Soul Food

The Man Who Tasted Shapes: A Bizarre Medical Mystery offers Revolutionary Insights into Emotions, Reasoning, and Consciousness, 2003: Revised MIT Press edition with new afterword

Not everyone will understand the title of this post? I will proceed to make this "exceptionally clear" once all of the post is completed. Some who visit will understand "something is nagging from the subconscious" to look at this even more. I do this on purpose by proposing the title and all "subsequent information a little later" as I am short on time as well.

You needed to know that any human endeavour to try and understand the self we need help sometimes, and I have no one who will do this work for me. I had to go looking for it. To realize the "synchronicity within of my own struggle" was actually recorded somewhere else. That my very site on it's own is realize within the inductive/deductive features where the need to relate too, demanded in my metaphoric relation to science as to how I was interacting with the world around me.

Now again I caution people to know that I am not saying I have this "topic related" other then to say "I see the world from the inside out." And that if you can digest this last statement then you will see what is happening a lot within this site I created, has some correlation within the study of others. I had no idea of these correlations until the words themselves help me to spot the nature of my own expressions.

I do take comfort from the fact Marcia Smilack recognized my language immediately, and that finally I was not alone in my attempts. With all my procrastination on explaining myself received, could finally have dealt with what had give me my views on science.


The fish is "soul food." The water the unconscious, all possible facets of the sensorium. The hook and worm, aspects of the "focus held" while you are fishing.

So I will demonstrate and "turn around a cartoon I seen" to help one understand "how I see" and then you see this cartoon in relation to it's owner's representation for comparison. It is a difference in how "my subjective views" are held in correlation to the original viewers own anecdotal evidence.

The Colour of Gravity

I am not sure how this post is to unfold, yet in my mind different exercises were unfolding as to how I should explain it. Can I come from an artist's perspective I wondered? Say "by chance" anything that seems relevant here in writing, and any relation to science "is" metaphorical by nature?

Yellow, Red, Blue
1925; Oil on canvas, 127x200cm; Centre Georges Pompidou, Paris

These free, wild raptures are not the only form abstraction can take, and in his later, sadder years, Kandinsky became much more severely constrained, all trace of his original inspiration lost in magnificent patternings. Accent in Pink (1926; 101 x 81 cm (39 1/2 x 31 3/4 in)) exists solely as an object in its own right: the ``pink'' and the ``accent'' are purely visual. The only meaning to be found lies in what the experience of the pictures provides, and that demands prolonged contemplation. What some find hard about abstract art is the very demanding, time-consuming labour that is implicitly required. Yet if we do not look long and with an open heart, we shall see nothing but superior wallpaper.

I underlined for emphasis.

Does one want to gleam only what is coming across in geometrical form as a painting without understanding the depth of the artist in expression? Some may say, why any association at all, and just leave science to what it knows best without implicating any theoretical positions with the thought pertaining to gravity here.

Yes that's why I selected the title of this post as thus, and why I am going to give perspective to what I may, "as artist in writing" see with these words, and then you decide whether it is useful to you.

The Field as the Plane

An ancient thought penetrated my thinking as I thought of "the field" that a society can work in agriculture, and yet, by definition it was the plane, "length and width" that was also appealing here. I did not want to loose it's "origination" while I moved any thinking to the "abstract of brane" and the like, without firmly attaching it to the ground.

But who was to know that this plane could be moved to any "fifth dimensional understanding" without having studied the relationship to dimensional thinking and the like. The physics elevated.

I allow this one time escapism to "other thinking" to demonstrate what use the colour of gravity implies while at the same time "theoretical positions" talk about it's place in the universe. If one did not accept the moves in science and the way it expressed itself to allow geometrical inclination, then how the heck could non-euclidean thinking ever make it's way into how we will discuss "the fields" about us?

It meant that a perspective "on height" be adopted? As an observer I was watching from a position. While in that sleeping/dosing state, I wondered how else to express myself as these concepts were amalgamating themselves into a "conceptual frame of reference?"

The picture of the field(I am referring to the ancient interpretation) continued in my mind, and "by abstract" I thought to introduce a line extend from the centre of this field upward. So here I am looking at this field before me. Now I had wondered off previous by bring "the brane" in here, yet is not without that sight I thought how the heck could any idealization so ancient make sense to what the colour of gravity to mean.

Title page of Opticks .... by Sir Isaac Newton, 1642-1727. Fourth edition corrected by the author's own hand, and left before his death with the bookseller. Published in 1730. Library call number QC353 .N48 1730.

So "an idea" came to mind.

While correlating Newton's work here and the "extra dimensional thinking," I also wanted to include the work of the "Alchemist Newton". "To expand" the current thinking of our "emotive states" as a "vital expression of the biological being."

Draw into any further discussion of the "philosophical or other wise," these views of mine which are a necessary part of what was only held to a "religious and uneducated evolutionary aspect of the human being."

A cosmologist may still say that such thoughts of Einstein used in this vain is wrong, but I could never tear myself away from the views of "durations of time."

Colour Space and Colour Theory

The CIE 1931 colour space chromaticity diagram with wavelengths in nanometers. Note that the colors depicted depend on the color space of the device on which you are viewing the image.

So by having defined the "frame of reference," and by introducing "Colour of gravity" I thought it important and consistent with the science to reveal how dynamical any point within that reference can become expressive. The history in association also important.

In the arts and of painting, graphic design, and photography, color theory is a body of practical guidance to color mixing and the visual impact of specific color combinations. Although color theory principles first appear in the writings of Alberti (c.1435) and the notebooks of Leonardo da Vinci (c.1490), a tradition of "colory theory" begins in the 18th century, initially within a partisan controversy around Isaac Newton's theory of color (Opticks, 1704) and the nature of so-called primary colors. From there it developed as an independent artistic tradition with only sporadic or superficial reference to colorimetry and vision science.

So you tend to draw on your reserves for such comparatives while thinking about this. I knew to apply "chemical relations" to this idea, and the consequential evidenced, by the resulting shadings by adding. I wanted to show "this point" moving within this colour space and all the time it's shading was describing the "nature of the gravity."

Adding a certain mapping function between the color model and a certain reference color space results in a definite "footprint" within the reference color space

By adding that vertical line in the field, the perimeter of my field of vision had to some how be drawn to an apex, while all kinds of thoughts about symmetry and perfection arose in my pyramidal mind.

All these colours, infinite in their ability to express the human emotive state, as a consequence of philosophical and expressed as function of the emotive being?

