRANGING THEM IN ENDLESS CONFIGURATIONS

THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS

 

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

9
LANGUAGES
87
33
6
3
AND
19
10
1
7
NUMBERS
92
29
2
19
-
198
72
9
1+9
-
1+9+8
7+2
-
10
-
18
9
9
1+0
-
1+8
-
-
1
-
9
9
9

 

 

L
=
3
-
8
LANGUAGE
68
32
5
T
=
2
-
7
TALKING
74
29
2
N
=
5
-
7
NUMBERS
92
29
2
-
=
10
-
22
-
234
90
9
-
=
1+0
-
2+2
-
2+3+4
9+0
-
-
=
1
-
4
-
9
9
9

 

 

T
=
2
-
9
THE
33
15
6
E
=
5
-
3
ENGLISH
74
29
2
A
=
1
-
7
ALPHABET
65
29
2
-
-
8
-
19
-
172
73
10
-
-
4+6
-
1+9
-
1+7+2
7+3
1+0
-
-
8
-
10
-
10
10
1
-
-
-
-
1+0
-
1+0
1+0
-
-
-
8
-
1
-
1
1
1

 

 

-
-
-
-
-
LANGUAGE
-
-
-
L
=
3
-
2
L+A+N
27
9
9
A
=
1
-
2
G+U+A+G
18
18
9
N
=
5
-
3
E
5
5
5
-
-
32
-
8
LANGUAGE
68
32
32
-
-
3+2
-
-
-
6+8
3+2
3+2
-
-
5
-
8
LANGUAGE
14
5
5
-
-
-
-
-
-
1+4
-
-
-
-
5
-
8
LANGUAGE
5
5
5

 

 

LIGHT AND LIFE

Lars Olof Bjorn 1976

Page 197

"By writing the 26 letters of the alphabet in a certain order one may put down almost any message (this book 'is written with the same letters' as the Encyclopaedia Britannica and Winnie the Pooh, only the order of the letters differs). In the same way Nature is able to convey with her language how a cell and a whole organism is to be constructed and how it is to function. Nature has succeeded better than we humans; for the genetic code there is only one universal language which is the same in a man, a bean plant and a bacterium."

"BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER

ONE MAY PUT DOWN ALMOST ANY MESSAGE"

 

 

"FOR THE GENETIC CODE THERE IS ONLY ONE UNIVERSAL LANGUAGE"

 

 

DNA AND DNA DNA AND DNA DNA AND DNA

 

 

NUMBER

9

The Search for the Sigma Code

Cecil Balmond

Page 45

"From ancient times number nine was seen as a full complement; it was the cup of special promise that brimmed over"


FROM ANCIENT TIMES NINE WAS SEEN AS A FULL COMPLEMENT

IT WAS THE CUP OF SPECIAL PROMISE THAT BRIMMED OVER

 

 

FINGERPRINTS OF THE GODS

Graham Hancock

1995

Page 490

Library angels

The missing piece of the puzzle

"The novelist Arthur Koestler, who had a great interest in synchronicity, coined the term 'library angel' to describe the unknown agency responsible for the lucky breaks researchers sometimes get which lead /Page 491/to exactly the right information being placed in their hands at exactly the right moment"

 

 

www.foxsports.com/golf/story/ernie-els-masters-10-m…
14 hours ago
07/04/2016 · Ernie Els misses 6 putts within four feet on the first hole. ... Golf; Ernie Els; ... Ernie Els made a disastrous 9 on the first hole of the Masters …
Ernie Els made a disastrous 9 on the first hole of the Masters
Ernie Els shoots a 9 — yes, a 9 — on first hole of Masters ...

By Sean Gentille Published on Apr. 7, 2016

Something very bad happened to Ernie Els on the first hole of the Masters; he shot a (10) 9.

A (10) 9. On the first hole. A (10) 9. He got on the green in three, then needed seven six putts to close it out. Six Five of them came within a couple feet. (They recalcluated after Els' round and came up with 9.)

 

 

Ernie Els shot a nine-under-par round of 63 to lead the ...

https://www.glenmuir.com/golf-apparel-news/general/els-finds-form...

Els finds form with opening 63 The Open champion carded seven birdies and an eagle in a bogey-free round at Golfclub Munchen Einchenried.

 

 

Ernie Els shoots a 9 — yes, a 9 — on first hole of Masters

www.sportingnews.com/golf-news/4701181-ernie-els-master-10-first...

Ernie Els, two-time Masters ... Golf Home. Photos; Lists; News Archive; ... Something very bad happened to Ernie Els on the first hole of the Masters; he shot a 10 9 ...

ELS 36 ELS

ELS 9 ELS

ELS 531 ELS

531 ELS 531

 

Golf Central Blog Video: Els badly misses another 18-inch putt

January 7, 2016, 2:48 pm Ernie Els' 2016 is beginning a lot like 2015 ended, with yip-like misses.
Els missed an 18-inch par putt on his final hole Thursday at the BMW South African Open, his putt never touching the hole at the ninth.

 

 

THE JESUS MYSTERIES

Timothy Freke & Peter Gandy

1999

Page 177

THE GOSPELS ARE ACTUALLY ANONYMOUS WORKS, IN WHICH EVERYTHING WITHOUT EXCEPTION, IS WRITTEN IN CAPITAL LETTERS, WITH NO PUNCTUATION OR SPACES BETWEEN WORDS.

 

 

CITY OF REVELATION

John Michell 1972

"The great alchemists, whose ultimate aspiration was to procure the birth of a divinity among men found it necessary first to invoke within themselves the spirit they wished to share with others. In the same tradition Plato wrote that the man who aquires the art of stereometry, the likening of unlike things which is function of the canon, sanctifies not only himself but also the city and the age in which he lives. The thought behind these various expressions was that the state of a society is determined by the individuals who comprise it; that the cosmic influences are manifest on earth through the medium of the human mind, and this is the instrument by which they may be controlled and held in balance. For the instument to be effective, it requires that the individual become aware of the current influences to which he is subject, and to this end the canon was devised; for by analogy with the dynamics of geometrical and numerological relationships, the world of phenomena is revealed as the product of archetyple forces, whose behaviour in any circumstances is predicatable once the nature is understood."

"the art of stereometry, the likening of unlike things"

 

THE ART OF STEREOMETRY

THE LIKENING OF UNLIKE THINGS

 

-
-
-
-
-
STEREOMETRY
-
-
-
S
=
1
-
1
S
19
10
1
T
=
2
-
1
T
20
2
2
E
=
5
-
1
E
5
5
5
R
=
9
-
1
R
18
9
9
E
=
5
-
1
E
5
5
5
O
=
6
-
1
O
15
6
6
M
=
4
-
1
M
13
4
4
E
=
5
-
1
E
5
5
5
T
=
2
-
1
T
20
2
2
R
=
9
-
1
R
18
9
9
Y
=
7
-
1
Y
25
7
7
-
-
44
-
11
STEREOMETRY
163
64
55
-
-
4+4
-
1+1
-
1+6+3
6+4
5+5
-
-
4
-
2
STEREOMETRY
10
10
10
-
-
-
-
-
-
1+0
1+0
1+0
-
-
4
-
2
STEREOMETRY
1
1
1

 

 

THE ART OF STEREOMETRY

 

-
-
-
-
-
STEREOMETRY
-
-
-
T
=
2
-
3
THE
33
15
6
A
=
1
-
3
ART
39
12
3
O
=
6
-
2
OF
21
12
3
S
=
1
-
11
STEREOMETRY
163
55
1
-
-
10
-
19
Add to Reduce
256
94
13
-
-
1+0
-
1+9
First Total
2+5+6
9+4
1+3
-
-
1
-
10
Reduce to Deduce
13
13
4
-
-
-
-
1+0
Second Total
1+3
1+3
-
-
-
1
-
1
Essence of Number
4
4
4

 

 

THE LIKENING OF UNLIKE THINGS

 

-
-
-
-
-
STEREOMETRY
-
-
-
T
=
2
-
3
THE
33
15
6
L
=
3
-
8
LIKENING
81
45
9
O
=
6
-
2
OF
21
12
3
U
=
3
-
6
UNLIKE
72
27
9
T
=
2
-
6
THINGS
77
32
5
-
-
16
-
25
Add to Reduce
284
131
32
-
-
1+6
-
2+5
First Total
2+8+4
1+3+1
3+2
-
-
7
-
7
Reduce to Deduce
14
5
5
-
-
-
-
-
Second Total
1+4
-
-
-
-
7
-
7
Essence of Number
5
5
5

 

 

-
-
-
-
-
STEREOMETRY
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
A
=
1
-
3
ART
39
12
3
-
-
-
3
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
11
STEREOMETRY
163
55
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
L
=
3
-
8
LIKENING
81
45
9
-
-
-
-
-
-
-
-
-
9
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
U
=
3
-
6
UNLIKE
72
27
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
6
THINGS
77
32
5
-
-
-
-
-
5
-
-
-
-
-
-
26
-
44
Add to Reduce
540
225
45
-
1
2
9
4
5
12
7
8
18
-
-
2+6
-
4+4
Reduce to Deduce
5+4+0
2+2+5
4+5
-
-
-
-
-
-
1+2
-
-
1+8
-
-
8
-
8
Essence of Number
9
9
9
-
1
2
9
4
5
3
7
8
9

 

 

-
-
-
-
-
STEREOMETRY
-
-
-
-
1
3
5
6
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
6
-
A
=
1
-
3
ART
39
12
3
-
-
3
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
3
-
-
-
S
=
1
-
11
STEREOMETRY
163
55
1
-
1
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
6
-
L
=
3
-
8
LIKENING
81
45
9
-
-
-
-
-
9
O
=
6
-
2
OF
21
12
3
-
-
3
-
-
-
U
=
3
-
6
UNLIKE
72
27
9
-
-
-
-
-
9
T
=
2
-
6
THINGS
77
32
5
-
-
-
5
-
-
-
-
26
-
44
Add to Reduce
540
225
45
-
1
9
5
12
18
-
-
2+6
-
4+4
Reduce to Deduce
5+4+0
2+2+5
4+5
-
-
-
-
1+2
1+8
-
-
8
-
8
Essence of Number
9
9
9
-
1
9
5
3
9

 

 

FINGERPRINTS OF THE GODS
 
G Hancock1995

Page 287

"What one would look for, therefore, would be a universal language"

 

"WHAT ONE WOULD LOOK FOR, THEREFORE, WOULD BE A UNIVERSAL LANGUAGE"

 

 

WORK DAYS OF GOD

Herbert W Morris D.D.circa 1883

Page 22

"As all the words in the English language are composed out of the twenty-six letters of the alphabet,.."

 

 

"ALL THE WORDS IN THE ENGLISH LANGUAGE ARE COMPOSED OUT OF THE TWENTY SIX LETTERS OF THE ALPHABET"

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
W
=
2
-
5
WORDS
79
25
7
-
-
-
-
-
-
-
7
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
E
=
5
-
7
ENGLISH
74
38
2
-
-
2
-
-
-
-
-
-
-
L
=
3
-
8
LANGUAGE
68
32
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
3
ARE
24
15
6
-
-
-
-
-
-
6
-
-
-
C
=
3
-
8
COMPOSED
90
36
9
-
-
-
-
-
-
-
-
-
9
O
=
6
-
3
OUT
56
11
2
-
-
2
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
T
=
2
-
6
TWENTY
107
26
8
-
-
-
-
-
-
-
-
8
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
L
=
3
-
7
LETTERS
99
27
9
-
-
-
-
-
-
-
-
-
9
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
A
=
1
-
8
ALPHABET
65
29
2
-
-
2
-
-
-
-
-
-
-
-
-
60
-
79
First Total
936
360
99
-
1
6
6
4
10
30
21
8
18
-
-
6+0
-
7+9
Add to Reduce
9+3+6
3+6+0
9+9
-
-
-
-
-
1+0
3+0
2+1
-
1+8
-
-
6
-
16
Second Total
18
9
18
-
1
6
6
4
1
3
3
8
9
-
-
-
-
1+6
Reduce to Deduce
1+8
-
1+8
-
-
-
-
-
-
-
-
-
-
-
-
6
-
7
Essence of Number
9
9
9
-
1
6
6
4
1
3
3
8
9

 

 

KEEPER OF GENESIS

A QUEST FOR THE HIDDEN LEGACY OF MANKIND

Robert Bauval Graham Hancock 1996

Page 254

"...Is there in any sense an interstellar Rosetta Stone?

We believe there is a common language that all technical civilizations, no matter how different, must have.

That common language is science and mathematics.

The laws of Nature are the same everywhere:..."

 

R
=
9
-
7
ROSETTA
98
26
8
S
=
1
-
5
STONE
73
19
1
-
-
10
-
12
Add to Reduce
171
45
9
-
-
1+0
-
1+2
Reduce to Deduce
1+7+1
4+5
-
Q
-
1
-
3
Essence of Number
9
9
9

 

 

"...Is there in any sense an interstellar Rosetta Stone?

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
I
=
9
-
2
IS
28
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
5
THERE
56
29
2
-
-
2
-
-
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
3
ANY
40
13
4
-
-
-
-
4
-
-
-
-
-
S
=
1
-
5
SENSE
62
17
8
-
-
-
-
-
-
-
-
8
-
A
=
1
-
2
AN
15
6
6
-
-
-
-
-
-
6
-
-
-
I
=
9
-
12
INTERSTELLAR
153
54
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
7
ROSETTA
98
26
8
-
-
-
-
-
-
-
-
8
-
S
=
1
-
5
STONE
73
19
1
-
1
-
-
-
-
-
-
-
-
-
-
42
-
43
First Total
548
188
44
-
2
2
3
4
5
6
7
16
9
-
-
4+2
-
4+3
Add to Reduce
5+4+8
1+8+8
4+4
-
-
-
-
-
-
-
-
1+6
-
-
-
6
-
7
Second Total
17
17
8
-
2
2
3
4
5
6
7
7
9
-
-
-
-
-
Reduce to Deduce
1+7
1+7
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
7
Essence of Number
8
8
8
-
2
2
3
4
5
6
7
7
9

 

 

We believe there is a common language that all technical civilizations, no matter how different, must have.

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
W
=
5
-
2
WE
28
10
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
7
BELIEVE
60
33
6
-
-
-
-
-
-
6
-
-
-
T
=
2
-
5
THERE
56
29
2
-
-
2
-
-
-
-
-
-
-
I
=
9
-
2
IS
28
10
1
-
1
-
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
C
=
3
-
6
COMMON
73
28
1
-
1
-
-
-
-
-
-
-
-
L
=
3
-
8
LANGUAGE
68
32
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
4
THAT
49
13
4
-
-
-
-
4
-
-
-
-
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
T
=
2
-
9
TECHNICAL
75
39
3
-
-
-
3
-
-
-
-
-
-
C
=
3
-
13
CIVILIZATIONS
168
69
6
-
-
-
-
-
-
6
-
-
-
N
=
5
-
2
NO
29
11
2
-
-
2
-
-
-
-
-
-
-
M
=
4
-
6
MATTER
77
23
5
-
-
-
-
-
5
-
-
-
-
H
=
8
-
3
HOW
46
19
1
-
1
-
-
-
-
-
-
-
-
D
=
4
-
9
DIFFERENT
87
51
6
-
-
-
-
-
-
6
-
-
-
M
=
4
-
4
MUST
73
10
1
-
1
-
-
-
-
-
-
-
-
H
=
8
-
4
HAVE
36
18
9
-
-
-
-
-
-
-
-
-
9
-
-
66
-
88
First Total
979
403
61
-
6
4
3
4
10
18
7
8
9
-
-
6+6
-
8+8
Add to Reduce
9+7+9
4+0+3
6+1
-
-
-
-
-
1+0
1+8
-
-
-
-
-
12
-
16
Second Total
25
7
7
-
6
4
3
4
1
9
7
8
9
-
-
1+2
-
1+6
Reduce to Deduce
2+5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
7
Essence of Number
7
7
7
-
6
4
3
4
1
9
7
8
9

 

 

That common language is science and mathematics.

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
4
THAT
49
13
4
-
-
-
-
4
-
-
-
-
-
C
=
3
-
6
COMMON
73
28
1
-
1
-
-
-
-
-
-
-
-
L
=
3
-
8
LANGUAGE
68
32
5
-
-
-
-
-
5
-
-
-
-
I
=
9
-
2
IS
28
10
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
7
SCIENCE
58
31
4
-
-
-
-
4
-
-
-
-
-
A
=
1
-
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
M
=
4
-
11
MATHEMATICS
112
40
4
-
-
-
-
4
-
-
-
-
-
-
-
23
-
41
First Total
407
164
20
-
3
4
3
12
5
6
7
8
9
-
-
2+3
-
4+1
Add to Reduce
4+0+7
1+6+4
6+1
-
-
-
-
1+2
-
-
-
-
-
-
-
5
-
5
Second Total
11
11
7
-
3
4
3
3
5
6
7
8
9
-
-
-
-
-
Reduce to Deduce
1+1
1+1
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
5
Essence of Number
2
2
7
-
3
4
3
3
5
6
7
8
9

 

 

The laws of Nature are the same everywhere:..."

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
L
=
3
-
4
LAWS
55
10
1
-
1
-
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
N
=
5
-
6
NATURE
79
25
7
-
-
-
-
-
-
-
7
-
-
A
=
1
-
3
ARE
23
15
6
-
-
-
-
-
-
6
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
S
=
1
-
4
SAME
38
11
2
-
-
2
-
-
-
-
-
-
-
E
=
5
-
10
EVERYWHERE
134
62
8
-
-
-
-
-
-
-
-
8
-
-
-
25
-
35
First Total
417
165
39
-
1
2
3
4
5
18
7
8
9
-
-
2+5
-
3+5
Add to Reduce
4+0+7
1+6+5
3+9
-
-
-
-
-
-
1+8
-
-
-
-
-
7
-
-
Second Total
12
12
12
-
1
2
3
4
5
9
7
8
9
-
-
-
-
-
Reduce to Deduce
1+2
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
Essence of Number
3
3
3
-
1
2
3
4
5
9
7
8
9

 

 

THE

ENGLISH LANGUAGE

TRANSMUTED INTO NUMBER

IS

ONE OF THE MAIN CONDUITS

THROUGH WHICH APPEAR CLEARER UNDERSTANDING

OF

THOSE REFRACTED PATTERNS AND SENSIBILITIES APPARENTLY RANDOM

DESCRIBING ENERGIES WHICH INTERMINGLED WITHIN THE GREAT HERE AND NOW

ARE

CONSIDERED

THE

CREATIVE LIVING EXPERIENCE

 

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

 

FINGERPRINTS OF THE GODS

  G Hancock1995

Page 287

"What one would look for, therefore, would be a universal language"

 

"WHAT ONE WOULD LOOK FOR, THEREFORE, WOULD BE A UNIVERSAL LANGUAGE"

 

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

 

LOVE LOVE LOVE 999 LOVE LOVE LOVE

EVOLVE LOVE 99999 LOVE EVOLVE

DIVINE LOVE REAL 999 REAL LOVE DIVINE

DIVINE 9 LOVE 9 LOVE 9 DIVINE

 

 

THE EGYPTIAN BOOK OF THE DEAD

E. A. Wallace Budge

1899

OF LIVING NIGH UNTO RA

Page 397

Or,
"The Chapter of making the way into heaven nigh unto Ra "
Chap. cxxxi. 5]
[From the Papyrus of Nu (Brit. Mus. No. 10,477, sheets 17 and 18).)
Vignette: This Chapter is without vignette, both in the Papyrus of Nu and in the Saite Recension (see Lepsius, OF. cit., Bl. 54).
Text: (1)

THE CHAPTER OF HAVING EXISTENCE NIGH UNTO RA.

1 The overseer of the house of the overseer of the seal, Nu, triumphant, saith :-

"I am that god Ra who shineth in the night. Every "(2) being who followeth in his train shall have life in " the following of the god Thoth, and he shall give "unto him the risings of Horus in the darkness. The " heart of Osiris Nu, the overseer of the house of the overseer of the seal, triumphant, is glad (3) because "he is one of those beings, and his enemies have been "destroyed by the divine princes. I am a follower of "Ra, and [I have] received his iron weapon. (4) I "have- come unto thee, O my father Ra, and I have " advanced to the god Shu. I have cried unto the "mighty goddess, I have equipped the god Hu (5) and "I alone have removed the Nebt god from the path of "' Ra. I am a Khu, and I have come to the divine "' prince at the bounds of the horizon. I have met / Page 398 / [Chap. cxxxi. 6 " (6) and I have received the mighty goddess. I have "raised up thy soul in the following of thy strength, "and my soul [liveth] through thy victory and thy "mighty power; it is I who give commands (7) in "speech to Ra in heaven. Homage to thee, O great " god in the east of heaven, let me embark in thy boat, " O Ra, let me open myself out in the form of a divine "hawk, (8) let me give my commands in words, let me " do battle in my Sekhem (?), let me be master under "my vine. Let me embark in thy boat O Ra, in "peace, (9) and let me sail in peace to the beautiful " Amentet. Let the god Tem speak unto me, [saying], " 'Wouldst [thou] enter therein?' The lady, the "goddess Mehen, is a million of years, yea, two million "years in (10) duration, and dwelleth in the house of "Urt and Nif-urt [and in} the Lake of a million years; "the whole company. of the gods move about among "those who are at the side of him who is the lord of "divisions of places (?). And I say, 'On every road " and among (11) these millions of years is Ra the lord, "and his path is in the fire; and they go round about "behind him, and they go round about behind him.'"

And I say, 'On every road " and among (11) these millions of years is Ra the lord, "and his path is in the fire; and they go round about "behind him, and they go round about behind him.'"

 

 

GODS AND SPACEMAN IN THE ANCIENT EAST

New evidence on the unexplained mysteries of civilization in the ancient East

W. Raymond Drake 1968

Page 135

Children of impotent revolt) into the eastern part of heaven, whereupon there arose a battle in heaven and in all the earth.
'O Thou, who art in the Egg (i.e. Ra) who shinest from thy disk and risest in thy horizon and dost shine like gold above the, sky, like unto whom there is none among the Gods, who sailest over the Pillars of Shu (the ether) who givest blasts of fire from the mouth (who makest the two lands bright with thy radiance deliver) the faithful worshippers from the God whose forms are hidden, whose eyebrows are like unto the two arms of the balance on the night of the reckoning of destruction.
Hieroglyphics in Ani's Papyrus represent Ra and Horus as human-headed birds which may be interpreted as meaning Spacemen.
This description of a Celestial in a shining spacecraft speeding through the skies, blasting armies with fire, recalls those flaming `shields' mentioned in the Annales Laurissenses which in the year An 776 routed the Saxons besieging the Franks at Sigiburg."'
The same Chapter XVII continues:
`(112) . . . I know the being, Matchet, (the Oppressor) who is among them in the House of Osiris shooting rays of light from (his) Eye, but he himself is unseen. He goeth round about heaven robed in the flames of his mouth, commanding Hapi (lands of the Nile) but remaining himself unseen. . . . I fly as a hawk. I cackle as a goose. I ever slay, even as the Serpent Goddess, Nehebka....'
`(140) . . Thou livest according to thy will, thou art Uatchit, the Lady of the Flame, (141) Evil cometh among those who set themselves up against thee . . . (145) Uatchit, the Lady of the Flames, is the Eye of Ra....'
The ancient Stanzas of Dzyan honour the 'Lords of the Flame', Sanskrit Vedas mention 'Lords of Light', the Egyptian The Book of the Dead praises the 'Lady of the Flame'. Surely this suggests Extra-terrestrials with laser-light weapons dominating our Earth in far Antiquity?
Several references in The Book of the Dead are made to the `Shining Ones' possibly Wondrous Beings from the stars; the Bible would call them 'Angels of the Lord'.
`Behold, O ye Shining Ones, ye Men and Gods . . . Osiris. Ani is victorious over his foes in the heavens above and (on the earth) beneath in the presence of the god-like Rulers of all the Gods and Goddesses' (Chapter 134,15/17).

Hieroglyphics in Ani's Papyrus represent Ra and Horus as human-headed birds

 

 

THE MORNING OF THE MAGICIANS

Lois Pauwels and Jacques Bergier 1963

Page 226

"...dreams can foretell even distant future events,* and two German research workers, Moufang and Stevens, in a work entitled The Mystery of Dreams have cited a number of cases, which have been carefully checked, in which dreams revealed future events and led to important scientific discoveries.
The celebrated atomic scientist, Niels Bohr, when he was a student, had a strange dream. He saw himself on a Sun consisting of burning gas. Planets whizzed by, whistling as they passed. They were attached to the Sun by thin filaments, and revolved round it. Suddenly the gas solidified and the Sun and planets crumbled away. Niels Bohr then woke up and realized that he had just discovered the model of the atom, so long sought after. The 'Sun' was the fixed centre round which the electrons revolve. The whole of modem atomic physics and its applications have come out of this dream."

"He saw himself on a Sun consisting of burning gas. Planets whizzed by, whistling as they passed"

"The 'Sun' was the fixed centre round which the electrons revolve"

In 1913 Bohr perfected the Rutherford theory of the atom by an early use of quantum theory. An electron moving in a circle around the nucleus can be held in orbit by a balance between the electrostatic force of attraction to the nuclei and the centrifugal force due to its motion.

 

 

A HISTORY OF GOD

Karen Armstrong 1993

UNITY THE GOD OF ISLAM

Page 182

"As they converge on the Kaba, clad in the traditional pilgrim dress that obliterates all distinctions of race or class, they feel that they have been liberated / Page 183 / from the egotistic preoccupations of their daily lives and been caught up into a community that has one focus and orientation. They cry in unison; 'Here I am at your service, O al-Lah' before they begin the circumambulations around the shrine. The essential meaning of this rite is brought out well by the late Iranian philosopher All Shariati:

As you circumambulate and move closer to the Kabah, you feel like a small stream merging with a big river. Carried by a wave you lose touch with the ground. Suddenly, you are floating, carried on by the flood. As you approach the centre, the pressure of the crowd squeezes you so hard that you are given a new life. You are now part of the People; you are now a Man, alive and eternal. . .

The Kabah is the world's sun whose face attracts you into its orbit. You have become part of this universal system. Circumambulating around Al-lah, you will soon forget yourself. . . You have been transformed into a particle that is gradually melting and disappearing. This is absolute love at its peak.".

 

 

The RA Expeditions

Thor Heyerdal 1970

Page 14

"The largest reed boats in Peru were depicted as two deckers. Quantities of water jars and other cargo were painted in on the lower deck, as well as rows of little people, and on the upper deck usually stood the earthly representative of the sun-god the priest king, larger than all his companions, surrounded by bird-headed men who were often hauling on ropes to help the reed boat through the water. The tomb paintings in Egypt also portrayed the sun-god's earthly representative, the priest-king known as the pharaoh, like an imposing giant on his reed boat, surrounded by minature people, while / Page 15 / the same mythical men with bird heads towed the reed boat through the water.
Reed boats and bird-headed men seemed to go together, for some inexplicable reason. For we had found them far out in the Pacific Ocean too, on Easter Island, where the sun-god's mask, the reed boats with sails, and the men with bird heads formed an inseperable trio amomg the wall-paintings and reliefs in the ancient ceremonial village of Orongo, with its solar observatory. Easter Island, Peru, Egypt. These strange parrallels could hardly have been found further apart. Apparently they could hardly furnish better proof that men must have arrived independently at the same time in widely seperated places. Apparently. But what was even more strange was that the aboriginal people of Easter Island called the sun ra. Ra was the name for the sun on all the hundreds of Polynesian islands, so it could be no mere accident.Ra was also the name for the sun in ancient Egypt. No word was more important to the ancient Egyptian religion than Ra, the sun, the sun-god, ancestor of the pharaohs. The one who sailed reed boats, with an entourage of bird headed men. Giant monolithic statues as high as houses had been erected in honour of the sun-god's earthly priest-kings on Easter Island, in Peru and in ancient Egypt. And in all three places, solid rock had been sliced up like cheese into blocks as big as railway trucks and fitted together in stepped pyramids designed on an astronomical basis according to the movements of the sun. All in honour of the common ancestor, the sun, Ra. Was there some connection, or was it just coincidence?"

 

 

THE COSMIC SERPENT

Jeremy Narby

1

999

Page 53

"For several hours after drinking the brew, I found myself, although awake, in a world literally beyond my wildest dreams. I met bird-headed people, as well as dragon-like creatures who explained that they were the true gods of this world.

Page 54

After several minutes he found himself falling into a world of true hallucinations. After arriving in a celestial cavern where "a supernatural carnival of demons" was in full swing, he saw two strange boats floating through the air that combined to form "a huge dragon-headed prow, not unlike that of a Viking ship." On the deck, he could make out "large numbers of people with the heads of blue jays and the bodies of humans, not unlike the bird­headed gods of ancient Egyptian tomb paintings."

After multiple episodes, which would be too long to describe here, Hamer became convinced that he was dying. He tried call­ /Page 55/ ing out to his Conibo friends for an antidote without managing to pronounce a word. Then he saw that his visions emanated from "giant reptilian creatures" resting at the lowest depths of his brain. These creatures began projecting scenes in front of his eyes, while informing him that this information was reserved for the dying and the dead:

Page 53

"I met bird-headed people"

Page54

"not unlike the bird­headed gods of ancient Egyptian tomb paintings."

"large numbers of people with the heads of blue jays and the bodies of humans, not unlike the bird­headed gods of ancient Egyptian tomb paintings."

 

 

The RA Expeditions

Thor Heyerdal 1970

Page 15

Ra was also the name for the sun in ancient Egypt. No word was more important to the ancient Egyptian religion than Ra, the sun, the sun-god, ancestor of the pharaohs. The one who sailed reed boats, with an entourage of bird headed men.

"The one who sailed reed boats, with an entourage of bird headed men."

 

 

GODS AND SPACEMAN IN THE ANCIENT EAST

New evidence on the unexplained mysteries of civilization in the ancient East

W. Raymond Drake 1968

Page 135

Children of impotent revolt) into the eastern part of heaven, whereupon there arose a battle in heaven and in all the earth.
'O Thou, who art in the Egg (i.e. Ra) who shinest from thy disk and risest in thy horizon and dost shine like gold above the, sky, like unto whom there is none among the Gods, who sailest over the Pillars of Shu (the ether) who givest blasts of fire from the mouth (who makest the two lands bright with thy radiance deliver) the faithful worshippers from the God whose forms are hidden, whose eyebrows are like unto the two arms of the balance on the night of the reckoning of destruction.
Hieroglyphics in Ani's Papyrus represent Ra and Horus as human-headed birds which may be interpreted as meaning Spacemen.

"Hieroglyphics in Ani's Papyrus represent Ra and Horus as human-headed birds

 

 

THE MAGIC MOUNTAIN

Thomas Mann

1875-1955

Page 888

"Now Isis, the Great One of the island, Eset, a millionfold fertile in guile, felt that her moment was come. Her wisdom embraced heaven and earth, like that of the old superannuated old Re himself. But there was one thing she did not know or command, and the lack of it / Page 889 / hampered her: she did not know the last, most secret name of Re, his very final one, knowledge of which would give power over him. Re had very many names, each one more secret than the one before, yet not utterly hopeless to find out, save one, the very last and mightiest. That he still witheld; whoso could make him name it, he could compel him and outdistance him and put him under his feet.
Therefore Eset conceived and devised a serpent, which should sting Re in his golden flesh."
"Then the intolerable pain of the sting, which only great Eset could cure who made the worm, would force Re to tell her his name. Now as she contrived it so was it fulfilled. The old Re was stung, and in torments was forced to come out with one of his secret names after another, always hoping that the goddess would be satisfied before they got to the last one. But she kept on to the uttermost, until he had named her the most secret of all, and the power of her knowledge over him was absolute. After that it cost her nothing to heal his wound; but he only got a little better, within the wretched limits in which so old a creature can; and soon thereafter he gave up and joined the great majority."

 

 

-
2
R
E
-
-
-
-
-
-
-
-
-
-
9
5
+
=
14
1+4
=
5
=
5
-
-
18
5
+
=
23
2+3
=
5
=
5
-
2
R
E
-
-
-
-
-
-
-
-
-
-
9
5
+
=
14
1+4
=
5
=
5
-
-
18
5
+
=
23
2+3
=
5
=
5
-
2
R
E
-
-
-
-
-
--
-
-
-
-
18
5
+
=
23
2+3
=
5
=
5
-
-
9
5
+
=
14
1+4
=
5
=
5
-
2
R
E
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
ONE
1
-
-
-
2
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
-
-
-
3
THREE
3
-
-
-
4
-
-
-
-
-
4
FOUR
4
-
-
-
5
-
-
5
-
-
5
occurs
x
1
=
5
6
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
31
2
R
E
-
-
14
-
-
2
-
14
3+1
-
9
-
-
-
1+4
-
-
-
-
1+4
4
2
R
E
-
-
5
-
-
2
-
5
-
-
9
5
-
-
-
-
-
-
-
-
4
2
R
E
-
-
5
-
-
2
-
5

 

 

2
R
E
-
-
-
-
-
--
-
-
-
9
5
+
=
14
1+4
=
5
=
5
-
18
5
+
=
23
2+3
=
5
=
5
2
R
E
-
-
-
-
-
--
-
-
-
9
5
+
=
14
1+4
=
5
=
5
-
18
5
+
=
23
2+3
=
5
=
5
2
R
E
-
-
-
-
-
--
-
-
-
18
5
+
=
23
2+3
=
5
=
5
-
9
5
+
=
14
1+4
=
5
=
5
2
R
E
-
-
-
-
-
-
-
-
-
-
5
-
-
5
occurs
x
1
=
5
-
9
-
-
-
9
occurs
x
1
=
9
2
R
E
-
-
14
-
-
2
-
14
-
9
-
-
-
1+4
-
-
-
-
1+4
2
R
E
-
-
5
-
-
2
-
5
-
9
5
-
-
-
-
-
-
-
-
2
R
E
-
-
5
-
-
2
-
5

 

 

OBJECTIVE REALITY

Poems and Essays

by

Lloyd C. Daniel 1985

Page 32

sun

energy

energy

energy

energy

energy

energy

energy

energy

energy

energy

rrrraaaaaaaahhhhhhhhhhhhhhhh!

 

 

Bhagavad-Gita, iv, 5.

SRI KRISHNA’S REMEMBERING

‘Many lives, Arjuna, you and I have lived, I remember them all, but thou dost not.’

 

 

I

INCA

INCARNATION TO INCARNATION

 

 

WISDOM OF THE EAST

by Hari Prasad Shastri 1948

Page 8

"There is no such word in Sanscrita as 'Creation' applied to the universe. The Sanscrita word for Creation is Shristi, which means 'projection' Creation means to bring something into being out /Page 9/ of nothing, to create, as a novelist creates a character. There was no Miranda, for example, until Shakespeare created her. Similarly the ancient Indians (this term is innacurately used as there was no India at that time). who were our ancestors long, long ago. used a word for creation that means 'projection'

 

 

SHRI

KRISHNA

SHRI KRISHNA KRISHNA SHRI

 

 

Brahma

If the red slayer think he slays,

Or if the slain think he is slain

They know not well the subtle ways

I keep and pass and turn again.

R.W.Emerson

 

 

Bhagavad-Gita

Text 19

" ya enam vetti hantaram

yas cainam manyate hatam

ubhau tau na vijanito

nayam hanti na hanyate"

Bhagavad-Gita

As it is.

A. C. Bhaktivedanta Swami Prabhupada

Translation Chapter 2 Page 99/100

"Neither he who thinks the living entity the slayer nor he who thinks it slain is in knowledge, for the self slays not nor is slain."

