Sphere and Sound Waves

Don demonstrates water oscillations on a speaker in microgravity, and ZZ Top rocks the boat 250 miles above Earth.Science off the Sphere: Space Soundwaves

So of course I might wonder about cymatics in space. It 's more the idea that you could further experiment with the environment with which life on the space station may provide in opportunity. That's all.:)

There is a reason why I am presenting this blog entry.

It has to do with a comparison that came to mind about our earth and the relationship we might see to a sphere of water. Most will know from my blog the relevant topic used in terms of Isostatic adjustment in terms of planet design and formation. It is also about gravity and elemental consideration in terms of the shape of the planet.

Now sure we can expect certain things from the space environment in terms of molecular arrangement but of course my views are going much deeper in terms of the makeup of that space given the constituents of early universe formations.  So here given to states for examination I had an insight in terms of how one may arrange modularization in terms of using the space environment to capitalize.

So there is something forming in mind here about the inherent nature of the matter constituents that I may say deeper then the design itself such arrangements are predestined to become perfectly arranged according to the type of element associated with it?

 I want to be in control of that given a cloud of all constituents so that I may choose how to arrange the mattered state of existence. A planet maker perhaps?:) Design the gravity field. There are reasons for this.

Image: NASA/JPL-

Planets are round because their gravitational field acts as though it originates from the center of the body and pulls everything toward it. With its large body and internal heating from radioactive elements, a planet behaves like a fluid, and over long periods of time succumbs to the gravitational pull from its center of gravity. The only way to get all the mass as close to planet's center of gravity as possible is to form a sphere. The technical name for this process is "isostatic adjustment."

With much smaller bodies, such as the 20-kilometer asteroids we have seen in recent spacecraft images, the gravitational pull is too weak to overcome the asteroid's mechanical strength. As a result, these bodies do not form spheres. Rather they maintain irregular, fragmentary shapes.

See Also:

• Water in Zero Gravity
• Grail: Gravity Recovery and Interior Laboratory
• Isostatic Adjustment is Why Planets are Round?
• Universality Can Lead too, Isostatic Adjustment

Being Able to See

How does one turn on the internal vision when we use our eyes to look at the day to day happenings with eyes wide open?

What made this interesting for me was the fact that sensory examination could have been used physically by people by no fault of their own under the auspice ofSynesthesia.. This is an examination where the internal wiring causes overlaps in sensory perceptions. So anyway the idea here is that we look at what intentionality means here in the progress toward science and examination of what we can gain in understanding a way in being able to see differently.

Experimental research

In recent years, there has been a large amount of work done on the concept of intentional action in experimental philosophy.^[1] This work has aimed at illuminating and understanding the factors which influence people's judgments of whether an action was done intentionally. For instance, research has shown that unintended side effects are often considered to be done intentionally if the side effect is considered bad and the person acting knew the side effect would occur before acting. Yet when the side effect is considered good, people generally don't think it was done intentionally, even if the person knew it would occur before acting. The most well-known example involves a chairman who implements a new business program for the sole purpose to make money but ends up affecting the environment in the process. If he implements his business plan and in the process he ends up helping the environment, then people generally say he unintentionally helped the environment; if he implements his business plan and in the process he ends up harming the environment, then people generally say he intentionally harmed the environment. The important point is that in both cases his only goal was to make money.^[2] While there have been many explanations proposed for why the "side-effect effect" occurs, researchers on this topic have not yet reached a consensus.

So we understand that there is a physiological effect to how perception can be altered by understanding the effect of  Synesthesia? Such alteration can be given to the idea that if we change the way we see experimental processes as in sound application what comparative analogy can be safe? Can we say that it would be acceptable to science?

For example, in 1704 Sir Isaac Newton struggled to devise mathematical formulas to equate the vibrational frequency of sound waves with a corresponding wavelength of light. He failed to find his hoped-for translation algorithm, but the idea of correspondence took root, and the first practical application of it appears to be the clavecin oculaire, an instrument that played sound and light simultaneously. It was invented in 1725. Charles Darwin’s grandfather, Erasmus, achieved the same effect with a harpsichord and lanterns in 1790, although many others were built in the intervening years, on the same principle, where by a keyboard controlled mechanical shutters from behind which colored lights shne. By 1810 even Goethe was expounding correspondences between color and other senses in his book, Theory of Color. Pg 53, The Man Who Tasted Shapes, by Richard E. Cytowic, M.D.