CIE 1976 L*, a*, b* Color Space (CIELAB)

CIE L*a*b* (CIELAB) is the most complete color model used conventionally to describe all the colors visible to the human eye. It was developed for this specific purpose by the International Commission on Illumination (Commission Internationale d'Eclairage, hence its CIE initialism). The * after L, a and b are part of the full name, since they represent L*, a* and b*, derived from L, a and b. CIELAB is an Adams Chromatic Value Space.

The three parameters in the model represent the lightness of the color (L*, L*=0 yields black and L*=100 indicates white), its position between magenta and green (a*, negative values indicate green while positive values indicate magenta) and its position between yellow and blue (b*, negative values indicate blue and positive values indicate yellow).

The Lab color model has been created to serve as a device independent model to be used as a reference. Therefore it is crucial to realize that the visual representations of the full gamut of colors in this model are never accurate. They are there just to help in understanding the concept, but they are inherently inaccurate.

Since the Lab model is a three dimensional model, it can only be represented properly in a three dimensional space.

Entanglement

the quantum entanglement would become so spread out through these interactions with the environment that it would become virtually impossible to detect. For all intents and purposes, the original entanglement between photons would have been erased.

Never the less it is truly amazing that these connections do exist, and that carefully arranged laboratory conditions they can be observed over significant distances. They show us, fundamentally, that space is not what we once thought it was. What about time? Page 123, The Fabric of the Cosmo, by Brian Greene

So many factors to include here, yet it is with the "idea of science" that I am compelled to see how things can get all mixed up, while I say emotive state, or Colours of gravity?

It gets a little complicated for me here, yet the "Fuzzy logic" introduced or "John Venn's logic" is not without some association here. Or, the psychology I had adopted as I learnt to read of models and methods in psychology that could reveal the thinking we have developed, and what it included.

Least I forget the "real entanglement" issues here, I have painted one more aspect with the "Colour of Gravity" to be included in this dimensional perspective, as we look to the models in science as well?

Working from basic principles and the history of spooky has made this subject tenable in today's world. A scientist may not like all the comparisons I have made based on it, I could never see how the emotive and mental statements of the expressive human being could not have been included in the making of the reality.

That I may of thought the "perfection of the human being" as some quality of the God in us all, would have granted sanction to some developing view of "religious virtuosity," against the goals of the scientist. So as ancient the views painted, there was something that may have been missed of the "Sensorium," and goes toward the basis of the philosophy shared currently by Lee Smolin.

This entanglement to me is a vital addition to our exploration of the universe. Our place and observation within it? It did not mean to discount our inclusion within it, within a larger "oscillatory perspective."

Newton's Space was the Sensorium

Sir Isaac Newton, FRS (4 January 1643 – 31 March 1727) [OS: 25 December 1642 – 20 March 1727] was an English physicist, mathematician, astronomer, alchemist, and natural philosopher who is generally regarded as one of the greatest scientists and mathematicians in history. See here for further information.

While reading the responses to Aaron on the Cosmic Variance section, Lee Smolin made a comment there in his writing which triggered some recognition as I was doing some research on what he had proposed in previous work. So of course I am interested in how people form their ideas, so I went to have a look.

Lee Smolin:

I suspect this reflects the expectation many people have that time is not fundamental, but rather emerges only at a semiclassical approximation in quantum cosmology. If you believe this then you believe that the fundamental quantities a quantum cosmology should compute are timeless. This in turn reflects a very old and ultimately religious prejudice that deeper truths are timeless. This has been traced by scholars to the theology of Newton and contemporaries who saw space as “the sensorium” of an eternal and all seeing god. Perhaps the BB paradox is telling us it is time to give up the search for timeless probability distributions, and recognize that since Darwin the deep truths about nature cannot be divorced from time.

The alternative is to disbelieve the arguments that time is emergent-which were never very convincing- and instead formulate quantum cosmology in such a way that time is always real. I would suggest that the Boltzman Brain’s paradox is the reducto ad absurdum of the notion that time is emergent and that rather than play with little fixes to it we should try to take seriously the opposite idea: that time is real.

The key word here is "Sensorium."

The Life of the Cosmos By Lee Smolin Oxford University Press; New York, N.Y.: 1997

The critic is very harsh toward Lee Smolin, and I am very sensitive to these kinds of responses, so trust me when I tell you that these are not my views. My views are still forming.

Lee Smolin:

For Newton the universe lived in an infinite and featureless space.There was no boundary, ad no possibility of conceiving anything outside of it. This was no problem for God, as he was everywhere. For Newton, space was the "sensorium" of God-the medium of his presence in and attachment to the world. The infinity of space was then a necessary reflection of the infinite capacity of God.The Life of the Cosmos By Lee Smolin Oxford University Press; New York, N.Y.: 1997, Page 91

The term "Sensorium" is compelling for reasons that I am still not quite aware of, yet, it holds a fascination to me. It is colourful to me, yet, it had a nice ring to it as well.

Okay. :) I think it is the "relationship pointed out" and describing this relationship of Newton that is interesting. Most who have been reading my site will have some inkling of why.

It is not in what may be assumed of Newton and his religion towards the relationship to science? But some of the ways in which such "thought processes" may have been compelling. The way in which one can look at the world, gives new meaning to what was not so transparent before, now one included these aspects of the sensorium as "one."

That all of the senses had been "crossed wire to give perspective" in the way it did. How would you know this?

But lets move on with this here for a minute and I'll tell you why. But first some part of it's Definition from Wikipedia.

This interplay of various ways of conceiving the world could be compared to the experience of synesthesia, where stimulus of one sense causes a perception by another, seemingly unrelated sense, as in musicians who can taste the intervals between notes they hear (Beeli et. al., 2005), or artists who can smell colours. Many individuals who have one or more senses restricted or lost develop a sensorium with a ratio of sense which favours those they possess more fully. Frequently the blind or deaf speak of a compensating effect, whereby their touch or smell become more acute, changing the ways they perceive and reason about the world; especially telling examples are found in the cases of 'wild children,' whose early childhoods were spent in abusive, neglected or non-human environments, both intensifying and minimizing perceptual abilities (Classen 1991).

Part of the developing scientific view can come forth with new propositions if it has a foundation that is different then what was thought to be "it's basis of normalcy."

But imagine if you were a little different in your wiring that as a scientist you had difficult relating to the world, and you want to be consistent with your approach? Develope new methods, Calculus, to explain a process in nature? What may I ask will be forth coming form such a position, not to have thought, "hey this guy is nuts or just a broken flower pot?"