 

 

‘who is the slayer and who is the victim. Speak’,

Sophocles

 

 

IN SEARCH OF THE MIRACULOUS

Fragments of an Unknown Teaching

P.D.Oupensky 1878- 1947

Page 217

" 'A man may be born, but in order to be born he must first die, and in order to die he must first awake.' "
" 'When a man awakes he can die; when he dies he can be born' "

 

THE TIBETAN BOOK OF THE DEAD

Or

The After Death Experience on the Bardo Plane,

according to Lama Kazi Dawa-Samdup's English Rendering

Compiled and edited Edited by W. Y. Evans-Wentz 1960

Facing Preface To The Paperback Edition

'Thou shalt understand that it is a science most profitable, and passing all other sciences, for to learn to die. For a man to know that he shall die, that is common to all men; as much as there is no man that may ever live or he hath hope or trust thereof; but thou shalt find full few that have this callning to learn to die. . . . I shall give thee the mystery of this doctrine; the which shall profit thee greatly to the beginning of ghostly health, and to a stable fundament of all virtues. '- OrologiumSapientiae.

'Against his will he dieth that hath not learned to die. Learn to die and thou shalt learn to live, for there shall none learn to live that hath not learned to die.'-Toure of all Toures: and Teacheth a Man for to Die.

The Book of the Craft of Dying (Comper's Edition).

'\Vhatever is here, that is there; what is there, the same is here. He who seeth here as different, meeteth death after death.
'By mind alone this is to be realized, and [then] there is no difference here. From death to death he goeth, who seeth as if there is dificrence here.'-Katha Upanishad, iv. 10-11 (Swami Sharvanallda's Translation)"

Facing Preface to the Second Edition

BONDAGE TO REBIRTH

"As a man's desire is, so is his destiny. For as his desire is, so is his will; and as his will is, so is his deed; and as his deed is, so is his reward, whether good or bad.
' A man acteth according to the desires to which he clingeth. After death he goeth to the next world bearing in his mind the subtle impressions of his deeds; and, after reaping there the harvest of his deeds, he returneth again to this world of action. Thus he who hath desire continueth subject to rebirth.' "

Brihadaranyaka Upanishad

FREEDOM FROM REBIRTH

'He who lacketh discrimination, whose mind is unsteady and whose heart is impure, never reacheth the goal, but is born again and again. But he who hath discrimination, whose mind is steady and whose heart is pure, reacheth the goal, and having reached it is born no more.'

Katha U panishad.
(Swami Prabhavananda's and Frederick Manchester's Translations).

Page xi

SRI KRISHNA'S REMEMBERING

'Many lives Arjuna, you and I have lived.

I remember them all but thou dost not.'

Bhagavad Gita, iv, 5., iv, 5.

Page xx

"......... Denison........."

 

 

INCARNATION

THE DEAD RETURN

Daniel Easterman 1998

Page 99

"........David........."

Page 3

"The old man's name was Dennison"

 

 

THE

PATH OF PTAH

THE SELF CRUCIFIXION OF THE CRUCIFIXION OF THE SELF

THE

VIRGIN BIRTH IS TO BE REBORN OF WATER

AND

SPIRIT GODS HOLY SPIRIT

AFTER

HAVING ENDURED

THE DEATH OF THE

I ME EGO SELF I SELF EGO ME I

WEIGHED IN THE BALANCE AND NOT FOUND WANTING

EVOLVE THEE THAT THOU OF LOVE LOVE LOVE OF THOU THAT THEE EVOLVE

 

ISISIS

THE RESURRECTION AND THE LIFE

UNLESS THAT HE AZIN SHE THAT IS THEE

IZ

BORN AGAIN AGAIN BORN

THOU CANST NOT ENTER THE KINGDOM OF EVEN

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

 

2
IS
28
10
1
9
UNIVERSAL
121
40
4
4
MIND
40
22
4
3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
33
First Total
378
162
27
3+3
Add to Reduce
3+7+8
1+6+2
2+7
6
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
6
Essence of Number
9
9
9

 

 

9
UNIVERSAL
121
40
4
4
MIND
40
22
4
2
IS
28
10
1
3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
33
First Total
378
162
27
3+3
Add to Reduce
3+7+8
1+6+2
2+7
6
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
6
Essence of Number
9
9
9

 

 

E
=
5
-
2
EX
11
2
2
U
=
3
-
6
UMBRIS
82
28
1
E
=
5
-
2
ET
25
7
7
I
=
9
-
10
IMAGINIBUS
104
50
5
I
=
9
-
2
IN
23
14
5
V
=
4
-
9
VERITATEM
113
41
5
-
-
35
-
31
First Total
358
142
25
-
-
3+5
-
3+1
Add to Reduce
3+5+8
1+4+2
2+5
-
-
8
-
4
Second Total
16
7
7
-
-
-
-
-
Reduce to Deduce
1+6
-
-
-
-
8
-
4
Essence of Number
7
7
7

 

 

O
=
6
-
3
OUT
56
11
2
O
=
6
-
2
OF
21
12
3
S
=
1
-
7
SHADOWS
89
26
8
A
=
1
-
3
AND
82
28
1
P
=
7
-
9
PHANTASMS
111
30
3
I
=
9
-
4
INTO
58
22
4
T
=
2
-
5
TRUTH
87
24
6
-
-
32
-
33
Add to Reduce
441
135
27
-
-
3+2
-
3+3
Reduce to Deduce
4+4+1
1+3+5
2+7
-
-
5
-
6
Essence of Number
9
9
9

 

 

WE ARE THE DEAD SHORT TIME AGO WE LIVED FELT DAWN SAW SUNSET GLOW

LOVED AND WERE LOVED AND NOW

?

 

 

I

ME

HUMAN INHUMANITY TO HUMAN

IN THE NAME OF GOD THE ALMIGHTY THE COMPASSIONATE THE MERCIFUL

MERCY MERCY MERCY MERCY MERCY MERCY MERCY MERCY MERCY

 

 

4
GODS
45
18
9
6
SPIRIT
91
37
1
4
ISIS
89
35
8
6
OSIRIS
89
35
8
6
VISHNU
93
30
3
5
SHIVA
59
59
4
7
KRISHNA
80
35
3
7
SHRISTI
102
39
3
5
RISHI
63
36
9
4
ISHI
45
27
9
6
CHRIST
77
32
5

 

 

GODS SPIRIT GODS

ISIS OSIRIS VISHNU SHIVA SHRI KRISHNA SHRISTI RISHI ISHI CHRIST

SING A SONG OF NINES OF NINES A SONG SING

 

 

4
GODS
45
18
9
6
SPIRIT
91
37
1
4
ISIS
89
35
8
6
OSIRIS
89
35
8
6
VISHNU
93
30
3
5
SHIVA
59
59
4
7
KRISHNA
80
35
3
7
SHRISTI
102
39
3
5
RISHI
63
36
9
4
ISHI
45
27
9
6
CHRIST
77
32
5

 

 

GODS SPIRIT GODS

ISIS OSIRIS VISHNU SHIVA SHRI KRISHNA SHRISTI RISHI ISHI CHRIST

 

-
-
-
-
-
-
-
-
-
-
-
-
-
-
EIGHTEEN THIRTYSIX
-
-
-
E
=
7
-
8
EIGHTEEN
73
46
1
T
=
2
-
9
THIRTYSIX
152
53
8
-
-
4
-
17
EIGHTEEN THIRTYSIX
225
99
9
-
-
-
-
1+7
-
2+2+5
9+9
-
-
-
4
-
8
EIGHTEEN THIRTYSIX
9
18
9
-
-
-
-
-
-
-
1+8
-
-
-
4
-
8
EIGHTEEN THIRTYSIX
9
9
9

 

 

SING A SONG OF NINES OF NINES A SONG SING

 

ATUM 1234 ATUM
1234 ATUM 1234

 

 

T
=
2
-
3
THE
33
15
6
P
=
7
-
4
PATH
45
18
9
O
=
6
-
2
OF
21
12
3
P
=
7
-
4
PTAH
45
18
9
-
-
22
4
13
Add to Reduce
144
63
27
-
-
2+2
-
1+3
Reduce to Deduce
1+4+4
6+3
2+7
Q
-
4
-
4
Essence of Number
9
9
9
-
-
-
-
-
Reduce to Deduce
-
-
-
-
-
4
-
4
Essence of Number
1
1
9

 

 

GODS OF THE DAWN

THE MESSAGE OF THE PYRAMIDS and THE TRUE STARGATE MYSTERY

12

Page 121

THE PATHS OF HOPE

 

T
=
2
-
3
THE
33
15
6
P
=
7
-
5
PATHS
64
19
1
O
=
6
-
2
OF
21
12
3
H
=
8
-
4
HOPE
44
26
8
-
-
23
4
14
Add to Reduce
162
72
18
-
-
2+3
-
1+4
Reduce to Deduce
1+6+2
7+2
1+8
Q
-
5
-
5
Essence of Number
9
9
9

 

 

SING A SONG OF NINES OF NINES A SONG SING

 

973-eht-namuh-973.com Forum Index

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09

Postby 0483726159 » Sun Feb 28, 2016 10:18 am
09 09 09 09 09 09 09 09 09 09
09 18 27 36 45 54 63 72 81 90
09 27 45 63 81 18 36 54 72 90
09 36 63 90 36 63 90 36 63 90
09 45 81 36 72 27 63 18 54 90
09 54 18 63 27 72 36 81 45 90
09 63 36 90 63 36 90 63 36 90
09 72 54 36 18 81 63 45 27 90
09 81 72 63 54 45 36 27 18 90
09 90 90 90 90 90 90 90 90 90

 

Posts: 3
Joined: Sun Feb 28, 2016 9:16 am
Contact: Contact 0483726159

Re: Symbols

Postby 0483726159 » Sun Feb 28, 2016 10:01 am


09 09 09 09 09 09 09 09 09 09
09 18 27 36 45 54 63 72 81 90
09 27 45 63 81 18 36 54 72 90
09 36 63 90 36 63 90 36 63 90
09 45 81 36 72 27 63 18 54 90
09 54 18 63 27 72 36 81 45 90
09 63 36 90 63 36 90 63 36 90
09 72 54 36 18 81 63 45 27 90
09 81 72 63 54 45 36 27 18 90
09 90 90 90 90 90 90 90 90 90

 

0483726159

Posts: 3

Joined: Sun Feb 28, 2016 9:16 am

Contact: Contact 0483726159

9

Postby 0483726159 » Sun Feb 28, 2016 9:55 am

09 09 09 09 09 09 09 09 09 09
09 18 27 36 45 54 63 72 81 90
09 27 45 63 81 18 36 54 72 90
09 36 63 90 36 63 90 36 63 90
09 45 81 36 72 27 63 18 54 90
09 54 18 63 27 72 36 81 45 90
09 63 36 90 63 36 90 63 36 90
09 72 54 36 18 81 63 45 27 90
09 81 72 63 54 45 36 27 18 90
09 90 90 90 90 90 90 90 90 90

0|1(2[3{4|5}6]7)8|9
0|8(7[6{5|4}3]2)1|9

0|2(4[6{8|1}3]5)7|9
0|7(5[3{1|8}6]4)2|9

0|3(6[9{3|6}9]3)6|9
0|6(3[9{6|3}9]6)3|9

0|4(8[3{7|2}6]1)5|9
0|5(1[6{2|7}3]8)4|9

0 0 0 0 0 0 0 0 0 0
0 1 2 3 4 5 6 7 8 9
0 2 4 6 8 1 3 5 7 9
0 3 6 9 3 6 9 3 6 9
0 4 8 3 7 2 6 1 5 9
0 5 1 6 2 7 3 8 4 9
0 6 3 9 6 3 9 6 3 9
0 7 5 3 1 8 6 4 2 9
0 8 7 6 5 4 3 2 1 9
0 9 9 9 9 9 9 9 9 9
Any number mirrored symmetrically whether horizontally or vertical will match its polar opposite, which will equate to 9
1+1+1+1+1+1+1+1+1
1 2 3 4 5 6 7 8 9
8+8+8+8+8+8+8+8+8
8 16 24 32 40 48 56 64 72
8 7 6 5 4 3 2 1 9

1 2 3 4 5 6 7 8 9. 1 & 8
8 7 6 5 4 3 2 1 9

1+2=3=4+5=6=7+8
+ + + + + + + +
8+7=6=5+4=3=2+1

1(2 3 4|5 6 7)8
8(7 6 5|4 3 2)1

1 2 3 4 5 6 7 8
2 4 6 8 1 3 5 7
3 6 9 3 6 9 3 6
4 8 3 7 2 6 1 5
5 1 6 2 7 3 8 4
6 3 9 6 3 9 6 3
7 5 3 1 8 6 4 2
8 7 6 5 4 3 2 1
Can you see? Reflect and mirror any number horizontal or vertical from x or y axis and you will equate 9. However if you reflect any number diagonal, from corner to corner, each number will reflect itself.

9 reflects itself within the polarity of the digits which equate it. Multiples of 9 count forwards and Backwards simultaneously
09 18 27 36 45 54 63 72 81 90

Who sees when you see?

 

 

A

MYSTERIOUS VOICE IN THE NIGHT SAID

SOMEONE SOMETHING SOMEWHERE WHO SHALL BE NAMELESS

ADDED THE GOLD WILLY NILLY ADDED THE GOLD.

 

 

ATUM 1234 ATUM
1234 ATUM 1234

 

 

........

 

 

THOSE PATENT PATIENT PATTERN MAKERS

 

 

Nature's Numbers
Ian Stewart 1995

Numerology is the easiest-and consequently the most dangerous-method for finding patterns. It is easy because anybody can do it and dangerous for the same reason. The difficulty lies in distinguishing significant numerical patterns from accidental ones. Here's a case in point. Kepler was fascinated with patterns in nature, and he devoted much of his life to looking for them in the behaviour of the planets. He devised a simple and tidy theory for the existence of precisely six planets (in his time only Mercury, Venus, Earth, Mars, Jupiter, and Saturn were known). He also discovered a very strange pattern relating the orbital period of a / planet- the time it takes to go once around the Sun-to its distance from the Sun. Recall that the square of a number is what you get when you multiply it by itself: for example, the square of 4 is 4 x 4 = 16. Similarly, the cube is what you get when you multiply it by itself twice: for example, the cube of 4 is 4 x 4 x 4 = 64. Kepler found that if you take the cube of the distance of any planet from the Sun and divide it by the square of its orbital period, you always get the same number. It was not an especially elegant number, but it was the same for all six planets.

Which of these numerological observations is the more significant? The verdict of posterity is that it is the second one, the complicated and rather arbitrary calculation with squares and cubes. This numerical pattern was one of the key steps towards Isaac Newton's theory of gravity, which has explained all sorts of puzzles about the motion of stars and planets. In contrast, Kepler's neat, tidy theory for the number of planets has been buried without trace. For a start it must have been wrong, because we now know of nine planets, not six. There could be even more, farther out from the Sun, and small enough to be undetectable But more important, we no longer expect to find a neat, tidy theory for the number of planets. We think that the Solar System condensed from a cloud of gas surrounding the Sun, and the number of planets presumably depended on the amount of matter in the gas cloud, how it was distributed, and how fast and in what directions it was moving. An equally plausible gas cloud could have given us eight planets, or eleven; the number is accidental, depending on the initial conditions of the gas cloud, rather than universal, reflecting a general law of nature"

Page 6

" The big problem with numerological pattern-seeking is that it generates millions of accidentals for each universal. Nor is it always obvious which is which. For example, there are three stars, roughly equally spaced and in a straight line, in the belt of the constellation Orion. Is that a clue to a significant law of nature?
Here's a similar question. Io, Europa, and Ganymede are three of Jupiter's larger satellites. They orbit the planet in , respectively, 1.77, 3.55, and 7.16 days. Each of these numbers is almost exactly twice the previous one. Is that a significant pattern? Three stars in a row, in terms of orbital period. Which pattern if either, is an important clue..."
    "… In addition to numerical patterns there are geometric ones…"
    "… Until recently the main shapes that appealed to mathematicians were very simple ones: triangles, squares, pen / Page 7 /tagons, hexagons, circles, ellipses, spirals, cubes, spheres, cones, and so on. All of these shapes can be found in nature, although some are far more common, or more evident, than others. The rainbow, for example, is a collection of circles, one for each colour. We don't normally see the entire circle just an arc; but rainbows seen from the air can be complete circles. You also see circles in the ripples on a pond, in the human eye, and on butterflies wings.
         Talking of ripples, the flow of fluids provides an inexhaustible supply of nature's patterns. There are waves of many different kinds-surging toward a beach in parallel ranks, spreading in a V-shape behind a moving boat, radiating outward from an underwater earthquake…"
"…There are swirling spiral whirlpools and tiny vortices. And there is the apparently structureless, random frothing of turbulent flow, one of the great enigmas of mathematics and physics. There are similar patterns in the atmosphere, too, the most dramatic being the vast spiral of a hurricane…"
    "…There are also wave patterns on land. The most strikingly mathematical landscapes on Earth are to be found in the great ergs, or sand oceans, of the Arabian and Sahara deserts. Even when the wind blows steadily in a fixed direction, sand dunes form. The simplest pattern is that of transverse dunes, which-just like ocean waves-line up in parallel straight rows at right angles to the prevailing wind direction. Sometimes the rows themselves become wavy in which case they are called barchanoid ridges; sometimes they break up into / Page 8 / innumerable shield-shaped barchan dunes. If the sand is slightly moist, and there is a little vegetation to bind it together, then you may find parabolic dunes-shaped like a U, with the rounded end pointing in the direction of the wind. These sometimes occur in clusters, and they resemble the teeth of a rake. If the wind direction is variable, other forms become possible. For example, clusters of sand shaped dunes can form, each having several irregular arms radiating from a central peak. They arrange themselves in a random pattern of spots.

Chapter 6

Page 81

"Nature's symmetries can be found on every scale, from the structure of subatomic particles to that of the entire universe. Many chemical molecules are symmetric. The methane molecule is a tetrahedron - a triangular-sided pyramid - with one carbon atom at its center and four hydrogen atoms at its corners Benzene has the sixfold symmetry of a regular hexagon. The fashionable molecule buckminsterfullerene is a truncated icosahedral cage of sixty carbon atoms. (An icosahedron is a regular solid with twenty triangular faces;
"truncated" means that the corners are cut off.) Its symmetry lends it a remarkable stability, which has opened up new possibilities for organic chemistry.
    On a slightly larger scale than molecules, we find symmetries in cellular structure; at the heart of cellular replication lies a tiny piece of mechanical engineering. Deep within each / Page 82  / living cell, there is a rather shapeless structure known as the centrosome, which sprouts long thin microtubules, basic components of the cell's internal "skeleton", like a diminutive sea urchin. Centrsomes were first discovered in 1887 and play an important role in organizing cell division. How-ever in one respect the structure of the centresome is astonishingly symmetric. Inside it has two structures, known as centrioles, positioned at right angles to each other. Each centriole is cylindrical, made from twenty-seven microtubules fused together along their lengths in threes, and arranged with perfect ninefold symmetry. The microtubules themselves also have an astonishingley regular symmetric form. They are hollow tubes, made from a perfect regular checkerboard pattern of units that contain two distinct proteins, alpha- and betatubulin. One day, perhaps, we will understand why nature chose these symmetric forms. But it is amazing to see symmetric structures at the core of a living cell. "

 

CELL = 3533 = CELL

3533 = CELL = 3533

CELL = 3533 = CELL

CELL = 5 = CELL

SEE EL EL SEE

C ELL ELL C

CIRCLE = 5 5 = CIRCLE

 

 

THE GALACTIC CLUB

Intelligent life in outer space?

Ronald N. Bracewell 1974

Page 1

Chapter 1

ARE WE ALONE?


"Growing in size and complexity
Living things, masses of atoms, DNA, protein
Dancing a pattern ever more intricate.
Out of the cradle onto the dry land
Here it is standing
Atoms with consciousness
Matter with curiosity.
Stands at the sea
Wonders at wondering
I
A universe of atoms
An atom in the universe."

Richard P. Feynman

 

 

THIS IS THE SCENE OF THE SCENE UNSEEN

THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE

 

 

NET ENTERS NETERS TEN

 

 

 

 

THE LAST SUPPER 1977

 

T
=
2
-
3
THE
33
15
6
L
=
3
-
4
LAST
52
16
7
S
=
1
-
6
SUPPER
95
41
5
-
-
6
-
13
Add to Reduce
180
72
18
-
-
-
4
1+3
Reduce to Deduce
1+8+0
7+2
1+8
Q
-
6
-
4
Essence of Number
9
9
9

 

 

The term pareidolia (pronounced /pæraɪˈdoʊliə/), referenced in 1994 by Steven Goldstein, [1] describes a psychological phenomenon involving a vague and ... en.wikipedia.org/wiki/Pareidolia

The term pareidolia (pronounced /pæraɪˈdoʊliə/), referenced in 1994 by Steven Goldstein,[1] describes a psychological phenomenon involving a vague and random stimulus (often an image or sound) being perceived as significant. Common examples include images of animals or faces in clouds, the man in the moon, and hidden messages on records played in reverse. The word comes from the Greek para- — beside, with or alongside — and eidolon — image (the diminutive of eidos — image, form, shape). Pareidolia is a type of apophenia.

EXAMPLES

Religious

Further information: Perceptions of religious imagery in natural phenomena

There have been many instances of perceptions of religious imagery and themes, especially the faces of religious figures, in ordinary phenomena. Many involve images of Jesus, the Virgin Mary, or the word Allah.

In 1978, a New Mexican woman found that the burn marks on a tortilla she had made appeared similar to Jesus Christ's face. Thousands of people came to see the framed tortilla.[2]

The recent publicity surrounding sightings of religious figures and other surprising images in ordinary objects, combined with the growing popularity of online auctions, has spawned a market for such items on eBay. One famous instance was a grilled-cheese sandwich with the Virgin Mary's face.[3]

In September, 2007, the so-called "monkey tree phenomenon" caused a minor social mania in Singapore. A callus on a tree there resembles a monkey, and believers have flocked to the tree to pay homage to the Monkey God.[4]

[edit] Rorschach test

Main article: Rorschach inkblot test

The Rorschach inkblot test uses pareidolia to attempt to gain insight into a person's mental state.[2]

[edit] Audio In 1971, Konstantin Raudive wrote Breakthrough, detailing what he believed was the discovery of electronic voice phenomenon (EVP). EVP has been described as auditory pareidolia.[2]

The allegations of backmasking in popular music have also been described as pareidolia.[2]

[edit] Explanations

[edit] Carl Sagan Carl Sagan hypothesized that as a survival technique, human beings are "hard-wired" from birth to identify the human face. This allows people to use only minimal details to recognize faces from a distance and in poor visibility, but can also lead them to interpret random images or patterns of light and shade as being faces.[5]

[edit] Clarence Irving Lewis

In his 1929 book Mind and the World Order, epistemologist and logician Clarence Irving Lewis, a founder of the philosophical school of conceptual pragmatism, used the question of how to determine whether a perception is a mirage as a touchstone for his philosophical approach to knowledge. Lewis argued that one has no way of knowing whether or not perceptions are "true" in any absolute sense; all one can do is determine whether one's purpose is thwarted by regarding it as true and acting on that basis. According to this approach, two people with two different purposes will often have different views on whether or not to regard a perception as true. [6]

Gallery (Images omitted)

 

 

DAILY MAIL

Thursday, January 24

WATCH THIS SPACE

Michael Hanlon Science Editor

THE proper word for it is pareidolia: the phenomenon where people tend to see human faces and other familiar forms in otherwise unfamiliar objects.

We have all seen faces and creatures in the sky. When Hamlet saw a strange cloud, he explained to Polonius, 'Methinks it is like a weasel' (Polonius, for his part thought it more like a camel).

People are forever seeing Jesus or the Virgin Mary in tortillas, buns, the swirls in their coffee and reflections in windows.

But, for some reason, one of the most popular places to see these unlikely visions is in space.

This week, the Mail showed an extraordinary photograph taken by the Nasa Mars Rover, Spirit, which has been trundling across the surface of the Red Planet for four years.

In the picture, which I have no reason to suspect was doctored or altered, there appears to be a greenish-brown human figure, a woman perhaps, perched on a rock, staring rather wistfully at the crater floor below her.

The longer you stare at this picture, the more convincing the 'human becomes.

But it is an illusion; there is no woman, green or otherwise, on the surface of Mars. If there were, she would suffocate and freeze in short order.

This is simply a trick of the light, shadow and perspective, the brain seeing something familiar in an alien jumble of volcanic rocks under a strange orange-pink sky.

Yet this will not be the first or the last - time we have seen strange apparitions on Mars, on Earth and on other planets. The first and best - known example of pareidolia in space was of course the Man in the Moon. I have never found its surface to look particularly human, but many people insist the pattern of dark lava plains and brighter highland areas look for all the world like a human nose, mouth and two eyes. If I squint, I suppose I can just about see it.

Mars, for some unknown reason, is home to many strange apparitions. People have been 'seeing' things on the Red Planet that aren't there for more than a century.

 

 

-
PAREIDOLIA
-
--
-
2
PA
17
8
8
1
R
18
18
9
1
E
5
5
5
1
I
9
9
9
1
D
4
4
4
2
OL
27
9
9
1
I
9
9
9
1
A
1
1
1
10
PAREIDOLIA
90
54
45
1+0
-
9+0
5+4
4+5
1
PAREIDOLIA
9
9
9

 

 

-
PAREIDOLIA
-
--
-
2
PA
17
8
8
1
R
18
18
9
3
EID
18
18
9
2
OL
27
9
9
1
I
9
9
9
1
A
1
1
1
10
PAREIDOLIA
90
54
45
1+0
-
9+0
5+4
4+5
1
PAREIDOLIA
9
9
9

 

 

8
SIMULATE
100
28
1
1
T
20
2
2
9
STIMULATE
120
30
3

 

 

9
STIMULATE
120
30
3
1
T
20
2
2
8
SIMULATE
100
28
1
9
SIMULATES
119
29
2
9
SIMULATED
104
32
5
10
SIMULATING
125
44
8
10
SIMULATION
125
44
8

 

 

-
SIMULACRUM

-

-
-
1
S

19

10
1
1
I

9

9
9
5
M+U+L+A+C

50

14
5
1
R

18

9
9
2
U+M

34

7
7
10
SIMULACRUM

130

31
4
1+0
-
1+3+0
3+1
-
1
SIMULACRUM

4

4
4

 

 

LOOKING FOR THE ALIENS

A PSYCHOLOGICAL, SCIENTIFIC AND IMAGINATIVE INVESTIGATION

Peter Hough & Jenny Randles 1991

9

Life on Mars

Page 77 (photograph omitted)

"The remarkable 'face' on the surface of Mars taken from Viking 1. Is this really an alien construction or an accident of light and shade? Compare it with the rock simulcra on the Sedona photograph on page 81. (NASA)"

Page 81 (photograph omitted)

"This New Age communityhas been set up in the red rock country around Sedona, Arizona.. Here psychics channellers and other esoteric believers live together. Note the human faceon the rock to the left. This is simulcra, an accident of erosion and lighting, or as some believe - an alien artefact like the face on Mars. (Jenny Randles)

 

 

PLATO'S PROGRESS

Gilbert Ryle

1966 Edition

Page 23

Chapter 2

The Publication of the Dialogues

"The literary simulacrum has to be posterior to the real thing and to lack the life of the real thing.

It smells pro -/ Page 24 / leptically of the reader's lamp. There is no such smell in Plato's earlier dialogues.

(b) Aristotle frequently contrasts 'exoteric' discourses with other discourses designed for academic recipients"

 

 

Simulacrum - Wikipedia, the free encyclopediaModern French social theorist Jean Baudrillard argues that a simulacrum is not a copy of the real, but becomes truth in its own right: the hyperreal. ... en.wikipedia.org/wiki/Simulacrum - Cached - Similar

 

Simulacrum
From Wikipedia, the free encyclopedia
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Simulacrum (plural: -cra), from the Latin simulacrum which means "likeness, similarity",[1] is first recorded in the English language in the late 16th century, used to describe a representation of another thing, such as a statue or a painting, especially of a god; by the late 19th century, it had gathered a secondary association of inferiority: an image without the substance or qualities of the original.[2] Philosopher Frederic Jameson offers photorealism as an example of artistic simulacrum, where a painting is created by copying a photograph that is itself a copy of the real.[3] Other art forms that play with simulacra include Trompe l'oeil,[4] Pop Art, Italian neorealism and the French New Wave.[5]

Contents [hide]
1 Simulacrum in philosophy
2 Simulacrum in literature, film, and television
3 Simulacrum and recreation
4 Simulacra in caricature
5 Simulacra in iconography
6 See also
7 References
8 External links

[edit] Simulacrum in philosophy
The simulacrum has long been of interest to philosophers. In his Sophist, Plato speaks of two kinds of image-making. The first is a faithful reproduction, attempted to copy precisely the original. The second is distorted intentionally in order to make the copy appear correct to viewers. He gives an example of Greek statuary, which was crafted larger on top than on bottom so that viewers from the ground would see it correctly. If they could view it in scale, they would realize it was malformed. This example from visual arts serves as a metaphor for philosophical arts and the tendency of some philosophers to distort truth in such a way that it appeared accurate unless viewed from the proper angle.[6] Nietzsche addresses the concept of simulacrum (but does not use the term) in The Twilight of the Idols, suggesting that most philosophers, by ignoring the reliable input of their senses and resorting to the constructs of language and reason, arrive at a distorted copy of reality.[7] Modern French social theorist Jean Baudrillard argues that a simulacrum is not a copy of the real, but becomes truth in its own right: the hyperreal. Where Plato saw two steps of reproduction — faithful and intentionally distorted (simulacrum) — Baudrillard sees four: (1) basic reflection of reality, (2) perversion of reality; (3) pretence of reality (where there is no model); and (4) simulacrum, which “bears no relation to any reality whatsoever.” Baudrillard uses the concept of god as an example of simulacrum.[8] In Baudrillard’s concept, like Nietzsche’s, simulacra are perceived as negative, but another modern philosopher who addressed the topic, Gilles Deleuze, takes a different view, seeing simulacra as the avenue by which accepted ideals or “privileged position” could be “challenged and overturned.”[9] Deleuze defines simulacra as "those systems in which different relates to different by means of difference itself. What is essential is that we find in these systems no prior identity, no internal resemblance."[10]

[edit] Simulacrum in literature, film, and television
Simulacra often make appearances in speculative fiction. Examples of simulacra in the sense of artificial or supernaturally created life forms include Ovid’s ivory statue from Metamorphoses, the medieval golem of Jewish folklore, Mary Shelley’s creature from Frankenstein, Carlo Collodi’s Pinocchio, Karel Čapek's RUR (Rossum's Universal Robots [he was credited as the person who coined the term robot]), and Fritz Lang's Metropolis, with "Maria," the robotrix, Stanislaw Lem's Solaris and the synthetic life in Philip K. Dick’s Do Androids Dream of Electric Sheep?. Another Philip K. Dick novel pertinently entitled The Simulacra centres on a fraudulent government led by a presidential simulacrum (more specifically, an android). Simulacra of worlds or environments may also appear: author Michael Crichton visited this theme several times, in Westworld and in Jurassic Park; other examples include the elaborately staged worlds of The Truman Show; The Matrix; Synecdoche, New York; Equilibrium; and in Tales from the Darkside in the episode Bigalow's Last Smoke. Some stories focus on simulacra as objects. One example would be Oscar Wilde’s The Picture of Dorian Gray. The term also appears in Vladimir Nabokov's Lolita.

[edit] Simulacrum and recreation
Recreational simulacra include reenactments of historical events or replicas of landmarks, such as Colonial Williamsburg and the Eiffel Tower, and constructions of fictional or cultural ideas, such as Fantasyland at Disney’s Magic Kingdom. The various Disney parks have by some philosophers been regarded as the ultimate recreational simulacra, with Baudrillard noting that Walt Disney World Resort is a copy of a copy, “a simulacrum to the second power.”[11] In 1975, Italian author Umberto Eco expressed his belief that at Disney’s parks, “we not only enjoy a perfect imitation, we also enjoy the conviction that imitation has reached its apex and afterwards reality will always be inferior to it."[12] This is for some an ongoing concern. Examining the impact of Disney’s simulacrum of national parks, Disney's Wilderness Lodge, environmentalist Jennifer Cypher and anthropologist Eric Higgs expressed worry that “the boundary between artificiality and reality will become so thin that the artificial will become the centre of moral value.”[13] Eco also refers to commentary on watching sports as sports to the power of three, or sports cubed. First, there are the players who participate in the sport, the real; then the onlookers merely witnessing it; then, the commentary itself on the act of witnessing the sport. Visual artist Paul McCarthy has created entire installations based upon Pirates of the Caribbean, and theme park simulacra, with videos playing inside the installation itself.

[edit] Simulacra in caricature
An interesting example of simulacra is caricature. Where an artist draws a line drawing that closely approximates the facial features of a real person, the sketch cannot be easily identified by a random observer; the sketch could just as easily be a resemblance of any person, rather than the particular subject. However, a caricaturist will exaggerate prominent facial features far beyond their actuality, and a viewer will pick up on these features and be able to identify the subject, even though the caricature bears far less actual resemblance to the subject.

[edit] Simulacra in iconography
Beer (1999: p.11) employs the term 'simulacrum' to denote the formation of a sign or iconographic image whether iconic or aniconic in the landscape or greater field of Thanka Art and Tantric Buddhist iconography. For example, an iconographic representation of a cloud formation sheltering a deity in a thanka or covering the auspice of a sacred mountain in the natural environment may be discerned as a simulacrum of an 'auspicious canopy' (Sanskrit: Chhatra) of the Ashtamangala.[14] Perceptions of religious imagery in natural phenomena approaches a cultural universal and may be proffered as evidence of the natural creative spiritual engagement of the experienced environment endemic to the human psychology.

[edit] See also
Jean Baudrillard
Body double
Doppelgänger
Gilles Deleuze
Look-alike
Pareidolia
Pastiche
Simulated reality
Songlines
Thoughtform
[edit] References
1.^ "Word of the Day Archive: Thursday May 1, 2003" dictionary.com http://dictionary.reference.com/wordoftheday/archive/2003/05/01.html retrieved May 2, 2007
2.^ "simulacrum" The New Shorter Oxford English Dictionary 1993
3.^ Massumi, Brian. "Realer than Real: The Simulacrum According to Deleuze and Guattari." http://www.anu.edu.au/hrc/first_and_last/works/realer.htm retrieved May 2, 2007
4.^ Baudrillard, Jean. "XI. Holograms." Simulacra and Simulations. transl. Sheila Faria Glaser. http://www.egs.edu/faculty/baudrillard/baudrillard-simulacra-and-simulation-11-holograms.html retrieved May 2, 2007
5.^ Massumi, Brian. "Realer than Real: The Simulacrum According to Deleuze and Guattari." http://www.anu.edu.au/hrc/first_and_last/works/realer.htm retrieved May 2, 2007
6.^ Plato. The Sophist. transl. Benjamin Jowett. http://philosophy.eserver.org/plato/sophist.txt retrieved May 2, 2007
7.^ Nietzsche, “Reason in Philosophy.” Twilight of the Idols. transl. Walter Kaufmann and R.J. Hollingdale. 1888. http://www.handprint.com/SC/NIE/GotDamer.html#sect3 retrieved May 2, 2007
8.^ Baudrillard, Jean. excerpt Simulacra and Simulations. http://www.stanford.edu/dept/HPS/Baudrillard/Baudrillard_Simulacra.html retrieved May 2, 2007.
9.^ Deleuze, Gilles. Difference and Repetition. transl. Paul Patton. Columbia University Press: Columbia, 1968, p. 69.
10.^ p.299.
11.^ Baudrillard, Jean. "Disneyworld Company." transl. Francois Debrix Liberation. March 4, 1996. http://www.egs.edu/faculty/baudrillard/baudrillard-simulacra-and-simulations.html retrieved May 2, 2007.
12.^ Eco, Umberto. "The City of Robots" Travels in Hyperreality. Reproduced in relevant portion at http://www.acsu.buffalo.edu/~breslin/eco_robots.html retrieved May 2, 2007
13.^ Cypher, Jennifer and Eric Higgs. “Colonizing the Imagination: Disney’s Wilderness Lodge.” http://www.ethics.ubc.ca/papers/invited/cypher-higgs.html retrieved May 2, 2007
14.^ Beer, Robert (1999). The Encyclopedia of Tibetan Symbols and Motifs, (Hardcover). Shambhala Publications. ISBN 157062416X, ISBN 978-1570624162, p.11
[edit] External links
"Two Essays: Simulacra and Science Fiction; Ballard’s Crash" Baudrillard, Jean
"The Simulacrum's Revenge," sec 3.2 of Flatline Constructs: Gothic and Cybernetic-Theory Fiction Fisher, Mark
"Simulacra and Simulation: Baudrillard and The Matrix Hanley, Richard
John Tufail: The Illuminated Snark. An enquiry into the relationship between text and illustration in 'The Hunting of the Snark'. 36. S, 2004, (pp. 29: Examples for the usage of simulacra)
Retrieved from "http://en.wikipedia.org/wiki/Simulacrum"
Categories: Forteana | Magic (paranormal) | Postmodern art | Hyperreality | Theology | Continental philosophy | Philosophical concepts | PerceptionViews

 

 

To simulate, Baudrillard says initially, is to pretend to have what one has not. He compares previous notions of extreme simulation with a Borges' story in ... www.hku.hk/english/courses2000/7006/introbau.htm

SUMMARY

Jean Baudrillard. "Simulacra and Simulations", in Jean Baudrillard: Selected Writings. ed. Mark Poster, Polity Blackwell, 1988.pp.166-184

To simulate, Baudrillard says initially, is to pretend to have what one has not. He compares previous notions of extreme simulation with a Borges' story in which the conceptual (a map) exactly replicates the original (real territory). Today, however, we have simulacra - 'the generation by models of a real without origin or reality: a hyperreal.' Baudrillard posits the end of metaphysics, of questions of imitation or reduplication of the 'real', and the start of "substituting signs of the real for the real itself". To simulate, in fact, implies more than just 'pretending'. It produces the same symptoms/signs/images as the 'real' and so operates on a different level from the 'false' or the 'true'. Baudrillard makes a comparison with a religion in which there are only icons or images of a non-existent God

Subsequently, Baudrillard argues that there are four phases of the image: one that reflects a basic reality; one that masks or perverts a basic reality; one that masks the absence of a basic reality; and one that bears no relation to any reality (is its own pure simulacrum). He then discusses these phases, and particularly the fourth, in relation to Disneyland and Watergate. As a development of this, one of Baudrillard's most famous and provocative claims is that "Illusion is no longer possible." He gives the example of a bank raid and argues that the apparatus at a Western bank is so geared towards reading the signs of a 'real' bank raid that it would be impossible to simulate one: the established order 'devours' attempts at simulation. This is because simulation is threatening (especially of categories like truth and falsehood, certainty and uncertainty, good and evil). "Whence the characteristic hysteria of our time: the hysteria of production and reproduction of the real."