 What if you caused intentional blindness in the sense that you isolate the sensory effect of allowing eyes to be deprived of light. Force the condition to effect internalize vision to take place?  So, what happens in isolation? Does the mind then rely on the world constructs that we had had during our lifetimes to say that the whole internal world is then the effect of what we had gained in experience through seeing. How do you the separate the effect of or emotive states from the understanding that our perceptions colored the world of experience and then forced it toward a memory induced fabrication of what we had experienced?

Now you say, how did that happen? Such a fast shift from what is apparent in the looking at the world is to see that we had lost control of the visual capabilities of see reality as it is?  There is this understanding that without intentionality  a ruthless world of our emotive states can take over quite easily as we say that all of reality is clean and perfect without the recognition of what science is to mean.

5 types of ATLAS event shape data

The data is first processed using the vast and all-powerful ATLAS software framework. This allows raw data (streams of ones and zeroes) to be converted step-by-step into ‘objects’ such as silicon detector hits and energy deposits. We can reconstruct particles using these objects. The next step is to convert the information into a file containing two or three columns of numbers known as a "breakpoint file". It can also be used as a "note list". This kind of file can be read by compositional software such as the Composers Desktop Project (CDP) and Csound software used for this project. See: How is Data Converted into Sounds

So while you do experiments it is important to have "intentionality" in regard to your experiments? If this is so then what you had done is prepare for the excursion to what you want to find out? You already had some idea? You want to put controls in the environment?



 How do you separate consciousness from the clean lines of experimentation and reality seeking? You can't? Because without it you were not able to put the controls in that you need too,  in order to find something out. You are part of the vibrations.
 
The very fact that all of the environment is based on the factors of sound would have you believe then that such conversions are possible and that all sounds are envisioned within the context of the world of sound controlled?

I want to force you to be able to see differently. I want to convert the reality of existence of seeing in a vibrational mode. How does this translate then into consciousness and experimentation? What will we be able to find out if we change the constraints on or examinations of reality if we force the mind to see so?

What Does the Higgs Jet Energy Sound Like?

Top quark and anti top quark pair decaying into jets, visible as collimated collections of particle tracks, and other fermions in the CDF detector at Tevatron.

HiggsJetEnergyProfileCrotale  and HiggsJetEnergyProfilePiano use only the energy of the cells in the jet to modulate the pitch, volume, duration and spatial position of each note. The sounds being modulated in these examples are crotales (baby cymbals) and a piano string struck with a soft beater, then shifted up in pitch by 1000 Hz and `dovetailed'.

In HiggsJetRythSig we are simply travelling steadily along the axis of the jet of particles and hearing a ping of crotales for each point at which there is a significant energy deposit somewhere in the jet.

HiggsJetEnergyGate  uses just the energy deposited in the jet's cells. At each time point (defined by the distance from the point of collision) the energy is used to define the number of channels used from the piano sound file. So high energy can be heard as thick, burbly sound whilst low energy has a thinner sound. See: Listen to the decay of a god particle

LHCsound (LHCsound) / CC BY 3.0

See Also:

• The Sound The Universe Makes

Songs of the Stars: the Real Music of the Spheres

With the discovery of sound waves in the CMB, we have entered a new era of precision cosmology in which we can begin to talk with certainty about the origin of structure and the content of matter and energy in the universe.-Wayne Hu

The Pythagoreans 2500 years ago believed in a celestial "music of the spheres", an idea that reverberated down the millennia in Western music, literature, art and science. Now, through asteroseismology (the study of the internal structure of pulsating stars), we know that there is a real music of the spheres. The stars have sounds in them that we use to see right to their very cores. This multi-media lecture looks at the relationship of music to stellar sounds. You will hear the real sounds of the stars and you will hear musical compositions where every member of the orchestra is a real (astronomical) star! You will also learn about some of the latest discoveries from the Kepler Space Mission that lets us "hear" the stars 100 times better than with telescopes on the ground See:Don Kurtz, University of Central Lancashire-Wednesday, May 2, 2012 at 7:00 pm

 See Also:

• Listen to the Songs of the Stars: Stellar Sounds at Perimeter's Public Lecture on May 2

A Musical Score on Particles?

Schema created by Vicinanza with an example bubble chamber particle track, which has been converted into a melody and then orchestrated as music. Image courtesy Domenico Vicinanza.

Positrons – antiparticles of electrons, a trillionth of a meter in size – make no sound. But with a little help from the grid, music composer Domenico Vicinanza is giving positrons a voice to lift in song.