The track record so far seems to indicate that if such views are crossed wired in some ways, the interactive features of developing perspective will give model apprehension a new meaning that it did not have before?

Feynman in his concepts of a toy model approach? He may of seen what was of use from Dirac's geometrical thinking.

Where are my keys?

"Yet I exist in the hope that these memoirs, in some manner, I know not how, may find their way to the minds of humanity in Some Dimensionality, and may stir up a race of rebels who shall refuse to be confined to limited Dimensionality." from Flatland, by E. A. Abbott

The Extra-Dimensions?

So you intuitively believe higher dimensions really exist?

Lisa Randall:I don't see why they shouldn't. In the history of physics, every time we've looked beyond the scales and energies we were familiar with, we've found things that we wouldn't have thought were there. You look inside the atom and eventually you discover quarks. Who would have thought that? It's hubris to think that the way we see things is everything there is.

And what is it that we don't see? I thought of a comment somewhere that spoke about what first started to make it's appearance in how we communicate?

Time is the Unseen fourth Dimension

They were able to create what we recognize today as the "elliptical" and "hyperbolic" non-Euclidean geometries. Most of Saccheri's first 32 theorems can be found in today's non-Euclidean textbooks. Saccheri's theorems are prefaced by "Sac."

One of my greatest "aha moments" came when I realized Non-euclidean geometries. I had to travel the history first with Giovanni Girolamo Saccheri, Bolya and Lobachevsky, for this to make an impression, and I can safely say, that learning of Gauss and Riemann, I was truly impressed.

Einstein had to include that "extra dimension of time." Greater then, or less then, 180 degrees and we know "this triangle" can take on some funny shapes when you apply them "to surfaces" that are doing funny things.?:)

Second, we must be wary of the "God of the Gaps" phenomena, where miracles are attributed to whatever we don't understand. Contrary to the famous drunk looking for his keys under the lamppost, here we are tempted to conclude that the keys must lie in whatever dark corners we have not searched, rather than face the unpleasant conclusion that the keys may be forever lost.

Let me just say that "it is not the fact that any drinking could have held the mind" of the person, but when they absentmindedly threw their car keys. The "point is" that if the light shines only so far, what conclusion should we live with?

Moving to the Fifth

So of course whatever real estate you are buying, make sure the light is shining on what your willing to purchase? Is this not a good lesson to learn?

Moving any idea to a fifth dimension I thought was important in relation to seeing what Einstein had done. See further: Concepts of the Fifth Dimension. I illustrate more ways in which we may see that has not been seen for most could have helped the mind see how this is accomplished in current day geometric methods.

Why was this thought "wrong" when one may of thought to include "gravity and light" together, after the conclusion of spacetime's 3+1? Gravity. What Had Maxwell done? What Had Riemann done?

You knew "the perfect symmetry" had to be reduced to General Relativity?

Greg Landsberg:

Two types of the extra-dimensional effects observable at collides.

A graviton leaves our world for a short moment of time, just to come back and decay into a pair of photons (the DØ physicists looked for that particular effect).

A graviton escapes from our 3-dimensional world in extra dimensions (Megaverse), resulting in an apparent energy non-conservation in our three-dimensional world.

So why would it matter to us if the universe has more than 3 spatial dimensions, if we can not feel them? Well, in fact we could “feel” these extra dimensions through their effect on gravity. While the forces that hold our world together (electromagnetic, weak, and strong interactions) are constrained to the 3+1-“flat” dimensions, the gravitational interaction always occupies the entire universe, thus allowing it to feel the effects of extra dimensions. Unfortunately, since gravity is a very weak force and since the radius of extra dimensions is tiny, it could be very hard to see any effects, unless there is some kind of mechanism that amplifies the gravitational interaction. Such a mechanism was recently proposed by Arkani-Hamed, Dimopoulos, and Dvali, who realized that the extra dimensions can be as large as one millimeter, and still we could have missed them in our quest for the understanding of how the universe works!

Of course these ideas are experimentally being challenged, like any good scientist would want of his theory. See EOT-WASH GROUP(4)

Light and Matter United

Murray Gellman: On Plectics

It is appropriate that plectics refers to entanglement or the lack thereof, since entanglement is a key feature of the way complexity arises out of simplicity, making our subject worth studying.

I was talking about some things in terms of the computerization that had gone to another level in perspective(gravitational entanglement). It was about how "technologies can change" while we had been held to a certain kind of thinking. While the limitations held us too, "not knowing what computerization may bring."

IN regards to the Landscape

It was important to understand why there would be such divergences in perspective and how these would be lined up? Some of course did not want to take the time, but it was important to me to understand the "philosophical position" taken.



One could just as well venture to the condense matter theorist and said, what building blocks shall we use? One should not think the "history of Platonism" without some "other influences" to consider. Least you assign it to a "another particular subject" in it's present incarnation? An Oscillatory String Universe?

So the evolution here is much more then the "circumspect of the biological function," but may possible include other things that have not been considered?

Physiologically, the "biological function" had some other relation? So abstract that I assigned the photon? So I said "feelings," while Einstein might assigned them to a "short or long time" considering his state of mind? :)

More thought of course here on the "fictional presentation" submitted previous. As a layman I have a problem in that regard. :)

Who would have ever thought that such "concepts that moved from my mind had some relation to the world at large in our emotive consequences?" That from such thinking, I would adopt fictional perspective to help me deal with what the advancements may be in the computerized world?

I already had to know of the development in terms of entanglement's issues, to move it one step further not only in my thinking, but in understanding that as you adopt model apprehensions, how shall these lead you to conclude that the physics in association, had some relevance to it.

The cosmologist may say that indeed the gravitational consequences and waves have as yet to be considered, but, if held to the photon in it's affect in such a gravitational field, then what would we want from such a graviton condensation?

It's colouring?

So of course it is appropriate that I show you the comment I made above, and then you judge for your self the thought I held in fiction, in relation to this article below as I am making that statement.

Lene Hau explains how she stops light in one place then retrieves and speeds it up in a completely separate place.
Staff photo Justin Ide/Harvard News Office

Atoms at room temperature move in a random, chaotic way. But when chilled in a vacuum to about 460 degrees below zero Fahrenheit, under certain conditions millions of atoms lock together and behave as a single mass. When a laser beam enters such a condensate, the light leaves an imprint on a portion of the atoms. That imprint moves like a wave through the cloud and exits at a speed of about 700 feet per hour. This wave of matter will keep going and enter another nearby ultracold condensate. That's how light moves darkly from one cloud to another in Hau's laboratory.