Botticelli, then at the height of his career, plays the role of an “anti-Protogenes” whose views .... to explain why Leonardo's advice to painters, even ... etext.virginia.edu/cgi-local/DHI/dhi.cgi?id=dv1-47

CHANCE IMAGES

Strictly speaking, an image made by chance is an absurdity. Explicit, fully articulated images, our experience tells us, must be the result of purposeful activity, which is the very opposite of chance in the sense of mere randomness. The dilemma can be resolved either by (1) attributing a hidden purpose to chance, which thus becomes an agency of the divine will personified under such names as Fate, Fortune, or Nature; or by (2) acknowledging that chance images are in fact rudimentary and ambiguous, and are made explicit only in the beholder's imagination. The former view, characteristic of prescientific cultures, is akin to all the beliefs based on the “ominous” meaning of flights of birds, heavenly constellations, the entrails of sacrificial animals, and countless other similar phenomena. It was prevalent until the Renaissance and has not entirely lost its appeal even today. The latter view, although
adumbrated in classical antiquity, found adequate expression for the first time in fifteenth-century Italy; it has been adopted and verified by modern scientific psychologists who made it the basis of projective tests such as the ink blot series named after Hermann
Rorschach. Both views, however incompatible, are strongly linked with past and present ideas concerning the nature of artistic activity, in theory as well as in practice.

I

Classical antiquity seems to have confined its attention to chance images of three kinds: those in rocks, blots, and clouds. For the first two, our earliest source is Pliny's Natural History, although his references to these phenomena are clearly derived from Greek
(probably Hellenistic) literature. He tells of an image of Silenus found inside a block of Parian marble that had been split open with wedges (XXXVI, v) and of “the agate of Pyrrhus on which could be seen Apollo with his lyre and the nine muses, each with her proper attribute, rendered not by art but by nature, through the pattern of the spots” (XXXVII, i). The context from Page 341,
Volume 1 which Pliny lifted these passages cannot be reconstructed; the images, absurdly perfect down to the last iconographic detail, are apparently cited as evidence of the miraculous generative powers of Nature, superior to any man-made artifact. Somewht more illuminating is Pliny's story about a panting dog in a picture by the famous Hellenistic painter Protogenes (XXXV, x). The artist tried in vain to represent the foam issuing from the mouth of the animal until, in a rage, he hurled a sponge at his panel and thereby achieved the desired result. This dog, Pliny states, “was wondrously made,” since the natural effect was the work of fortuna. The same story, he informs us, is told of another famous painter, Nealces, with a horse taking the place of the dog. A variant of the latter version, substituting Apelles for Nealces, occurs in the sixty-fourth oration of Dio Chrysostom, which deals with the workings of fortuna. Here again the chance image is so perfect as to surpass any human intention. The inference to be drawn from the sponge story, it would seem, is that Fortune reserves such “strokes of luck” only for the greatest of artists, as if on occasion she took pity on their ambition to achieve the impossible.It must have been these accounts of incredibly perfect chance images that provoked the following skeptical rejoinder from Cicero: Pigments flung blindly at a panel might conceivably form themselves into the lineaments of a human face, but do you think the loveliness of the Venus of Cos could emerge from paints hurled at random?... Carneades used to tell that once, in the quarries of Chios, a stone was split open and the head of a little Pan appeared; well, the bust may not have been unlike the god, but we may be sure that it was not so perfect a reproduction as to lead one to imagine that it had been wrought by Scopas, for it goes without saying that perfection has never been achieved by accident (De divinatione I, xiii).

This early hint at the rationalist explanation of chance images corresponds to the classicistic taste that dominated Roman art of the late Republic and the Augustan era (note the references to classic Greek masters). The story of the sponge-throwing painter, in contrast, reflects an admiration for spontaneity, for inspired groping by a great individual as against an impersonal ideal of perfection. If fortuna favors only artists of the stature of Protogenes, Nealces, or Apelles, is she not just another name for genius? Such an unclassical (one is tempted to call it romantic) attitude seems to have existed in Hellenistic art, although it cannot be documented from surviving examples. An echo of it may be found in another passage of Pliny's Natural History (XXXV, cxlv) that speaks of painters whose unfinished pictures were sometimes even more admirable than their completed work, because they still showed the lines of the original sketch and thus revealed the working of the artist's mind. The agate of Pyrrhus, too, although obviously myth ical, has a bearing on artistic practice. Greeks and Romans greatly admired carved gems of varicolored semiprecious stones, as attested by the large number of preserved specimens. In many of these, the design takes advantage of, and may indeed have been suggested by, the striations of the material. Thus the value of a gem stone was probably measured by its potential in this respect even more than by its rarity, and those that lent themselves particularly well to carving would have been looked upon as miraculous “images made (or at least preshaped) by Nature.” How far human skill has been “aided by Nature” in any given case is of course difficult to assess after the carving is finished, although certain gems indicate that the artist wanted to suggest that such aid had been considerable. The ancient marble sculptor's interest in chance effects, suggested by the tales of images found in cracked blocks, is even harder to verify. One wide-spread feature of later Greek and Roman decoration, the foliage mask, may have originated in this way. Ladendorf has proposed that it developed from the acanthus ornament crowning Attic grave steles, which sometimes tends to assume the appearance of a human face. This physiognomic effect is so unobtrusive that, in the beginning at least, it could hardly have been intentional. A stele (an up right stone slab or pillar) evokes the image of a standing figure, and its upper terminus thus may be viewed as its “head.” Perhaps this notion was unconsciously present in the carver's mind. In any event he must have become aware at some point of the face hidden among the foliage, and from then on the effect was exploited quite explicitly. The foliage mask, then, could be termed an “institutionalized chance image.” Figures that are seen in clouds are noted by Aristotle (Meteorology I, ii) and briefly mentioned in Pliny's Natural History (II, lxi) and other ancient authors. Because of their instability and remoteness, however, they were not given the significance of the miraculous images made by Nature or Fortune in rocks and blots, and their origin rarely excited speculation. An excep tion is Lucretius (De rerum natura IV, 129ff.), who found them a challenge to his theory that all images are material films given off by objects somewhat in the manner of snakes shedding their outer skin. Since cloud figures are unstable, there cannot be any objects from which these image films emanate; Lucretius therefore postulates the spontaneous generation of such films in the upper air—an ingenious but hardly persuasive solution. By far the most interesting analysis of the phenomenon, linking it for the first time with the / Page 342, Volume 1 process of artistic creation, occurs in a memorable dialogue in Philostratus' Apollonius of Tyana (II, 22). Apollonius and his interlocutor, Damis, agree that the painter's purpose is to make exact likenesses of everything under the sun; and that these images are make- believe, since the picture consists in fact of nothing but pigments. They further agree that the images seen in clouds are make-believe, too. But, Apollonius asks, must we then assume that God is an artist, who amuses himself by drawing these figures? And he concludes that those configurations are produced at random, without any divine significance; it is man, through his natural gift of make-believe, that gives them regular shape and existence. This gift of make-believe (i.e., imagination) is the common property of all. What distinguishes the artist from the layman is his ability to reproduce his mental images in material form. To Philostratus the difference between cloud figures and painted images would thus seem to be one of degree only: the artist projects images into the pigments on his panel the way all of us project images into the random shapes of clouds, but he articulates them more clearly because of his manual skill. Although this view clearly reflects the growing ascendency of fantasia over mimesis—of imagination over imitation—that had been asserting itself in the attitude of the ancients toward the visual arts ever since Hellenistic times, it retains the traditional conception of painting and sculpture as crafts or “mechanical arts” as against the “liberal arts.” That the artist might be distinguished from the nonartist by the quality of his imagination rather than by his manual training did not occur to Philostratus. If it had, he would have anticipated an achievement of the Renaissance by more than a thousand years. Nor did ancient painters think of the pigments on their panels as a “hunting ground” for images analogous to clouds; they seem, in fact, to have been repelled by clouds—the skies in ancient landscapes are devoid of them, and even where the subject requires them (as in The Sacrifice of Iphigenia, Naples) they appear as the merest wisps. This aversion was clearly a matter of aesthetics, not of disability. Ancient painters commanded all the illusionistic techniques for rendering clouds, and bequeathed them to Early Christian art, where clouds are conspicuous.

II

The Middle Ages inherited most of the classical accounts of chance images, but did not respond to all of the three types discussed above. The “lucky blot,” known from Pliny's story of Protogenes, seems to have evoked neither repetition nor comment. References to cloud figures occur as a rhetorical device in theological writings, stressing their instability and lack of substance, as when Anselm of Canterbury (Cur Deus homo, ed. F. S. Schmitt, Darmstadt [1960], p. 16) compares certain fallacious arguments to “figments painted on clouds” (perhaps indirectly echoing Philostratus); Michael Psellus, in a similar vein, says that demons Page 343, Volume 1 can change their appearance as easily as the ever changing configurations of clouds, which may resemble the shape of men, bears, dragons, etc. Albertus Magnus seems to have been the only one to attribute material substance to cloud figures, although his explanation differs from that of Lucretius: exhalations from the earth, he claims, if aided by heavenly constellations, can form in the clouds perfect though lifeless animal bodies, which may actually drop from the sky (On Meteors, III, iii, 23, citing Avicenna). Elsewhere he also records the chance images inside locks of marble, stressing their miraculous characters; he even reports that he himself once saw the head of a bearded king on the cut surfaces of such a block that had just been sawed in two (On Minerals, II, iii, 1); all who witnessed the event agreed that Nature had painted this image on the stone. Both of these accounts of “natural miracles” were given popular currency toward the end of the Middle Ages by Franciscus de Retza, who cited the animal body dropping from the ky as well as the head in the marble as arguments for the Immaculate Conception in his Defensorium in- violatae virginitatis Mariae (ca. 1400). The scenes were even illustrated in an early printed edition.By far the most widespread chance images, however, were those of the “agate-of-Pyrrhus” type. The ancients' love of gems continued undiminished throughout the Middle Ages; indeed, these stones were the only artistic relics of the pagan past to enjoy continuous and unquestioned appreciation. Thousands of them were incorporated in medieval reliquaries and other sacred objects, regardless of their pagan subject matter, and reports of chance images recur in treatises on mineralogy from the lapidary of Marbod of Rennes to Ulisse Aldrovandi and Athanasius Kircher. (The accounts of these pierres imagées have been collected and analyzed by Baltrušaitis.) Their effect on artistic practice, however, is difficult to measure. One clear-cut—and so far unique—instance was discovered by Ladendorf: the tiny faces hidden among the striations of the multicolored marble columns on the canon table pages of the Gospel Book from Saint Médard, Soissons. The artist who painted these columns in the early years of Charlemagne's reign may have seen such faces in early Christian manuscripts, or he could have “discovered” them in his own brushwork while he was at work. In either case, his intention must have been to characterize the material of these columns as miraculous and uniquely precious—and hence worthy to frame the words of the Lord. A certain propensity toward chance images seems to have existed throughout medieval art, even though the subject is far from fully explored. Thus, in the Nativity scene of an early Gothic German Psalter, there are no less than three faces on the ground in the immediate vicinity of Saint Joseph. The one farthest to the left appears to have been developed from a piece of drapery; the other two fill interstices be tween clumps of plants. Perhaps the most plausible explanation for them is that the artist “found” (i.e., / Page 344, Volume 1 projected) them in the process of copying an older miniature whose stylistic conventions he did not fully understand. His readiness to interpret unfamiliar details physiognomically suggests that he knew the “institutionalized chance image” of the foliage mask, which had been revived at least as early as the twelfth century and was well-established in the repertory of Gothic art. Since these masks sometimes carry in scriptions identifying them as images of pagan nature spirits or demons, the faces in our Nativity may have been intended to evoke the sinister forces overcome by the Savior.That Gothic art continued to be receptive to chance images even in its final, realistic phase is strikingly shown by the Hours of Catherine of Cleves, a Nether landish manuscript of ca. 1435-40 distinguished for its elaborate painted borders. One of these consists of butterflies, rendered with painstaking attention to the colorful patterns of their wings. Among them is a butterfly whose wing pattern resembles a cavernous human face, like that of a decaying corpse come back to life. There can be no question that the effect is intentional, yet it could hardly have been planned from the start; in all likelihood the artist became aware of it only in the process of ainting, and then chose to elaborate upon it so that the beholder could share his experience. What made him do so, we may assume, was not only an interest in chance images (there is evidence of this on other pages of the same manuscript) but the role of the butterfly as a symbol of vanitas, which associated it with death. Despite such links with orthodox iconography, there is a strong element of playfulness in medieval chance images. The purest instance of this is a drawing of 1493 by the young Albrecht Dürer, one side of which shows a self-portrait, a sketch of his left hand, and a pillow, / Page 345, Volume 1 / while six more pillows appear on the other side (Figure 8). Ladendorf was the first to recognize the purpose of these pillows: a search for faces hidden among the folds. Most easily recognizable is the one in the lower left-hand corner—a bearded Turk with a huge turban. Turning the sheet upside down, we also discover that the pillow in the upper left-hand corner contains the craggy face of a man wearing a pointed hat. Since these are the only image-bearing pillows we know of in the history of art, Dürer presumably discovered their physiognomic potential by accident, perhaps while sketching a pillow in preparation of a print or a painting. What enabled him to play this game, however, must have been a familiarity with chance images in other, more traditional materials such as stone. He might indeed have looked upon his pillows as “malleable rocks” from which such images could be elicited by manipulation. Yet he seems to have kept his discovery to himself, so that the pillow-faces never be-came “institutionalized.”

III

The Renaissance phase in the history of our subject begins with the opening sentences of Leone Battista Alberti's treatise De statua, written about 1430. Here the origin of sculpture is described as follows Those [who were inclined to express and represent... the bodies brought forth by nature] would at times observe in tree runks, clumps of earth, or other objects of this sort certain lineaments which through some slight changes could be made to resemble a natural shape. They thereupon took thought and tried, by adding or taking away here and there, to render the resemblance completeBefore long, Alberti adds, the primeval sculptors learned how to make images without depending on such resemblances latent in their raw material. This passage is the earliest statement of the idea that what sets the artist apart from the layman is not his manual skill but his ability to discover images in random shapes, i.e., his visual imagination, which in turn gives rise to the desire to make these images more explicit by adding or taking away. How did Alberti arrive at this astonishing insight? Classical art theory provides no etiology of sculpture, and its etiology of painting is purely mimetic: the first artist traced a shadow cast by the sun. Moreover, in contrast to the agate of Pyrrhus and the heads supposedly discovered in cracked blocks of marble, the chance images in Alberti's tree trunks and clumps of earth are rudimentary rather than miraculously complete. Perhaps the key to the puzzle is the fact that Alberti postulates wood and clay, not stone or marble, as the sculptor's aboriginal materials. If he started out by wondering what the earliest statues were made of, he could have found an answer in Pliny (XII, i), who concludes a discussion of the central importance of trees in the development of religious practices by stating that the statues of the gods, too, used to be ex arbore. In view of the anthropomorphic shape of certain trees, reflected in such myths as that of Daphne turned into a laurel, this must have seemed plausible enough. Another early work of Alberti, the dialogue Virtus et Mercurius, has Virtus complaining of persist ent abuse at the hands of Fortuna: “While I am thus despised, I would rather be any tree trunk than a goddess,” a notion suggestive both of the Plinian tree deities and of the tree trunks in De statua. This “trunkated” Virtue-in-distress was translated into visual terms by Andrea Mantegna, whose image of her might almost serve as an illustration of the Destatua text. It also resembles actual idols such as the pair of tree-trunk deities carved by a Teutonic contemporary of Pliny and recently unearthed in a bog near the German-Danish border. Like many another explorer of new territory, Alberti did not grasp the full significance of what he had / Page 346, Volume 1 / discovered. His chance-image theory is subject to two severe limitations: it applies to sculpture only, and to the remote past rather than to present artistic practice. In his treatise on painting, written a few years after De statua, he merely cites the ancient shadow-tracing theory but adds that “it is of small importance to know the earliest painters or the inventors of painting.” When he mentions the chance images in cracked blocks of marble and on the gem of Pyrrhus recorded by Pliny, he does so in order to fortify his claim that painting is a noble and “liberal” activity, since “nature herself seems to take delight in painting.” He also explicitly denies that painting is comparable to the kind of sculpture “done by addition,” even though the painter works by adding pigments to a bare surface. This puzzling gulf that existed in Alberti's mind between the two arts reflects the singular importance he attached to scientific perspective as the governing theory of painting. His treatise focuses on painting as a rational method of epresenting the visible world, rather than as a physical process, and hence leaves little room for the chance-image etiology he had proposed in De statua. We do not know who first applied it to painting and to present-day conditions. The earliest explicit statement occurs in the writings of Leonardo, but the passage strongly suggests that he learned it from older artists: If one does not like landscape, he esteems it a matter of brief and simple investigation, as when our Botticelli said that such study was vain, because by merely throwing a sponge full of diverse colors at a wall, it left a stain... where a fine landscape was seen. It is really true that various inventions are seen in such a stain.... But although those stains give you inventions they will not teach you to finish any detail. This painter of whom I have spoken makes very dull landscapes (Leonardo's Treatise on Painting, ed. and trans. Philip McMahon, Princeton [1956], I, 59) Apparently Leonardo here records an experience he had about 1480, shortly before his departure for Milan; Botticelli, then at the height of his career, plays the role of an “anti-Protogenes” whose views Leonardo turns to his own advantage. In another passage, Leonardo recommends that painters look for landscapes as well as figure compositions in the accidental patterns of stained walls, varicolored stones, clouds, mud, or similar things, which he compares to “the sound of bells, in whose pealing you can find every name and word you can imagine.” The spotted walls, clouds, etc., here obviously play the same role as the tree trunks and clumps of earth in De statua. Leonardo, moreover, states more clearly than Alberti does that chance images are not objectively present but must be projected into the material by the artist's imagination. While he presents his idea as “a new discovery,” there can be little doubt that he did in fact derive it from Alberti, whose writings are known to have influenced his thinking in a good many instances. That Leonardo should have transferred the chance-image theory from the remote past to the present and from sculpture to painting is hardly a surprise in view of his lack of interest in historical perspectives and his deprecatory attitude toward sculpture. At the same time, the reference to Botticelli (whose remark may well have been aimed at Leonardo himself) suggests that there was some awareness among early Renaissance painters of the role of chance effects in actual artistic practice before Leonardo formulated his chance-image theory of pictorial invention.That such was indeed the case may be gathered from some visual evidence which in point of time stands midway between Alberti's De statua and “Botticelli's stain.” Interestingly enough, these are images in clouds, rather than in the more palpable substances that had yielded chance images in medieval art, thus indicating a new awareness of the unstable and subjective character of chance images. The best-known instance is the tiny horseman in Mantegna's Saint Sebastian in Vienna, which has resisted all efforts to explain / Page 347, Volume 1 / it in terms of the overt subject matter of the panel. Not only is the image so unobtrusive that most viewers remain unaware of it; it is also incomplete, the hind quarters of the horse having been omitted so as not to break the soft contour of the cloud. Did Mantegna plan it from the very start, or did he discover the horseman only in the process of painting that particular cloud and then, like the primeval sculptors of De statua, added or took away a bit here and there in order to emphasize the esemblance? Be that as it may, we can only conclude that he must have been taken with the idea of cloud images, and that he expected his patron, too, to appreciate the downy horseman. This patron would seem to have been a passionate admirer of classical antiquity, for the panel is exceptionally rich in antiquarian detail; the artist even signed it in Greek. Apparently the horseman is yet another antiquarian detail, a visual pun legitimized by the discussion of cloud images in Greek and Roman litera ture. It has been kept “semi-private” so as not to offend less sophisticated beholders. If this view is correct, the horseman need have no connection at all with the chance images of Alberti, even though Mantegna must have been well acquainted with Alberti's writings We know rather less about a second cloud image, contemporary with Mantegna's horseman, that occurs in the Birth of the Virgin by the Master of the Barberini Panels. Here a cloud assumes the shape of a dolphin A possible clue to its meaning is the flight of birds next to it, which may be interpreted as a good omen for the newborn child according to Roman belief. Since the scene takes place in a setting filled with references to pagan antiquity, an “auspicious” flight of birds would be in keeping with the rest; and the cloud-dolphin would then be a further good omen (dolphins having strongly positive symbolic connotations), whether the image was planned or accidentally discovered. Flights of birds as a means of divination are mentioned so frequently in Roman literature that they must have been well-known among fifteenth century humanists.These early cloud images, however small and unobtrusive, are the ancestors of a wide variety of figures made of clouds in sixteenth-century painting. Mantegna himself institutionalized the technique in his late work (Minerva Expelling the Vices from the Grove of Virtue, 1501-02, Paris, Louvre), Raphael introduced cloud-angels in his Madonna of Foligno and Sistine Madonna, and Correggio depicted the amorous Jupiter as a cloud in his Io. Even the human soul, hitherto shown as a small figure with all the substance of living flesh, could now be given a cloudy, “ectoplasmic” shape, as in El Greco's Burial of Count Orgaz. What began as a semi-private visual pun had become a generally accepted pictorial device for representing incorporeal beings. It would be fascinating to know whether Leonardo practiced what he preached. If he did, no evidence of chance images derived from spotted walls or similar sources has survived among his known works. A Madonna and Saints by one of his Milanese followers indicates that Leonardo's advocacy of chance images was not confined to the theoretical plane. The group is posed against an architectural ruin among whose / Page 348, Volume 1crumbling stones we discern the face of a bearded man wearing a broad-brimmed hat. Evidently the artist, alerted by Leonardo's teachings, felt that no ancient wall surface was complete without a chance image. The influence of Leonardo's chance-image the-ory can be seen also in the work of the Florentine painter Piero di Cosimo, who according to Vasari was in the habit of staring at clouds and spotted walls, “imagining that he saw there equestrian combats and the most fantastic cities and the grandest landscapes.” Some of Piero's pictures show extravagantly shaped willow trees with pronounced chance-image features but based on a close study of actual trees, which he must have gone out of his way to find. Finally, Leonardo's discussion of chance images may have inspired a curious pictorial specialty that flourished, Volume 1mainly in Florence from the late sixteenth to the eighteenth century. These paintings are done on the polished surfaces of agates or other strongly patterned stones in such a way that the colored veins become part of the composition, providing “natural” back grounds of clouds, landscape, etc., for the figures. They were prized as marvels of nature no less than of art (a description cited by Baltrušaitis terms them “an interplay of ars and natura”) and tended to accumulate in the cabinets of royalty. Linked with the legendary gem of Pyrrhus, they might be defined as elaborated chance images were it not for the fact that the painter's share always remains clearly distinguishable from nature's. Apparently a real merging of the two spheres was deemed aesthetically undesirable. Despite his interest in unorthodox techniques—confirmed by recent studies which show that he often painted not only with brushes but with his fingers—Leonardo did not favor homemade chance images such as “Botticelli's stain.” Nor does he reveal how the images found in spotted walls, etc., are to be transformed into works of art. Apparently he thought of this process as taking place in the artist's mind, rather than on the surface of the painting, where the task of “finishing the detail” would be impeded by the inherent vagueness of images resulting from thrown sponges. His ideal of objective precision, inherited from the early Renaissance, gave way in sixteenth-century art theory to values more attuned to the concept of genius. Among them was sprezzatura, a recklessness mirroring inspired frenzy at the expense of rational control, which meant a disregard of accepted usage in literature and a rough, unfinished look in the visual arts. The story of the sponge-throwing Protogenes could now provide a supreme example of such recklessness, as it does for Montaigne (Essays, I, xxiv, xxxiv), who cites it to illustrate the close relationship between chance (good luck, fortuna) and inspiration

IV

The chance images discussed so far all have one feature in common—the artist finds them, or pretends to find them, among the random shapes of the outside world. He does not create them but merely discovers them and “makes the resemblance omplete” while leaving the identity of the matrix (stone, foliage, pillows, clouds, etc.) untouched. This limitation may help to explain why Leonardo's advice to painters, even though enshrined in the text of his Treatise on Painting, had little practical effect until the dawn of the modern era. At that time it was suddenly revived, with appropriate modifications, by the British landscape painter and drawing teacher Alexander Cozens, who in 1785-86 published an illustrated treatise entitled A New Method of Assisting the Invention in Drawing Original Compositions of Landscape. It describes “a mechanical method... to draw forth the ideas” of artists, which consists of making casual and largely accidental ink blots on paper with a brush, to serve as a store of compositional suggestions.Cozens recommends that these blots be made quickly and in quantity, and that the paper be first crumpled up in the hand and then stretched out again. The next step is to select a particularly suggestive sheet of blots, place a piece of transparent paper over it and make a selective tracing; the author cautions us to “preserve the spirit of the blot” by not adding anything that is not suggested by it. The drawing is then finished by adding ink washes.Cozens cites Leonardo's words about the images to be seen on dirty walls, etc., but adds proudly that he thinks his procedure an improvement, since it permits the artist to produce his chance images at will, without having to seek them out in the world of nature. Oddly enough, he fails to quote the Leonardo passage dealing / Page 350, Volume 1 / with “Botticelli's stain,” which anticipates his own procedure so closely that one wonders if he was really ignorant of it. The ink blots of Cozens' Method, how ever, are not meant to be entirely ccidental; he defines them as “a production of chance, with a small degree of design,” since the artist is expected to think of a landscape subject in general terms while producing them. His own sample of such a “blotscape” is clearly a work of art, displaying a highly individual graphic rhythm. Its purpose, he makes clear, is to free the artist from involuntary servitude to conventional schemes of landscape composition by making him relinquish deliberate control of his movements as much as possible in the beginning; the selective tracing of the blots is intended to redress the balance.To his contemporaries, on the other hand, Cozens' blots seemed sheer chaos, and an occasion for endless ridicule. Neo-classic taste was so opposed to the ideas implicit in the Method that it rejected even the hallowed story of Protogenes. In a critique of the pictures shown at the Paris Salon of 1783 (Le Triumvirat des arts, ou dialogue entre un peintre, un musicien et un poète, published anonymously as a pamphlet) the poet ridicules one painting by pronouncing it a masterpiece à la manière de Protogène. Henry Fuseli notes that “many beauties in art come by accident that are preserved by choice,” but is quick to add that these have nothing in common with the sponge of Protogenes or “the modern experiments of extracting compositions from an ink-splashed wall,” an obvious reference to Cozens (Aphorism 153). Yet Cozens' very notoriety kept his Method from being forgotten. Its liberating effect on Constable and Turner, the great Romantic landscape painters of the early nineteenth century, must have been profound.That Cozens anticipated a general trend toward free, spontaneous brushwork transcribing the artist's creative impulse more directly than before, is amusingly attested by a French cartoon of 1844 which shows the Romantic painters, with Delacroix in the foreground, as simian virtuosos who do not even bother to look at their canvases while they paint. The Method also seems to be the ancestor of the Rorschach ink-blot test. A parlor game based on it enjoyed a certain vogue in England and may have helped to popularize it on the Continent, especially among amateurs. Elaborated blots are to be found in the drawings of Victor Hugo, and in the 1850's the German physician and poet Justinus Kerner produced Klecksographien, ink blots on folded paper which he modified slightly to emphasize the chance images he had found in them (Figure 19). He wrote little descriptive poems based on these images and collected this material in his Hadesbuch, which remained unpublished until 1890. The belated / Page 351, Volume 1 / rediscovery of Kerner's Klecksographien makes it likely that they were known to Hermann Rorschach, who used the same folded-paper technique for his tests but substituted oral for graphic interpretation of images Meanwhile, Alberti's hypothesis about the origin of sculpture was also being put to the test. In the 1840's Boucher de Perthes, one of the pioneer students of Paleolithic artifacts, collected large numbers of oddly shaped flint nodules which he claimed had been treasured by the men of the Old Stone Age because of their accidental resemblance to animal forms. As evidence he adduced what he regarded as efforts by these primeval sculptors to modify the shape of these “figure stones” so as to make the likeness more palpable. His discovery caught the imagination of other students of “antediluvian antiquity,” and figure stones soon turned up in England as well, while the skeptics denounced Boucher de Perthes and his followers as self-deluded or fraudulent. The skeptics eventually won out, but the issue may never be fully resolved; after all, the men of the Old Stone Age might have prized these nodules for their image-bearing quality even if there is no proof that they modified their shapes.Nor was the controversy useless, for it probably alerted students of the Paleolithic to the existence of modified chance images in the cave art of Spain and the Dordogne, which was discovered a few decades later. The aesthetic attitude of the Romantics not only favored impulsiveness at the expense of rational control; it also undermined the classic view that “painting is mute poetry” by enthroning music as the highest of the arts. To those who espoused this belief, the subject of a picture was little more than a peg on which to hang attractive combinations of form and color. Their most articulate spokesman, James Whistler, began in the early 1860's to call his works “symphonies,” “harmonies,” “nocturnes,” or “arrangements,” in order to stress his convinction that descriptive values in painting are as secondary as they are in music; the subject proper was mentioned only as a subtitle, for the benefit of the ignorant ublic.Whistler's attitude toward chance effects, far more radical than Cozens', became a matter of public record during his famous libel suit against John Ruskin, who had charged him with “flinging a pot of paint in the public's face.” In painting a Nocturne, Whistler stated, “I have... meant to indicate an artistic interest alone ..., divesting the picture from any outside sort of interest which might have been otherwise attached to it. It is an arrangement of line, form and colour first, and I make use of any incident of it which shall bring about a symmetrical result.” By “incident,” he clearly meant accidental, unforeseen effects, and “symmetrical” to him was a synonym for “harmonious.” Some of Whistler's works are indeed so divested of “outside interest” that without the aid of the subtitle we would be hard put to recognize the subject. How much accident went into the painting of them is impossible to say, for we are approaching the point where chance and intention become inseparable.Unlike Cozens, who still wanted his blots to yield recognizable images, Whistler solicits chance effects /Page 352, Volume 1 / for the sake of “symmetry”; representation, taken for granted as the aim of art from the beginning of time, is about to give way to a new primary reality, that of the brush stroke itself, and when this happens we lose the frame of reference that enables us to differentiate between accident and purpose. The nonfigurative art of the twentieth century is strikingly forecast in Whistler's thinking (and to a lesser extent his practice) The retreat from likeness that began with Impressionism would seem to leave no room for the concept of images made by chance. Not surprisingly, the subject is disregarded—as extra-aesthetic, we may assume—in theories keyed to Cubism and abstract art. Still, an awareness of it persisted, as evidenced by the following story, which Picasso told to Françoise Gillot. During the most austere phase of “Analytical Cubism,” when he and Braque were working in closely related styles, Picasso one day went to look at his friend's latest work. Suddenly, he became aware that there was a squirrel in the picture, and pointed it out to Braque, who was rather abashed at this discovery. The next day Braque howed him the picture again, after reworking it to get rid of the squirrel, but Picasso insisted he still saw it, and it took yet another reworking to banish the animal for good. Whatever its literal truth, this anecdote suggests that the artist's imagination remains ba sically iconic, and hence ready to find images where none were intended, even under the discipline of an abstract style. Picasso's own later work, from the 1930's on, abounds in chance images of every sort. The most striking cases occur among his sculpture, such as a bull's head composed of the seat and handlebars of a bicycle, or a monkey's face made of a toy automobile Making the resemblance explicit here involves, in the first instance, no more than putting the bicycle parts together in a novel way; in the second, the artist forces us to share his interpretation of the toy automobile by constructing the rest of the animal around it. Perhaps it was visual adventures of this kind that made him recall the story of Braque's squirrel some thirty years after the event. During the interval, the artistic climate of the West ern world had been thoroughly transformed by Dada and Surrealism, which acclaimed chance as the basis of aesthetic experience. As early as 1916-17, Hans Arp was producing compositions of torn bits of paper which he claimed were “arranged according to the laws of chance”; later, he wrote eloquently in praise of “the Muse of Chance.” Marcel Duchamp, the most influen tial member of the movement, was an equally persuasive advocate and practitioner of chance effects. What the Dadaists sought to elicit was not chance images so much as “chance eetings”—unexpected juxtaposi tions of objects which by their very incongruity would have a liberating effect on the imagination. The creative act to them was a spontaneous gesture devoid of all conscious discipline. Surrealism supported this out look with an elaborate theoretical framework invoking the authority of Sigmund Freud for its view of the unconscious. It also invented a number of new pictorial techniques, or variations of older ones such as ink blots, for soliciting chance images, its orientation being una bashedly iconic. Nor was this reversal of the retreat from likeness confined to the Surrealists; the same trend can be found among artists independent of or only loosely linked with the movement. The result has been a renewed awareness of the link between chance and inspiration. The sponge-throwing Protogenes, were his story better known today, would be the ideal hero of many mid-twentieth-century artists.