Vicinanza, a network engineer at DANTE (Delivery of Advanced Network Technology to Europe), is an old hand at using GILDA (Grid INFN virtual Laboratory for Dissemination Activities) e-infrastructure, which is part of the European Grid Infrastructure, to blend science with music. In the past, he has derived music from volcanic seismograms with the City Dance Ensemble, and re-created 2,000-year-old Greek music with his troupe, the the Lost Sounds Orchestra.The smallest music in the universe

Also See:

• Listening for the sound of science

ἁπτικός-Momentum, as a Tactile Experience?

The value of non-Euclidean geometry lies in its ability to liberate us from preconceived ideas in preparation for the time when exploration of physical laws might demand some geometry other than the Euclidean. Bernhard Riemann

See Water in Zero Gravity, by Backreaction

 Is it possible for us to get this "sense of being" without understanding what momentum is? Do we say it just feels right or do we say that something flows according to the way in which we think about time? If you were to say things must be discrete by nature then how would any logic flow from the idea of such particularization?

Can I realistically call such a sphere in space a spherical cow? For a moment consider that such a collapse will be of  acoustical variety type that we can say in the absence of earths constraints we can see how the universe likes to appeal to our nature of particularization by producing particles for which we can examine the substructure of the world we live in, in science?


In the case of discrete measure how is it such a transfer can take place in mind that the experience becomes part and parcel of the greater reality "of moving in abstract spaces?"  Do we say this is reality but one as  such configured and mathematically devised so as to seek correlations in the world that make sense?

 Today, however, we do have the opportunity not only to observe phenomena in four and higher dimensions, but we can also interact with them. The medium for such interaction is computer graphics. Computer graphic devices produce images on two-dimensional screens. Each point on the screen has two real numbers as coordinates, and the computer stores the locations of points and lists of pairs of points which are to be connected by line segments or more complicated curves. In this way a diagram of great complexity can be developed on the screen and saved for later viewing or further manipulationFrom Flatland to Hypergraphics: Interacting with Higher Dimensions

I am trying to formulate a response in regard to the opening question in title. So please be patient with me as things appear in this blog posting.

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Title page of the 1st edition of Isaac Newton's Principia defining the laws of motion.

Mōmentum was not merely the motion, which was mōtus, but was the power residing in a moving object, captured by today's mathematical definitions. A mōtus, "movement", was a stage in any sort of change,^[1] while velocitas, "swiftness", captured only speed. The concept of momentum in classical mechanics was originated by a number of great thinkers and experimentalists. The first of these was Byzantine philosopher John Philoponus, in his commentary to Aristotle´s Physics. As regards the natural motion of bodies falling through a medium, Aristotle's verdict that the speed is proportional to the weight of the moving bodies and indirectly proportional to the density of the medium is disproved by Philoponus through appeal to the same kind of experiment that Galileo was to carry out centuries later.^[2] This idea was refined by the European philosophers Peter Olivi and Jean Buridan. Buridan referred to impetus being proportional to the weight times the speed.^[3][4] Moreover, Buridan's theory was different to his predecessor's in that he did not consider impetus to be self dissipating, asserting that a body would be arrested by the forces of air resistance and gravity which might be opposing its impetus.^[5]

Of course I am always interested in the history of  what Momentum might mean. How this is built conceptually and historically so as to define this by a method by which we may measure some thing realistically.

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The somatosensory system is a diverse sensory system composed of the receptors and processing centres to produce the sensory modalities such as touch, temperature, proprioception (body position), and nociception (pain). The sensory receptors cover the skin and epithelia, skeletal muscles, bones and joints, internal organs, and the cardiovascular system. While touch (also, more formally, tactition; adjectival form: "tactile" or "somatosensory") is considered one of the five traditional senses, the impression of touch is formed from several modalities. In medicine, the colloquial term touch is usually replaced with somatic senses to better reflect the variety of mechanisms involved.

The system reacts to diverse stimuli using different receptors: thermoreceptors, nociceptors, mechanoreceptors and chemoreceptors. Transmission of information from the receptors passes via sensory nerves through tracts in the spinal cord and into the brain. Processing primarily occurs in the primary somatosensory area in the parietal lobe of the cerebral cortex.