This invisible wave of matter keeps going unless it's stopped in the second cloud with another laser beam, after which it can be revived as light again.

Atoms in matter waves exist in slightly different energy levels and states than atoms in the clouds they move through. These energy states match the shape and phase of the original light pulse. To make a long story short, information in this form can be made absolutely tamper proof. Personal information would be perfectly safe.

Turtles All The Way Down

"Turtles all the way down" refers to an infinite regression belief about the nature of the universe (see Cosmology).

For Hawking, the turtle story is one of two accounts of the nature of the universe; he asserts that the turtle theory is patently ridiculous, but admits that his own theories may be just as ridiculous. "Only time will tell," he concludes.

For Geertz, however, the story is patently wise, teaching us that we will never get to the bottom of things.

This comparison also reveals a difference between the positivist and interpretive, or hermeneutic approach to the interpretation of myths. Positivists read myths literally and find them false and foolish; interpretivists read them metaphorically or allegorically and find them true and profound.

The phrase "turtles all the way down", or sometimes simply "a turtle problem" are often used to describe other infinite regressions. For instance, the question of "who polices the police" may be regarded as a turtle problem.

There is a question looming on my mind abut what reality is? There is the idea of the "infinite regress" of all particle reductions as we venture to "what may be" the first cause?

It is not necessary for me to hold any views of religious intent here other then to say that any person is quite capable of acting as the student and placing in front of them what the answer to that question of reality is. Then it becomes to them what they have satisfied what reality had explained.

Now this is not easy for me to answer such a question, and think about what had come before? In terms of those who asked this same question of the self, and what it may mean to you. Who am I. What makes "you" who you are?

So is it subjective that first cause may have something in association with the cosmology at large, in this question as to how the universe came into being, or is it a redundant feature to ask such a question and just accept what is?

NASA/JPL/Keck
Perspective on the past. Quasar spectra recorded at the Keck Observatory in Hawaii imply that a fundamental physical constant may have been increasing slightly over the past six billion years.

If we are "not aware" does the universe end? Do the fundamental laws of science not exist because you do not exist?

While I do not have time to complete this post I am going to add to it because there are concepts that are very appealing here in our investigations that serve to be looked at. I do not contest any fundamental constant here, other then to look at them as comparative features of our association with the natural world.

Strangelets and Strange Matter

Of course I will point to some of the "inherent nature" that some scientists encounter as they develop the geometrical basis to "all the concepts could ever mean?" But first, "the journey."

If not fundamental, though, quark nuggets zipping around the galaxy would still be an amazing addition. And perhaps even more amazing, in the end, than any technically strange - or just generally bizarre - particles burrowing through the ground would be the fact that the planet is no longer just a block of dumb rock in their path. It is an ever better wired planet, monitored and thought about in ever more ingenious ways; it is a datasphere ever more sensitive to its surroundings and its own processes, from flashes in the upper atmosphere to rumblings in the core. We have made it a planet that notices things. We have made it an observant Earth.

You have to understand that if you are doing the research you want to know what "this avenue/hypothesis is to produce? It's almost as if "you understand" that the geometry exists under the "fundamental explanations of all concepts" as they are being developed. How a "different language" will be "put over top" of what is existing now schematically. We learn "to read" what has transpired from one who has more credentials then I, as I am only a student of the work.

At the same time how did such thought processes develop outward to experimental validation in the real world? So you must understand, that I too understand this process. Not only from a "conceptual understanding" but from it's associative analysis one as well. It allow me to develop intuitively into what work is now transpiring at Cern.

Strangelets are small fragments of strange matter. They only exist if the "strange matter hypothesis" is correct, in which case they are the true ground state of matter, and nuclei are actually metastable states with a very long lifetime.

Odd behavior?



A person most intense and preoccupied with the endeavours they work, will notice that time passes very quickly around them. It's as if the world bypassed them, as the focus had cost them the appearance or the attention needed to take care of themselves. "Should I care" as I think of them, whether their hair long or that their desk is pile high with paper?

Careful least you disrupt the train of thought, that while busy, the underlings stand ready to act according to the plans of the teacher.

I learnt over time to accept that even the academics will make allowances for the "uniqueness of individuals" even if that behaviour seems odd( sure call it detective work :0). To allow these attributes of the mind to go along with, the excellent and Nobel prize work that may be produced. Do you not think that Einstein in his last days was more concerned with the focus of his attentions then how dishevelled his hair was?

Pierre Auger on Cosmic Rays

"For in 1938, I showed the presence in primary cosmic rays of particles of a million Gigavolts -- a million times more energetic than accelerators of that day could produce. Even now, when accelerators have far surpassed the Gigavolt mark, they still have not attained the energy of 1020eV, the highest observed energy for cosmic rays. Thus, cosmic rays have not been dethroned as far as energy goes, and the study of cosmic rays has a bright future, if only to learn where these particles come from and how they are accelerated. You know that Fermi made a very interesting proposal that particles are progressively accelerated by bouncing off moving magnetic fields, gaining a little energy each time. In this way, given a certain number of "kicks," one could perhaps account for particles of 1018 -- 1020 electron volts. As yet, however, we have no good theory to explain the production of the very-high-energy particles that make the air showers that my students and I discovered in 1938 at Jean Perrin's laboratory on a ridge of the Jungfrau."

-- Pierre Auger, Journal de Physique, 43, 12, 1982

With introduction to the "Pierre Auger experiments" one learns to appreciate what the large Microscope can do. It allowed us to change the way in which we see cosmology working to include the "astrophysics approach to the description of the universe."

Do you think cosmology devoid of new theoretical approaches, as we venture into the even more abstract "D Brane" world? That we should exclude, such theoretics as a language over top of the process of physics, to not think it is not delving into the world of the geometries involved as well as that physics?

The microscopic process is much more diverse not only in terms of the language, but of how concepts can "cross over" into what we are doing with other approaches.

Beam Trajectories

This summer, CERN gave the starting signal for the long-distance neutrino race to Italy. The CNGS facility (CERN Neutrinos to Gran Sasso), embedded in the laboratory's accelerator complex, produced its first neutrino beam. For the first time, billions of neutrinos were sent through the Earth's crust to the Gran Sasso laboratory, 732 kilometres away in Italy, a journey at almost the speed of light which they completed in less than 2.5 milliseconds. The OPERA experiment at the Gran Sasso laboratory was then commissioned, recording the first neutrino tracks.