V

The history of our subject in Western civilization has a close parallel in the Far East, although the evidence is even more fragmentary and its frame of reference difficult to interpret. As early as the eighth century, toward the end of the T'ang dynasty, there were Chinese painters using procedures astonishingly similar to Cozens' Method. Their style, called i-p'in (“untrammeled”), is known only from literary accounts such as that concerning one of them, Wang Mo: Whenever he wanted to paint a picture, he would first drink wine, and when he was sufficiently drunk, would spatter the ink onto the painting surface. Then, laughing and singing all the while, he would stamp on it with his feet and smear it with his hands, besides swashing and sweeping it with the brush. The ink would be thin in some places, rich in others; he would follow the shapes which brush and ink had produced, making these into mountains, rocks, clouds, and water. Responding to the movements of his hand and / Page 353, Volume 1/ following his inclinations, he would bring forth clouds and mists, wash in wind and rain, with the suddenness of Crea tion. It was exactly like the cunning of a god; when one examined the painting after it was finished he could see no traces of the puddles of ink (S. Shimada, 1961). Such a display of sprezzaturawas surely an extreme manifestation of the i-p'in style. Yet Wang Mo and the other “untrammeled” painters had a catalytic effect upon the development of Sung painting analogous to that of Cozens on the Romantics. Their works may not have survived for long, but descriptions of their methods did, providing future artists in both China and Japan with a model of the creative process stressing individual expression and an exploratory attitude toward the potentialities of ink technique. There are later accounts, ranging from the eleventh to the nineteenth century, of painters soliciting chance images in ways comparable to those of the i-p'in pioneers. None of the surviving examples, however, ap proach the freedom of Cozens' “blotscapes.” It is hard to say, therefore, how accurately the literary sources reflect actual practice. One recurrent element in these accounts is the claim that the work—almost invariably a landscape—looks as if “made by Heaven” or “brought forth with the suddenness of Creation,” rather than like something made by man. Such terms of praise imply that the picture in question seems completely effortless and unplanned; a work of nature, not a work of art. This aesthetic ideal musthave led the Chinese to the discovery that certain kinds of veined marble could be sliced in such a way that the surface suggested the mountain ranges and mist-shrouded valleys characteristic of Sung landscapes. The marble slabs would be framed like paintings and supplied with an evoca tive inscription. Since they were small, durable, and produced in large quantities, it seems likely that some of them reached the West with the expansion of the China trade in the eighteenth century. If so, these Far Eastern chance images may have helped to stimulate the train of thought that produced Cozens' Method

BIBLIOGRAPHY

Jurgis Baltrušaitis, “Pierres imagées,” Aberrations, quatre essais sur la légende des formes (Paris, 1957). Ernst Gom-
brich, Art and Illusion (New York, 1960). H. W. Janson,“After Betsy, What?”, Bulletin of the Atomic Scientists, 15 (1959), 68ff.; idem, “The `Image Made by Chance' in Ren aissance Thought,” De Artibus Opuscula XL, Essays in Honor of Erwin Panofsky (New York, 1961), pp. 254-66. Ernst Kris and Otto Kurz, Die Legende vom Künstler (Vienna, 1934). Heinz Ladendorf, “Zur Frage der künstler- ischen Phantasie,” Mouseion, Studien... für Otto Förster(Cologne, 1960), pp. 21-35. John Plummer, The Hours of Catherine of Cleves (New York and London, 1966). Patrik Reuterswärd, “Sinn und Nebensinn bei Dürer,” Gestalt und Wirklichkeit, Festgabe für Ferdinand Weinhandl (Berlin, 1967), pp. 411-36. Karl Schefold, “Zur Frage der künstler- ischen Phantasie,” Antike Kunst, 4, No. 2 (1961), 79. S. Shimada, “Concerning the I-p'in Style of Painting—I,” Oriental Art, n.s. 7, No. 2 (1961), 3-11. Osvald Siren, Chinese Painting, 3 vols. (New York, 1956), I, 216.H. W. JANSON [See also Chance v1-46  ; China v1-48  ; Fortune, Fate, and Chance v2-27  ; Genius v2-35  v2-36  ; Iconography v2-57  ; Mimesis v3-27  ; Virtù;. v4-64  ]"

 

 

A COAT OF MANY COLOURS

Herbert Read 1945

Page 57

"The aim of the superrealists as Max Ernst has recently declared, is not merely to gain access to the unconscious and to paint its contents in a descriptive or realistic way: nor is it even to take various elements from the unconscious and with them construct a separate world of fancy; it is then their aim to break down the barriers both physical and psychical, between the conscious and the unconscious, between the inner and the outer world, and to create a superreality in which real and unreal, meditation and non, conscious and unconscious, meet and mingle and dominate the whole of life. In Bosch's case, a quite similar intention was inspired by medieval theology, and a very literal belief in the reality of the Life Beyond. To a man of his intense powers of visualization, the present life and life to come, Paradise and Hell and the World, were equally real and interpenetrating; they combined, that to say, to form a superreality that was the only reality with which an artist could be concerned"

 

 

DAILY MAIL, TUESDAY, 2012

Page 60

ANSWERS TO CORRESPONDENTS COMPILED BY CHARLES LEGGE!

QUESTION WHAT DOES THE ART WORLD MEAN BY 'CRITICAL PARANOIA!'?

VIEW OF A GENIUS: SWANS REFLECTING ELEPHANTS BY SALVADOR DALI (INSET)

DALI'S SURREAL DEAL

CRITICAL PARANOIA OR THE PARANOIC-CRITICAL METHOD WAS A CONCEPT INVENTED BY SPANISH SURREALIST SALVADOR DALI AS A WAY OF PERCEIVING REALITY. DALI DEFINED IT AS 'IRRATIONAL KNOWLEDGE' BASED ON A DELIRIUM OF INTERPRETATION', AND IT DESCRIBES THE ABILITY OF THE ARTIST OR VIEWER TO PERCEIVE MULTIPLE IMAGES WITHIN THE SAME CONFIGURATION,

ACCORDING TO DALI, BY SIMULATING PARANOIA ONE CAN SYSEMATICALLY UNDERMINE ONE'S RATIONAL VIEW OF THE WORLD BY CONTINUALLY SUBJECTING IT TO ASSOCIATIVE TRANSFORMATIONS: 'FOR INSTANCE, ONE CAN SEE, OR PERSUADE OTHERS TO SEE ALL SORTS OF SHAPES IN A CLOUD: A HORSE, A HUMAN BODY, A DRAGON, A FACE, A PALACE AND SO ON,' HE SAID.

THE FRENCH SURREALIST MICHEL JEAN WROTE: 'ANY PROSPECT OR OBJECT OF THE PHYSICAL WORLD CAN BE TREATED IN THIS MANNER, FROM WHICH THE PROPOSED CONCLUSION IS THAT IT IS IMPOSSIBLE TO CONCEDE ANY VALUE WHATSOEVER TO IMMEDIATE REALITY, SINCE IT MAY REPRESENT OR MEAN ANYTHING AT ALL.'

THE POINT IS TO PERSUADE ONESELF OF THE AUTHENTICITY OF THESE TRANSFORMATIONS IN SUCH A WAY THAT THE 'REAL' WORLD FROM WHICH THEY ARRIVE LOSES ITS VALIDITY.

DALI'S METHOD LEADS TO A WORLD SEEN IN CONTINUOUS FLUX, AS IN HIS PAINTINGS WHERE OBJECTS DISSOLVE FROM ONE STATE INTO ANOTHER, SOLID OBJECTS BECOME TRANSPARENT AND INSUBSTANTIAL THINGS TAKE FORM.

DALI BELIEVED THAT ALTHOUGH SUPERFICIALLY HIS WORK MIGHT SEEM ABSURD, IT COULD BE UNDERSTOOD ON A SUBCONSCIOUS LEVEL.

HE USED HIS PARANOID-CRITICAL METHOD THROUGHOUT HIS CAREER, IT CAN BE SEEN IN MANY WORKS, INCLUDING THE PERSISTANCE OF MEMORY, SWANS REFLECTING ELEPHANTS, THE BURNING GIRAFFE AND DREAM CAUSED BY THE FLIGHT OF A BEE AROUND A POMEGRANITE A SECOND BEFORE AWAKENING.

Kay Apley, York.

 

 

PLATO'S PROGRESS

Gilbert Ryle

1966 Edition

Page 23

Chapter 2

The Publication of the Dialogues

"The literary simulacrum has to be posterior to the real thing and to lack the life of the real thing.

It smells pro -/ Page 24 / leptically of the reader's lamp. There is no such smell in Plato's earlier dialogues.

(b) Aristotle frequently contrasts 'exoteric' discourses with other discourses designed for academic recipients"

 

 

LOOKING FOR THE ALIENS

A PSYCHOLOGICAL, SCIENTIFIC AND IMAGINATIVE INVESTIGATION

Peter Hough & Jenny Randles 1991

Page 77 (photograph omitted)

9

Life on Mars

 

"The remarkable 'face' on the surface of Mars taken from Viking 1. Is this really an alien construction or an accident of light and shade? Compare it with the rock simulcra on the Sedona photograph on page 81. (NASA)"

Page 81 (photograph omitted)

"This New Age communityhas been set up in the red rock country around Sedona, Arizona.. Here psychics channellers and other esoteric believers live together. Note the human faceon the rock to the left. This is simulcra, an accident of erosion and lighting, or as some believe - an alien artefact like the face on Mars. (Jenny Randles) "

 

 

Robert Burns (25 January 1759 – 21 July 1796) (also known as Rabbie Burns, Scotland's favourite son, the Ploughman Poet, the Bard of Ayrshire and in ... en.wikipedia.org/wiki/Robert_Burns

"LOOK ABROAD THROUGH NATURES RANGE NATURES MIGHTY LAW IS CHANGE"

 

 

L
=
3
-
4
LOOK
53
17
8
A
=
1
-
6
ABROAD
41
23
5
T
=
2
-
7
THROUGH
97
43
7
N
=
5
-
7
NATURES
98
26
8
R
=
9
-
5
RANGE
45
27
9
N
=
5
-
7
NATURES
98
26
8
M
=
4
-
6
MIGHTY
82
37
1
L
=
3
-
3
LAW
36
9
9
I
=
9
-
2
IS
28
10
1
C
=
3
-
6
CHANGE
38
29
2
-
-
44
4
53
First Total
616
247
58
-
-
4+4
-
5+3
Add to Reduce
6+1+6
2+4+7
5+8
Q
-
8
-
8
Second Total
13
13
13
-
-
-
-
-
Reduce to Deduce
1+3
1+3
1+3
-
-
8
-
8
Essence of Number
4
4
4

 

 

F
=
6
-
3
FOR
39
21
3
E
=
5
-
5
EVERY
75
30
3
A
=
1
-
6
ACTION
62
26
8
T
=
2
-
5
THERE
56
29
2
I
=
9
-
2
IS
28
19
1
A
=
1
-
2
AN
15
6
6
E
=
5
-
5
EQUAL
56
20
2
A
=
1
-
3
AND
19
10
1
O
=
6
-
8
OPPOSITE
115
43
7
R
=
9
-
8
REACTION
85
40
4
-
-
45
4
46
First Total
550
244
37
-
-
4+5
-
4+6
Add to Reduce
5+5+0
2+4+4
3+7
Q
-
9
-
10
Second Total
10
10
10
-
-
-
4
1+0
Reduce to Deduce
1+0
1+0
1+0
-
-
9
5
1
Essence of Number
1
1
1

 

 

8
SIMULCRA
96
33
6
12
DECALCOMANIA
81
45
9
12
TRANSMOGRIFY
165
66
3
14
TRANSMOGRIFIES
173
74
2
14
PHANTASMAGORIC
145
64
1
14
PHANTASMAGORIA
143
62
8
15
PHANTASMAGORIAS
162
63
9

 

 

7
MORPHIC
82
46
1
9
RESONANCE
94
40
4
16
First Total
176
86
5
1+6
Add to Reduce
1+7+6
8+6
-
7
Second Total
14
14
5
-
Reduce to Deduce
1+4
1+4
-
7
Essence of Number
5
5
5

 

 

WHERE DOES THE WEIRDNESS GO

David Lindley 1996

WHY QUANTUM MECHANICS IS STRANGE BUT NOT AS STRANGE AS YOU THINK

Page ix

Introduction: Why do I trust my computer?

"The computer I've been using to write these words has been satisfactorily reliable: I switch it on and off repeatedly, calling up files that contain the words I wrote last time, adding new words, shuffling the old ones around, and saving the results for next time. I rarely trouble to think what is going on inside the computer that lets me see my words on the screen, or move them painlessly from one place to another, or restore a sentence that I accidentally erased, or play a game of solitaire in the odd moment when inspiration deserts me. And if I do think about these inner workings, I'm not nearly enough of a computer expert to be able to say at all accurately what is happening in the machine. Instead, I tend to comfort myself with plausible analogies that give me a sense that I more or less know how the computer works, without going to the difficulty of mastering the volumes of technical detail I would need to know to understand it properly (which, I'm happy to say, I don't need to. The reliability of my computer gives me ample confidence that there are dogged and knowledgeable people in the world who can indeed design and build these things).
At the bottom of it all are electric currents carried by microscopic charged particles called electrons. Rattling around in my computer, I like to think, are little streams and packages of electrons that constitute the electrical signals, the binary zeroes and ones that form the basis of its inner workings. Somehow, the letters on the screen are built from patterns of electrical signals, and somehow, my instructions to the computer from the key­board cause these patterns of electrical signals to change and / Page x / move. So I think of the computer as a vast, intricate electronic pinball machine, with unimaginable numbers of pathways and trajectories, and with exquisitely timed and delicately adjusted f1ippers that guide electrons this way and that to produce a constantly changing, frenetically busy but nevertheless consistently and accurately meaningful pattern of electronic flows. The reliability and precision of all this activity, despite its daunting complexity, is the truly stunning part of computer design, and that's the bit I don't pretend tounderstand. My words take shape as a buzzing pattern of circulating electrons, and that's about as much as I want to know.

And when I have done for the day and want to store what I have written, I can tell the computer to send the sequence of electrical zeroes and ones to the hard disk, where they are encoded now as a series of magnetic blips on the disk's surface. To get an idea of how the hard disk works, I imagine its surface to be studded with tiny magnets whose poles can be flipped one way or the other on command, to record either a zero or a one. The hard disk is perhaps ten centimeters across, and can store 120 megabytes of data (the computer is a few years old, or that figure would be more like 1,000 megabytes); one byte, in stan­dard computer technology, is a word of eight binary bits-eight zeroes or ones-so that all in all my hard disk can accommodate close to a billion blips of data. Each of those tiny magnets must, according to a quick calculation, be a few millionths of a meter across. This is the size of a grain of dust, too small to be seen by the unaided eye, and yet my computer can record and retrieve data on the hard disk as if these magnetized dust grains \vere levers that could be set firmly up or down, like the signal levers that an old-time railway signalman would operate, and it can set and read millions of these levers in a fraction of a sec- , ond. How can invisible dust grains be so dependable? How can I store and retrieve a file of written words hundreds of times without ever a single dust grain accidentally flipping the wrong way, or being disturbed by some wayward external influence?

Page xi

On the rare occasions that I think about the inner workings of my computer, I resort to mechanical images of this sort. I conjure up familiar pieces of machinery-pinball flippers, rail­way switches and signals-and then imagine that these devices can be reduced to the size of dust grains, and arranged into fan­tastically complicated networks. This doesn't really tell me how my computer works, but it lets me think I have the right kind of idea in my head, and that I could understand it, really, if I wanted to.
But then, in another part of my mind is the recollection of undergraduate physics lectures in which I learned that electrons are fundamentally not at all like pin balls. There was something called the uncertainty principle of quantum mechanics, which says that you can never know exactly where a microscopic par­ticle such as an electron is at anyone time, or how fast it is moving, so that if you want a picture of an electron you have to think, perhaps, of a blurry, out-of-focus, smudged-out pinball. And there was another puzzling idea, by the name of wave-par­ticle duality, according to which an electron can behave some­times in ways that make you think it is a particle, but at other times in ways that make you think more of waves. It is both wave and particle, or perhaps neither wave nor particle but something in between, undefinable and unimaginable; at any rate, even the idea of a smudged-out pinball begins to seem dubious. And on top of all that there was a vague notion about measurements affecting in unpredictable ways the things you are trying to measure, so that even if you have a device that can tell where one of these smudged-out, wavey-particley things is, you can't quite be sure of the meaning or reliability of the answer you get.

And now, thinking about all this, my assurance that I under­stood how my computer works and how it can be so reliable begins to crumble. If I'm not allowed to think of the electrons as pin balls rattling around the precisely engineered pathways of the silicon chips, if they are really sloshing about like waves in / Page xii / channels, if the uncertainty principle tells me an electron cannot be altogether in this place but has to be also a little bit in that place at the same time, how can my computer perform the same tasks over and over again with such reliability? And if there's some unpredictability associated with every act of measurement, how can I trust the data I read off the hard disk since, in effect, reading the data amounts to measuring the orientations of all those little magnetized dust grains? Quantum mechanics, or so I recan from my education in physics, says that at the most "fundamental level, the world is not wholly knowable, and not ""wholly" dependable. In dealing with individual electrons or the magnetic alignment of individual atoms, I must think not in certainties but in probabilities.

Nevertheless, my computer continues to work, as imper­turbably as ever. A standard answer to this riddle is that, in fact, a computer does not rely on individual electrons and atoms for its operation. The signals that make up the zeroes and ones chasing around its silicon pathways are gangs of perhaps a tril­lion electrons. The magnetic dust grains on the hard disk are built from trillions of atoms. These things may be microscopic by human standards, but compared to the individual inhabitants of the quantum world they are nevertheless gigantic. And so, ifs sometimes claimed, the quantum mechanical strangeness that besets individual electrons and atoms, and bedevils our thinking about them, becomes negligible when we think about the trillions of electrons and atoms on whose collective behav­ior my computer depends.

But what sort of an answer is this? Why should an assembly of a trillion weird little quantum objects behave any less myste­riously than its components? A trillion drops of water make a bucket of water, not a concrete block. If it's true that the weird­ness of the quantum mechanical world seems to disappear when we look at "big" objects, then where, precisely, does that weirdness go? If we can't trust a single electron to be precisely in one place at one time, how can we trust a throng of electrons /Page xiii / to invariably represent the letter a on my computer screen, and not turn casually into a z?
For many decades, this question was resolved by flat assertion. It was simply declared that any measurement produced, of necessity, a definite answer, and thereby forced definition onto the uncertain, ambiguous quantum world. But what a mea­surement was, by what physical process it made indefinite things definite, was never accounted for. In the last few years, however, the beginnings of an answer to this long-standing puz­zle have begun to appear. The answer derives, in part, from the­oretical insights into the behavior of complex systems, which have made it possible to understand how assemblies of many interconnected quantum objects can behave in collective ways that are by no means obvious, or easily deduced, from the behavior of those single objects in isolation.
The purpose of this book is to explain this new understand­ing. We will see that although the weirdness does not altogether go away, it does fade into the background.

To understand the answer, you have to first formulate the ques­tion. The quantum world is an undeniably strange place, work­ing to unfamiliar rules, and in the first part of the book I have tried to explain, as clearly as I know how, what that strangeness consists of and (just as important) what it is not. With the essentials laid out, I delve briefly into some of the misguided efforts that have been pursued over the years in the hope of making quantum mechanics look less weird than it really is. Only, in the end, by accepting the true nature of quantum mechanical weirdness does it become possible to see exactly what the central problem is, and how, in practice, nature gets around it.
The book is organized in what I hope is a logical rather than a chronological manner. I have plunged in at the beginning with one of the well-established and much-discussed "paradoxes" of quantum mechanics, and tried to work from there to an under- / Page xiv / standing of why the paradox arises. The book's organization seems logical to me, anyway. The reason quantum mechanics is disconcerting is that it seems to make nonsense of our usual definitions of logic, leaving us with nothing to hang on to. But read on: in the end, logic reappears, and the world makes sense again!

DRAMATIS PERSONAE

Niels Bohr-a sage, late of Copenhagen; the founding father and guiding spirit of the Copenhagen interpretation of quan­tum mechanics
Albert Einstein-physicist, father of relativity, godfather to quantum mechanics, though later estranged therefrom ~rwin Schrodinger-owner of a cat, though not necessarily a cat-lover
Max Planck-originator, arguably, of quantum mechanics, though he sought in vain to disown his offspring
Dauid Bohm-heir to Einstein's mantle, who sought to install quaIltum mechanics on a classical foundation, and not vice
John Beli-a sympathizer of Einstein and Bohm, who devised a test the outcome of which would have disheartened Einstein Copenhagen-city of Denmark; also, a stern philosophy Electron-an elementary particle, of fixed mass and electric charge, discovered in 1897; later found also to be a wave Photon-a particle; also, a wave

ACT I

Mechanical Failure


From the days of Newton and Descartes up until the end of the nineteenth century, physicists had constructed an increasingly elaborate but basically mechanical view of the world. The entire universe was supposed to be a glorious clockwork, whose intricate workings scientists could hope to find out in limitless detail. By means of the laws of mechanics and gravity, of heat and light and magnetism, of gases and fluids and solids, every aspect of the material world could in principle be revealed as part of a vast, interconnected, strictly logical mechanism. Every physical cause generated some predictable effect; every observed effect could be traced to some unique and precise cause. The physicist's task was to trace out these links of cause-and­effect in perfect detail, thereby rendering the past understand­able and the future predictable. The accumulation of experi­mental and theoretical knowledge was taken unarguably to bring a single and coherent view of the universe into ever sharper focus. Every new piece of information, every new intel­lectual insight, every new elucidation of the linkages of cause­and-effect added another cog to the clockwork of the universe.
This was the tradition in which physicists at the end of the nineteenth century had been raised. Classical physics aspired to portray with perfect clarity the intricate workings of the mechanical universe. That the real universe was indeed mechanical, that physicists were depicting in ever sharper focus a reality that existed independently of them-these self-evident suppositions were never questioned.

Page 3

The mystery of the other glove

You and a friend are at Heathrow Airport, London. You each have a locked wooden box containing a glove. One box contains the right-handed glove of the pair, the other the left­handed glove, but you don't know which box is which. Both of you also have keys, but they are not the keys to the boxes you are carrymg.

Thus equipped; you board a plane and fly to Los Angeles.
Your friend flies at the sdme time to Hong Kong

When you get to Los Angeles you use your key to open a locker at the airport, and inside you find another key. This is the key to your wooden box, which you now open to discover that the glove you have brought to Los Angeles is the right­handed one. As soon as you know this, of course, you know also that your friend's wooden box, by now in Hong Kong, contains the left-handed glove. With that instantaneous realization, you have acquired a piece of knowledge about a state of affairs on the other side of the world.
Perfectly straightforward, you may say, and so it is. You may have heard of Albert Einstein's famous dictum that nothing, not even information, can travel faster than the speed of light, but no part of this little screenplay contradicts that injunction. You have indeed made a deduction, using information available to you as you wait at the Los Angeles airport, about a fact that pertains to your friend in Hong Kong. But we make these kinds of long-distance inferences, in big ways and small, all the time. An astronomer catching the feeble rays of light that reach a telescope here on Earth thereby deduces the surface temperature of / Page 4 / a distant star. You get out of the shower one morning, look at your watch, and realize that a meeting in your office that you had to attend has already started.
Figuring out what is happening in some distant place is a different thing from transferring that knowledge from one place to another. If, having discovered that your glove is right-handed, you wanted to tell your friend that she has the left-handed one, you would have to pick up the phone, or send a telegram, or mail her a postcard. A phone call might travel almost at the speed of light, the other two messages much slower. And you have no way of knowing whether she has already opened her box or not-unless you happen to get a phone call from her telling you that you must have the right-handed glove. The fact that you have found out which glove she has does not allow
you to beat the laws of physics and get that information to her faster than Einstein allows.

But still, you think there might be some way of exploiting your knowledge to influence your friend's behavior. Suppose, before you both set off on your plane trips, you had agreed with your friend that if she found the left-handed glove in her box she would proceed to Tokyo, but if she got the right-handed one she would fly to Sydney. Does your opening the box in Los Angeles determine where she ends up? By no means: whichever glove was in her box was there from the outset, so whether she has to fly to Tokyo or Sydney is predetermined. When you open your box in Los Angeles you instantly know where she must be going next, but her destination is as much of a surprise to her as it is to you. As before, you've now found out what happens next, but you haven't had any influence over it.

But now let's change the story. The gloves in the two boxes are, you are informed, of a strange and magical kind, unlike any gloves you have come across before. They still make up a pair, but for as long as they are sealed in their boxes, they are neither right-handed nor left-handed but of an unfixed, indeterminate / Page 5 / nature. Only when a box is opened; letting in the light, is the glove inside forced to become either right-handed or left­handed. And there is a fifty-fifty chance of either eventuality.
During the several hours you are in the plane flying from London to Los Angeles, you may well be puzzling over what the glove in your box-this strange glove, neither right-handed nor left-handed but potentially either-actually looks like. But you don't have the key that would let you open the box and peek inside, and in any case, as soon as you peeked the glove would have to take on a definite shape, right-handed or left­handed. The magical nature of this glove is such that you can never see it in its unformed state, because as soon as you look, it turns into something familiar and recognizable. A frustrating catch-22.

On the other hand, when you now arrive at Los Angeles and open your box to find, let us suppose, a right-handed glove, you begin to think that things are not as straightforward as before. You immediately know that when your friend opens her box, she must discover a left-handed glove. But now, apparently, some sort of signal or information must have traveled from your glove to hers, must it not? If both gloves were genuinely indeterminate before you opened your box and looked inside, then presumably as soon as your glove decided to be a right­handed one, hers must have become left-handed, so that the two would be guaranteed to remain a pair. Does this mean that your act of observing the glove in Los Angeles instantaneously reduced the indefiniteness of its partner in Hong Kong to a definite state of left-handedness?

But it occurs to you that there's another possibility. How do you know your friend didn't get to Hong Kong first and open her box before you had a chance to open yours? In that case, she evidently found a left-handed glove, which forced yours to be right-handed even before you looked inside your box. So if there was an instantaneous transmission of information, it might have gone the other way. Your friend's act of opening her / Page 6 / box determined what sort of glove you would find, and not the other way around.

And then, you think, the only way to find out which way the instantaneous information went, from your glove to hers or from hers to yours, is to pick up the phone, call Hong Kong, and find out what time she opened her box. But that phone call goes no faster than the speed of light. Now you are getting really confused: there seems to have been some kind of instantaneous communication between the two gloves, but you can't tell which way it went, and to find out you have to resort to old-fashioned, slower-than-light means of communication, which seems to spoil any of the interesting tricks you might be able to figure out if there. really had been an instantaneous glove-to-glove signal.

And if you think again of the strategy whereby your friend had to get on a plane to either Tokyo or Sydney, depending on which glove she found in her box, you realize you are no more able than before to influence her choice by your action in Los Angeles. The rules of the game are such that you have a fifty­fifty chance of finding either a right-handed or a left-handed glove in your box, so even if you are sure that you have opened your box before she opened hers, and even if you think that opening your box sends an instantaneous signal to hers, forcing her glove to be the partner of yours, you still have no control over which glove you find. It remains a fifty-fifty chance whether she'll end up in Tokyo or Sydney, and you still have no say in the matter.

And now you're even more confused. You think there's been some sort of instantaneous transmission of information, but you can't tell which way it went, and you can't seem to find a way to communicate anything to your friend by means of this secret link between the gloves.

And perhaps you conclude it's a good thing glove gloves aren't like this. / Page 7 / In that, you would be in agreement with Albert Einstein. It's true that gloves don't behave this way but, according to quantum mechanics, electrons and other elementary ary particles do. These particles have properties which, apparently, lie in some unresolved intermediate state until a physicist comes along and does an experiment that forces them to be one thing or the other. And that physicist cannot know in advance, for sure, what particular result any measurement is going to yield; quantum mechanics predicts only the probabilities of possible results.

This offended Einstein's view of what physics should be like.
Before quantum mechanics came along, at the beginning of this century, it was taken for granted that when physicists measure something, they are gaining knowledge of a preexisting state. That is, gloves are always either right-handed or left-handed, whether anyone is looking at them or not, and when you discover what sort of glove you have, you are simply taking note of an independent fact about the world. But quantum mechanics says otherwise: some things are not determined except when they are measured, and it's only by being measured that they take on specific values. In quantum mechanics, gloves are neither right-handed nor left-handed until someone takes a look to find out. At least, that is what quantum mechanics seems to say.

The story we just went through, about indeterminate gloves being taken to separate places and examined by two different people, is part of an experimental setup that Einstein and some colleagues devised as a way to show how absurd and unreasonable quantum mechanics really is. They hoped to convince their glovet colleagues that something must be wrong with a theory that demanded signals traveling faster than the speed of light.
But, as the Danish physicist Niels Bohr was quick to point out, it's far from clear if anything genuinely unacceptable has actually happened with these magical gloves. The whole thing may seem very odd, and it may seem quite inescapable that some sort of instantaneous communication between the gloves is essential for the trick to work, but in the end it seems impossible to/ Page 8 / do anything with the supposed communication. Bohr arrived at what he deemed an acceptable interpretation of this sort of puzzle by forcefully insisting that one must stick to practicalities: it's no good, and indeed positively dangerous, to speculate about what seems to happen in such a case; stick to what actu­all! occurs, and can be recorded and verified, and you'll be all right. If you can't actually send an instantaneous message of your own devising, then it's meaningless to guess at what might or might not have been furtively going on between the two
Nevertheless, Einstein persisted in objecting to what he called this "spooky action-at-a-distance": spooky action-at-a-distance because an occurrence in one place seems to have an instantaneous effect somewhere else, but spooky because the influence is implied rather than directly seen. Einstein accepted, more or less, Bohr's argument that you could stay out of trouble by stichng with documented and unambiguous facts, but to him this was a philosophy that worked only if you were willing to deliberately blind yourself to deeper issues. And many physicists and philosophers since then have found themselves dissatisfied by Bohr's workable but minimalist views.
To understand these disputes we need to take our gloves off and come to grips with the essentials of quantum mechanics. A good place to start is this matter of things being indeterminate until measured. What does this mean, and where does it come from

In which things are exactly what they are seen to be

Ultimately, there must be recourse to experimental evidence. If Quantum mechanics asserts that the act of measurement does not simply yield information about a preexisting state, but / Page 9 / rathr forces a previously indeterminate system to take on a definite appearance, there must be empirical reasons for the assertion. Even theoretical physicists would not come up with so bizarre and counterintuitive an idea if they were not forced to it."

 

THE LOVE THAT FITS YOU LIKE A GLOVE

 

 

HAND IN GLOVE IN HAND

HAND ON ART ON HAND

IF YOU BELIEVE THAT YOU WILL

BELIEVE ANYTHING BELIEVE

I SAY EXACTLY I SAY I SAY I EXACTLY SAY I

 

 

I

SAY

READING GLOVE READ LOVE READ GLOVE READING

COMMONSENSE LOVE SENSECOMMON

COMMON GOOD GODS LOVE GODS GOOD COMMON

GODS JOURNEY IS A LONG ONE LONG IS GODS JOURNEY

THERE KNOW ANOTHER KNOW ANOTHER THERE

 

 

THE EMPERORS'S NEW MIND

CONCERNING COMPUTERS, MINDS, AND THE LAWS OF PHYSICS

Roger Penrose 1989

QUANTUM MAGIC AND QUANTUM MYSTERY

EXPERIMENTS WITH PHOTONS: A PROBLEM FOR RELATIVITY?

Page 369

"We must ask whether actual experiments have borne out these astonishing quantum expectations. The precise experiment just described is a hypothetical one which has not actually been performed, but similar experiments have been performed using the polarizations of pairs of photons, rather than the spin of spin-one-half massive particles. Apart from this distinction, these experiments are, in their essentials, the same as the one described above - except that the angles concerned (since photons have spin one rather than one-half) would be just one-half of those for spin-one-half particles. The polarizations of the pairs of photons have been measured in various different combinations of directions, and the results are fully in agreement with the predictions of quantum theory, and inconsistent with any local realistic model!
The most accurate and convincing of the experimental results which have been obtained to date are those of Alain Aspect (1986) and his colleagues in Paris.15 Aspect's experiments had another interesting feature. The 'decisions' as to which way to measure the polarizations of the photons, were made only after the photons were in full flight. Thus, if we think of some non-local 'influence' travelling from one photon detector to the photon at the opposite side, signalling the direction in which it intends to measure the polarization direction of the approaching photon, then we see that this 'influence' must travel faster than light! Any kind of realistic description of the quantum world which is consistent with the facts must apparently be non-causal, in the sense that effects must be able to travel faster than light!

Page 370

" But we saw in the last chapter that, so long as relativity holds true, the sending of signals faster than light leads to absurdities (and conflict with our feelings of 'free will', etc., cf. p. 273). This is certainly true, but the non-local 'influences' that arise in EPR-type experiments are not such that they can be used to send messages ­as one can see, for the very reason that they would lead to such absurdities, if so. (A detailed demonstration that such 'influences' cannot be used to signal messages has been carried out by Ghirardi, Rimini, and Weber 1980.) It is of no use to be told that a photon is polarized 'either vertically or horizontally', (as opposed, say, to 'either at 60° or 150°') until one is informed which of the two alternatives it actually is. It is the first piece of 'information' (i.e. the directions of alternative polarization) which arrives faster than light ('instantaneously'), while the knowledge as to which of these two directions it must actually be polarized in arrives more slowly, via an ordinary signal communicating the result of the first polarization measurement.
Although EPR-type experiments do not, in the ordinary sense of sending messages, conflict with the causality of relativity, there is a definite conflict with the spirit of relativity in our picture of 'physical reality'. Let us see how the realistic view of the state­vector applies to the above EPR-type experiment (involving photons). As the two photons move outwards, the state-vector describes the situation as a photon pair, acting as a single unit. Neither photon individually has an objective state: the quantum state applies only to the two together. Neither photon individually has a direction of polarization: the polarization is a combined quality of the two photons together. When the polarization of one of these photons is measured, the state-vector jumps so that the unmeasured photon now does have a definite polarization. When that photon's polarization is subsequently measured, the probability values are correctly obtained by applying the usual quantum rules to its polarization state. This way of looking at the situation provides the correct answers; it is, indeed, the way that we ordinarily apply quantum mechanics. But it is an essentially non-relativistic view. For the two measurements of polarization are what are called space like-separated, which means that each lies outside the other's light cone, like the points R and Q in Fig. / Page 371 / 5.21. The question of which of these measurements actually occurred first is not really physically meaningful, but depends on the 'observer's' state of motion (see Fig. 6.32). If the 'observer' moves rapidly enough to the right, then he considers the right­hand measurement to have occurred first; and if to the left, then it is the left-hand measurement! But if we regard the right-hand photon as having been measured first we get a completely different picture of physical reality from that obtained if we regard the left-hand photon as having been measured first! (It is a different measurement that causes the non-local 'jump'.) There is an essential conflict between our space-time picture of physical reality - even the correctly non-local quantum-mechanical one ­and special relativity! This is a severe puzzle, which 'quantum realists' have not been able adequately to resolve (cf. Aharonov and Albert 1981). I shall need to return to the matter later.

Fig. 6.32. (omitted) Two different observers form mutually inconsistent pictures of 'reality' in an EPR experiment in which two photons are emitted in opposite directions from a spin-O state. The observer moving to the right judges that the left-hand part of the state jumps before it is measured, the jump being caused by the measurement on the right. The observer moving to the left has the opposite opinion!"

 

 

http://home.btconnect.com/scimah/Quantumphenomena.htm

Spooky action at a distance - EPR

"One of the most vivid illustrations of the interactions of the mind of the observer with a quantum system is given by EPR - the 'Einstein Podolsky Rosen Paradox', or 'Spooky action at a distance' as it is sometimes known. The experimental evidence seems to show that the observer's mind goes to its object unobstructedly and instantaneously, for example through ten kilometres of intervening Geneva city-scape (walls, buildings, railway stations, the lot!) at speeds exceeding that of light.

Nor does the effect diminish with distance. According to the Copenhagen interpretation of quantum theory, the 'spooky action' can affect a particle instantaneously whether it is a metre away from the observer or halfway across the universe.

The observation of 'spooky action' relies on the concept of entanglement. It is possible to obtain pairs of fundamental particles where it is known that their properties will always cancel one another out, even when those properties have not been defined. These pairs are said to be 'entangled' . However the entanglement is conceptual rather than physical and the particles are free to move far apart.

Consider an experiment where we create an entangled pair of magnetic particles. Their polar alignments will always be opposite. We allow them to move far apart. We then place a Stern-Gerlach magnet in the path of one of the particles and observe what happens when it passes through. If it is defected upwards then, according to the 'spooky action' hypothesis, its distant partner would be deflected downwards by a similar magnet. By making the nearby observation we have instantaneously defined the properties of the distant particle.