The cortical homunculus was devised by Wilder Penfield

At its simplest, the system works when activity in a sensory neuron is triggered by a specific stimulus such as heat; this signal eventually passes to an area in the brain uniquely attributed to that area on the body—this allows the processed stimulus to be felt at the correct location. The point-to-point mapping of the body surfaces in the brain is called a homunculus and is essential in the creation of a body image. This brain-surface ("cortical") map is not immutable, however. Dramatic shifts can occur in response to stroke or injury.

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Brain Stretching

Haptics in virtual reality

Haptics are gaining widespread acceptance as a key part of virtual reality systems, adding the sense of touch to previously visual-only solutions. Most of these solutions use stylus-based haptic rendering, where the user interfaces to the virtual world via a tool or stylus, giving a form of interaction that is computationally realistic on today's hardware. Systems are also being developed to use haptic interfaces for 3D modeling and design that are intended to give artists a virtual experience of real interactive modeling. Researchers from the University of Tokyo have developed 3D holograms that can be "touched" through haptic feedback using "acoustic radiation" to create a pressure sensation on a user's hands. (See Future Section) The researchers, led by Hiroyuki Shinoda, currently have the technology on display at SIGGRAPH 2009 in New Orleans.^[15]

Cymascope

Vibration underpins all matter in the universe. No matter can exist without sound and vibration. To see the periodic motions that lie at the heart of matter is to lift the veils that conceal many mysteries of the universe. The CymaScope represents the first scientific instrument that can give us a visual image of sound and vibration - a cymatic image - helping us to understand our world and universe in ways previously hidden from view.

When the microscope and telescope were invented they opened vistas on realms that were not even suspected to exist. Cymascope

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The sand collected in nodal lines producing symmetrical patterns similar to Hookes flour on the glass plate. It is also important to note that this influenced Faraday in thinking about lines of force in magnetic in his electrical experiments.

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Ernst Florens Friedrich Chladni

Born in Wittenburg in Germany, Chladni's Father demanded that he study Law not science. He obtained his law degree in 1782 from Leipzig. After the death of his Farther he vigorously pursued his career in science. Chladni achieved recognition for his pioneering work in the mathematical analysis of acoustics. This research was built on the early experiments of Robert Hooke at Oxford University. On July 8th 1680 Hooke formed the experiment of glass vibrating 6.4.8. places. This was done by putting flour on a glass plate, and bowing on the edge of glass. Hooke had observed that the motion of the glass was vibrate perpendicular to the surface of the glass, and that the circular figure of the flour changed into an oval one way, and the reciprocation of it changed it into an oval the other way. This phenomenon was rediscovered by Chladni in the eighteenth century, and given his name "Chladni figures". What Chladni did was to take thin metal plates and cover them with sand and caused them to vibrate. The sand collected in nodal lines producing symmetrical patterns similar to Hookes flour on the glass plate. It is also important to note that this influenced Faraday in thinking about lines of force in magnetic in his electrical experiments.

Atlas Experiment

Link on Title and internal "color reference links" will highlight links to subject locations. Well worth the visit.

 The ATLAS detector consists of four major components

(place your cursor over the links below to identify the location of the components):

• inner detector (yellow) - measures the momentum of each charged particle
• calorimeter (orange and green) - measures the energies carried by the particles
• muon spectrometer (blue) - identifies and measures muons
• magnet system (grey) - bending charged particles for momentum measurement

The interactions in the ATLAS detectors will create an enormous dataflow. To digest this data we need:

• the trigger system - selecting 100 interesting events per second out of 1000 million others
• the data acquisition system - channeling the data from the detectors to the storage
• the computing system - analysing 1000 Million events recorded per year

Sonification

The lessons of history are clear. The more exotic, the more abstract the knowledge, the more profound will be its consequences." Leon Lederman, from an address to the Franklin Institute, 1995

BBC article-Click on Image

See Also: LHC sound

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Sonification is the use of non-speech audio to convey information or perceptualize data. Due to the specifics of auditory perception, such as temporal and pressure resolution, it forms an interesting alternative or complement to visualization techniques, gaining importance in various disciplines. It has been well established for a long time already as Auditory Display in situations that require a constant awareness of some information (e.g. vital body functions during an operation). Sonification as a method for exploration of data and scientific modeling is a current and ongoing research desideratum.

One of the first successful applications of sonification is the well-known Geiger counter, a device measuring ionizing radiation. The number and frequency of audible clicks are directly dependent on the radiation level in the immediate vicinity of the device.