Now of course I opened the beginning of this blog post with a article that asks you to consider the domain in which they have considered earth and it's value as a experimental process. The "strange hypothesis" to which I am talking about as a "cross over analogies" to the developmental process of Cern.

The Pythagoreans were called mathematikoi, which means "those that study all"

Amazing isn't it? That if one understood that there was a original context for all that we create, then what shall this context be? So science asks, that the universal language display the mathematics as a basis of all "conceptual frameworks spoken" that are developed. This is, "the right way of it" as I have watched the scientists as they have developed their theories.

So we have this "microscopic view of reality" as the "power of ten" along with "this enlightenment" that taken over all our senses. What has happened now, as we venture out into the cosmos? What has happened when we've taken "theoretical positions" and adapted them to the processes of physics?

Crucible

True creativity often starts where language ends.
Arthur Koestler

How many of you had thought the body you inhibit as a "vessel or a crucible?" I related in the previous post to ""Democritus had Passion and Heat?" to the idea of "Passion and Creativity" as as things that relate to the heat?

Now you ask what the heck is this to mean?

Well I spoke briefly on the woodcuts in "Hermetic Ties: Art to Esoteric Form" to demonstrate what the alchemist like to do as they used an "artistic form" of their day. To hide these "analogies" about just such a thing as I am describing in relation to the body and the crucible as being very similar.


The original of Splendor Solis which contained seven chapters appeared in Augsburg. In miniatures the works of Albrecht Dürer, Hans Holbein and Lucas Cranach were used. The author of the manuscript was considered to be a legendary Salomon Trismosin, allegedly the teacher of Paracelsus. The work itself consists of a sequence of 22 elaborate images, set in ornamental borders and niches. The symbolic process shows the classical alchemical death and rebirth of the king, and incorporates a series of seven flasks, each associated with one of the planets. Within the flasks a process is shown involving the transformation of bird and animal symbols into the Queen and King, the white and the red tincture. Although the style of the Splendor Solis illuminations suggest an earlier date, they are quite clearly of the 16th century

I gave a picture of a woodcut, as example of this, and what it means. As well, the relationship to the "Emerald tablet for consideration" in this thought about creativity and passion. About "distilling the very essence" we are made up of, as we think about things. As we give "colour and meaning to emotive happenings" that you are not aware, yet exist, in a "colouring of a sort outside you" you never knew about?

Do I fare better in my emotional disposition? I have to say I am quite human, in my struggle to identify those things that I develop in my relations, and wish for better then the Zen Master, whose anger quickly dissipates. :)

See again the relationship I used in regards to Democritus. While it is indeed old these comparisons I make of the history as science evolved, did you think that they would have been discarded? Even in this day and age, the art form of pursuing the excellence in the human being without applying this alchemist attitude to life is not without the perspective I share with Jung. Also in those who are trying to understand the EQ (Emotional quotient) now adopted in the understanding of the human being?



I belong to no group or faction, but deal with this from a perspective of research and understanding in relation to studying "the self." The "psychological aspect of this work" not only from an historical perspective, but from a understanding of today's psychology as well.

Am I credentialed? Am I a scientist? Of course not. So from that standpoint the ownest is to "weight the ideas" that I put forth, and for you to find whether your recognize "the truth" in what I say. It is not my intent to spread disinformation(token authority) and propagate illusions in the dealing with reality.

My work is to further expose our "subtle actions" from ways which have not been dealt with before? Including the way in which "new concepts are developed" in relation to science. IN this respect, I may be called "the seer" but do so with great respect of what Smolin set out to distinguish, understanding fully, the responsibility of the work of science to work from testability and experimental procedures.

The Synesthesist

For someone who sees as a Synesthesist, even though I do not see like them, I am able to "make the comparison," built from "modelling perspectives" that I developed while compiling and doing my own research.

Even the Synesthesist will have to ask themself whether what I portray is significant in there own research and understanding, as they are continuing to apply and understanding the "sensual imputes" that have been "cross wired." I may work from a "conceptual basis?"

I am trying to bring "this point of view of my own" from the metaphysical realm, and give it meaning in relation to our lives today. Hence I could be labeled the "broken flower pot," while giving a "vast view of the interrelationships" that I have been working.

A crucible is a cup-shaped piece of laboratory equipment used to contain chemical compounds when heating them to very high temperatures. The receptacle is usually made of porcelain or an inert metal.
Use in Ash Content Determination

Ash is the completely unburnable inorganic salts in a sample. A crucible can be similarly used to determine the percentage of ash contained in an otherwise burnable sample of material such as coal, wood, or oil. A crucible and its lid are pre-weighed at constant mass as described above. The sample is added to the completely dry crucible and lid and together they are weighed to determine the mass of the sample by difference. The crucible, lid, and sample are then fired to constant mass to completely burn up the sample, leaving behind only the completely unburnable ash. After cooling in dryness, the crucible, lid, and remaining ash are weighed to find the mass of the ash from the sample by difference. The fraction of ash (by mass) in the sample is determined by the dividing the mass of the ash by the mass of the sample before burning, which is done by subtracting the weight of the crucible and lid from the figure of the container, lid, and sample.

Symmetry in Psychological Action

Our basic premise is that minuscule apparent violations of Lorentz and CPT invariance might be observable in nature. The idea is that the violations would arise as suppressed effects from a more fundamental theory.

We have shown in our publications that arbitrary Lorentz and CPT violations are quantitatively described by a theory called the Standard-Model Extension, which is a modification of the usual Standard Model of particle physics and Einstein's theory of gravity, General Relativity.

Symbols are important to convey what we can appreciate in "natures examples." While this image above is about clocks, it is also about "the past and the future." Which clock represents which to you?

I have been having amazing troubles with this until having looked at some of Marcia's Smilack's photography. I am not sure all my definitions are correct to hers but I have somehow seen a lot of my confusion disappear.

While reductionism was holding my mind to the compressible feature and condensible feature to the building blocks of nature, there was a much larger picture going on in discovering the "uncertainty of that micro perspective of the world" we force our minds to venture too.

For the first time, physicists appreciate the power of symmetry in their equations. When a physicist talks about “beauty and elegance” in physics, what he or she often really means is that symmetry allows one to unify a large number of diverse phenomena and concepts into a remarkably compact form. The more beautiful an equation is, the more symmetry it possesses, and the more phenomena it can explain in the shortest amount of space” Pg 76¹

It is not to nice when one does not include the "source of the writing involved" so I will have to go and look for where I took that quote from(I believe it is the Fabric of the Universe by Brian Greene, but I can't seem to locate the book for checking).