Note that this is not the same thing as saying 'The near particle was always up but we didn't know until we decided to observe it. So the distant particle must always have been down even though we didn't know at the the time.'

The reason the statement above is incompatible with quantum theory is that we could have equally well decided to align the Stern-Gerlach magnet on a left/right axis instead of up/down. In which case we would have fixed the near particle as, say, left-deflected and the distant particle would instantaneously be known to be right-deflected.

For many years both theoretical and technical difficulties stood in the way of determining whether 'spooky action' does indeed take place. However as a result of the theoretical work of John Bell and the ingenious experimental designs of Alain Aspect strong evidence was obtained that the effect occurred over distances of a few metres. The act of making a decision of what attributes of one member of an entangled pair were to be observed immediately determined what could be observed of the other member.

Since then 'spooky action' has been demonstrated over increasing distances. The current record is 10 km obtained by Nicolas Gisin and his team at the University of Geneva [BUCHANAN 1997]. Starting from near Geneva railway station they sent entangled photons along optical fibres through the city to destinations separated by 10km. They showed that observing the state of one member of the pair instantaneously determined the state of the other."

 

 

MUSIC OF THE MIND

Darryl Reanney 1994

An Adventure Into Consciousness

Page 77

REALITIES WE DO NOT SEE

"This is the strange reality-all thoughts, whatever 'waveband' they occupy, exist in the disembodied reality of the quantum dream. The essence of a quantum ripple is that it exists in an indeterminate, non-localised state, in that uninhabited quantum 'space' where there is neither yesterday nor tomorrow, neither here nor there. Moreover, a thought, once created, no longer needs the physical structure of the brain that made it to sustain it further-it is thereafter just as 'real' as an electron or a stone.
Common sense tends to rebel at this. We have such an ingrained tendency to explain aspects of experience in terms of everyday models that our minds stumble when confronted with a phenomenon for which there is no model. But the quantum state poses the ultimate paradox: it seems so alien because it is so familiar. Our thoughts are, in essence, quantum waves so when we see this inner aspect of ourselves in outward projection we think we are seeing the face of a stranger. The nub of the difficulty is the disembodied aspect of the quantum ripple. Because the world we inhabit is limited by the dimensional context of space and time, it is difficult for our minds to grasp the dimensionless reality of the thoughts that enter them.
The best way to resolve one paradox is to invoke another so let me sketch out a further anti-intuitive aspect of quantum mechanics. Consider two subatomic particles, A and B, that are created from the same micro-event in such a way that A has a different 'spin' to B. Suppose further that these two particles now proceed to opposite 'ends' of the universe. They are so far apart that a signal travelling at the speed of light could not bridge the gap between them. The mind-bending scientific truth is that if one changes the spin on A, the spin / Page 78 / on B changes simultaneously. Since no signal can travel faster than light we are obviously dealing with a coupled system that cannot obey the spacetime logic we recognise. This paradoxical non-locality of quantum interactions means that even though human observers measure the space (or time) between the particles in terms of the millions of kilometres (or years) that (seem to) separate them, at a deeper level of reality they are still-somehow-together. So any point we call 'here' can simultaneously access all of space in exactly the same sense that, as the mystics assure us, any moment we call 'now' can simultaneously access all of time.
Mathematical theorist Rudy Rucker believes that mathematical truths occupy a 'mental space' which he dubs the Mindscape. 'A person who does mathematical research,' he opines, 'is an explorer of the Mindscape in much the same way that Armstrong, Livingstone or Cousteau are explorers of the physical features of our universe. '70 Other scientists seem to agree. Roger Penrose states:
When mathematicians communicate, this is made possible by each one having a direct route to truth [author emphasis], the consciousness of each being in a position to perceive mathematical truths directly, through this process of 'seeing'. 71

 

 

Charles Bonnet syndrome (CBS) is a disease that causes patients to have complex visual hallucinations, first described by Charles Bonnet in 1769 [1]. ... en.wikipedia.org/wiki/Charles_Bonnet_syndrome

Charles Bonnet syndrome From Wikipedia, the free encyclopedia

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Charles Bonnet syndrome (CBS) is a disease that causes patients to have complex visual hallucinations, first described by Charles Bonnet in 1769 [1].

A typical profile of a person suffering with CBS has been compiled based upon recent research.[2].

Contents[hide]

1 Characteristics

2 Causes

3 Prognosis

4 Treatment

5 History

6 Society and culture

7 See also

8 References

9 External links

[edit] Characteristics Sufferers, who are mentally healthy people, have vivid, complex recurrent visual hallucinations (fictive visual percepts). One characteristic of these hallucinations is that they usually are "lilliput hallucinations" (hallucinations in which the characters or objects are smaller than normal). Sufferers understand that the hallucinations are not real and the hallucinations are only visual, that is, they do not occur in any other senses, eg: hearing, smell or taste[3][4]. The prevalence of Charles Bonnet syndrome has been reported to be between 10% and 40%; a recent Australian study has found the prevalence to be 17.5% [2]. Two Asian studies, however, report a much lower prevalence [5].[6]. The high incidence of non-reporting of this disorder is the greatest hindrance to determining the exact prevalence; non-reporting is thought to be as a result of sufferers being afraid to discuss the symptoms out of fear that they will be labelled insane[4].

People suffering from CBS may experience a wide variety of hallucinations. Images of complex coloured patterns and images of people are most common, followed by animals, plants or trees and inanimate objects. The hallucinations also often fit into the person's surroundings[2]

[edit] Causes CBS predominantly affects people with visual impairments due to old age or damage to the eyes or optic pathways. In particular, central vision loss due to a condition such as macular degeneration combined with peripheral vision loss from glaucoma may predispose to CBS, although most people with such deficits do not develop the syndrome. The syndrome can also develop after bilateral optic nerve damage due to methyl alcohol poisoning [7]. Charles Bonnet syndrome has not been reported in children.

[edit] Prognosis There is no treatment of proven effectiveness for CBS. It usually disappears within a year or 18 months, but this can vary greatly from person to person. Some people experience CBS for anywhere from a few days up to many years, and these hallucinations can last only a few seconds or continue for most of the day. For those experiencing CBS, knowing that they are suffering from this syndrome and not a mental illness seems to be the best treatment so far, as it improves their ability to cope with the hallucinations. Most people with CBS meet their hallucinations with indifference, but they can still be disturbing because they may interfere with daily life. It seems that there are a few activities that can make the hallucinations stop although many people are not aware of these. Interrupting vision for a short time by closing the eyes or blinking is sometimes helpful[2].

[edit] Treatment Because there is no prescribed treatment, the physician will consider on a case by case basis whether to treat any depression or other problems that may be related to CBS. A recent case report suggests selective serotonin reuptake inhibitors may be helpful.[8].

[edit] History

Charles Bonnet, first to describe the syndrome.

The disease is named after the Swiss naturalist Charles Bonnet, who described the condition in 1769. He first documented it in his 89-year-old grandfather, who was nearly blind from cataracts in both eyes but perceived men, women, birds, carriages, buildings, tapestries, and scaffolding patterns.

[edit] Society and culture This syndrome is well portrayed in Vilayanur S. Ramachandran's book Phantoms in the Brain and in Vikram Chandra's book Sacred Games.

All main characters in Six Feet Under have these types of hallucinations at least throughout the run of the show.

[edit] See also Phantom eye syndrome

Musical ear syndrome

[edit] References ^ de Morsier G (1967)"Le syndrome de Charles Bonnet: hallucinations visuelles des vieillards sans deficience mentale" (in French). Ann Med Psychol 125:677-701.

^ a b c d Vukicevic M, Fitzmaurice K (2008) "Butterflies and black lacy patterns: the prevalence and characteristics of Charles Bonnet hallucinations in an Australian population". Clinical and Experimental Ophthalmology. 36:659-65

^ Schultz G, Melzack R (1991) "The Charles Bonnet Syndrome: phantom visual images". Perception. 20:809-25

^ a b Mogk LG, Riddering A, Dahl D, Bruce C, Brafford S (2000) "Charles Bonnet Syndrome in adults with visual impairments from age-related macular degeneration. In Stuen C et al Vision Rehabilitation: Assessment, Intervention and Outcomes.117-119

^ Tan C, Lim V, Ho D, Yeo E, Ng B, Au Eong K. (2005)"Charles Bonnet syndrome in Asian patients in a tertiary ophthalmic centre". British Journal of Ophthalmology.88(10):1325-9

^ Abbott E, Connor G, Artes P, Abadi R. "Visual Loss and Visual Hallucinations in Patients with Age-Related Macular Degeneration (Charles Bonnet Syndrome)". Investigative Ophthalmology and Visual Science.48:1416-23.

^ Olbrich HM, Lodemann E, Engelmeier MP (1987). "Optical hallucinations in the aged with diseases of the eye" (in German). Z Gerontol. 20 (4): 227–9. PMID 3660920

^ Lang et al. (2007)J. Psychopharmacology 2007; 21:553.

[edit] External links FAQ at RNIB

Fortean Times article on Charles Bonnet syndrome

'Damn Interesting' article on Charles Bonnet syndrome

Mentioned in a radio article on The Blindfold Study, which is looking at the brain's ability to adapt to different stimuli.

National Public Radio article with an audio segment about Charles Bonnet syndrome

Charles Bonnet syndrome

Complications of macular degeneration

The Charles Bonnet syndrome: 'phantom visual images'

Harmless Hallucinations in the Elderly by Bernard Baars (From: Science and Consciousness Review)

Ghostly faces and visions of 'little people': The eye disorder that leaves thousands of Britons fearing they've lost their senses by Morag Preston (From: DailyMail)

 

 

http://www.dailymail.co.uk/health/article-1134415/Ghostly-faces-visions-little-people-The-eye-disorder-leaves-thousands-Britons-fearing-theyve-lost-senses.html

Ghostly faces and visions of 'little people': The eye disorder that leaves thousands of Britons fearing they've lost their senses
By Morag Preston
Last updated at 8:06 AM on 03rd February 2009

Comments (11)

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Following his wife's death six years ago, David Stannard has become accustomed to spending quiet evenings alone at his home in Walton-on-Thames, Surrey.

So it came as a surprise to the 73-year-old when he looked up from his television one evening to discover he was sharing his living room with two RAF pilots and a schoolboy.

'The pilots were standing next to the TV, watching it as if they were in the wings of a theatre,' he says.

An estimated 100,000 people in Britain have Charles Bonnet Syndrome (CBS), which leads to hallucinations. These can include visions of miniature people

'The little boy was in a grey, Fifties-style school uniform. He just stood there in the hearth looking puzzled. He was 18 inches high at most.'

Mr Stannard's guests never said a word and vanished after 15 minutes. That night, he says, the walls of his house, which had always been white, looked as though they had been redecorated in patterned wallpaper with a brickwork effect.

The next morning he was caught off-guard again when he found a fair-haired girl standing on his sofa. She also appeared to be from the Fifties, but was life-size, wearing a short skirt and pink cardigan, with chubby knees, white ankle socks and ribbons in her hair.

'I watched her for a while,' he says. 'She didn't move much. Then she was gone.'

It would be easy to dismiss Mr Stannard's story as the bizarre imaginings of an elderly mind. Fortunately, he knew he wasn't losing his mind; neither was his house haunted.

A few weeks earlier he had been registered blind, though he was still able to watch television if he sat at a certain angle. He'd been warned that as his eyesight deteriorated, he might experience visual hallucinations in the form of Charles Bonnet Syndrome (CBS).

'I was lucky enough to know what it was,' he says, 'otherwise I would have thought I was going bonkers.'

An estimated 100,000 people in the UK have CBS, but many won't realise it because the condition remains something of a mystery.

Lord Dacre of Glanton jokingly referred to his 'phantasmagoria'

The real number is probably higher because sufferers are often too ashamed to talk about what they have seen for fear of being considered crazy.

The late historian Lord Dacre of Glanton, formerly Hugh Trevor-Roper, was unusual among CBS patients in that he talked openly about what he jokingly referred to as his 'phantasmagoria'.

He would see horses and bicycles racing, and whole landscapes whizzing by as if he were on a train. On one occasion, he found himself trapped in an apparently endless tunnel.

Hallucinations tend to have common themes: simple geometric patterns, disembodied faces with jumbled features, landscapes, groups of people, musical notes, vehicles and miniature figures in Victorian or Edwardian costume. They can be in black and white or colour, moving or still, but they are always silent.

The condition was named after Charles Bonnet, an 18th-century Swiss natural philosopher whose grandfather had seen people, patterns and vehicles that were not really there. Bonnet was the first person to identify that you could have visual hallucinations and still be mentally sound.

The condition can affect anybody at any age with diminishing eyesight. Even people with normal vision can develop it if they blindfold themselves for long enough.

But most people who have CBS have it as a side-effect of age-related macular degeneration  -  the most common cause of blindness in the UK. It is thought that up to 60 per cent of patients with severe vision loss develop CBS.

Crucially, CBS is caused by lack of visual stimulation rather than mental dysfunction.

Usually, on opening our eyes, the nerve cells in the retina send a constant stream of impulses to the visual parts of the brain. If the retina is damaged, the stream of impulses reduces, but  -  rather than lie dormant  -  other parts of the brain become hyperactive.

So when the brain isn't receiving as many pictures as it is used to, it builds its own artificial images instead from the areas we use every day to process faces, objects, landscapes and colours.

What you hallucinate depends on which part of the brain these increases are located. But why only a proportion of patients with macular degeneration experience hallucinations is still unknown, or why younger patients with macular degeneration are less likely to have CBS than older ones.

Dr Dominic ffytche, a senior lecturer at the Institute of Psychiatry, is a leading expert on CBS. He has been at the forefront of a campaign led by the Royal College of Ophthalmologists and The Macular Disease Society calling for eye doctors to warn patients with macular degeneration that they may develop CBS.

It is thought that stimulating the fingertips, for example by feeling a dice with dimples, can help sufferers of CBS stop experiencing hallucinations

He says: 'In our experience, forewarning and knowledge of the possibility of hallucinations helps patients cope when they occur. It allows them to realise this indicates a functional problem with their sight and not a problem with their mind.'

In 2003, Sandra Jones, 54, a former TV producer, thought she was losing her mind when she started seeing faces looming towards her out of nowhere.

Having visited various massacre sites, including Rwanda, as part of her job, she assumed it was a form of post-traumatic stress disorder.

'Part of me thought this was payback time,' she says.

The faces would swirl off the pages of the book she was reading, or appear in front of her computer screen. It would happen three or four times a day, usually when she was feeling relaxed or trying to get to sleep.

'Some nights I couldn't lose them and I would only get an hour's sleep,' she says. 'Closing my eyes wouldn't help, so I'd get up and clean my house just to keep moving. I got the feeling that if I was tired, it would help me fall asleep, which would then free up my mind.'

She didn't dare tell friends or anyone at work for fear of jeopardising her job, and found out about CBS only after researching her symptoms online. Earlier that year she had been diagnosed with Sorsby's fundus dystrophy, a rare genetic eye condition which causes early onset macular degeneration, but nobody had warned her that hallucinations might be a side-effect.

If the retina is damaged, the stream of impulses reduces and other parts of the brain become hyperactive (file photo)

'The unpleasant feeling was of not being in control,' she says. 'Once they are identified, they are not a problem.'

Hallucinations can last from only a few seconds to several hours. In a minority of unlucky cases, they are continuous throughout the day. Patients usually have several daily before they taper off to once a week, then once a month.

For 60 per cent of patients, they will stop entirely after 18 months. There has not yet been a long-term study, but some patients report having them for at least three years.

Part of Dr ffytche's research involves looking into ways patients can stop the hallucinations. 'There won't be a single recipe for everyone,' he says. 'But hallucinations tend to occur when you are in a state of drowsy wakefulness, so you want to rouse yourself.'

As the condition is caused by a lack of stimulation in the visual part of the brain, one of the techniques he is investigating is stimulating the fingertips.

This is based on the fact that studies of brain scans of sight-impaired people reading Braille show increased activity in that area. The theory is that even feeling a dice with dimples could bring visions to a halt.

Other techniques include holding your breath; turning on a light if it is off, or vice-versa; standing up if you are sitting down; and moving your eyes. In extreme cases, medication is used. But the drugs can have side-effects such as tremors, drowsiness, sickness and diarrhoea.

Dr Winfried Amoaku, chairman of the Scientific Committee of the Royal College of Ophthalmologists and a specialist in macular degeneration, says when they come to visit him, patients do two things: first, they request that nobody else is in the room before mentioning the hallucinations, then afterwards they breathe a sigh of relief.

For Mary Orr, 84, from West Kilbride, the final straw was seeing the walls of her house covered in white fur. In desperation, she started to claw at them. 'It was then I thought: "I can't live like this," ' she says.

After months assuming she had dementia, she was referred to a psychiatrist who recognised the signs of CBS straight away and told her to see an eye doctor.

It explains why she still sees pink squares and snakes rising out of the pavement, but Mary is resolute that the worst is behind her. As she says: 'It's the fear of not knowing what's happening that you can't live with.'

• The Macular Disease Society, www.maculardisease.org, 0845 241 2041; Royal National Institute for the Blind, www.rnib.org.uk, 0303 123 9999

Here's what readers have had to say so far. Why not add your thoughts below?

Interesting. However, psychics do not "see" people with their eyes, but their minds, so this seems to tally with this blind syndrome.

Click to rate     Rating   2

- Shirley, UK, 04/2/2009 09:56

I had to download information from the internet and take a printed copy to hospital where my mother [who had MD] was a patient.Staff assumed that she suffered from dementia ,and found it amusing! Mum was distressed and embarrassed to be treated as an object of fun! Neither medical or nursing staff were prepared to consider that the reported visions had a rational explanation

Click to rate     Rating   14

- Marion, Mold Flintshire, 03/2/2009 19:10

This article explains everything, a friend of mine has been sufferring from 'ghosts' for years. She has glaucoma, so that could be the problem.
She sees people and globes with faces in and people.

Click to rate     Rating   13

- [Pat, Kent, 03/2/2009 18:37

 

 

I

ME

MIN

MINE OF MIND GODS MIND OF MINE

FROM FORM TRANSFORM TRANSFORM FORM FROM

REAL REALITY REVEALED DIVINE THOUGHT DIVINE REVEALED REAL REALITY

 

 

Daily Mail, Tuesday, December 16, 2008

Out of perspective

Frivolous: Rex Whistler (inset) and his mural in the restaurant at Tate Britain (Image omitted)


QUESTION The National Trust property of Plas Newydd, Anglesey, has a mural by Rex Whistler where he cheats with the perspective. As you walk down the room, items become bigger or smaller and they turn to face the opposite direction. How is this effect achieved, does the technique have a name and do any other artists use it?

REX WHISTLER (1905-1944) studied art at the Royal Academy School in London, but was asked to leave because his approach was considered frivolous.

His professor at the Slade School of Fine Art in London, where he continued his studies, later wrote to the academy principal, thanking aim for 'sending me your best pupil'.

In the Thirties, the 6th Marquess of Anglesey commissioned Whistler to paint a mural in his dining room. Arcadian And Romantic View Of A Coastal Landscape was painted on a single canvas which Whistler commissioned on a French loom. Painted between 1936 and 1937, it is full of allegorical references to Whistler's growing love of the family and his unrequited desire for the Marquess's daughter Caroline. Several coded references to his love for her can be found in the picture, but a clear depiction is the diminutive self-portrait of Whistler standing below a balcony looking up at the ever-beautiful Caroline — a straightforward reference to Romeo And Juliet.

There's plenty of humour in the detail, including the family's pet dog sitting with its back turned to a bowl of stew; the spoilt pup would eat only steak.

Whistler also applied his genius for trompe l'oeil (literally 'to fool the eye'), notably where at one point a boat appears heading into harbour, whereas a few more feet down the dining room the same boat seems to be struggling out to sea.

Sadly, Whistler was barely in his creative prime when he was killed, aged 39. A mortar bomb exploded while he was trying to free a trapped tank on the first day of action in Normandy.
Olivia Tulley, Oxford.

 

ARTISTS throughout history have toyed with perspective to create optical illusions to trick and surprise their audience.
The ancient Greeks and Romans used trompe l'oeil techniques, a style of painting which gives the appearance of three-dimensional or photographic realism. A very famous example of this technique is Andrea Pozzo's Vault (1691-94) in the nave of the Church of Saint Ignazio, Rome.
This building has a flat ceiling, but by manipulating the perspective, Pozzo makes one feel that one is in a domed structure.
Renaissance artists were also interested in anamorphosis (from the Greek transform) which involves the process of greatly distorting an image, only to have it revealed either from a single vantage or from a mirrored surface. A famous example of this is the skull hidden in Hans Holbein's The Ambassadors.
Whistler was a master of both forms of trickery, but his real speciality was a particular form of trompe l'oeil, the double image. These were hugely popular in the 18th and 19th centuries, and were often distributed on puzzle cards and on popular advertisements. One of the most 'famous is Edwin Boring's wife and mother-in-law figure; depending on how you view the portrait, you either see a young woman or an old hag.
Whistler loved this type of imagery, and using this theme he produced his classic children's book OHO! for which he created 25 heads, which, when inverted, revealed a different character.
Whistler incorporated these techniques in his fantastic storytelling murals such as the Plas Newydd mural and in the fabulous In Pursuit Of Rare Meats at the Tate Modern

Richard Goss, London SW2.

 

 

I

I ME I

SAY

SEE HEAR HEAR SEE

SEE THAT SEA HEAR THAT SEA

SEA THE SEE HERE HERE SEE THE SEA

THAT HERE THAT HEAR THAT HERE THAT

THAT I THAT SEES THAT I THAT SEES THAT I THAT

THE EYES THAT SEE THE SEA THE EARS THAT HEAR THE SEA

MIND CREATORS THAT MIND GODS MIND THAT CREATORS MIND

ACTIONS IN ACTIONS IN ACTIONSGODS ACTIONS IN ACTIONS IN ACTIONS

 

 

21 Jan 2009 ... 3.2.1 Mathematics; 3.2.2 Artificial intelligence; 3.2.3 Anatomy ... In Islamic logic, analogical reasoning was used for the process of qiyas ... en.wikipedia.org/wiki/Analogy

 

Analogy is both the cognitive process of transferring information from a particular subject (the analogue or source) to another particular subject (the target), and a linguistic expression corresponding to such a process. In a narrower sense, analogy is an inference or an argument from one particular to another particular, as opposed to deduction, induction, and abduction, where at least one of the premises or the conclusion is general. The word analogy can also refer to the relation between the source and the target themselves, which is often, though not necessarily, a similarity, as in the biological notion of analogy.

Niels Bohr's model of the atom made an analogy between the atom and the solar system.

Analogy plays a significant role in problem solving, decision making, perception, memory, creativity, emotion, explanation and communication. It lies behind basic tasks such as the identification of places, objects and people, for example, in face perception and facial recognition systems. It has been argued that analogy is "the core of cognition" (Hofstadter in Gentner et al. 2001).
Specific analogical language comprises exemplification, comparisons, metaphors, similes, allegories, and parables, but not metonymy. Phrases like and so on, and the like, as if, and the very word like also rely on an analogical understanding by the receiver of a message including them. Analogy is important not only in ordinary language and common sense, where proverbs and idioms give many examples of its application, but also in science, philosophy and the humanities. The concepts of association, comparison, correspondence, mathematical and morphological homology, homomorphism, iconicity, isomorphism, metaphor, resemblance, and similarity are closely related to analogy. In cognitive linguistics, the notion of conceptual metaphor may be equivalent to that of analogy.

Analogy has been studied and discussed since classical antiquity by philosophers, scientists and lawyers. The last few decades have shown a renewed interest in analogy, most notable in cognitive science.

Contents[hide]

1 Usage of the terms source and target

2 Models and theories of analogy 2.1 Identity of relation

2.2 Shared abstraction

2.3 Special case of induction

2.4 Hidden deduction

2.5 Shared structure

2.6 High-level perception

3 Applications and types of analogy 3.1 In language 3.1.1 Rhetoric

3.1.2 Linguistics

3.2 In science 3.2.1 Mathematics

3.2.2 Artificial intelligence

3.2.3 Anatomy

3.2.4 Engineering

3.3 In normative matters 3.3.1 Morality

3.3.2 Law 3.3.2.1 Analogies from codes and statutes

3.3.2.2 Analogies from precedent case law

4 See also

5 External links and references

[edit] Usage of the terms source and target With respect to the terms source and target there are two distinct traditions of usage:

The logical and mathematical tradition speaks of an arrow, homomorphism, mapping, or morphism from what is typically the more complex domain or source to what is typically the less complex codomain or target, using all of these words in the sense of mathematical category theory.

The tradition that appears to be more common in cognitive psychology, literary theory, and specializations within philosophy outside of logic, speaks of a mapping from what is typically the more familiar area of experience, the source, to what is typically the more problematic area of experience, the target.

[edit] Models and theories of analogy

[edit] Identity of relation In ancient Greek the word αναλογια (analogia) originally meant proportionality, in the mathematical sense, and it was indeed sometimes translated to Latin as proportio. From there analogy was understood as identity of relation between any two ordered pairs, whether of mathematical nature or not. Kant's Critique of Judgment held to this notion. Kant argued that there can be exactly the same relation between two completely different objects. The same notion of analogy was used in the US-based SAT tests, that included "analogy questions" in the form "A is to B as C is to what?" For example, "Hand is to palm as foot is to ____?" These questions were usually given in the Aristotelian format:

HAND : PALM : : FOOT : ____

While most competent English speakers will immediately give the right answer to the analogy question (sole), it is quite more difficult to identify and describe the exact relation that holds both between hand and palm, and between foot and sole. This relation is not apparent in some lexical definitions of palm and sole, where the former is defined as the inner surface of the hand, and the latter as the underside of the foot. Analogy and abstraction are different cognitive processes, and analogy is often an easier one.

Recently a computer algorithm has achieved human-level performance on multiple-choice analogy questions from the SAT test (Turney 2006). The algorithm measures the similarity of relations between pairs of words (e.g., the similarity between the pairs HAND:PALM and FOOT:SOLE) by statistical analysis of a large collection of text. It answers SAT questions by selecting the choice with the highest relational similarity.

edit] Shared abstraction

In several cultures, the sun is the source of an analogy to God.

Greek philosophers such as Plato and Aristotle actually used a wider notion of analogy. They saw analogy as a shared abstraction (Shelley 2003). Analogous objects did not share necessarily a relation, but also an idea, a pattern, a regularity, an attribute, an effect or a function. These authors also accepted that comparisons, metaphors and "images" (allegories) could be used as valid arguments, and sometimes they called them analogies. Analogies should also make those abstractions easier to understand and give confidence to the ones using them.

The Middle Ages saw an increased use and theorization of analogy. Roman lawyers had already used analogical reasoning and the Greek word analogia. Medieval lawyers distinguished analogia legis and analogia iuris (see below). In Islamic logic, analogical reasoning was used for the process of qiyas. In Christian theology, analogical arguments were accepted in order to explain the attributes of God. Aquinas made a distinction between equivocal, univocal and analogical terms, the latter being those like healthy that have different but related meanings. Not only a person can be "healthy", but also the food that is good for health (see the contemporary distinction between polysemy and homonymy). Thomas Cajetan wrote an influential treatise on analogy. In all of these cases, the wide Platonic and Aristotelian notion of analogy was preserved.

[edit] Special case of induction On the contrary, Bacon and later Mill argued that analogy be simply a special case of induction (see Shelley 2003). In their view analogy is an inductive inference from common known attributes to another probable common attribute, which is known only about the source of the analogy, in the following form:

Premises

a is C, D, E, F and G.

b is C, D, E and F.

Conclusion

b is probably G.

Alternative conclusion

every C, D, E and F is probably G.

This view does not accept analogy as an autonomous mode of thought or inference, reducing it to induction. However, autonomous analogical arguments are still useful in science, philosophy and the humanities (see below), which makes this reduction philosophically uninteresting. Moreover, induction tries to achieve general conclusions, while analogy looks for particular ones.

[edit] Hidden deductionThe opposite move could also be tried, reducing analogy to deduction. It is argued that every analogical argument is partially superfluous and can be rendered as a deduction stating as a premise a (previously hidden) universal proposition which applied both to the source and the target. In this view, instead of an argument with the form: Premises

a is analogous to b.

b is F.

Conclusion

a is plausibly F.

We should have:

Hidden universal premise

all Gs are plausibly Fs.

Hidden singular premise

a is G.

Conclusion

a is plausibly F.

This would mean that premises referring the source and the analogical relation are themselves superfluous. However, it is not always possible to find a plausibly true universal premise to replace the analogical premises (see Juthe 2005). And analogy is not only an argument, but also a distinct cognitive process.

[edit] Shared structure

According to Shelley (2003), the study of the coelacanth drew heavily on analogies from other fish.

Contemporary cognitive scientists use a wide notion of analogy, extensionally close to that of Plato and Aristotle, but framed by the structure mapping theory (See Dedre Gentner et al. 2001). The same idea of mapping between source and target is used by conceptual metaphor theorists. Structure mapping theory concerns both psychology and computer science. According to this view, analogy depends on the mapping or alignment of the elements of source and target. The mapping takes place not only between objects, but also between relations of objects and between relations of relations. The whole mapping yields the assignment of a predicate or a relation to the target.

Structure mapping theory has been applied and has found considerable confirmation in psychology. It has had reasonable success in computer science and artificial intelligence (see below). Some studies extended the approach to specific subjects, such as metaphor and similarity (see Gentner et al. 2001 and Gentner's publication page).

Keith Holyoak and Paul Thagard (1997) developed their multiconstraint theory within structure mapping theory. They defend that the "coherence" of an analogy depends on structural consistency, semantic similarity and purpose. Structural consistency is maximal when the analogy is an isomorphism, although lower levels are admitted. Similarity demands that the mapping connects similar elements and relations of source and target, at any level of abstraction. It is maximal when there are identical relations and when connected elements have many identical attributes. An analogy achieves its purpose insofar as it helps solve the problem at hand. The multiconstraint theory faces some difficulties when there are multiple sources, but these can be overcome (Shelley 2003). Hummel and Holyoak (2005) recast the multiconstraint theory within a neural network architecture.

A problem for the multiconstraint theory arises from its concept of similarity, which, in this respect, is not obviously different from analogy itself. Computer applications demand that there are some identical attributes or relations at some level of abstraction. Human analogy does not, or at least not apparently.

[edit] High-level perception Douglas Hofstadter and his team (see Chalmers et al. 1991) challenged the shared structure theory and mostly its applications in computer science. They argue that there is no line between perception, including high-level perception, and analogical thought. In fact, analogy occurs not only after, but also before and at the same time as high-level perception. In high-level perception, humans make representations by selecting relevant information from low-level stimuli. Perception is necessary for analogy, but analogy is also necessary for high-level perception. Chalmers et al. conclude that analogy is high-level perception. Forbus et al. (1998) claim that this is only a metaphor. It has been argued (Morrison and Dietrich 1995) that Hofstadter's and Gentner's groups do not defend opposite views, but are instead dealing with different aspects of analogy.

[edit] Applications and types of analogy

[edit] In language

[edit] Rhetoric An analogy can be a spoken or textual comparison between two words (or sets of words) to highlight some form of semantic similarity between them. Such analogies can be used to strengthen political and philosophical arguments, even when the semantic similarity is weak or non-existent (if crafted carefully for the audience). Analogies are sometimes used to persuade those that cannot detect the flawed or non-existent arguments.

[edit] Linguistics An analogy can be the linguistic process that reduces word forms perceived as irregular by remaking them in the shape of more common forms that are governed by rules. For example, the English verb help once had the preterite holp and the past participle holpen. These obsolete forms have been discarded and replaced by helped by the power of analogy (or by widened application of the productive Verb-ed rule.) This is called leveling. However, irregular forms can sometimes be created by analogy; one example is the American English past tense form of dive: dove, formed on analogy with words such as drive: drove.

Neologisms can also be formed by analogy with existing words. A good example is software, formed by analogy with hardware; other analogous neologisms such as firmware and vaporware have followed. Another example is the humorous term underwhelm, formed by analogy with overwhelm.

Analogy is often presented as an alternative mechanism to generative rules for explaining productive formation of structures such as words. Others argue that in fact they are the same mechanism, that rules are analogies that have become entrenched as standard parts of the linguistic system, whereas clearer cases of analogy have simply not (yet) done so (e.g. Langacker 1987.445-447). This view has obvious resonances with the current views of analogy in cognitive science which are discussed above.

[edit] In science Analogues are often used in theoretical and applied sciences in the form of models or simulations which can be considered as strong analogies. Other much weaker analogies assist in understanding and describing functional behaviours of similar systems. For instance, an analogy commonly used in electronics textbooks compares electrical circuits to hydraulics. Another example is the analog ear based on electrical, electronic or mechanical devices.

[edit] Mathematics Some types of analogies can have a precise mathematical formulation through the concept of isomorphism. In detail, this means that given two mathematical structures of the same type, an analogy between them can be thought of as a bijection between them which preserves some or all of the relevant structure. For example, and are isomorphic as vector spaces, but the complex numbers, , have more structure than does - is a field as well as a vector space.

Category theory takes the idea of mathematical analogy much further with the concept of functors. Given two categories C and D a functor F from C to D can be thought of as an analogy between C and D, because F has to map objects of C to objects of D and arrows of C to arrows of D in such a way that the compositional structure of the two categories is preserved. This is similar to the structure mapping theory of analogy of Dedre Gentner, in that it formalizes the idea of analogy as a function which satisfies certain conditions.

[edit] Artificial intelligence See case-based reasoning.

[edit] Anatomy See also: Analogy (biology)

In anatomy, two anatomical structures are considered to be analogous when they serve similar functions but are not evolutionarily related, such as the legs of vertebrates and the legs of insects. Analogous structures are the result of convergent evolution and should be contrasted with homologous structures.

[edit] Engineering Often a physical prototype is built to model and represent some other physical object. For example, wind tunnels are used to test scale models of wings and aircraft, which act as an analog to full-size wings and aircraft.

For example, the MONIAC (an analog computer) used the flow of water in its pipes as an analog to the flow of money in an economy.

[edit] In normative matters

[edit] Morality Analogical reasoning plays a very important part in morality. This may be in part because morality is supposed to be impartial and fair. If it is wrong to do something in a situation A, and situation B is analogous to A in all relevant features, then it is also wrong to perform that action in situation B. Moral particularism accepts analogical moral reasoning, rejecting both deduction and induction, since only the former can do without moral principles.

[edit] Law In law, analogy is used to resolve issues on which there is no previous authority. A distinction has to be made between analogous reasoning from written law and analogy to precedent case law.

[edit] Analogies from codes and statutes In civil law systems, where the preeminent source of law is legal codes and statutes, a lacuna (a gap) arises when a specific issue is not explicitly dealt with in written law. Judges will try to identify a provision whose purpose applies to the case at hand. That process can reach a high degree of sophistication, as judges sometimes not only look at a specific provision to fill lacunae (gaps), but at several provisions (from which an underlying purpose can be inferred) or at general principles of the law to identify the legislator's value judgement from which the analogy is drawn. Besides the not very frequent filling of lacunae, analogy is very commonly used between different provisions in order to achieve substantial coherence. Analogy from previous judicial decisions is also common, although these decisions are not binding authorities.

[edit] Analogies from precedent case law By contrast, in common law systems, where precedent cases are the primary source of law, analogies to codes and statutes are rare (since those are not seen as a coherent system, but as incursions into the common law). Analogies are thus usually drawn from precedent cases: The judge finds that the facts of another case are similar to the one at hand to an extent that the analogous application of the rule established in the previous case is justified.

[edit] See also

Thinking portal

List of thinking-related topics

Conceptual metaphor

Conceptual blending

False analogy

Portal: thinking

Metaphor

Allegory

[edit] External links and references

ook up analogy in Wiktionary, the free dictionary.

Dictionary of the History of Ideas: Analogy in Early Greek Thought.

Dictionary of the History of Ideas: Analogy in Patristic and Medieval Thought.

Stanford Encyclopedia of Philosophy: Medieval Theories of Analogy.

Dedre Gentner's publications page, most of them on analogy and available for download.