Contents 1 Fields 2 Some existing applications and projects 3 Sonification techniques 4 References 5 See also 6 External links

Fields

Sonification is an interdisciplinary field combining:

• algorithmic composition / sound art
• epistemology and sociology of science
• physics
• physiology
• psychology
• mathematics and computer science
• sound engineering
• statistics

Some existing applications and projects

• Geiger counter
• Sonar
• medical and cockpit auditory displays
• Auditory thermometer [4]
• Volcanic activity detection
• auditory altimeter[5], also used in skydiving
• Storm and weather sonification [6]
• Speed alarm in motor vehicles
• Space Physics [7]
• Interactive sonification^[1][2][3]

Sonification techniques

Many different components can be altered to change the user's perception of the sound, and in turn, their perception of the underlying information being portrayed. Often, an increase or decrease in some level in this information is indicated by an increase or decrease in pitch, amplitude or tempo, but could also be indicated by varying other less commonly used components. For example, a stock market price could be portrayed by rising pitch as the stock price rose, and lowering pitch as it fell. To allow the user to determine that more than one stock was being portrayed, different timbres or brightnesses might be used for the different stocks, or they may be played to the user from different points in space, for example, through different sides of their headphones.

Many studies have been undertaken to try to find the best techniques for various types of information to be presented, and as yet, no conclusive set of techniques to be used has been formulated. As the area of sonification is still considered to be in its infancy, current studies are working towards determining the best set of sound components to vary in different situations.

Several different techniques for rendering auditory data representations can be categorized:

• Audification
• Earcons
• Auditory icons
• Parameter Mapping Sonification
• Model-Based Sonification
• Stream-Based Sonification

References

1. ^ Thomas Hermann, Andy Hunt, and Sandra Pauletto. Interacting with Sonification Systems: Closing the Loop. Eighth International Conference on Information Visualisation (IV'04) : 879-884. Available: [1]. DOI= http://doi.ieeecomputersociety.org/10.1109/IV.2004.1320244.
2. ^ Thomas Hermann, and Andy Hunt. The Importance of Interaction in Sonification. Proceedings of ICAD Tenth Meeting of the International Conference on Auditory Display, Sydney, Australia, July 6–9, 2004. Available: [2]
3. ^ Sandra Pauletto and Andy Hunt. A Toolkit for Interactive Sonification. Proceedings of ICAD Tenth Meeting of the International Conference on Auditory Display, Sydney, Australia, July 6–9, 2004. Available: [3].

See also

• Nano guitar

External links

• International Community for Auditory Display
• Sonification Report (1997) provides an introduction to the status of the field and current research agendas.
• SonEnvir general sonification environment
• Sonification.de provides information about Sonification and Auditory Display, links to interesting event and related projects
• Auditory Information Design, PhD Thesis by Stephen Barrass 1998, User Centred Approach to Designing Sonifications.
• Sonification for Exploratory Data Analysis, PhD Thesis by Thomas Hermann 2002, developing Model Based Sonfication.
• Sonification of Mobile and Wireless Communications
• Interactive Sonification a hub to news and upcoming events in the field of interactive sonification
• zero-th space-time association
• CodeSounding — an open source sonification framework which makes possible to hear how any existing Java program "sounds like", by assigning instruments and pitches to code statements (if, for, etc) and playing them as they are executed at runtime. In this way the flowing of execution is played as a flow of music and its rhythm changes depending on user interaction.
• LYCAY, a Java library for sonification of Java source code
• WebMelody, a system for sonification of activity of web servers.
• Sonification of a Cantor set [8]
• Volcanoes may reveal secrets through 'song' (New Scientist)
• Sound of science (New Scientist) discusses many applications of sonification
• Sonification Sandbox v.3.0, a Java program to convert datasets to sounds, GT Sonification Lab, School of Psychology, Georgia Institute of Technology.
• Infrasound Laboratory of Hawaii (sounds)
• xSonify a Java application to display numerical data as sound, Goddard Space Flight Center, NASA
• Program Sonification using Java, an online chapter (with code) explaining how to implement sonification using speech synthesis, MIDI note generation, and audio clips.
• Earthquake Sonification using USGS XML feed and sound synthesis software.

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Radar echos from Titan's surface

This recording was produced by converting into audible sounds some of the radar echoes received by Huygens during the last few kilometers of its descent onto Titan. As the probe approaches the ground, both the pitch and intensity increase. Scientists will use intensity of the echoes to speculate about the nature of the surface.