The idea here is to open this post entry with what was inherent in our actions "psychologically" could have had some basis in what we recognize of our relationship with nature. The relationship with the world around us. When are we most receptive to nature?

"
Golden Rectangle

I took the picture at a time of day when the tide was at exactly the right place to create this image: when the surface of the water reflected the underside of the bridge and they combined, together they produced what I named the Golden Rectangle as a nod to Pythagoras (my hero). The sensation I experienced at the time was of balancing consciousness and feeling.

By "bridging," a "whole picture materializes in reflection" in which we can "cross with" newly formed ideas. Had to have some basis in which the picture taken, may have a had a "greater meaning." How could it ever had made sense if you had not recognized what "the water to mean," and what the reflections cause us to recognize, as we learn to discover this wholeness within self?

"Striving" to bring "this perfection" to it's rightful place amongst the inquirers? What the resulting relation of student who takes the picture, will find as they delve into the world of what the unconscious "may represent" as it reflected from the reality onto the open water. The "past reflected" to what can manifest "toward" reality.

The future is then part of the "unconscious recognition" of what can be eventually be reflected, has some basis, before, "the past" can ever be solidified into reality?



It is important for you to see the source of this image of the circle within circles to understand that when you "mouse over the picture" you see how the "two pictures are used" to further my points about this interaction.

One has to follow the picture above to finally get to the source of this picture. It has been used to explain the process of distinguishing of explaining "the inner/outer" at any one time, while these processes could have transfixed us to one of it's particular domain.

So by completing "this circle," I had too, in some way, include the idea of "symmetry of psychological action," as I had come to instill this act of "the student/teacher within each of us." Had to gain independence by growing confidence in engaging the world. That is was necessary, to not be thwarted by the restrictions of, "being less then desired," or a "broken flower pot" on this road to discovery.

Finally, we also hope that this series furthers the discussion regarding the nature and function of 'the mandala'. In the spiritual traditions from which Jung borrowed the term, it is not the SYMMETRY of mandalas that is all-important, as Jung later led us to believe. It is their capacity to reveal the asymmetry that resides at the very heart of symmetry. By offering a new view about how consciousness itself is structured - in a fundamentally paradoxical fashion - and how these structurings are reflected in principles according to which the mandala is organized, we are able in this series to show how personality itself may be thought of as having an essentially 'liminocentric' design.

Symmetry Breaking



It was never my intent to confuse people by bring this "psychological action" to the forefront in relation to "science's measure of the statement," but to help people become aware of this relationship we have with reality. That you can "gain confidence within the self" to explore beyond the limitations of what science saids in terms of acceptable proofs and attempts at falsification." By setting the goals, in your explorations to discover "more about the world we live in" then just laying our heads to rest on "a medium" to take over. What does it mean to you?


The two clocks depicted in the official logo for the CPT '04 meeting are related by the parity transformation (P). The inversion of black and white represents charge conservation (C), while time reversal (T) is represented by the movement of the hands of the clock in opposite directions.

Window Into the Mind

As we increase our knowledge of the genetic, neural and cognitive aspects of synaesthesia, we will find that we are beginning to understand the brain more completely. Researchers may wish that they possessed synaesthesia, but being able to explore a new and strange trait that may hold the answers to many fundamental questions is reward enough.

Yellow, Red, Blue
1925; Oil on canvas, 127x200cm; Centre Georges Pompidou, Paris

Kandinsky, himself an accomplished musician, once said Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul. The concept that color and musical harmony are linked has a long history, intriguing scientists such as Sir Isaac Newton. Kandinsky used color in a highly theoretical way associating tone with timbre (the sound's character), hue with pitch, and saturation with the volume of sound. He even claimed that when he saw color he heard music.

Over the past 35 years I have spent a considerable time doing my own research. Learning to express myself, has been very difficult to say the least.

It is while doing this research that things seem to "overlap" as I ventured forward and finding examples, as if "analogies in nature" has been the "metaphorical struggle" that I use in "word use and comparison."

Creating the Language

It has accumulated from that research and integration within myself. So it is like creating and learning a "new language," while most of the time I come across as not being understood. That has been "my struggle" to get people "to see" what I am seeing? I don't get "images" in my head, but the accumulation of everything has been transposed into the way I express myself here in this blog.

It is true without lying, certain and most true. That which is Below is like that which is Above and that which is Above is like that which is Below to do the miracles of the Only Thing. And as all things have been and arose from One by the mediation of One, so all things have their birth from this One Thing by adaptation. Sir Isaac Newton

If I may by example give here "the idea of perfecting the self" in regards to Sir Isaac Newton. If he were to have been a alchemist, and persevered in his "psychological struggles," then what form would all his "struggles in self" have exemplified, if he "accomplished those parts of himself."

The "colour" of his being, and the alchemical relation to psychological changes? These alway existed and "as yet" had no name?

So from whence comes all "this energy of expression", to have been displayed as it has? In all the avenues of our "selves," that our experience has allowed that energy to manifest "this way" and "that way," and we have this "unique individual" before us, as you, or I, and "the many?" You "control the color or not" or, is it a "consequence" of this physiological process?


Smilack says her synesthesia helps her create art, such as this piece, "Squid Row." Photo by Marcia Smilack

Smilack belongs to the group of one to four percent of people worldwide with synesthesia, the neurological mixing of the senses. No two synesthetes have exactly the same perceptual experiences. Many perceive each number, letter of the alphabet, or day of the week as a different color. For others, sounds from the environment are always accompanied by moving geometric patterns in their "mind's eye."

Smilack has a rare form of synesthesia that involves all of her senses—the sound of one female voice looks like a thin, bending sheet of metal, and the sight of a certain fishing shack gives her a brief taste of Neapolitan ice cream—but her artistic leanings are shared by many other synesthetes. Scientists estimate that synesthesia is about seven times more common in poets, novelists, and artists than in the rest of the population. (Some of the most famous examples include artists David Hockney and Wassily Kandinsky and writer Vladimir Nabokov.)

Marcia Smilack:

When you take a photograph of a reflection, you must compose your image upside down -- an odd and difficult task. Eventually, it is simply easier to give in and rely on other parts of your mind to compose the image. So, in an oxymoronic way, seeing in reflection "forces" you to let go, to trust what you feel.