Shawn Glynn’s publications page, all on teaching with analogies and some available for download.

Keith Holyoak's publications page, many on analogy and available for download.

Boicho Kokinov's publications page, most of them on analogy and available for download.

Chalmers, D.J. et al. (1991). Chalmers, D.J., French, R.M., Hofstadter, D., High-Level Perception, Representation, and Analogy.

Forbus, K. et al. (1998). Analogy just looks like high-level perception.

Gentner, D., Holyoak, K.J., Kokinov, B. (Eds.) (2001). The Analogical Mind: Perspectives from Cognitive Science. Cambridge, MA, MIT Press, ISBN 0-262-57139-0

Hofstadter, D. (2001). Analogy as the Core of Cognition, in Dedre Gentner, Keith Holyoak, and Boicho Kokinov (eds.) The Analogical Mind: Perspectives from Cognitive Science, Cambridge, MA: The MIT Press/Bradford Book, 2001, pp. 499-538.

Holland, J.H., Holyoak, K.J., Nisbett, R.E., and Thagard, P. (1986). Induction: Processes of Inference, Learning, and Discovery. Cambridge, MA, MIT Press, ISBN 0-262-58096-9.

Holyoak, K.J., and Thagard, P. (1995). Mental Leaps: Analogy in Creative Thought. Cambridge, MA, MIT Press, ISBN 0-262-58144-2.

Holyoak, K.J., and Thagard, P. (1997). The Analogical Mind.

Hummel, J.E., and Holyoak, K.J. (2005). Relational Reasoning in a Neurally Plausible Cognitive Architecture

Itkonen, E. (2005). Analogy as Structure and Process. Amsterdam/Philadelphia: John Benjamins Publishing Company.

Juthe, A. (2005). "Argument by Analogy", in Argumentation (2005) 19: 1–27.

Kokinov, B. (1994). "A hybrid model of reasoning by analogy."

Kokinov, B. and Petrov, A. (2001). "Integration of Memory and Reasoning in Analogy-Making."

Lamond, G. (2006). Precedent and Analogy in Legal Reasoning, in Stanford Encyclopedia of Philosophy.

Langacker, Ronald W. (1987). Foundations of Cognitive grammar. Vol. I, Theoretical prerequisites. Stanford: Stanford University Press.

Little, J. (2000). Analogy in Science: Where Do We Go From Here? Rhetoric Society Quarterly, 30, 69-92.

Little, J. (2008). The Role of Analogy in George Gamow's Derivation of Drop Energy. Technical Communication Quarterly, 17, 1-19.

Morrison, C., and Dietrich, E. (1995). Structure-Mapping vs. High-level Perception.

Shelley, C. (2003). Multiple analogies in Science and Philosophy. Amsterdam/Philadelphia: John Benjamins Publishing Company.

Turney, P.D., and Littman, M.L. (2005). Corpus-based learning of analogies and semantic relations. Machine Learning, 60 (1-3), 251-278.

Turney, P.D. (2006). Similarity of semantic relations. Computational Linguistics, 32 (3), 379-416.

Applications and examples

jMapper - Java Library for Analogy/Metaphor Generation

Retrieved from "http://en.wikipedia.org/wiki/Analogy"

Categories: Philosophical arguments | Cognitive science | Semantics | Logic | Linguistics | Greek loanwords

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Fluorescence spectroscopy or fluorometry or spectrofluorimetry is a type of electromagnetic spectroscopy which analyzes fluorescence from a sample. ...en wikipedia.org/wiki/Fluorescence_spectroscopy

 

Fluorescence is a process distinct from incandescence (ie emission of light due to high temperatures). Heating is generally detrimental to the process of ... www.berthold.com/ww/en/ pub/bioanalytik/biomethods/fluor.cfm

 

Fluorescence is the most rapidly expanding microscopy technique in both the medical and biological sciences, a fact which has spurred the development of ... micro.magnet.fsu.edu/primer/ techniques/fluorescence/fluorhome.

 

In fluorescence microscopy, the sample you want to study is itself the light source. The technique is used to study specimens, which can be made to ...nobelprize.org/educational_games/

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The Sun

Wednesday, March 25, 2009

Page 17

WORLD'S OLDEST WOMAN IS 130

A MOTHER of ten will mark her 130th birthday this week making her the world's person by 16 years.

Sakhan Dosova's passport states that she was born in 1879..."

"Her incredible age came to light during a census in Karaganda in northern Kazakhstan."

 

 

Daily Mirror

Wednesday. 25.03.2009

By Mark Dowdney

Page 27

"130 yrs old ...AND NOT ONE VISIT TO HER GP

AMAZING mum-of-ten Sakhan Dosova is said to be the worlds oldest human - outdoing her nearest rival by 16 years.

She is set to celebrate her 130th birthday on Friday without ever having visited a doctor or taken any medicine"

"Sakhan was discovered during a census in Karaganda, Kazakhstan."

"Her date of birth is said to be March 27, 1879 shown on her Soviet era passport and Kazakhstan identity card.

Her Granddaughter Gaukhar Kanieva, 42 said: She is a very cheerful woman. We think laughter and a good mood helped her live so long."

Karaganda statistics expert Nailya Dosayeva said there was no doubt Sakhan was nearing 130: "She has an old passport and documents which are genuine and based on these we can judge her age as being correct."

"But other Kazakh officials have cast doubt over the claim fearing humiliation if the story turns out to be untrue.

"One official said: "There's no doubt she is very old. But is she 130? Or was there a white lie long ago we need to find out."

 

 

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AMAZING mum-of-ten Sakhan Dosova is said to be the worlds oldest human - outdoing her nearest rival by 16 years.

She is set to celebrate her 130th birthday on Friday without ever having visited a doctor or taken any medicine"

"Sakhan was discovered during a census in Karaganda, Kazakhstan."

"Her date of birth is said to be March 27, 1879 shown on her Soviet era passport and Kazakhstan identity card.

 

 

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Her Granddaughter Gaukhar Kanieva, 42 said: She is a very cheerful woman. We think laughter and a good mood helped her live so long."

 

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Daily Mail

Wednesday, March 25, 2009

Page 26

Is this woman really 130?

A WOMAN claiiming to be the world's oldest living person will celebrate her 130th birthday this week.
Sakhan Dosova, a mother of ten, was horn in 1879, making her 16 years older than her nearest rival. Her age came to light during a census in Karaganda, northern Kazakhstan, where demographers were amazed to find she appeared on Stalin's first census in 1926, aged 47.
Her date of birth, March 27, 1879 - the year the lightbulb was invented - appears on her Soviet era passport and Kazakhstan identity card.
Mrs Dosova said: 'Idon't have any special secret. I've never taken pills and I've never eaten sweets - I don't like them. But I love cottage cheese.' Her granddaughter, Gaukhar Kanieva, 42, said: 'She is a very cheerful woman. We think laughter and a good mood helped her live so long.'

 

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Daily Mail

Tuesday, May 12, 2009

'World's oldest person' dies at 130 after a fall

Page 24

"A WOMAN thought to be the world's oldest person at 130 has died after slipping on the bathroom floor of her new flat.
Sakhan Dosovabroke her hip in a fall last month and never. recovered.
She had been given the flat by officials in Kazakhstan who were embarrassed she was living in overcrowded conditions with her impoverished family.
Her age came to light after a census in the city of Karaganda. Demographers also found she as on Stalin's first census of the reolon in 1926, with her age given as 47.
The mother of ten, whose date of birth was registered as March 27, 1879, said she had never visited a doctor and 'put her longevity down to a sense of humour.
Officially, the oldest living-person in the world is American Edna Parker, who is 114."

 

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-
-
S
=
1
-
1
S
1
10
1
-
1
-
-
-
-
-
-
-
-
-
-
46
-
9
PHONETICS
109
55
46
4
1
2
3
4
10
6
7
8
9
-
-
4+6
-
-
-
1+0+7
5+5
4+6
-
-
-
-
-
1+0
-
-
-
-
-
-
10
-
9
PHONETICS
10
10
10
4
1
2
3
4
1
6
7
8
9
-
-
1+0
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
1
-
9
PHONETICS-
1
1
1
4
1
2
3
4
1
6
7
8
9

 

 

-
-
-
-
-
PHONETICS
-
-
-
-
1
2
3
5
6
7
8
9
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
7
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
8
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
6
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
5
5
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
5
-
6
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
9
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
-
-
S
=
1
-
1
S
1
10
1
-
1
-
-
-
-
-
-
-
-
-
46
-
9
PHONETICS
109
55
46
4
1
2
3
10
6
7
8
9
-
-
4+6
-
-
-
1+0+7
5+5
4+6
-
-
-
-
1+0
-
-
-
-
-
-
10
-
9
PHONETICS
10
10
10
4
1
2
3
1
6
7
8
9
-
-
1+0
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
1
-
9
PHONETICS-
1
1
1
4
1
2
3
1
6
7
8
9

 

 

-
-
-
-
-
PHONETICS
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
1
S
1
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
46
-
9
PHONETICS
109
55
46
4
1
2
3
4
10
6
7
8
9
-
-
4+6
-
-
-
1+0+9
5+5
4+6
-
-
-
-
-
1+0
-
-
-
-
-
-
10
-
9
PHONETICS
10
10
10
4
1
2
3
4
1
6
7
8
9
-
-
1+0
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
1
-
9
-PHONETICS
1
1
1
4
1
2
3
4
1
6
7
8
9

 

 

-
-
-
-
-
PHONETICS
-
-
-
-
1
2
3
5
6
7
8
9
S
=
1
-
2
S
1
10
1
-
1
-
-
-
-
-
-
-
T
=
2
-
2
T
20
2
2
-
-
2
-
-
-
-
-
-
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
5
5
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
5
-
6
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
6
-
-
-
P
=
7
-
2
P
16
7
7
-
-
-
-
-
-
7
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
8
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
9
-
-
46
-
9
PHONETICS
109
55
46
4
1
2
3
10
6
7
8
9
-
-
4+6
-
-
-
1+0+9
5+5
4+6
-
-
-
-
1+0
-
-
-
-
-
-
10
-
9
PHONETICS
10
10
10
4
1
2
3
1
6
7
8
9
-
-
1+0
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
1
-
9
PHONETICS
1
1
1
4
1
2
3
1
6
7
8
9

 

 

QUANTUM

ENTANGLEMENTS

 

-
-
-
-
-
ENTANGLEMENTS
-
-
-
-
1
2
3
4
5
6
7
8
9
E
=
5
1
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
N
=
5
2
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
G
=
7
6
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
L
=
3
7
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
E
=
5
8
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
T
=
2
12
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
S
=
1
13
1
S
1
10
1
-
1
-
-
-
-
-
-
-
-
-
-
50
-
13
ENTANGLEMENTS
149
50
50
4
2
4
3
4
30
6
7
8
9
-
-
5+0
-
1+3
-
1+4+9
5+0
5+0
-
-
-
-
-
3+0
-
-
-
-
-
-
5
-
4
ENTANGLEMENTS
14
5
5
4
2
4
3
4
3
6
7
8
9
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
4
ENTANGLEMENTS
5
5
5
4
2
4
3
4
3
6
7
8
9

 

 

-
-
-
-
-
ENTANGLEMENTS
-
-
-
-
1
2
3
4
5
7
E
=
5
1
1
E
5
5
5
-
-
-
-
-
5
6
N
=
5
2
1
N
14
5
5
-
-
-
-
-
5
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
-
G
=
7
6
1
G
7
7
7
-
-
-
-
-
-
7
L
=
3
7
1
L
12
3
3
-
-
-
3
-
-
-
E
=
5
8
1
E
5
5
5
-
-
-
-
-
5
6
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
6
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
-
T
=
2
12
1
T
20
2
2
-
-
2
-
-
-
-
S
=
1
13
1
S
1
10
1
-
1
-
-
-
-
-
-
-
50
-
13
ENTANGLEMENTS
149
50
50
4
2
4
3
4
30
7
-
-
5+0
-
1+3
-
1+4+9
5+0
5+0
-
-
-
-
-
3+0
-
-
-
5
-
4
ENTANGLEMENTS
14
5
5
4
2
4
3
4
3
7
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
5
-
4
ENTANGLEMENTS
5
5
5
4
2
4
3
4
3
7

 

 

-
-
-
-
-
ENTANGLEMENTS
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
13
1
S
1
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
T
=
2
12
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
L
=
3
7
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
1
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
N
=
5
2
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
E
=
5
8
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
G
=
7
6
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
-
-
50
-
13
ENTANGLEMENTS
149
50
50
4
2
4
3
4
30
6
7
8
9
-
-
5+0
-
1+3
-
1+4+9
5+0
5+0
-
-
-
-
-
3+0
-
-
-
-
-
-
5
-
4
ENTANGLEMENTS
14
5
5
4
2
4
3
4
3
6
7
8
9
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
4
ENTANGLEMENTS
5
5
5
4
2
4
3
4
3
6
7
8
9

 

 

-
-
-
-
-
ENTANGLEMENTS
-
-
-
-
1
2
3
4
5
7
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
S
=
1
13
1
S
1
10
1
-
1
-
-
-
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
T
=
2
12
1
T
20
2
2
-
-
2
-
-
-
-
L
=
3
7
1
L
12
3
3
-
-
-
3
-
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
E
=
5
1
1
E
5
5
5
-
-
-
-
-
5
6
N
=
5
2
1
N
14
5
5
-
-
-
-
-
5
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
-
E
=
5
8
1
E
5
5
5
-
-
-
-
-
5
6
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
6
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
-
G
=
7
6
1
G
7
7
7
-
-
-
-
-
-
7
-
-
50
-
13
ENTANGLEMENTS
149
50
50
4
2
4
3
4
30
7
-
-
5+0
-
1+3
-
1+4+9
5+0
5+0
-
-
-
-
-
3+0
-
-
-
5
-
4
ENTANGLEMENTS
14
5
5
4
2
4
3
4
3
7
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
5
-
4
ENTANGLEMENTS
5
5
5
4
2
4
3
4
3
7

 

 

I

ME

ENTANGLEMENTS

 

 

Quantum entanglement is a quantum mechanical phenomenon in which the quantum states of two or more objects have to be described with reference to each other ...en.wikipedia.org/wiki/Quantum_entanglement

Quantum entanglement

Quantum entanglement is a quantum mechanical phenomenon in which the quantum states of two or more objects have to be described with reference to each other, even though the individual objects may be spatially separated. This leads to correlations between observable physical properties of the systems. For example, it is possible to prepare two particles in a single quantum state such that when one is observed to be spin-up, the other one will always be observed to be spin-down and vice versa, this despite the fact that it is impossible to predict, according to quantum mechanics, which set of measurements will be observed. As a result, measurements performed on one system seem to be instantaneously influencing other systems entangled with it. But quantum entanglement does not enable the transmission of classical information faster than the speed of light (see discussion in next section below).

Quantum entanglement applications in the emerging technologies of quantum computing and quantum cryptography, and has been used to realize quantum teleportation experimentally. At the same time, it prompts some of the more philosophically oriented discussions concerning quantum theory. The correlations predicted by quantum mechanics, and observed in experiment, reject the principle of local realism , which is that information about the state of a system should only be mediated by interactions in its immediate surroundings. Different views of what is actually occurring in the process of quantum entanglement can be related to different interpretations of quantum mechanics.

 

 

Quantum entanglement just got a whole lot weirder, says Michael Brooks ... The team believe that quantum entanglement between the atoms is the only ..www.biophysica.com/quantum

Entanglement:  The weirdest link

New Scientist vol 181 issue 2440 - 27 March 2004, page 32

That spooky connection between tiny particles is appearing everywhere, and its consequences are even affecting the world that we experience. It seems to unravel the past, and may be what keeps us alive. Quantum entanglement just got a whole lot weirder, says Michael Brooks

ENTANGLEMENT. Erwin Schrödinger called this phenomenon the defining trait of quantum theory. Einstein famously dubbed it spukhafte Fernwirkungen: "spooky action at a distance". It is not hard to understand why. Set things up correctly, and you can instantaneously affect the physical properties of a particle on the other side of the universe simply by prodding its entangled twin.

This is no longer just a curiosity of the quantum world, visible only in excruciatingly delicate experiments. Physicists now believe that entanglement between particles exists everywhere, all the time, and have recently found shocking evidence that it affects the wider, "macroscopic" world that we inhabit.

It is a discovery that might have far-reaching consequences. Not only will it give us a better grip on technological applications, such as quantum computing and cryptography, and the teleportation of quantum states, it could also open up a whole new realm of reality, enabling us to retain and control quantum weirdness in our everyday world. And it's not just a strange kind of "remote control" over matter that is at stake. Entanglement could even be the key to understanding what gives rise to the phenomenon of life. It's enough to set Einstein spinning in his grave.

Entanglement has been an affront to our sensibilities for several decades now. Schrödinger discovered it through his newly formed quantum theory, when he examined the mathematical descriptions of two quantum particles that bump into one other. After the interaction, it is impossible to tease apart the two particles' characteristics. Once they are entangled, it makes no sense to talk about the properties of just one of them. All the information about the particles, such as their momentum and spin, lies only in their joint properties. So if something affects the quantum state of one particle, it will inevitably affect the quantum state of the other, no matter how far apart they are. It is this that gives entanglement the "spooky" character that Einstein found so distasteful.

Although it seems like something from the realm of fantasy, many physicists now use entanglement as a kind of resource for experiments and applications. Entangled pairs of quantum particles such as photons are routinely created and sent down microscopes or fired across vast distances. Their spooky properties are used to perform such feats as high-resolution imaging, quantum teleportation or quantum cryptography.

But, despite the growing use of entanglement as a technological tool, physicists are beginning to realise we have only just scratched the surface of its potential. "Are there some other forms of entanglement that we haven't yet discovered?" asks Benni Reznik, a theoretical physicist at Tel Aviv University in Israel. "I think there are."

Just how little we know about entanglement was made crystal clear last year by a collaboration led by Sayantani Ghosh at the University of Chicago (Nature, vol 425, p 48). The team analysed experiments done more than a decade ago with a sample of a magnetic salt containing holmium atoms, and compared them with theoretical predictions. What they found is extraordinary.

The holmium atoms within the salt behave like tiny magnets and respond to each others' magnetic fields by adjusting their relative orientation, just as a compass needle orients itself to align with the Earth's magnetic field. But the atoms change this settled orientation if they are placed in an external magnetic field. The degree to which they align with the field is known as the salt's "magnetic susceptibility".

Ghosh and his colleagues examined how the susceptibility of the salt varied with temperature. They expected it would decrease as the temperature rose, because the extra energy at higher temperatures disrupts the atoms' ability to maintain the optimum alignment. And it did. But at very low temperatures, the atoms were aligned to a greater degree than would be expected if they had normal quantum energy levels (Graphic omitted). The team believe that quantum entanglement between the atoms is the only explanation for this phenomenon.

It's a big shock: it shows that the quantum phenomenon of entanglement, whose power was thought to be confined to the infinitesimal world of subatomic particles, can produce effects that remain measurable on macroscopic scales.

Ghosh and his colleagues also showed that entanglement affects the salt's heat capacity, defined as the amount of heat needed to change the temperature of a kilogram of substance by 1 kelvin. Throw in some heat, and you can only determine exactly how far the salt's temperature will rise if you take entanglement between atoms into account.

According to Vlatko Vedral, a theoretical physicist at Imperial College in London, these discoveries are highly important. Vedral was one of the team that first predicted the effect, three years ago (Physical Review Letters, vol 87, p 017901). The fact that the prediction has been borne out by experiment catapults the mystery of entanglement into the list of big unanswered questions that scientists need to address, he says.

That's partly because physicists can no longer content themselves with using the quantum and classical energy level descriptions of a material if they want to determine and understand its properties. The effects of entanglement now have to be included as an integral part of any accurate calculation.

But the results also suggest that, if we knew where to look, we might find entanglement causing significant effects in other materials. "It's not just magnetic salts - this should be a more universal thing," Vedral says.

The best place to look first, he believes, might be the enigmatic phenomenon of high-temperature superconductivity. Vedral points out that superconductors contain pairs of electrons whose quantum descriptions, or wave functions, appear to be entangled. "The wave function describing the pair is not equal to the product of two wave functions," he says. "Mathematically, I can see there is entanglement."

So should entanglement be considered as a possible cause of high-temperature superconductivity? Might it show us how to make materials that are superconducting at room temperature? At this stage, it is too early to say: the effects of entanglement on Ghosh's magnetic salt only become noticeable below 1 kelvin. "That is almost absolute zero," Vedral admits. "What would be really interesting would be to find a material that exhibits the effects of entanglement at higher temperatures." Eventually, he thinks, we might well find such a material at room temperature. "I don't think it's going to be a very easy search, but I can't think of anything that would rule this out on the basis of fundamental theory. It doesn't look impossible to me."

While this might seem hopelessly optimistic at first glance, other recent discoveries about entanglement are suggesting otherwise. Entanglements at room temperature appear to be an everyday part of the universe. Reznik, for instance, has shown that all of empty space - what physicists refer to as the vacuum - is filled with pairs of particles that are entangled. "It's an unusual idea," says Reznik. "It was quite hard to get our first paper on this accepted." His paper was finally published last year in Foundations of Physics (vol 33, p 167).

Thomas Durt of Vrije University in Brussels also believes entanglement is everywhere. He has recently shown, from the basic equations that Schrödinger considered, that almost all quantum interactions produce entanglement, whatever the conditions. "When you see light coming from a faraway star, the photon is almost certainly entangled with the atoms of the star and the atoms encountered along the way," he says. And the constant interactions between electrons in the atoms that make up your body are no exception. According to Durt, we are a mass of entanglements.

Curiouser and curiouser

Of course, that is no guarantee we can use them. Reznik says he doesn't think you can take his vacuum entanglement and use it to perform feats such as teleportation. Indeed, he is not even sure how to demonstrate that this entanglement exists. Though the equations of quantum field theory show that it is present, he is still working out how to perform an experiment that makes vacuum entanglement more than a theoretical result.

These are all tantalising revelations, because they suggest that something priceless is within our grasp. But how do we reach it?

We certainly need to find a better handle on practical entanglement: at the moment, the only forms of it we have learned to use are somewhat constraining. The entangled photons used for cryptography and teleportation are produced by firing a photon into a "non-linear" crystal, such as beta barium borate. The optical properties of a non-linear crystal depend on its orientation, and a photon fired in at the correct angle will split into two entangled photons. But the entanglement between the photon pair is an artefact of the internal properties of the original photon - its path and polarisation (Link New Scientist, 30 October 1999, p 32. omitted). So entangled photons from a non-linear crystal effectively remain just one quantum system, rather than being the result of two distinct particles meeting and interacting. "It's a kind of entanglement, but not quite the same as between different quantum systems," Vedral says.

What physicists would dearly like, the resource that would open the way for the best experiments, is an unlimited source of pure two-particle entanglements. Despite the recent progress, this rich source of quantum magic has eluded them so far. So how do we take things forward? Schrödinger first discovered entanglement through analysing the mathematical descriptions of quantum theory, so perhaps mathematicians should be the pioneers. The trouble with this is that entanglement gives mathematicians a severe headache - especially when the entanglement is between anything more than two particles.

In theory, just bouncing particles off an entangled pair will establish another entanglement link that can then be put to work, but it's much easier said than done. Experimental physicists John Rarity and Paul Tapster were the first to entangle three photons, in their laboratory at the UK Defence Evaluation and Research Agency in Malvern, Worcestershire, five years ago. But no one has ever managed to work out how to describe the properties of such a system. For the most part, theorists can't even look at a given quantum state and tell if it is entangled - it is only possible in a few special cases. "Although I can define what it means to be entangled, that is, I can write down a state that's entangled and a state that's not, if you give me a state and ask whether it's entangled, then I have no efficient way of telling you that," says Vedral. In other words, he knows how to formulate the calculation, but it is so difficult that no computer can actually perform it.

But these problems may be nothing compared to the bombshell that Caslav Brukner of the University of Vienna has just dropped. As if our current understanding of entanglement between widely separated particles were not sketchy enough, Brukner, working with Vedral and two other Imperial College researchers, has uncovered a radical twist. They have shown that moments of time can become entangled too (link omitted).

They achieved this through a thought experiment that examines how quantum theory links successive measurements of a single quantum system. Measure a photon's polarisation, for example, and you will get a particular result. Do it again some time later, and you will get a second result. What Brukner and Vedral have found is a strange connection between the past and the future: the very act of measuring the photon polarisation a second time can affect how it was polarised earlier on. "It's really surprising," says Vedral.

This entanglement between moments in time is so bizarre that it could expose a hole in the very fabric of quantum theory, the researchers believe. The formulation does not allow messages to be sent back in time, but it still means that quantum mechanics seems to be bending the laws of cause and effect. On top of that, entanglement in time puts space and time on an equal footing in quantum theory, and that goes sharply against the grain.

Space and time have always been very different in quantum theory. A location in space is an "observable" - like momentum or spin, spatial coordinates are just another property any quantum particle can have. The passing of time, on the other hand, has always been part of the backdrop. An electron can have a particular value of spin, or momentum or location, but it cannot have a particular time.

But if time can become entangled, it should be considered as an observable, and there is no way to write that into quantum theory. "People have tried, but something in quantum mechanics always has to be violated if you want a proper time-observable," Vedral says. "So it could be that something in quantum mechanics has to be reformulated."

In other words, Brukner's result suggests that we might be missing something important in our understanding of how the world works. Maybe that shouldn't surprise us. After all, entanglement between two spatially separated objects already tells us that space doesn't really have the form that classical physics says it does: instantaneous cause and effect across cosmological distances is not something that any theory of the universe can cope with. And now Brukner's result seems to extend this "impossibility" to events separated in time as well.

It's not cause for despair, though. We know that relativity and quantum theory have to be meshed together if we are to create a "final" theory of how the universe works. It is too early to read much into Brukner's result, but maybe it is a clue about how to produce such a theory.

In the meantime, Vedral thinks he's identified an equally significant project to pursue. If, as Ghosh's result suggests, entanglement can produce macroscopic effects, is it such a stretch to reason that quantum entanglement might be the key to understanding life?

We know that quantum mechanics describes how atoms combine into molecules, and so underpins chemistry. And chemical processes underpin all biological processes, including the metabolic cycle and replication. So could entanglement support the emergent, macroscopic characteristic of chemistry that we call life? Reznik and Durt's revelations - that entanglements exist around us and inside us all the time - can only add to the intrigue. "I think it's a speculation worth making," Vedral says. "There may be some experiments in biology or biochemistry where we can see more of these effects, interpret some of the results in a different light. It would be a very exciting find."

Couple that with the ability to create materials that exploit our unfolding understanding of entanglement, and we might one day even gain the ability to use entanglement to create new forms of life. Now that is a spooky thought.

Michael Brooks

 

7
QUANTUM
107
26
8
12
ENTANGLEMENT
130
49
4

 

 

3
THE
33
15
6
6
SPOOKY
101
29
2
6
EFFECT
45
27
9

 

 

6
ELECTRO
78
33
6
8
MAGNETIC
72
36
9
12
ENTANGLEMENT
130
49
4
26
First Total
280
118
19
2+6
Add to Reduce
2+8+0
1+1+8
1+9
8
Second Total
10
10
10
-
Reduce to Deduce
1+0
1+0
1+0
8
Essence of Number
1
1
1

 

 

THIRTEEN = 99 99 = THIRTEEN

 

Q
=
8
=
7
QUANTUM
107
26
8
E
=
5
=
13
ENTANGLEMENTS
149
50
5
-
-
13
-
20
First Total
256
76
13
-
-
1+3
-
2+0
Add to Reduce
2+5+6
7+6
1+3
-
-
4
-
2
Second Total
13
13
4
-
-
-
-
-
Reduce to Deduce
1+3
1+3
-
-
-
4
-
2
Essence of Number
4
4
4

 

 

QUANTUM

ENTANGLEMENT

 

7
QUANTUM
107
26
8
12
ENTANGLEMENT
130
49
4

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
QUANTUM
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ENTANGLEMENT
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
Q
=
8
1
1
Q
17
8
8
-
-
-
-
-
-
-
-
8
-
U
=
3
2
1
U
21
3
3
-
-
-
3
5
-
5
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
9
1
U
21
3
3
-
-
-
3
5
-
5
-
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
-
-
26
-
7
-
107
26
26
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
E
=
5
1
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
N
=
5
2
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
G
=
7
6
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
L
=
3
7
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
E
=
5
8
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
T
=
2
12
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
-
-
49
-
12
-
130
49
49
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Q
=
8
-
7
QUANTUM
107
26
8
4
2
6
9
8
35
6
7
8
9
E
=
5
-
12
ENTANGLEMENT
130
49
4
-
-
-
-
-
3+5
-
-
-
-
-
-
13
-
19
First Total
237
75
12
4
2
6
9
8
8
6
7
8
9
-
-
1+3
-
1+9
Add to Reduce
2+3+7
7+5
1+2
-
-
-
-
-
-
-
-
-
-
-
-
4
-
10
Second Total
12
12
3
4
2
6
9
8
8
6
7
8
9
-
-
-
-
1+0
Reduce to Deduce
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
1
Essence of Number
3
3
3
4
2
6
9
8
8
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
7
8
-
-
-
-
-
QUANTUM
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ENTANGLEMENT
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
7
8
Q
=
8
1
1
Q
17
8
8
-
-
-
-
-
-
-
8
U
=
3
2
1
U
21
3
3
-
-
-
3
5
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
U
=
3
9
1
U
21
3
3
-
-
-
3
5
-
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
26
-
7
-
107
26
26
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
E
=
5
1
1
E
5
5
5
-
-
-
-
-
5
6
-
N
=
5
2
1
N
14
5
5
-
-
-
-
-
5
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
-
-
G
=
7
6
1
G
7
7
7
-
-
-
-
-
-
7
-
L
=
3
7
1
L
12
3
3
-
-
-
3
-
-
-
-
E
=
5
8
1
E
5
5
5
-
-
-
-
-
5
6
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
6
-
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
-
-
T
=
2
12
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
49
-
12
-
130
49
49
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Q
=
8
-
7
QUANTUM
107
26
8
4
2
6
9
8
35
7
8
E
=
5
-
12
ENTANGLEMENT
130
49
4
-
-
-
-
-
3+5
-
-
-
-
13
-
19
First Total
237
75
12
4
2
6
9
8
8
7
8
-
-
1+3
-
1+9
Add to Reduce
2+3+7
7+5
1+2
-
-
-
-
-
-
-
-
-
-
4
-
10
Second Total
12
12
3
4
2
6
9
8
8
7
8
-
-
-
-
1+0
Reduce to Deduce
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
4
-
1
Essence of Number
3
3
3
4
2
6
9
8
8
7
8

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
QUANTUM
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ENTANGLEMENT
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
Q
=
8
1
1
Q
17
8
8
-
-
-
-
-
-
-
-
8
-
U
=
3
2
1
U
21
3
3
-
-
-
3
5
-
5
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
9
1
U
21
3
3
-
-
-
3
5
-
5
-
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
1
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
N
=
5
2
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
G
=
7
6
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
L
=
3
7
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
E
=
5
8
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
T
=
2
12
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Q
=
8
-
7
QUANTUM
107
26
8
4
2
6
9
8
35
6
7
8
9
E
=
5
-
12
ENTANGLEMENT
130
49
4
-
-
-
-
-
3+5
-
-
-
-
-
-
13
-
19
First Total
237
75
12
4
2
6
9
8
8
6
7
8
9
-
-
1+3
-
1+9
Add to Reduce
2+3+7
7+5
1+2
-
-
-
-
-
-
-
-
-
-
-
-
4
-
10
Second Total
12
12
3
4
2
6
9
8
8
6
7
8
9
-
-
-
-
1+0
Reduce to Deduce
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
1
Essence of Number
3
3
3
4
2
6
9
8
8
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
7
8
-
-
-
-
-
QUANTUM
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ENTANGLEMENT
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
7
8
Q
=
8
1
1
Q
17
8
8
-
-
-
-
-
-
-
8
U
=
3
2
1
U
21
3
3
-
-
-
3
5
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
U
=
3
9
1
U
21
3
3
-
-
-
3
5
-
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
E
=
5
1
1
E
5
5
5
-
-
-
-
-
5
6
-
N
=
5
2
1
N
14
5
5
-
-
-
-
-
5
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
-
-
G
=
7
6
1
G
7
7
7
-
-
-
-
-
-
7
-
L
=
3
7
1
L
12
3
3
-
-
-
3
-
-
-
-
E
=
5
8
1
E
5
5
5
-
-
-
-
-
5
6
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
6
-
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
-
-
T
=
2
12
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Q
=
8
-
7
QUANTUM
107
26
8
4
2
6
9
8
35
7
8
E
=
5
-
12
ENTANGLEMENT
130
49
4
-
-
-
-
-
3+5
-
-
-
-
13
-
19
First Total
237
75
12
4
2
6
9
8
8
7
8
-
-
1+3
-
1+9
Add to Reduce
2+3+7
7+5
1+2
-
-
-
-
-
-
-
-
-
-
4
-
10
Second Total
12
12
3
4
2
6
9
8
8
7
8
-
-
-
-
1+0
Reduce to Deduce
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
4
-
1
Essence of Number
3
3
3
4
2
6
9
8
8
7
8

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
QUANTUM
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ENTANGLEMENT
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
T
=
2
12
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
2
1
U
21
3
3
-
-
-
3
5
-
5
-
-
-
U
=
3
9
1
U
21
3
3
-
-
-
3
5
-
5
-
-
-
L
=
3
7
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
E
=
5
1
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
N
=
5
2
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
E
=
5
8
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
-
6
-
-
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
5
-
-
-
G
=
7
6
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
Q
=
8
1
1
Q
17
8
8
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Q
=
8
-
7
QUANTUM
107
26
8
4
2
6
9
8
35
6
7
8
9
E
=
5
-
12
ENTANGLEMENT
130
49
4
-
-
-
-
-
3+5
-
-
-
-
-
-
13
-
19
First Total
237
75
12
4
2
6
9
8
8
6
7
8
9
-
-
1+3
-
1+9
Add to Reduce
2+3+7
7+5
1+2
-
-
-
-
-
-
-
-
-
-
-
-
4
-
10
Second Total
12
12
3
4
2
6
9
8
8
6
7
8
9
-
-
-
-
1+0
Reduce to Deduce
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
1
Essence of Number
3
3
3
4
2
6
9
8
8
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
7
8
-
-
-
-
-
QUANTUM
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ENTANGLEMENT
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
7
8
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
T
=
2
12
1
T
20
2
2
-
-
2
-
-
-
-
-
U
=
3
2
1
U
21
3
3
-
-
-
3
5
-
-
-
U
=
3
9
1
U
21
3
3
-
-
-
3
5
-
-
-
L
=
3
7
1
L
12
3
3
-
-
-
3
-
-
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
-
-
E
=
5
1
1
E
5
5
5
-
-
-
-
-
5
6
-
N
=
5
2
1
N
14
5
5
-
-
-
-
-
5
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
-
-
E
=
5
8
1
E
5
5
5
-
-
-
-
-
5
6
-
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
6
-
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
-
-
G
=
7
6
1
G
7
7
7
-
-
-
-
-
-
7
-
Q
=
8
1
1
Q
17
8
8
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Q
=
8
-
7
QUANTUM
107
26
8
4
2
6
9
8
35
7
8
E
=
5
-
12
ENTANGLEMENT
130
49
4
-
-
-
-
-
3+5
-
-
-
-
13
-
19
First Total
237
75
12
4
2
6
9
8
8
7
8
-
-
1+3
-
1+9
Add to Reduce
2+3+7
7+5
1+2
-
-
-
-
-
-
-
-
-
-
4
-
10
Second Total
12
12
3
4
2
6
9
8
8
7
8
-
-
-
-
1+0
Reduce to Deduce
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
4
-
1
Essence of Number
3
3
3
4
2
6
9
8
8
7
8

 

 

What is 09/09/09 means? - HypnoThoughts.com
Or, maybe the number just means your left brain hemisphere likes symmetrical ... by Christian apocalyptic numerology, ... Over here, we have always dialled 999 ...
www.hypnothoughts.com/forum/topics/what-is-09/09/09-means - 78k - Cached

 

Why 09/09/09 Is So Special | LiveScience
In some cultures, the number 9 is special and can carry good or bad omens. ... As the final numeral, the number nine holds special rank. ...
www.livescience.com/culture09/09/09-2009-date-nines.html

""""" Ooo. Don't forget the religious groups whom believe 666 is suppose to be 999 and that tomorrow is the day of the beast."""""