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Gravity is talking. LISA will listen.

The Cosmos sings with many strong gravitational voices, causing ripples in the fabric of space and time that carry the message of tremendous astronomical events: the rapid dances of closely orbiting stellar remnants, the mergers of massive black holes millions of times heavier than the Sun, the aftermath of the Big Bang. These ripples are the gravitational waves predicted by Albert Einstein's 1915 general relativity; nearly one century later, it is now possible to detect them. Gravitational waves will give us an entirely new way to observe and understand the Universe, enhancing and complementing the insights of conventional astronomy.

See:What Does Gravity Sound Like?

See Also: Gravitational Wave Detectors are Best Described as "Sounds.

The Total Field

Conclusion:The state of mind of the observer plays a crucial role in the perception of time.Einstein

SPOILER ALERT:

To make a very, very long story short we discovered via Christian Shephard aka Jack’s dead father that all of the people on Oceanic 815 including Desmond, Daniel, Charlotte, Kate, Sawyer, Miles, Lapidus, Claire, Sayid, Sun, Jin, Richard, Michael, Walt, Miles, Ana Lucia, Locke, Hurley and Benjamin did really live on the island but when they died they moved on to L.A for their afterlife where they had the life that they always dreamed off. In The End we learned that those who did eventually find a way to forgive the people who hurt them , and forgave themselves were reunited with the people who meant something to them an went to heaven.See:Lost Finale Explanation:Lost Purgatory Ending Theories

Lost as in the emotive experience, as the "physiological and mental connection of being" winds down.

I thought what was very special was the recognition of all the memories traveling one path, all the fabrications of six years of Lost, to realize that they all could had been traveling in the after death consciousness. I mean, the fabrications of the island was a mass illusion, to support experience,  while all the emotions are played out with each of the persons involved "until they finally recognized each other enough" to gather one more time in the church.

What was special is that as each person is awakened to the reality of where they are, by thefinal  touch of love that connects the souls to that deeper level of recognition, while the memories of all that the had gone before was moved through flashes of realization that brought the experience together, culminating in the chance to go through the final gate to the light.




The island was hell. To burn out the light was to extinguish any hope of the light to support the illusions of the island and of the life of those in the after death consciousness.

I mean there are a lot of discrepancies once you realize that not all the people are there. A plane did escape, yet, there is no record of those people, while the focus was on a core group. The main actors I guess.

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I think the journey to understanding the whole thing is to understand the "heaviness that supports the contention as gravity" is to evolve through the scientific understanding, as the ancients did,  looking toward cosmology.

CARL JUNG by Dr. C. George Boeree

The most important archetype of all is the self. The self is the ultimate unity of the personality and is symbolized by the circle, the cross, and the mandala figures that Jung was fond of painting. A mandala is a drawing that is used in meditation because it tends to draw your focus back to the center, and it can be as simple as a geometric figure or as complicated as a stained glass window. The personifications that best represent self are Christ and Buddha, two people who many believe achieved perfection. But Jung felt that perfection of the personality is only truly achieved in death

That the continued evolution toward GR, is to solidify our understanding of the inverse square law of our positions in context of the life experience? Not just of the planets and galaxies held to the fabric of spacetime in the universe?

The general theory of relativity is as yet incomplete insofar as it has been able to apply the general principle of relativity satisfactorily only to gravitational fields, but not to the total field. We do not yet know with certainty by what mathematical mechanism the total field in space is to be described and what the general invariant laws are to which this total field is subject. One thing, however, seems certain: namely, that the general principal of relativity will prove a necessary and effective tool for the solution of the problem for the total field.Out of My Later Years, Pg 48, Albert Einstein

If you were to believe that the "books of the dead" Tibetan or Egyptian were really about books of life, then in the case of the Tibetan, the "clear light" was preceded "by the lost in reliving experiences, as in the fog  of not understanding, or smoke, as in the show Lost. It is about moving toward that Clear light. That we could be lost for a time, and why, beside the death beds practitioners would help the soul travel through the ether of being of the experienced that they gained in life.

If the heart was free from the impurities of sin, and therefore lighter than the feather, then the dead person could enter the eternal afterlife.

If you take this last ancient plate and the wording below as to the experience one can have, it does not seem to unlikely that our way in the after death world can be constructed according too, the heaviness with which we can experience life emotively. If you understanding Einstein's conclusion,  as to the pretty girl and the hot stove,  then you understand that experience can have it's durations too.