Second, these images opened a unique window into the mind of the researcher. Remember the Heisenberg Uncertainty Principle that states every object observed is changed by the experience? Well, I am the voice from the other side, the voice of the object that was watching them the whole time they were watching me. I have learned that we change each other through our interchanges. And while it is hard for me to quantify what I have learned from them, it is a great deal. Their questions and responses provide a framework onto which I can project what I intuitively know but do not usually speak.

She has many wonderful links that I had accumulated, and more. Also check out the extensive amount of links associated with the Synesthesia Resource Center on Patricia Lynne Duffy's book web page.

Calculus, or Feynman's Toy Models?

Some, who possess what researchers call "conceptual synesthesia," see abstract concepts, such as units of time or mathematical operations, as shapes projected either internally or in the space around them

So, is it out of necessity that we can "create the language" necessary to view the reality around us as it is, and how shall we do that? Sir Isaac Newton created "Calculus."

So with this "unique perspective of synesthesia," how shall you give to the world from what began in self, and we have this "multitude of choices" as to the "fabrications" we may use from our "artistic creative design?" No choice, synesthesia just is?

Sometimes I relate the experience of reading a book, to what is "consumed one day" was by design, our place in the scheme of understanding things. Where we have "this experience" that we can correlate. So "it" makes sense. If a person with synesthesia was to read my blog, how much more would they take from my writing, then one without?

It is no different then our understanding of the science of things. Life can seem "mythic in proportion,", until, we understood the deeper part of the "design of reality?"

Update:


Nature, so endlessly creative, has managed things so that each of us, hosts of synesthesia or not, perceives a slightly different world... a world colored by our one-of-a-kind pattern of neurons and experiences" -- Patricia Lynne Duffy

PLATO:Mathematician or Mystic ?

Mathematics, rightly viewed, possesses not only truth, but supreme beauty, a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as in poetry.--BERTRAND RUSSELL, Study of Mathematics

One should not conclude that such a bloggery as this is not without a heartfelt devotion to learning. That I had made no great claims to what science should be. other then what a layman point of view in learning has become excited about. What may be a natural conclusion to one who has spent a long time in science. Do not think me so wanting to knock on your door to enforce the asking of education that may be sent my way was truly as a student waiting for some teacher to appear.

This did not mean I should not engage the world of science. Not become enamoured with it. Or, that seeing the teachers at their bloggeries, were "as if" that teacher did appear many times. This is what is good about it.

I did not care how young you were, or that I, "too old" to listen to what scientists knew, or were theoretically endowed with in certain model selections.

More from the Heart?


"Let no one destitute of geometry enter my doors."

You know that by the very namesake of Plato used here, that I am indeed interested how Plato thought and his eventual conclusions about what "ideas" mean. So, of course there is this learning that has to take place with mathematics.

If I may, and if I were allowed to fast forward any thought in this regard, it would be to say, that the evolution of the human being is much appreciated in what can transfer very quickly "between minds" while a dialogue takes place. Hence the title of this bloggery.

Science demands clarity, and being deficient in this transference of "pure thought" would be less then ideal speaking amongst those scientists without that mathematics. Yet, I do espouse that such intuitiveness can be gained from the simple experiment, by distilling information, from the "general concepts" which have been mention many times now by scientists.

So it is of interest to me that the roads to mathematical understanding through it's development would be quick to point out this immediate working in the "world of the abstract imaging" is to know that such methods are deduced by it's numbers and their greater meaning.

That such meaning can be assign to a "natural objector function" and still unbeknownst to the thinking and learning individual "a numerical pattern that lies underneath it. A "schematics" if you like, of what can become the form in reality.

No reader of Plato can fail to recognize the important role which mathematics plays in his writing, as would indeed be expected for an author about whom the ancient tradition maintains that he had hung over the entry to his school the words "Let No One Un-versed in Geometry Enter". Presumably it was the level of ability to work with abstract concepts that Plato was interested in primarily, but if the student really had never studied Greek geometric materials there would be many passages in the lectures which would be scarcely intelligible to him. Modern readers, versed in a much higher level of mathematical abstraction which our society can offer, have sometimes felt that Plato's famous "mathematical examples'" were illustrations rather than central to his arguments, and some of Plato's mathematical excursuses have remained obscure to the present time.

A Musical Interlude



Plato's Academy-Academy was a suburb of Athens, named after the hero Academos or Ecademos.

I can't help but say that I am indeed affected by the views of our universe. In a way that encompasses some very intriguing nodal points about our universe in the way that I see it.

While I may not have shown the distinct lines of the Platonic solids, it is within context of a balloon with dye around it, that it could be so expressive of the Chaldni plate, that I couldn't resist that "harmonics flavour" as to how one might see the patterns underneath reality. How some gaussian coordinates interpretation of the "uv" lines, that were distinctive of an image in abstract spaces.

Reaching for the Stars

Mars in 6 weeks? And back in a total of four months? That's the prediction of a design team working on antimatter rocket concepts at Pennsylvania State University. But first, you have to get the stuff - and store it. (PSU)

The popular belief is that an antimatter particle coming in contact with its matter counterpart yields energy. That's true for electrons and positrons (anti-electrons). They'll produce gamma rays at 511,000 electron volts.

But heavier particles like protons and anti-protons are somewhat messier, making gamma rays and leaving a spray of secondary particles that eventually decay into neutrinos and low-energy gamma rays.

And that is partly what Schmidt and others want in an antimatter engine. The gamma rays from a perfect reaction would escape immediately, unless the ship had thick shielding, and serve no purpose. But the charged debris from a proton/anti-proton annihilation can push a ship.

"We want to get as close as possible to the initial annihilation event," Schmidt explained. What's important is intercepting some of the pions and other charged particles that are produced and using the energy to produce thrust."

So our history here in this blog has detailed how we see the issues of "collision processes developed(Cern), that we may now see the cosmological playground teaming with the opportunities to produce this "stuff" that would send our spaceships to Mars?

The extension of the thinking of experimental development, has allowed us to think of "what is possible" and what this propulsion system can do, as we make our way into the new territories? As we set sail our ships, searching for those new lands.


A Penn State artist's concept of n antimatter-powered Mars ship with equipment and crew landers at the right, and the engine, with magnetic nozzles, at left.

Of course "storage" is always a troubling issue here so they developed what is call the Penning Trap. But it is not without some insight that our geometrical understanding developed in the events in the cosmos, could not be transformed in that same geometrical sense to propel those ships?


This "Penning trap" developed at Penn State University stores antiprotons.