 

 

 

THE TUTANKHAMUN PROPHECIES

Maurice Cotterell

1
999

BEHIND THE WALL OF SILENCE

Page 190

The holy number of sun-worshippers is 9, the highest number that can be reached before becoming one (10) with the creator. This is why Tutankhamun was entombed in nine layers of coffin. This is why the pyramid skirts of the two statues, guarding the entrance to the Burial Chamber, were triangular (base 3), when the all-seeing eye-skirt of Mereruka contained a pyramid skirt with a base of four sides. The message concealed here is that the 3 should be squared, which equals 9"

"The message concealed here is that the 3 should be squared, which equals 9"

 

 

TUTANKHAMEN

Christiane Desroches-Noblecourt 1963

Page177

"The red oxen had been left behind; now the "Nine Friends" and the two viziers-of the North and South- drew the ropes attached to the bier behind which followed a last high dignitary of the royal procession."

Page158 (Chapter 7) 1343

The death of the king and preparations for immortality 

"Analysis of his mummy shows that Tutankhamen was between eighteen and twenty years old when he died. This allows one to set the approximate date of his coronation in his ninth year, since there is no date mentioned in connexion with him after year 9 which appears on wine jars found in his tomb."

 

 

TRANSFORMATION THE BREAKTHROUGH

Whitley Strieber 1988

“nine knocks I was shattered, overwhelmed. I remembered their eerie precision-three groups of three”
“nine of them in three groups of three”

 

 

THE RISE AND FALL OF ANCIENT EGYPT

The History of a Civilisation from 3000 BC to Cleopatra

Toby Wilkinson 2010

Page 30

"In total, Atum and his immediate descendants numbered nine deities, three times three expressing the the ancient Egyptian concept of completeness.

“nine deities, three times three”

 

 

STEPHEN HAWKING

Quest For A Theory Of Everything

Kitty Ferguson 1992

Page 103

"...The square root of 9 is 3. So we know that the third side”

This occurs on the 33rd line down of page 103

 

 

TRANSFORMATION THE BREAKTHROUGH

Whitley Strieber 1988

Page 128

"Dr Gliedman had given me his essay "Quantum Entanglements: On Atomic Physics and the Nature of Reality," and I had been reading it..."

"Page 129

"I returned to Dr. Gliedman's essay.

I read the following sentence: "The mind is not the playwright of reality."

At that moment there came a knocking on the side of the house. This was a substantial noise, very regular and sharp. The knocks were so exactly spaced that they sounded like they were being produced by a machine. Both cats were riveted with terror. They stared at the wall. The knocks went on, nine of them in three groups of three, followed by a tenth lighter double-knock that communicated an impression of finality.

These knocks were coming from just below the line of the roof, at a spot approximately eighteen feet above the gravel driveway. Below the point of origin of the knocks were two open windows. Had anybody been out on the driveway with a ladder I would certainly have heard their movements on the gravel.

In addition, to get a ladder to that point they would have activated the movement-sensitive lights. But it was dark beyond the windows.

It would be next to impossible to stand on the sharply angled roof that covers the living room of the cabin. While the angle of the roof above the upstairs bedroom is almost flat, this roof is extremely steep. What's more, I would certainly have heard anybody crawling around on the roof. There would have been creaks and groans from the boards, and there is no question but that I would have noticed the sounds, given the profound silence of the country night.

I am absolutely dead certain about the reality of the knocks. They were not made by the house settling. Nothing but an intentional act could have produced such loud, evenly spaced sounds. They were not a prank being played by neighbors. In the summer of 1986 I had not yet told my neighbors about the visitors. What's more, the prank explanation was hopelessly impractical.

To reach the place from which I heard the knocks..."

Page 131

cannot be put down to disease. Such a thing is not a symptom. My cats would not have reacted to something happening in my mind. I am reporting a true event. It was the first definite, physical indication I had while in a state of commpletely normal consciousness that the visitors were part of this world.

They were responding to my attempts to develop the relationship and accept my fear by making their physical reality more plain.

The stunning event of August 27, 1986, strengthened my wavering resolve to keep the matter where it belongs, which is in question. It is an awfully serious business, and it cannot be removed from question except as we learn more facts. Should we decide to believe something about this that is not true, we will ruin it for ourselves. We will form yet another mythology around the visitors, as I suspect we have been doing throughout our history.

The moment after the nine knocks I thought to go outside. I also thought, You're not ready yet. You just go up to bed.

The next morning I thought that was exactly what I had done. But there was something wrong. While the knocks were taking place I was unquestionably in a normal state of mind. As soon as I began to move from the chair, though, I feel that I may have entered another state.

Unfortunately, I did not remember that something may have happened after the knocks until weeks later. On the morning after, my immediate thought was that I had failed miserably. The visitors had come, had knocked-and I'd just sat there, too scared even to open the door!

I therefore don:t know whether I concocted the subsequent memories to make myself feel better, or if they were hidden by a more prosaic screen memory.

One day I glanced at the clock on our videotape machine and suddenly remembered seeing it when it said 2:18 A.M. An instant later I recalled that I'd seen it reading that time as I went upstairs on the night of the nine knocks.

Page 134 (omitted)

TWELVE

Fire of the Question

"In the days after I heard the nine knocks I was shattered, overwhelmed. I remembered their eerie precision-three groups of three perfectly measured, exactly spaced sounds, each precisely as loud as the one previous. And then there had been a soft double-knock completely different in tone from the others. It had communicated a distinct sense of finality, and seemed by its lightness of tone not to be a part of the group. The nine knocks were a sort of communication. The tenth was punctuation..."

Page 135

""The nine knocks made me struggle even harder to understand. And I did not understand. But I had a few ideas"

"It was as if I had discovered an unknown world that has always been around us, that may be an even greater reality..."
"In the days after I heard the nine knocks I was shattered, overwhelmed. I remembered their eerie precision-three groups of three perfectly measured, exactly spaced sounds,”

 

Page 135

"The nine knocks made me struggle even harder to understand. And I did not understand. But I had a few ideas

It was as if I had discovered an unknown world that has always been around us, that may be an even greater reality..."

 

 

Daily Mail, Thursday December 17, 2015

ANSWERS TO CORRESPONDENTS

Compiled by Charles Legge

Page 64

QUESTION When we were kids, we used to knock on people's doors and run and hide. We called this Knock Down Ginger. Why?

AT LEAST 100 terms have been collected for this activity though the variants are sometimes slight; in Coventry they played Rat-tat-tat, in Solihull Rat-a-tat-tat.
Other terms include Ding Dong Ditch, Knock Door Run, Dolly Knock, Chap Door Run or Knock, Knock Ginger Ring and Run, and Nicky Nicky Nine Door.
The most common variant seems to involve the word ginger. A popular suggestion for this is that the doors of council estates were once stained ginger Another suggestion is that it comes from an Old Mother Goose rhyme:
`Ginger, Ginger broke a winder/Hit the winda — crack!/The baker came out to give 'im a clout/And landed on his back.'
Annie Crouch, St Ives, Cambs.

 

 

https://www.youtube.com/watch?v=amc_7l16LSM

Knock Three Times - Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Knock_Three_Times

"Knock Three Times" is a popular song credited to Tony Orlando and Dawn. ... The song was released as a single in November 1970, paired with Orlando's other hit song, "Candida" (also written by Toni .... Full lyrics of this song at MetroLyrics ...

 

 

THE RISE AND FALL OF ANCIENT EGYPT

The History of a Civilisation from 3000 BC to Cleopatra

Toby Wilkinson 2010

Page 30

"In total, Atum and his immediate descendants numbered nine deities, three times three expressing the ancient Egyptian concept of completeness.

“nine deities, three times three”

 

 

STEPHEN HAWKING

Quest For A Theory Of Everything

Kitty Ferguson 1992

Page 103

"...The square root of 9 is 3. So we know that the third side”

This occurs on the 33rd line down of page 103

 

 

TRANSFORMATION THE BREAKTHROUGH

Whitley Strieber 1988

Page 134

"In the days after I heard the nine knocks I was shattered, overwhelmed. I remembered their eerie precision-three groups of three perfectly measured, exactly spaced sounds,”

“nine knocks” “three groups of three ”

 

Whitley Strieber 1988 Page 134 “nine knocks I was shattered, overwhelmed. I remembered their eerie precision-three groups of three”
“nine of them in three groups of three”

Page 135

"The nine knocks made me struggle even harder to understand. And I did not understand. But I had a few ideas

It was as if I had discovered an unknown world that has always been around us, that may be an even greater reality..."

 

 

Toby Wilkinson 2010 Page 30 "In total, Atum and his immediate descendants numbered nine deities, three times three expressing the ancient Egyptian concept of completeness.


Kitty Ferguson 1992 Page 103 "...The square root of 9 is 3. So we know that the third side”
This occurs on the 33rd line down of page 103

 

 

Daily Mail, Thursday, December 24, 2015

By Ben Wilkinson

Page 124

Life-saving 999 call by girl of 3 after pregnant mother fell down stairs

WHEN pregnant Catherine Bazzard fell downstairs and knocked herself out, she was lucky to have a cool-headed life-saver nearby-her three-year old daughter Emma.

The youngster calmly told the emergency operator that Mrs Bazzard had a baby in her tummy and directed paramedics to her house.

Yesterday, South Western Ambukance Service released the 11 minute transcript of her call as it gave her a bravery award.

Emma found her mother slipping in and out of consciousness at the foot of the stairs after the 27-year old fell while rushing to get her son Harry, five from school.

In the recording of the call on November 27, Emma tells the call handler: 'Mummy fell down a stairs and she has got a baby'

After she was asked whether the baby is 'asleep' and how old it is. Emma reveals: It's in mummy's tummy. It's very very big. It's coming at Christmas.'

Extracts of the call from Emma to 999 call handler Sara Morris:

S:You are so clever to ring up E: Mummy said '999' and I did it.

"Pre-school worker Mrs Bazzard said: 'I remember Emma bringing me the phone. She couldn't get the nine button to work so I pressed it."

"...her mum spent three nights in hospital..."

Mrs Bazzard who is married to Ben, 33, a teacher said that had Emma not responded so quickly her son George would have been born dangerously early ...

"George was born healthy on December 4th four weeks early Ambulance call handler Sarah Morris said: 'I was amazed to discover that she was only three."

 

 

"THE WORD FIRST USED FOR MAN IS LULLU"

"THE WORD FIRST USED FOR MAN IS 33333"

"THE WORD FIRST USED FOR MAN IS LULLU"

 

 

ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-

The word used for man is lullu, meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found ...

I hereby name it Babylon, home of the great gods.

The word used in the text is written phonetically, ba-ab-i-li, contrary to tradition, maybe to allow for the etymological explanation of the name as the ‘gate of the gods’.
Then he decides to create man, to serve the gods with offerings, so that they can be at leisure. The word used for man is lullu , meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found guilty of the war between the gods, his blood is used to create mankind. Here, it is unclear if Marduk or Ea creates mankind. Later in the text, Ea is specified as the creator of man. Finally, the gods praise Marduk, and give him fifty names that represent different aspects of his powers and sovereignty.
The text ends with instructions on how it should be passed on from generation to generation, and the command to worship Marduk, king of the gods.

 

ENUMA ELISH
The Babylonian Creation Myth

"The word used for man is lullu"

LULLU 33333 LULLU

"The word used for man is lullu"

 

-
-
-
-
-
LULLU
-
-
-
L
3
L
-
1
L
12
3
3
U
3
U
-
1
U
21
3
3
L
3
L
-
1
L
12
3
3
L
3
L
-
1
L
12
3
3
U
3
U
-
1
U
21
3
3
-
15
-
-
6
LULLU
78
15
15
-
1+5
-
-
-
-
7+8
1+5
1+5
-
6
-
-
6
LULLU
15
6
6
-
-
-
-
-
-
1+5
-
-
-
6
-
-
6
LULLU
6
6
6

 

 

-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
1
-
-
--
-
-
--
-
-
1
ONE
1
-
-
-
-
-
2
-
-
--
-
-
--
-
-
2
TWO
2
-
-
-
-
-
-
-
3
3
3
3
3
-
-
3
occurs
x
5
=
15
1+5
6
4
-
-
--
-
-
--
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
--
-
-
--
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
--
-
-
--
-
-
6
SIX
6
-
-
-
-
-
7
-
-
--
-
-
--
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
--
-
-
--
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
--
-
-
--
-
-
9
NINE
9
-
-
-
-
-
42
5
L
U
L
L
U
-
-
3
-
-
5
-
15
-
6
4+2
-
3
3
3
3
3
-
-
-
-
-
-
-
1+5
-
-
6
5
L
U
L
L
U
-
-
3
-
-
5
-
6
-
6
-
-
3
3
3
3
3
-
-
-
-
-
-
-
-
-
-
6
5
L
U
L
L
U
-
-
3
-
-
5
-
6
-
6

 

 

5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
-
-
3
occurs
x
5
=
15
1+5
6
5
L
U
L
L
U
-
-
3
-
-
5
-
15
-
6
-
3
3
3
3
3
-
-
-
-
-
-
-
1+5
-
-
5
L
U
L
L
U
-
-
3
-
-
5
-
6
-
6
-
3
3
3
3
3
-
-
-
-
-
-
-
-
-
-
5
L
U
L
L
U
-
-
3
-
-
5
-
6
-
6

 

ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-
The word used for man is lullu, meaning a first, primitive man.The same word is used about the savage Enkidu in the Gilgamesh epic ...

 

-
-
-
-
-
LULLU
-
-
-
L
3
L
-
1
L
12
3
3
U
3
U
-
1
U
21
3
3
L
3
L
-
1
L
12
3
3
L
3
L
-
1
L
12
3
3
U
3
U
-
1
U
21
3
3
-
15
-
-
6
LULLU
78
15
15
-
1+5
-
-
-
-
7+8
1+5
1+5
-
6
-
-
6
LULLU
15
6
6
-
-
-
-
-
-
1+5
-
-
-
6
-
-
6
LULLU
6
6
6

 

 

B
=
2
-
-
BABYLONIA
-
-
-
-
-
-
-
2
B+A
3
3
3
-
-
-
-
2
B+Y
27
9
9
-
-
-
-
1
L
12
3
3
-
-
-
-
4
O+N+I+A
39
21
3
B
=
2
Q
9
BABYLONIA
81
36
18
-
-
-
-
-
-
8+1
2+3
1+8
B
=
2
Q
9
BABYLONIA
9
9
9

 

THE

LULLABY

 

-
LULLABY
-
-
-
1
L
12
3
3
1
U
21
3
3
1
L
12
3
3
1
L
12
3
3
1
A+B
3
3
3
1
Y
25
7
7
7
LULLABY
85
22
22
-
-
8+5
2+2
2+2
7
LULLABY
13
4
4
-
-
1+3
-
-
7
LULLABY
4
4
4

 

 

T
=
2
-
3
THE
33
15
6
L
=
3
-
4
LULL
57
12
3
B
=
2
-
6
BEFORE
51
33
6
T
=
2
-
3
THE
33
15
6
S
=
1
-
5
STORM
85
22
4
-
-
10
-
21
First Total
259
97
25
-
-
1+0
-
2+1
Add to Reduce
2+5+9
9+7
2+5
-
-
1
-
3
Second Total
16
16
7
-
-
-
-
-
Reduce to Deduce
1+6
1+6
-
-
-
1
-
3
Essence of Number
7
7
7

 

 

Tho' much is taken, much abides; and though
We are not now that strength which in old days
Moved earth and heaven; that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.

Ulysses

www.victorianweb.org/authors/tennyson/ulyssestext.html

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
R
=
9
-
10
REMEMBERED
88
52
7
-
-
-
-
-
-
-
7
-
-
A
=
1
-
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
D
=
4
-
11
DISMEMBERED
97
52
7
-
-
-
-
-
-
-
7
-
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
O
=
6
-
4
ONLY
66
21
3
-
-
-
3
-
-
-
-
-
-
R
=
9
-
5
RIGHT
80
35
8
-
-
-
-
-
-
-
-
8
-
W
=
5
-
3
WAY
49
13
4
-
-
-
-
4
-
-
-
-
-
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
D
=
4
-
3
DIE
18
18
9
-
-
-
-
-
-
-
-
-
9
-
-
53
-
52
First Total
558
270
72
-
1
2
3
4
5
6
28
16
9
-
-
5+3
-
5+2
Add to Reduce
5+5+8
2+7+0
7+2
-
-
-
-
-
-
-
2+8
1+6
-
-
-
8
-
7
Second Total
18
9
9
-
1
2
3
4
5
6
10
10
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
-
-
-
-
-
1+0
1+0
-
-
-
8
-
7
Essence of Number
9
9
9
-
1
2
3
4
5
6
1
1
9

 

 

INRI 9599 INRI

"INRI" is an abbreviation for the Latin "Iesus Nazarenus, Rex Iudaeorum" ("Jesus the Nazarene, King of the Jews"), posted on the cross by order of the Roman procurator, Pontius Pilate

 

 

-
-
-
-
-
SOLAR DISK
-
-
-
S
=
1
-
5
SOLAR
65
20
2
D
=
4
-
4
DISK
43
16
7
-
-
5
-
9
SOLAR DISK
108
36
9
-
-
-
-
-
-
1+0+8
3+6
-
-
-
5
-
9
SOLAR DISK
9
9
9

 

 

THE LOVE REVOLUTION THE R IN EVOLUTION

LOVE EVOLVE LOVE

EVOLVE LOVE EVOLVE

 

 

I

ME

YOU

ENTANGLEMENTS

MENTAL ANGLE ANGEL ANGLE MENTAL

ENTANGLE MENTALLY MENTALLY ENTANGLE

KARMAS THOUGHT ENTANGLEMENT THOUGHT KARMAS

0123456789 REAL REALITY REVEALED REALITY REAL 9876543210

0987654321 GODS REAL REALITY REAL GODS 1234567890

ONE GOD ONE I ONE ME ONE YOU ONE EVERYTHING GODS

INTO THE WITHIN OF THE WITHOUT THAT IS UNIVERSAL MIND OF DIVINE THOUGHT

ABCDEFGHIJKLMNOPQRSTUVWXYZ WELCOME HERO WELCOME ABCDEFGHIJKLMNOPQRSTUVWXYZ

 

 

JUST CATS

Fernand Mery

1957

Page 24

"In the year

999,

in the tenth day of the fifth Moon, at the Imperial Palace of Kyoto, a cat gave birth for the first time recorded here, and to five little kittens."

 

 

THE EXPANDING UNIVERSE

Arthur Eddington 1940

THE UNIVERSE AND THE ATOM

Page 99

"To the pure geometer the radius of curvature is an incidental characteristic-like the grin of the Cheshire cat. To the physicist it is an indispensable 'characteristic. It would be going too far to say that to the physicist the cat is merely incidental to the grin. Physics is concerned with interrelatedness such as the interrelatedness of cats and grins. In this case the ., cat without a grin" and the "grin without a cat" are equally set aside as purely mathematical phantasies."

 

 

THE COSMIC CODE

Heinz Pagels

1982

The Road to Quantum Reality

Page165

"That we may not always know reality is not because it is so far from us but because we are so close to it."

We feel excited by his remarks, though the old uneasiness has not left us. Yet listening to him is certainly better than that marketplace. After a long silence our old friend gives us his final words. "What quantum reality is, is the reality marketplace. The house of a God that plays dice has many rooms. We can live in only one room at a time, but it is the whole house that is reality."He gets up and leaves us. Only the smoke from his pipe remains, and then, like the smile of the Cheshire cat, that too disappears."

 

 

ALICE'S ADVENTURES IN WONDERLAND

Lewis Carroll

Page 61

"and was just saying to herself, 'if one only knew the right way to change them-' when she was a little startled by seeing the Cheshire Cat sitting on a bough of a tree a few yards off.

The Cat only grinned when it saw Alice. It looked good- natured, she thought: still it had very long claws and a great many teeth, so she felt that it ought to be treated with respect.

'Cheshire Puss,' she began, rather timidly, as she did not at all know whether it would like the name: however, it only grinned a little wider. 'Come, it's pleased so far,' thought Alice, and she went on. 'Would you tell me, please, which way I ought to go from here?'

'That depends a good deal on where you want to get to,' said the Cat.

'I don't much care where--' said Alice.

'Then it doesn't matter which way you go,' said the Cat.

'-so long as I get somewhere,' Alice added as an explanation.

'Oh, you're sure to do that,' said the Cat, 'if you only walk long enough.' "

 

 

CAT AMONGST THE CATACOMBS

 

 

THE DEATH OF FOREVER

Darryl Reaney 1991

Page 27

"The box is set up in such a way that any such disintegration will break open the poison capsule, releasing enough poison to kill the cat; in the time interval allowed for this 'thought experiment' there is an exactly 50:50 chance that the atom will or will not decay.

This is the basis of Schroedinger's paradox. The observer outside the box cannot know whether an atom inside the box has decayed (opening the capsule and killing the cat) unless he looks. The condition of the cat (alive or dead) is therefore a litmus test of reality itself. According to the strict interpretation of the quantum wave, in the absence of observation, the cat in the box is neither alive nor dead but in some indeterminate, wave-like, in-between state. It is only when the consciousness of an observer enters the picture that the complex ripple of possibility that is the indeterminate 'alive and dead at the same time' quantum cat crystallises into one of the two possible real outcomes: either the cat is alive (no atom has decayed) or the cat is dead (an atom has decayed).

In short, it is the observer's decision (his choice) to open the box that summons forth a real cat, dead or alive, from its ghostly quantum state of non-being."

 

 

DAILY MIRROR

Jonathan Cainer

Thursday May 27, 2004

SPIRITUAL HEALING

Rupert Sheldrake

Page 54

"Last month I wrote about after death contacts, when people feel the presence of someone who has passed on, it turns out that many readers have had these expe-riences, mostly with dearly loved spouses, parents or children..."
"Very few of these visits were frightening. most were comforting or reassuring. However we try to explain them, they certainly help the bereaved to come to terms with their loss.
Suprisingly some dead pets seem to pay visits too. Janine said: "Early one early morning, after my cat died, she was standing on my chest as she used to do..."

 

 

DAILY MIRROR

Thursday May 27, 2004

Geoffrey Lakeman

Page 35

SLABBY CAT

Pet's tombstone is 900-yr old carving
"A huge stone used to mark a beloved pet cats grave has been identified as a rare 11th-century carving. Amateur historian and potter Chris Brewchorne stumbled on the eight stone slab in the garden of a house near his gallery.
Expert Prof Rosemary Cramp says the carving of St Peter is one of the most important medieval pieces found in Britain.
Mr. Brewchorne, 44, of Dowlish Wake, Somerset, said: "You do not find top-quality 11th century stonework like this on top of a dead cat. It is remarkable. I would think it is worth many thousands. You can't buy this sort of thing at a car boot sale."
The owner's late husband was a stonemason who bought the carving, now thought to come from a frieze in a Saxon church, among a job lot.
He realised it was too good to use so for nine years it has marked Winkle's grave."

 

 

JUST CATS

Fernand Mery 1957

Page 24

"In the year 999, in the tenth day of the Fifth Moon, at the Imperial Palace of Kyoto, a cat gave birth for the first time recorded here, and to five little kittens."

IN THE YEAR 999

 

 

GREAT CAT TALES

Anthology

1992

THE CHESHIRE CAT

Lewis Carroll

Page 349 (number omitted)

"...The Cat only grinned when it saw Alice. It looked good-natured, she thought: still it had very long claws and a great many teeth, so she felt that it ought to be treated with respect.
"Cheshire -Puss,' she began rather timidly, as she did not at all know whether it would like the name: however it only grinned a little wider.'Come, it's pleased so far, 'thought Alice, and she went on. 'Would you tell me, please, which way I ought to go from here?'
That depends a good deal on where you want to get to, said the cat,' said the Cat.
I dont care where-'said Alice.
Then it doesn't matter which way you go,' said the Cat..."

 

 

GREAT CAT TALES

Anthology

1992

THE CHESHIRE CAT

Lewis Carroll

Page 351

"All right,' said the Cat; and this time it vanished quite slowly, beginning with the end of the tail, and ending with the grin, which waited some time after the rest of it had gone.
'Well! I've often seen a cat without a grin,' thought Alice; 'but a grin without a cat! It's the most curious thing I ever saw in all my life!..."

 

 

GREAT CAT TALES

Anthology

1992

Mike

Ernest A.Wallace Budge

Page 383 / 4

"(The cat who assisted in keeping the main gate of the British Museum from February, 1909, to January 1929)"
"...Early in the spring of 1908 the Keeper of the mum-/ mies in the British Museum was going down the steps of his official residence, when he saw Black Jack coming towards the steps..."
"...The Keeper of the Mummied Cats took care to feed him during the lean years of the war..."

 

 

SUPERNATURE

Lyall Watson

Page 96

RESONANCE

If a tuning fork designed to produce a frequency of 256 cycles a second (that is, middle C), is sounded anywhere near another fork with the same natural frequency, the second one will begin to vibrate gentlyy in sympathy with the first, even without being touched. Energy has been transferred from one to the other. An insect without ears would not be able to hear the sound of the first fork, but if it were sitting on the second one, it would very soon become aware of the vibration - and thus of events taking place beyond its normal sphere. This is what Supernature is all about.
An event in the cosmos sets up the vibration of electromagnetic waves, which travel across space and create an equivalent vibration by resonance with some part of earth that has the same natural frequency. Life may respond to these stimuli direcdy, but more often it reacts by resonating in sympathy with part of its immediate environment. A flashing light on the same frequency as a brain rhythu} produces resonance and alarming effects, even though the flicker may be too fast for us to see. A very weak electrical or magnetic field becomes noticeable because it resonates on the same frequency as the life field of the organism reacting to it. In this :way, very subtle stimuli, too small to make any impression on the normal senses, are magnified and brought to our notice. The super-natural becomes part of natural history.
In most musical instruments, sound is produced by strings, stretched membranes, rods, or reeds, and an important part of all of them is a structure that increases the area of contact these vibrators have with the air. A guitar string has a sound- ing box and a clarinet reed has a pipe. The shape of the / Page 97 / structure detennines the way in which the air will resonate and the quality of the sound. Shape and function are very closely related, not only for the sender of the signal but also for the receiver. If the listener is to hear the sound properly, he cannot sit in a room of the wrong shape or wear a football helmet.
Ultimately, sensitivity to sound depends on vibrations being set up in the fluid of the inner ear, but the sound first has to be collected by the external ear. In man, the passage between the eardrum and the outside world is funnel-shaped, with the walls making an angle of about 30 degrees to the drum. This is exactly the angle best suited to magnification of sounds in the critical range. The most popular, and therefore presumably the most effective, old-fashioned ear trumpet is one that also has this angle of 30 degrees. This could be just coincidence, but I doubt it.
Sound, of course, is a vibration that can be conducted only through an elastic medium; it cannot travel through a vacuum. Electromagnetic waves do travel through free space, and we know far less about the factors governing their resonance. There is, however, one quite extraordinary piece of evidence which suggests that shape could be important in receiving even cosmic stimuli. It comes from those favourites of mystics throughout the ages-the pyramids of Egypt.
The pyramids on the west bank of the Nile were built by the pharaohs as royal tombs and date from about 3000 B.c. The most celebrated are those at Giza, built during the fourth dynasty, of which the largest is the one that housed the pharaoh Khufu, better known as Cheops; This is now called the Great Pyramid. Some years ago it was visited by a Frenchman named Bovis, who took refuge from the midday sun in the pharoah's chamber, which is situated in the center of the pyramid, exactly one" third of the way up from the base. He found it unusually humid there, but what really surprised / Page 98 / him were the garbage cans that contained, among the usual tourist litter, the bodies of a cat and some small desert animals that had wandered into the pyramid and died there. .
Despite the humidity, none of them had decayed but just dried out like mummies. He began to wonder whether the pharaohs had really been so carefully embalmed by their sub-jects after all, or whether there was something about the pyramids themselves that preserved bodies .in a mummified condition.
Bovis made an accurate scale model of the Cheops pyramid and placed it, like the original, with the base lines facing precisely north-south and east-west. Inside the model, one third of the way up, he put a dead cat. It became mummified, and he concluded that the pyramid promoted rapid dehy-dration. Reports of this discovery attracted the attention of Karel Drbal, a radio engineer in Prague, who repeated the experiment with several dead animals and concluded, "There is a relation between the shape of the space inside the pyramid and the physical, chemical, and biological processes going on inside that space. By using suitable forms and shapes, we should be able to make processes occur faster or delay them." (233) Drbal remembered an old superstition which claimed that a razor left in the light of the moon became blunted. He tried putting one under his model pyramid, but nothing happened, so he went on shaving with it until it was blunt, and then put it back in the pyramid. It became sharp again. Getting a good razor blade is still difficult in many Eastern European countries, so Drbal tried to patent and market his discovery. The patent office in Prague refused to consider it until their chief scientist had tried building a model himself and found that it worked. So the Cheops Pyramid Razor Blade Sharpener was registered in 1959 under the Czechoslovakian Republic Patent No. 91304, and a factory soon began to turn out / Page 99 miniature cardboard pyramids. Today they make them in styrofoam.
The edge of a razor blade has a crystal structure. Crystals are almost alive, in that they grow by reproducing themselves. When a blade becomes blunted, some of the crystals on the edge, where they are only one layer thick, are rubbed off. Theoretically, there is no reason why they should not replace themselves in time. We know that sunlight has a field that points in all directions, but sunlight reflected from an object such as the moon is partly polarized, vibrating mostly in one direction. This could conceivably destroy the edge of a blade left under the moon, but it does not explain the reverse action of the pyramid. We can only guess that the Great Pyramid and its little imitations act as lenses that focus energy or as resonators that collect enetgy, which encourages crystal growth. The pyramid shape itself is very much like that of a crystal of magnetite, so perhaps it builds up a magnetic field. I do not know the answer, but I do know that it works.

 

 

JUST CATS

Fernand Mery

Page 17

FROM LEGEND TO HISTORY

"By studying Egyptian mummified cats Cuvier thought it possible to prove that the species is immutable. On the other hand, Darwin, by taking a cat to Paraguay, proved how'little change is needed to alter an animal to the point of giving it a new form.
Can this be the answer, then? An abrupt mutation? The sudden appearance of an arbitrary form of dwarfish- ness in a species of African panther affected by some little-known phenomena? A mutation which, becoming hereditary, gave rise to the cat, to be gradually tamed and domesticated by the Nubians and the Egyptians?
This theory would be tempting indeed but for one detail: the difference in the pupillary opening, round in all other felines and oval in the cat. However, we may note, that famous "pupillary crack ," is not altogether special to the one genus: it is also found in the civet-cat, a pleasant creature which is readily domesticated-like a cat!

EGYPT, PARADISE OF CATS

What do we know of ancient Egypt, a shadowy country beginning at Karnak in the midst of the temples of Thebes and reaching its apotheosis in the sombre tombs of the Valley of Kings? The gods, with human bones and / Page 18 / animal heads, expressed by their strange form the limitations of a world to which the minds of mere men had no access.
Egypt is the logical background in which to search for a trace, a detail, that may help the researcher in his delvings into the history of the civilized cat.
I have visited the remains of Ancient Egypt. The most vivid reproduction of cats are on the tomb of the sculptors Apuki and Nebamun at Thebes and date from the reign of Amenophis III; also in the temple of Medineth-Abou, on the bas-reliefs dedicated to hunting. In these the cats are represented as taller, larger and with longer lines than our most highly-bred Siameses of today, and more often than not are on leads for hunting the aquatic marsh-birds for their masters.
Were they brown or black? Uniformly coloured or spotted? Ringed or striped, these cats, so highly prized that their masters went into mourning when one of them died? Indeed, the killing of these cats was punishable by death. They were so much admired that from Memphis to Thebes the most sought-after women, the most successful courtesans, were those whose eyes had the colour and shape of a cat's, and whose figure and bearing had a cat's suppleness.
We cannot, of course, be certain about the simple facts of the appearance of these cats.
There exists at the British Museum a painting from Thebes, in which the cat is represented as a somewhat irregularly striped tiger; but there have also come down to us pictures of cats on papyrus, where the animal, coloured evenly, is just slightly marked with streaks half- way up the paws and a third of the way along the tail. The cats of Bubastis, of Hahbe Antar, of Arthemidos, have shed no further light on this problem.
Scarcely sixty years ago, a discovery was made in Central Egypt, at Beni Hassan, of an actual cemetery where 300,000 embalmed and mummified cats had been sleeping for thousands of years.

Page 19

No archaeologist was on the spot to prevent the inevitable vandalism; stupidly the graveyard was destroyed- an irreparable loss. It would have been enough to have kept just a random hundred of these cats for us to know now what the colouring and texture of the hair of these first cats were. By taking an average, we should have gained an approximate idea of their size.
By a wild combination of circumstances, this mass of cats was thrown into the hold of a ship departing for England-later to be sold as manure! Professor W. M. Conway, in the English Illustrated Magazine of the time, wrote down all the details of this unpardonable crime. Twenty tons of Egyptian cats in an admirable state of preservation were transported to Liverpool, and almost all sold to farmers at £4 per ton, to be mixed into the English soil as though they were mere dung.
Undoubtedly there are in existence some damaged or half-destroyed mummies, the scientific value of which is not realized. It can only be hoped that one day some interested specialist may be able to buy and study them, so throwing some light on the question. Before the 1914 war, Dr. Ehrenburg and an anatomist, de Blainville, tried in vain. After performing autopsies on several mummified cats and analysing the kind of cloths in which they were bound, etc., they concluded that these were Abyssinian cats. At Cairo we found only one tomb, an empty sarcophagus of stone: that of a cat commemorated by its master, the chief of the Order of Architects, who had his own name engraved in his companion's epitaph.
When one considers that an entire city, situated between the branches of the Nile off the present-'day Benha-el-Asl on the railway line from Ismailia to Cairo, was once dedicated to cats, one is surprised to learn that today cats are rare in Egypt. Certainly one sees memorials of them everywhere, but often confused with the various effigies of other, indeterminate felines.
Is it a cat or a lion, that overwhelming statue of Sekmet with the splendid body of a woman, which leaps out from / Page 20 / its obscure background? For counterpart it has Bastet, a milder but equally disturbing figure. The one is terrify-ing, the other on the surface reassuring; but the dividing line is not quite clear between the savage beast and the charming little cat.
Elsewhere we find the same confusion between goats and rams, jackals and wolves, wolves and dogs even. And as Ancient Egypt has left no document comparable to the Bible or the Koran, there is nowhere to trace exact infor-mation or references.
Only those statues which are completely, in both head and body, of cats can help to give a picture of the Ancient Egyptian domestic cat. All proportions being similar, this type of the statues resembles that most friendly and tameable feline: the cheetah. Aesthetically only the cheetah-if it had retractile claws, that is-is the counter- part of these statues. The lion or the tiger, with their larger, flatter muzzles, never ha~ that loose frame, those paws with long and solid toes, that comparatively narrow chest between very straight shoulders, and that serpentine head.
But Ancient Egypt was only yesterday, comparatively speaking. What after all are two or three thousand years in the evolution of a species? The domestic cat seems a comparative newcomer, when one considers that the dog has been man's companion since our first ancestors so many hundreds of thousands of years ago.
All we know is that from his first appearance in Ancient Egypt the cat became a veritable godhead, the sacred host in all his glory. A male cat was held to be the ally of the sun and the scourge of Apopi, serpent of night. A female was beloved of the common people and regarded as a Lady of Heaven.
This astonishing ascendancy lasted for nearly a thousand years, up to the period of decadence, the collapse of the dynasty of the Pharaohs, and the birth of the Christian religion. The new Faith cast a dazzling enlightenment, but Page 21 / consigned the cat to perpetual darkness and the most tragic of destinies.

 

 

IN SEARCH OF SCHRODINGER'S CAT

John Gribbin 1984

PROLOGUE

NOTHING IS REAL

Page 1

"The cat of our title is a mythical beast, but Schrodinger was a real person. Erwin Schrodinger was an Austrian scientist instrumental in the development, in the mid-1920s, of the equations of a branch of science now known as quantum mechanics. Branch of science is hardly the correct expression, however, because quantum mechanics provides the fundamental underpinning of all of modem science. The equations describe the behavior of very small objects-generally speaking, the size of atoms or smaller-and they provide the only understanding of the world of the very small. Without these equations, physicists would be unable to design working nuclear power stations (or bombs), build lasers, or explain how the sun stays hot. Without quantum mechanics, chemistry would still be in the Dark Ages, and there would be no science of molecular biology-no under- standing of DNA, no genetic engineering-at all.
Quantum theory represents the greatest achievement of science, far more significant and of far more direct, prac- / Page 2 / tical use than relativity theory. And yet, it makes some very strange predictions. The world of quantum mechanics is so strange, indeed, that even Albert Einstein found it in-comprehensible, and refused to accept all of the implications of the theory developed by Schrodinger and his colleagues. Einstein, and many other scientists, found it more comfortable to believe that the equations of quantum mechanics simply represent some sort of mathematical trick, which just happens to give a reasonable working guide to the behavior of atomic and subatomic particles but that conceals some deeper truth that corresponds more closely to our everyday sense of reality. For what quantum mechanics says is that nothing is real and that we cannot say anything about what things are doing when we are not looking at them. Schrodinger's mythical cat was invoked to make the differences between the quantum world and the everyday world clear.
In the world of quantum mechanics, the laws of physics that are familiar from the everyday world no longer work. Instead, events are governed by probabilities. A radio-active atom, for example, might decay, emitting an electron, say; or it might not. It is possible to set up an experiment in such a way that there is a precise fifty-fifty chance that one of the atoms in a lump of radioactive material will decay in a certain time and that a detector will register the decay if it does happen. Schrodinger, as upset as Einstein about the implications of quantum theory, tried to show the absurdity of those implications by imagining such an experiment set up in a closed room, or box, which also contains a live cat and a phial of poison, so arranged that if the radioactive decay does occur then the poison container is broken and the cat dies. In the everyday world, there is a fifty-fifty chance that the cat will be killed, and without looking in- side the box we can say, quite happily, that the cat inside is either dead or alive. But now we encounter the strangeness of the quantum world. According to the theory, neither of the two possibilities open to the radioactive material, and therefore to the cat, has any reality unless it is observed. The atomic decay has neither happened nor not happened, the cat has neither been killed nor not killed, until we look / Page 3 / inside the box to see what has happened. Theorists who accept the pure version of quantum mechanics say that the cat exists in some indeterminate state, neither dead nor alive, until an observer looks into the box to see how things are getting on. Nothing is real unless it is observed.
The idea was anathema to Einstein, among others. "God does not play dice," he said, referring to the theory that the world is governed by the accumulation of outcomes of essentially random "choices" of possibilities at the quantum level. As for the unreality of the state of Schrodinger's cat, he dismissed it, assuming that there must be some underlying "clockwork" that makes for a genuine fundamental reality of things. He spent many years attempting to devise tests that might reveal this underlying reality at work but died before it became possible actually to carry out such a test. Perhaps it is as well that he did not live to see the outcome of one line of reasoning that he initiated.
In the summer of 1982, at the University of Paris- South, in France, a team headed by Alain Aspect completed a series of experiments designed to detect the underlying reality below the unreal world of the quantum. The underlying reality-the fundamental clockwork-had been given the name "hidden variables," and the experiment concerned the behavior of two photons or particles of light flying off in opposite directions from a source. It is described fully in Chapter Ten, but in essence it can be thought of as a test of reality. The two photons from the same source can be observed by two detectors, which measure a property called polarization. According to quantum theory, this prop-erty does not exist until it is measured. According to the hidden-variable idea, each photon has a "real" polarization from the moment it is created. Because the two photons are emitted together, their polarizations are correlated with one another. But the nature of the correlation that is actually measured is different according to the two views of reality.
The results of this crucial experiment are unambiguous. The kind of correlation predicted by hidden-variable theory is not found; the kind of correlation predicted by quantum mechanics is found, and what is more, again as predicted by quantum theory, the measurement / Page 4 / that is made on one photon has an instantaneous effect on the nature of the other photon. Some interaction links the two inextricably, even though they are flying apart at the speed of light, and relativity theory tells us that no signal can travel faster than light. The experiments prove that there is no underlying reality to the world. "Reality," in the everyday sense, is not a good way to think about the behavior of the fundamental particles that make up the uni-verse; yet at the same time those particles seem to be inseparably connected into some indivisible whole, each aware of what happens to the others.
The search for Schrodinger's cat was the search for quantum reality.. From this brief outline, it may seem that the search has proved fruitless, since there is no reality in the everyday sense of the word. But this is not quite the end of the story, and the search for Schrodinger's cat may lead us to a new understanding of reality that transcends, and yet includes, the conventional interpretation of quantum mechanics. The trail is a long one, however, and it begins with a scientist who would probably have been even more horrified than Einstein if he could have seen the answers we now have to the questions he puzzled over. Isaac Newton, studying the nature of light three centuries ago, could have had no conception that he was already on the trail leading to Schrodinger's cat


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 SING A SONG OF SOLEMN SOLOMON

 

 

WHY SMASH ATOMS

A,K.Solomon 1940

 

"ONCE THE FAIRY TALE HERO HAS PENETRATED THE RING OF FIRE ROUND

THE MAGIC MOUNTAIN

HE IS FREE TO WOO THE HEROINE IN HER CASTLE ON THE MOUNTAIN TOP"

 

 

THE TRUE AND INVISIBLE ROSICRUCIAN ORDER

Paul Foster Case

1981

Page 108 "...the underlying purpose of the Fama, when it says the object of the manifesto is to reveal man's nobleness and worth and why he is called Microcosmus. For Microcosmus (or Microcosmos) is simply the Paracelsian adaptation of the Qabalistic Microprosopus, or Lesser Countenance.

The Zohar says that all is contained in the mystery of Vav, and thereby all is revealed. The same Qabalistic authority connects Vav with the Son of David, and this was interpreted by erudite Europe in the seventeenth century, as a reference to the Christos.

Attached to the nail was a stone. This is the same stone we have , mentioned before. It is the Stone rejected by the builders. It is the Stone of the Philosophers. It is ABN, Ehben, signifying the union of the Son with the Father.

We have already said that Henry Khunrath published in 1609 a book called Amphitheatrum Chemicum, in which appears an illustration showing the word ABN, Ehben, enclosed in a triangle. This radiant triangle, with the letters ABN at its corners, is borne by a dragon, and the dragon is on top of a mountain. The mountain is in the middle or center of an enclosure, surrounded by a wall having seven sides, whose corners bear the words, reading from left to right or clockwise around the wall: Dissolution, Purification, Azoth Pondus, Solution, Multiplication, Fermentation, Projec-tion. Thus, the inner wall summarizes the alchemical operations. Its gate has the motto Non omnibus, meaning "Not for all," as if to intimate that entrance into the central mystery is not for everyone.

. Surrounding this inner wall is another in the form of a seven- pointed star, composed of fourteen equal lines. The gate to this outer wall is flanked by two triangular pyramids, or obelisks. Over one is the sun, and this obelisk is named Faith. Over the other is the moon, and this pillar is named Taciturnity, or Silence. Between the pillars, in the gate, is a figure bearing the caduceus of Hermes or Mercury, standing behind a table on which is written "Good Works." Below is the motto: "The ignorant deride what the wise extol and admire."

Thus, in Khunrath's diagram we have the same association be- tween a seven-sided figure and a stone that occurs in the Fama. The mystic mountain, with the dragon at its summit, is also a Rosicrucian symbol, as one may see in Thomas Vaughan's Lumen de Lumine, where Section 2 is entitled "A Letter from the Brothers of R.C., Concerning the Invisible, Magical Mountain and the Treasure therein Contained." Incidentally, the title of this section is a clear enough intimation that Thomas Vaughan was in communication with the Invisible Order, although he says in one of his books that he has "no acquaintance with this Fraternity as to their persons." Vaughan further says, concerning the Rosicrucians:

Every sophister condemns them, because they appear not to the world, and concludes there is no such society, because he is not a member of it. There is scarce a reader so just as to consider upon what grounds they conceal

 

 

THE TRUE AND INVISIBLE ROSICRUCIAN ORDER

Paul Foster Case

1981

 Page 108

THE ROSICRUCIAN ALLEGORY

"Concerning the Invisible, Magical Mountain and the Treasure therein Contained"

 

 

THE MAGIC MOUNTAIN

Thomas Mann

1875 - 1955

FOREWORD 

"THE STORY of Hans Castorp, which we would here set forth, not on his own account, for in him the reader will make acquaintance with a simple-minded though pleasing young man, but for the sake of the story itself, which seems to us highly worth telling - though it must needs be borne in mind, in Hans Castorp's behalf, that it is his story, and not every story happens to everybody- this story, we say, belongs to the long ago; is already, so to speak, covered with historic mould, and unquestionably to be presented in the tense best suited to a narrative out of the depth of the past

That should be no drawback to a story, but rather the reverse. Since histories must be in the past, then the more past the better, it would seem, for them in their character as histories, and for him, the teller of them, rounding wizard of times gone by. With this story, moreover, it stands as it does to-day with human beings, not least among them writers of tales: 'it is far older than its years; its age may not be measured by.length of days, nor the weight of time on its head reckoned by the rising or setting of suns. In a word, the degree of its antiquity has noways to do with the pas- sage of time - in which statement the author intentionally touches upon the strange and questionable double nature of that riddling element.

But we would not wilfully obscure a plain matter. The exag-gerated pastness of our narrative is due to its taking place before the epoch when a certain crisis shattered its way through life and consciousness and left a deep chasm behind. It takes place - or, rather, deliberately to avoid the present tense, it took place, and had taken place - in the long ago, in the old days, the days of the world before the Great War, in the beginning of which so much began that has scarcely yet left off beginning. Yes, it took place before that; yet not so long before. Is not the pastness of the past the profounder, the completer, the more legendary, the more im- mediately before the present it falls? More than that, our story has, of its own nature, something of the legend about it now and again.

Page xii

We shall tell it at length, thoroughly, in detail- for when did a narrative seem too long or too short by reason of the actual time or space it took up? We do not fear being called meticulous, in-clining as we do to the view that only the exhaustive can be truly -interesting.

Not all in a minute, then, will the narrator be finished with the story of our Hans. The seven days of a week will not suffice, no, nor seven months either. Best not too soon make too plain how much mortal time must pass over his head while he sits spun round in his spell. Heaven forbid it should be seven years!"

And now we begin."

 

 

IN SEARCH OF EXTRA TERRESTRIALS

Alan Landsburg

1977

Page 79

"as I lay gazing at the star-dusted sky, a strange feeling of utter loneliness crept over me. Those who live in cities never see the sky as it was that evening. It was like an enormous intergalactic fireworks display-here and there a shooting star, whole whorls of many solar systems, distant suns and galaxies spar-kling across the vast ice reaches of outer space.

The words of J. B. S. Haldane came back to haunt me. He once wrote,

"Now, my suspicion is that the universe is not only queerer than we suppose, but queerer than we can suppose. I suspect that there are more things in heaven and earth than are dreamed of in any philosophy. That is the reason why I have no philosophy myself, and must be my excuse for dreaming."

The past fifteen years have reversed the thinking of the scientific community regarding extraterrestrial life, known as ETI. And while speculation about ETI has always been a heated one, today large segments of the scientific establishment are examining the hard proba- bilities that the universe is populated and that our galaxy is teeming with life. The problem-should say challenge - is more "how" than "if." "

 

 

SCIENCE AND EVERYDAY LIFE

J.B.S Haldane

1939

"The truth about human races, when we know it, will no doubt be complicated. But one simple theory which is certainly nearer the truth than Hitler's was stated by old Andrew Marvell 270 years ago:

" The world in all doth but two nations bear,

The good, the bad, and these mixed everywhere."

 

 

MIN DOTH DREAM WHAT DOTH MIN MEAN

 

 

I

ISISIS

THATNINETHAT

LIVINGLIGHTLIVING

EVILLIVEEVILLIVEEVILLIVE

DEVILLIVEDLIVEDDEVILLIVEDDEVIL

LOVEEVOLVELOVEGODSLOVEEVOLVELOVE

THERA7EARTH7HEART7HEART7EARTH7THERA

 

 

MIN DOTH DREAM WHAT DOTH MIN MEAN

 

 

FIRST CONTACT

THE SEARCH FOR EXTRA TERRESTRIAL INTELLIGENCE

Edited By

Ben Bova and Byron Preiss

1990

 A

MARTIAN ODYSSEY

Stanley G Weinbaum

 "Anyway, the creatures went sailing past us; everyone greeting us with the same statement. It got to be funny; I never thought to find so many friends on this God- forsaken ball! Finally I made a puzzled gesture to Tweel; I guess he understood, for he said, "One-one-two- yes! -two-two-four - no!" Get it?'

'Sure,' said Harrison. 'It's a Martian nursery rhyme.'

'Yeah! Well, I was getting used to Tweel's symbolism, and I figured it out this way. "One-one-two - yes!" The creatures were intelligent. "Two-two-four - no!" Their intelligence was not of our order, but something different and beyond the logic of two and two is four. Maybe I missed his meaning. Perhaps he meant that their minds were of low degree, able to figure out the simple things -

"One-one-two - yes!" - but not more difficult things - "Two-two-four - no!" But I think from what we saw later that he meant the other.

'After a few moments, the creatures came rushing back - first one, then another. Their pushcarts were full of stones, sand, chunks of rubbery plants, and such rubbish as that. They droned out their friendly greeting, which didn't really sound so friendly, and dashed on. The third one I assumed to be my first acquaintance and I decided to have another chat with him. I stepped into his path again and waited.

'Up he came, booming out his "We are v-r-r-riends" and stopped. I looked at him; four or five of his eyes looked at me. He tried his password again and gave a shove on his cart, but I stood firm. And then the - the dashed creature reached out one of his arms, and two finger-like nippers tweaked my nose!'..."

 

 

FIRST CONTACT

THE SEARCH FOR EXTRA TERRESTRIAL INTELLIGENCE

Edited By

Ben Bova and Byron Preiss

1990

 SETI

ON

CAMPUS

Robert Dixon

 Page 252

"These modest programs are amassing valuable data, including at least one signal that 'wowed' the Ohio researchers and several unexplained spikes in the SERENDIP programs in California.

Have we already detected extraterrestrial intelligence?"

A

UNIQUE MOMENT IN HUMAN HISTORY

FIRST CONTACT

SEIZING THE MOMENT

Michael Michaud

Page 314

Philip Morrison has suggested that aliens might send us a volume of information greater than that transmitted to medieval Europe from the ancient Greeks, stimulating a new and even greater Renaissance. By entering a communications net, we might receive maps of the Galaxy, and elaborate descriptions of the physical Universe and how it works. We might learn the histories of civilizations stretching far back into the galactic past, and become aware of alternative cultures, arts, social and economic systems, and forms of political organization. Deliberately or by implication, the aliens might tell us how they had survived. It is intriguing to consider how much we could contribute to the other side of the dialogue.

Alien knowledge, integrated with our own, could generate a dramatic forward leap in our sciences and our other academic disciplines. For the first time, we could compare our information and our perceptions with those of other minds in different environments, illuminating voids in our own knowledge and suggesting new generalizations. This almost certainly would lead to new syntheses, a boom in interdisciplinary studies as we perceived new linkages, and new branches of science. Dealing with this influx of new knowledge could force us into mind-stretching responses. Our curiosity would be stimulated by finding out how much we had not known. Contact also could reveal areas of shared knowledge, supporting our own conclusions; this might include religious concepts such as creation or a Supreme Being.

But we should beware of excessive optimism about this exchange of information; communication with an alien civilization may not be easy. No matter what we / Page 315 / wish to believe, aliens, by definition, will be very different. While they may share some of our perceptions of physical reality and some of our evolutionary experiences, their evolutions would differ from ours in many ways, and we might share little in philosophy and culture. There could be serious problems of mutual unintelligibility, or misunderstandings caused by different ways of perceiving reality and by different cultural frames of reference. We might find that our own concepts of language, including mathematics, are narrow and idiosyncratic.

We also should not assume that the aliens will want to tell us everything. Transmitting the species data bank might not be the aliens' first priority. They might want to know first our capabilities and our intentions to assure themselves that their security would not be threatened. There might be things they would not want to tell us, such as how to achieve interstellar flight or how to create more powerful weapons.

Receiving knowledge much more advanced than our own, and the solutions to problems we have struggled with for years, could break the intellectual morale of some scientists and other scholars, and undermine support for some forms of research. Instead, we might simply wait for alien answers, and translate them into our terms. Humans concerned about their personal and institutional interests might resist the dissemination of some alien information, or seek to brand it as dangerous, immoral, or subversive.

Receiving, interpreting, and disseminating information from extraterrestrials could be a major enterprise for humanity, almost certainly requiring new institutions. Since control over this information could bring great power and status, there would be a strong / Page 316 / temptation to monopolize the channel and to limit access by others. Individual nations or groups might attempt to conduct separate dialogues with the aliens to exploit contact for their own purposes. Political and governmental leaders would be concerned about the impact that contact could have on their populations, and might try to let through only those ideas they considered safe. National security policy-makers might argue for classification of the contact and the information received. Some scholars, particularly those personally involved in the first contact, might be equally possessive about the information and the channel, especially if they distrusted governments and held a low opinion of the general population. Entrepreneurs might compete to get first access to alien ideas and to monopolize or patent those with commercial value."

 

 

CHEIRO'S

BOOK OF NUMBERS

Circa 1926

Page106

"Shakespeare, that Prince of Philosophers, whose thoughts will adorn English literature for all time, laid down the well-known axiom: There is a tide in the affairs of men which if taken at the flood, leads on to fortune.

" The question has been asked again and again, Is there some means of knowing when the moment has come to take the tide at the flood?

My answer to this question is that the Great Architect of the Universe in His Infinite Wisdom so created all things in such harmony of design that He endowed the human mind with some part of that omnipotent knowledge which is the attribute of the Divine Mind as the Creator of all."

 

153 fishes x 12 Disciples

ISISIS

1836

 

1836

DIVIDED

34 = 54

 

PLATO6666666999999999666666OTALP

 

 

ANUBIS A NUMBER

IS

 

 

THE ROOTS OF COINCIDENCE

Arthur Koestler

1972

 Page 88 

"Euclidian geometries, invented by earlier mathematicians more or less as a game, provided the basis for his relativistic cosmology

Another great physicist whose thoughts moved in a similar direction was Wolfgang Pauli.

At the end of the 1932 conference on nuclear physics in Copenhagen the participants, as was their custom on these occasions, performed a skit full of that quantum humour of which we have already had a few samples. In that particular year they produced a parody of Goethe's Faust, in which Wolfgang Pauli was cast in the role of Mephistopheles; his Gretchen was the neutrino, whose existence Pauli had predicted, but which had not yet been discovered.

 

 

MEPHISTOPHELES

(to Faust):

 Beware, beware, of Reason and of Science

Man's highest powers, unholy in alliance.

You'll let yourself, through dazzling witchcraft yield

To weird temptations of the quantum field.

Enter Gretchen; she sings to Faust. Melody: "Gretchen at the Spinning Wheel" by Schubert.

GRETCHEN:

My rest-mass is zero

My charge is the same

You are my hero

Neutrino's my name."

 

 

 

 

THE CLOCKS ALL SAY THE HOURS OF HORUS HAVE ARRIVED AND THE DIE ALL READ FIVE

LIVING FORM FROM OUT THE IN OF GODS LIVING FORM

 

 

LOOKING FOR THE ALIENS

A PSYCHOLOGICAL, SCIENTIFIC AND IMAGINATIVE INVESTIGATION

Peter Hough & Jenny Randles 1991

12

Page 98

Somewhere over the Interstellar Rainbow

"In 1985, Glasgow University astronomer Professor Archie Roy was in buoyant mood. He told a journalist from the London Observer that, with new efforts to search the universe for intelligent signals, 'we can expect to make contact very quickly, probably within a decade.' He added that he thought civilizations were 'ten a penny' in the cosmos.

A year later, in an interview with Paul Whitehead in Flying Saucer Reuiew (volume 31, number 3,1986) Professor Roy confirmed this view by saying, 'if we are the product of natural evolution, it is highly improbable that we are alone in the universe.' Presumably this leaves the door open just in case we are not solely the product of natura1 processes (as scientists understandably assume), but are also the creation of a mystic force, otherwise known as God.

Roy actively pursues his broad1y based interest in this search. He subsequently became associated with Flying Saucer Review, and he has also become an active researcher and spokesperson in the heated debate over the potential 'alien' messages said by some to lie behind those crop circles recently found dotting the rural landscapes of our world.
However, the astronomer's seemingly reasonable hopes are, as yet, a long way from being fulfilled. Contact is proving unexpectedly elusive, which has led to some quite contradictory statements.

For instance, in 1981 Michael Papagiannis, of the astronomy department at Boston University, said that:

The euphoric optimism of the 'sixties and early 'seventies that communication with extraterrestrial civilizations seemed quite possible is being slowly replaced in the last couple of years by a pessimistic acceptance that we might be the only technological civilization in the entire galaxy.
(Royal Astronomical Society journal, volume 19, pp.277-281)

One can hardly find more polarized opinions than these, and they represent a crucial debate that increasingly dominates the field. While there seems to be a gut reaction based on deductive logic shared by most scientists, implying that life should be 'out there' in great abundance, there is mounting concern at our continued failure to find it.

Long before we understood the universe in any detail, we dreamt about this quest for alien life, and, as we have seen, still speculate on /Page 99 / what forms such beings might take. When science fiction became popular during the last century, we even began to wonder how we might establish contact.

Early ideas were ingenious, but impractical: such as building a giant mirror and using sunlight to send Morse-code signals to the (then still plausible) inhabitants of the moon or Mars. Of course, the limitations of physics meant that this could never work, even if there were Martians to see the signals. Only the brightest light that we can produce (a nuclear explosion) is potentially visible from another world and this lasts such a brief time that it is hardly likely to produce incontrovertible proof of life on earth. Alien scientists would dismiss any sightings just as freely as ours now reject claims about UFO appearances.

Another problem concerned the code to be used. How could the Martians have recognized the message, even if they had been able to see it? To thcm it would have been a meaningless series of flashes. How would they have unravelled any meaning behind it?

This problem exists even if it is assumed (as it nearly always was back then) that Martians, although probably looking like bug-eyed monsters, would still think like human beings. The truth is surely that aliens would be alien in every way and their thought processes would not work in the same manner as ours. That said, the chances of any message from us to them being remotely comprehensible appear to be feeble.

In science-fiction stories and films, such a problem is largely ignored, but that is merely an expediency to help the plot along. We suspend scientific logic to accommodate the story line. However, in any real search for life in the universe, we cannot afford to ignore such scientific reasoning. This complicates matters so much that one or two researchers even think it is a forlorn task. We will never communicate with an alien intelligence, even if we do come across one by chance. The result will be like a farmer staring at a cow and attempting to convey, by spoken language or gesture, why it has to go peacefully to the slaughterhouse.
These problems receive too little attention, even today. Our ability to humanize the aliens is an extreme failure on our part, which academics refer to as 'anthropomorphism'

Page 99

"The result will be like a farmer staring at a cow and attempting to convey, by spoken language or gesture, why it has to go peacefully to the slaughterhouse".

 

 

MAN AND THE STARS

CONTACT AND COMMUNICATION WITH OTHER INTELLIGENCE

Duncan Lunan 1974

a

liberating adventure for mankind or a disaster

Page 219

Planetary contact 3(c) - intelligence unrecognizable by physical form.

"There is a fantasy story about a university professor mysteriously translated into the body of a bull. After great efforts to communicate he finally gets the opportunity to write a message in the bloody sand of the slaughterhouse.. Unforunately, the man with the gun is illiterate - "another of those steers that do a crazy kind of dance." To get at case 3(c), we have to magnify that problem into an alien mind in a non-human body; could there be intelligences like Arthur C. Clarke's Atheleni,12 unable to develop technology until they meet a race gifted with hands?

"Dr Lilly' experiments suggested..."

 

 

SIMULATIONS OF GOD

THE SCIENCE OF BELIEF

John Lilly 1975

Page xi

"I am only an extraterrestrial who has come to the / Page xii / planet Earth to inhabit a human body, Everytime I leave this body and go back to my own civilization, I am expanded beyond all human imaginings, When I must return I am squeezed down into the limited vehicle."

 

 

 

EHT NAMUH 1973

 

 

0
-
Z
=
8
-
4
ZERO
64
28
1
1
-
O
=
6
-
3
ONE
34
16
7
2
-
T
=
2
-
3
TWO
58
13
4
3
-
T
=
2
-
5
THREE
56
29
2
4
-
F
=
6
-
4
FOUR
60
24
6
5
-
F
=
6
-
4
FIVE
42
24
6
6
-
S
=
1
-
3
SIX
52
16
7
7
-
S
=
1
-
5
SEVEN
65
20
2
8
-
E
=
5
-
5
EIGHT
49
31
4
9
-
N
=
5
-
4
NINE
42
24
6
45
-
-
-
42
-
40
Add
522
225
45
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
9
-
-
-
6
-
4
Deduce
9
9
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
0
-
Z
=
8
-
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
1
-
O
=
6
-
3
ONE
34
16
7
-
-
-
-
-
-
-
7
-
-
2
-
T
=
2
-
3
TWO
58
13
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
-
5
THREE
56
29
2
-
-
2
-
-
-
-
-
-
-
4
-
F
=
6
-
4
FOUR
60
24
6
-
-
-
-
-
-
6
-
-
-
5
-
F
=
6
-
4
FIVE
42
24
6
-
-
-
-
-
-
6
-
-
-
6
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
7
-
S
=
1
-
5
SEVEN
65
20
2
-
-
2
-
-
-
-
-
-
-
8
-
E
=
5
-
5
EIGHT
49
31
4
-
-
-
-
4
-
-
-
-
-
9
-
N
=
5
-
4
NINE
42
24
6
-
-
-
-
-
-
6
-
-
-
45
-
-
-
42
-
40
Add
522
225
45
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
6
-
4
Deduce
9
9
9
-
1
4
3
8
5
9
5
8
9

 

 

1
-
O
=
6
-
3
ONE
34
16
7
2
-
T
=
2
-
3
TWO
58
13
4
3
-
T
=
2
-
5
THREE
56
29
2
4
-
F
=
6
-
4
FOUR
60
24
6
5
-
F
=
6
-
4
FIVE
42
24
6
6
-
S
=
1
-
3
SIX
52
16
7
7
-
S
=
1
-
5
SEVEN
65
20
2
8
-
E
=
5
-
5
EIGHT
49
31
4
9
-
N
=
5
-
4
NINE
42
24
6
45
-
-
-
34
-
36
Add
458
197
44
4+5
-
-
-
3+4
-
3+6
Reduce
4+5+8
1+9+7
4+4
9
-
-
-
7
4
9
Deduce
17
17
8
-
-
-
-
-
-
-
Produce
1+7
1+7
-
9
-
-
-
7
-
9
Essence
8
8
8

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
O
=
6
-
3
ONE
34
16
7
-
-
-
-
-
-
-
7
-
-
2
-
T
=
2
-
3
TWO
58
13
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
-
5
THREE
56
29
2
-
-
2
-
-
-
-
-
-
-
4
-
F
=
6
-
4
FOUR
60
24
6
-
-
-
-
-
-
6
-
-
-
5
-
F
=
6
-
4
FIVE
42
24
6
-
-
-
-
-
-
6
-
-
-
6
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
7
-
S
=
1
-
5
SEVEN
65
20
2
-
-
2
-
-
-
-
-
-
-
8
-
E
=
5
-
5
EIGHT
49
31
4
-
-
-
-
4
-
-
-
-
-
9
-
N
=
5
-
4
NINE
42
24
6
-
-
-
-
-
-
6
-
-
-
45
-
-
-
34
-
36
Add
458
197
44
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
3+4
-
3+6
Reduce
4+5+8
1+9+7
4+4
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
7
4
9
Deduce
17
17
8
-
1
4
3
8
5
18
14
8
9
-
-
-
-
-
-
-
Produce
1+7
1+7
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
7
-
9
Essence
8
8
8
-
1
4
3
8
5
9
5
8
9

 

 

0
-
4
ZERO
8
5
9
6
-
=
28
2+8
=
10
1+0
1
1
-
3
ONE
6
5
5
-
-
=
16
1+6
=
7
-
7
2
-
3
TWO
2
5
6
-
-
=
13
1+3
=
4
-
4
3
-
5
THREE
2
8
9
5
5
=
29
2+9
=
11
1+1
2
4
-
4
FOUR
6
6
3
9
-
=
24
2+4
=
6
-
6
5
-
4
FIVE
6
9
4
5
-
=
24
2+4
=
6
-
6
6
-
3
SIX
1
9
6
-
-
=
16
1+6
=
7
-
7
7
-
5
SEVEN
1
5
4
5
5
=
20
2+0
=
2
-
2
8
-
5
EIGHT
5
9
7
8
2
=
31
3+1
=
4
-
4
9
-
4
NINE
5
9
5
5
-
=
24
2+4
=
6
-
6
45
-
40
Add
42
70
58
43
12
-
225
-
-
63
-
45
4+5
-
4+0
-
4+2
7+0
5+8
4+3
1+2
-
2+2+5
-
-
6+3
-
4+5
9
-
4
Reduce
6
7
13
7
3
-
9
-
-
9
-
-
-
-
-
-
-
-
1+3
-
-
-
-
-
-
-
-
-
9
-
4
Deduce
6
7
4
7
3
-
9
-
-
9
-
9

 

 

O
=
6
3
ONE
34
16
7
T
=
2
3
TWO
58
13
4
T
=
2
5
THREE
56
29
2
F
=
6
4
FOUR
60
24
6
F
+
6
4
FIVE
42
24
6
S
=
1
3
SIX
52
16
7
S
=
1
5
SEVEN
65
20
2
E
=
5
5
EIGHT
49
31
4
N
=
5
4
NINE
42
24
6
-
-
39
36
-
458
197
44
-
-
3+9
3+6
-
4+5+8
1+9+7
4+4
-
-
12
9
-
17
17
8
-
-
1+2
-
-
-
-
-
-
-
3
9
-
8
8
8

 

 

NUMBER

9

THE SEARCH FOR THE SIGMA CODE

Cecil Balmond 1998

Page 32

5


To Sorcerers and Magicians number FIVEis the most powerful - five is the mark of the pentacle, a five pointed star drawn by extending the sides of a Pentagon. Five surely is in the possession of the occult. And the Pentagon is the geometric figure in which the golden ratio of classical art and architecture is found most.

 

 

THE

BALANCING

ONE TWO THREE FOUR

FIVE

NINE EIGHT SEVEN SIX

 

 

O
=
15
-
3
ONE
34
16
7
-
1
T
=
20
-
3
TWO
58
13
4
-
2
T
=
20
-
5
THREE
56
29
2
-
3
F
=
6
-
4
FOUR
60
24
6
-
4
-
-
61
-
15
Add
208
82
19
-
10
-
-
6+1
-
1+5
Reduce
2+0+8
8+2
1+9
-
1+0
-
-
7
-
6
Deduce
10
10
10
-
1
-
-
-
-
-
Produce
1+0
1+0
1+0
-
-
-
-
7
-
6
Essence
1
1
1
-
1

 

 

N
=
14
-
4
NINE
42
24
6
-
9
E
=
5
-
5
EIGHT
49
31
4
-
8
S
=
19
-
5
SEVEN
65
20
2
-
7
S
=
19
-
3
SIX
52
16
7
-
6
-
-
57
-
17
Add
208
91
19
-
30
-
-
5+7
-
1+7
Reduce
2+0+8
9+1
1+9
-
3+0
-
-
12
-
8
Deduce
10
10
10
-
3
-
-
1+2
-
-
Produce
1+0
1+0
1+0
-
-
-
-
3
-
8
Essence
1
1
1
-
3

 

 

4
FIVE
42
24
6

 

1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

 

15
ONE TWO THREE FOUR
208
82
1
4
FIVE
42
24
6
17
NINE EIGHT SEVEN SIX
208
91
1

 

 

3
ONE
34
16
7
-
3
SIX
52
16
7
3
TWO
58
13
4
-
5
SEVEN
65
20
2
5
THREE
56
29
2
-
5
EIGHT
49
31
4
4
FOUR
60
24
6
-
4
NINE
42
24
6
15
Add
208
82
19
-
17
Add
208
91
19
1+5
Reduce
2+0+8
8+2
1+9
-
1+7
Reduce
2+0+8
9+1
1+9
6
Deduce
10
10
10
-
8
Deduce
10
10
10
-
Produce
1+0
1+0
1+0
-
-
Produce
1+0
1+0
1+0
6
Essence
1
1
1
-
8
Essence
1
1
1

 

ALWAYS BALANCING IS THAT FIVE THAT FIVE IS BALANCING ALWAYS

 

 

F
=
6
-
3
FOR
39
21
3
E
=
5
-
5
EVERY
75
30
3
A
=
1
-
6
ACTION
62
26
8
T
=
2
-
5
THERE
56
29
2
I
=
9
-
2
IS
28
19
1
A
=
1
-
2
AN
15
6
6
E
=
5
-
5
EQUAL
56
20
2
A
=
1
-
3
AND
19
10
1
O
=
6
-
8
OPPOSITE
115
43
7
R
=
9
-
8
REACTION
85
40
4
-
-
45
4
46
First Total
550
244
37
-
-
4+5
-
4+6
Add to Reduce
5+5+0
2+4+4
3+7
Q
-
9
-
10
Second Total
10
10
10
-
-
-
4
1+0
Reduce to Deduce
1+0
1+0
1+0
-
-
9
5
1
Essence of Number
1
1
1

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
5
ADDED
18
18
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
5
MINUS
76
22
4
-
-
-
-
4
-
-
-
-
-
N
=
5
-
4
NONE
48
21
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
6
SHARED
55
28
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
2
BY
27
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
-
10
EVERYTHING
133
61
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
9
MULTIPLED
121
49
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
9
ABUNDANCE
65
29
2
-
-
2
-
-
-
-
-
-
-
-
-
35
-
57
First Total
995
266
59
-
1
2
3
8
5
6
14
8
18
-
-
3+5
-
5+7
Add to Reduce
9+9+5
2+6+6
5+9
-
-
-
-
-
-
-
1+4
-
1+8
-
-
8
-
12
Second Total
23
14
14
-
1
2
3
8
5
6
5
8
9
-
-
-
-
1+2
Reduce to Deduce
2+3
1+4
1+4
-
-
-
-
-
-
-
-
-
-
-
-
8
-
3
Essence of Number
5
5
5
-
1
2
3
8
5
6
5
8
9

 

 

 

 

M
=
4
Q
7
MYSTERY
125
35
8
O
=
6
-
2
OF
21
12
3
M
=
4
-
9
MYSTERIES
133
43
7
-
-
14
-
18
First Total
279
90
18
-
-
1+4
-
1+8
Add to Reduce
2+7+9
9+0
1+8
-
-
5
-
9
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
5
-
9
Essence of Number
9
9
9

 

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

15
THE RAINBOW LIGHT
-
-
-
-
THE
33
15
6
-
R
18
9
9
-
A
1
1
1
-
I
9
9
9
-
N+B+O+W
54
18
9
-
L
12
3
3
-
I
9
9
9
-
G+H+T
35
17
8
15
THE RAINBOW LIGHT
171
81
54
1+5
-
1+7+1
8+1
5+4
6
THE RAINBOW LIGHT
9
9
9

 

 

 

.....

 

 

 

 

 



 

 

 

 
 
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