It sounds like science fiction, but researchers are learning to create and store small amounts of antimatter in real-life labs. A portable electromagnetic antimatter trap at Penn State University, for example, can hold 10 billion antiprotons. If we could learn how to use such antimatter safely, we could impinge some on a thin stream of hydrogen gas to create thrust. Alternatively, a little antimatter could be injected into a fusion reactor to lower the temperatures needed to trigger a fusion reaction.

So you ask how is that possible?

The gravitational collapse sets up the very ideas for us as we make use of that "propulsion system" to move that space ship. So in a sense, "the collider process" at Cern is a gigantic model of what we want in the developmental process as the new engine of our spaceship.


A schematic of the heart of a Penning trap where a cloud of antiprotons (the fuzzy bluish spot) is kept cold and quiet by liquid nitrogen and helium and a stable magnetic field. (PSU)

Anti-protons, explained Dr. Gerald Smith of Pennsylvania State University, can be obtained in modest quantities from high-energy accelerators slamming particles into solid targets. The anti-protons are then collected and held in a magnetic bottle

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While previously here I have spoken about how we may use Susskind's thought experiment as a monitoring system of gravitational considerations, it is also this thought process that helps us adjust the ship according to how much thrust is needed in face of the lagrangian views we encounter in star systems?

However, by using "matter/antimatter annihilation", velocities just below the speed of light could be reached, making it possible to reach the next star in about six years.

I think Stephen Hawking is going to have to work faster, in order to elucidate his thoughts on this travel. That while I may have started this lesson from the idea of 1999, it is much more advanced then many had understood. The "experimental process" of Cern is much greater then most of us had realized.

Also there is a developmental "thought pattern" that needs to be understood as we speak about how such a geometrics could have been seen underneath the very structures of our realities. Not only within the cosmos at large but in the dynamical processes of the quantum world.

Angels and Demons



Cern IMagery takes a "dramatic position" on what it is saying about itself? :) I would like to think that the fun is in how "mirror world" has somehow been transposed into what we know of the develpmental processes we are given as we now lok at what may help us move into the cosmos.

If as a society we were "uncultured" we might have thought the tribal influence of the "bad side" of all things? But in that exploratory sense al the tidbits had to add up to something, yet without our understanding of what lies beneath, one might have never gone "past" Robert Mclaughlin, to realize, the geometrical nature that imbues the process we are developing.



This was Riemann lesson to Gauss in his thesis, who like his student had thought for sure "vision capable now," would also have been transferred into a "whole new world" of understanding of the non euclidean geometries.

What do they say about the devil being in the details?

Plato:

This image had horns drawn on it, with a tail attached. Something about “angels and demons?” I don’t think we should take the “anti” too literal in face of an outcome, or should we?

It's about how we can take a legitimate process and build ideas on it, according to the very nature of the "negative and positive expressions" of what Riemann set out to do.

ON a large scale, we see the dynamics of this process, yet failed to see it work at a microcosmic sense as we deal with the colliders? As we move forward in the propulsion systems, it is importance how we see this developmental process take on dynamic views.

Ring World

Impact armor, a flexible form of clothing that hardens instantly into a rigid form stronger than steel when rapidly deformed (for example, by the impact of a projectile such as a bullet) - a technology which is quickly approaching reality; in fact being tested during the 2006 Winter Olympics as a product called d3o

Lest you forget "the concept" above is written in a story form of our past?

How is it possible for the human mind to see itself in some future?

We must ask ourselves about the value of the conscience "in moving backwards in time?" An "image" constructed(memory), while not having this ability to "move forward?"

Imagine that you give weight to the idea of human experience, limiting it, to the shades of darkness in our emotive responses. Yet, there is a time when happiness seems so effortless, that as we check how fast "time" has past, we wonder in amazement?

No need here to draw up Einstein's conclusions about a "pretty girl and the hot stove" again and again, as it should have sunk in by now? You are the observer and you color your world.



It's a brief image that I saw myself deploring the satellites in space. Yet, with it the fear of holding on to all that is the firm resolve of one's own focus. Of what is known. Of what we feel is safe? A satellite lost in space. My own fear, as I gazed into the black unknown, possibly lost forever.

It is part of "my" conscious mind that I would produce such imagery? No, my anxieties were manipuated into a picture form. I sent the insecurites of my own awareness of mind deep into the "creativity" of the subconscious mind.

You did not know you had such ability did you?:)

Imagine that I stand on the edge of the Grand Canyon "which I did," and that space spread out before me, is the space of the universe? Imagine indeed, how tight my grip as I look.

Science Fiction

Who is it that could not be touched by the fiction of science to have speculated about how we shall live in another time and place? It comes out when you create the circumstances for the mind to wonder, "creatively."


(Larry Niven's Ringworld, seen from space. Artwork by Harry Frank

Ringworld is a Hugo and Nebula award-winning 1970 science fiction novel by Larry Niven, set in his Known Space universe. The work is widely considered one of the classics of science fiction literature. It is followed by three sequels, and it ties in to numerous other books in the Known Space universe.

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What gives the mind it capabilities to venture forward and we find technologies in the "sports world being demonstrated" to harness the "memories of the geometrics" which will save us?



If you understood the "lighthouse analogy" then why had you failed to realized the most "intense point" of impact/ highest energy particles delivered, arose from such geometrics involved? Hulse and Taylor? How was the binary stars revealed while the revolutions got closer?



Lest some forget too, it is well that the mind see's the value of the "gravity probe b" in such "geometric form" that it has placed a picture(nit it's schematics?) before us, which saids and acknowledges the nature and move to the non-euclidean geometries. Understandng the "lagrangian perspective" is then is a short step away?

Now what has transpired from the fiction of Ring World?


d3o Mesh is a perforated textured sheet which has been specifically designed for comfort and breathability for applications requiring good flexure and medium levels of impact protection and is suitable for all applications.

(dee-three-oh) is a specially engineered material made with intelligent molecules. They flow with you as you move but on shock lock together to absorb the impact energy.

It is okay to thnk about "the theoretical" and push forward the circumstances that allow one to speculate and drawn the new imagery of mind to new horizons. New lives. We do this all the time when we re-assess our lives in face of the directions we would like to go?


Plato:

Now you must remember, as a student and a older one at that, there will always be mistakes. Being granted this reprieve for a time(writing our fiction?), while we look at the question asked, what do I think? Hmmmm.... interesting question.

What is your story of creation? What hides underneath the story, what is it 's nature, that we may have "created the myth" and let one believe it is just a story?