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1177 lines
71 KiB
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<?xml version="1.0" encoding="UTF-8"?>
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<div class="article">
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<p>FILENAME: INTRO-A</p>
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<p> An INTRODUCTION to
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************************* HYPERSPACE **************************
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in
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Your Everyday Life</p>
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<p> WHERE IS HYPERSPACE?
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------ and ------
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HOW DO WE GET THERE FROM HERE?
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----------------------------- </p>
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<p> THE Ancients imagined a timeless space beyond human </p>
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<p>comprehension that they called Heaven, Hades, Valhalla, Gehenna,
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------ ----- -------- -------
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Limbo, Elysian Fields, Happy Hunting Grounds, each in his own
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----- -------------- ---------------------
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language. The mysterious supernal and infernal regions were </p>
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<p>populated with gods and goddesses, devils and demons, angels and </p>
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<p>fairies, ghosts and goblins, chimerae of every conception. On an </p>
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<p>Olympian stage, the immortal spirits acted out the universal </p>
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<p>human drama in myths teaching the meanings of life and death, </p>
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<p>good and evil, morality and nemesis, until the advent of modern </p>
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<p>science brought discredit to intangible realities.</p>
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<p> Man does not live without myth. As the traditional morality </p>
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<p>plays lose their power to rule men's minds, lively new myths are </p>
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<p>composed to replace the dead. If the modern priests of science </p>
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<p>refuse to address the problems of the human soul, the modern </p>
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<p>poets of science-fiction will use the ken and cant of science to </p>
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<p>answer spiritual needs for intangible ideals. Mentor and Merlin </p>
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<p>are reincarnated as Obi Wan Kenobi and Yoda; as the last of the </p>
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<p>Jedi Knights of a Round Table on some planetary Camelot, Luke </p>
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<p>Skywalker draws a laser Excalibur from the Stone to wield The </p>
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<p>Force on a cosmic odyssey. After running for centuries at </p>
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<p>Olympus, followed by a century of full houses at Dodge City, the </p>
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<p>spiritual epics are now playing in hyperspace.
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----------</p>
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<p> Hyperspace is known to science only as a calculation of </p>
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<p>pure, abstract mathematics. Physicists are unaware that they </p>
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<p>are actually charting the tangible landmarks of hyperspace while </p>
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<p>they plot the PSI factors defining the virtual state of the
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------------------------
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quantum field. Like Moliere's BOURGEOIS GENTILHOMME, everyone
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-------------
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lives in The Twilight Zone without knowing it. After reading
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-----------------
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this book, you will be able to recognize the landscape of </p>
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<p>hyperspace in your everyday life. The immortal spirits are very </p>
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<p>real entities, and God is alive and well on the street where you </p>
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<p>live. </p>
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<p> __________________________
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I I
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I Creatures that drift I
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I in the depths of the sea I
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I are the very last I
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I to discover the water. I
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I__________________________I</p>
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<p> THIS thesis has grown over twenty-five years since I noticed </p>
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<p>that the ceremonial KATAS of the ZEN martial arts express the </p>
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<p>very same energy equations that physicists write in mathematical </p>
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<p>notation. (SIDE-1) Once I discovered this key, I realized that </p>
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<p>all forms of art are mathematical equations expressing </p>
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<p>transformations of energy more subtle than brute strength. Works </p>
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<p>of art are a special kind of physical machinery that projects </p>
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<p>higher-dimensional structures into lower-dimensional spaces for </p>
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<p>some convenience of perceiving. You can see the way art performs </p>
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<p>this function by applying the rules of optical perspective to </p>
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<p>represent a three-dimensional structure on a plane surface. </p>
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<p> The most familiar kind of pictorial perspective presents the </p>
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<p>appearance of its subject from but a single viewpoint. In order </p>
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<p>to comprehend a solid structure in its entirety, it is necessary </p>
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<p>to render it from as many aspects as are required to reveal all </p>
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<p>of its structural details in their correct relationships to each </p>
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<p>other; many tridimensional perspectives must be studied in order </p>
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<p>to construct a conception of a hyperspacial entity. </p>
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<p> The art of mathematics presents alternative aspects in the </p>
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<p>form of tautological equations, each expressing the view from a </p>
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<p>different frame of reference, such as a=lw, l=a/w, and w=a/l to </p>
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<p>describe the two-dimensional structure of a square by one-</p>
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<p>dimensional semantics. All the codices of mathematical equations </p>
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<p>express different views of the single hyperspacial entity known </p>
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<p>as the universe; our comprehension of the universal structure
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--------
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is far from complete.</p>
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<p> Artists have a vocation to express their perceptions of </p>
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<p>hyperspacial realities from every point of view that man can </p>
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<p>reach, at every different time that man can live in, to provide </p>
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<p>us with handles on universal truths. All the myths and all the </p>
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<p>religions present us with different pictures of the same </p>
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<p>hyperspacial entity, and that entity is ourselves. </p>
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<p> CLOSE THIS FILE</p>
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<p> OPEN FILE "INTRO-C"</p>
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<p>SIDE-1</p>
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<p> Most lovers of literature know that "Gulliver's </p>
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<p> Travels is a satire on the politics of Jonathan </p>
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<p> Swift's time and place but did you realize that </p>
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<p> "Alice In Wonderland" and "Through The Looking </p>
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<p> Glass" are cryptic explorations of hyperspace? </p>
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<p> Alice's adventures are a comic dramatization of the </p>
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<p> very same protean confusions, instabilities, </p>
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<p> fantasies, whimsies, cruelties, and self-</p>
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<p> contradictions of the virtual state of the quantum </p>
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<p> field that you are about to tour by way of a more </p>
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<p> mathematical direction.</p>
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<p> Lewis Carroll is the pen name of the Reverend </p>
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<p> Charles Dodgson, a mathematician more competent </p>
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<p> than he dared to reveal to his contemporaries, so </p>
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<p> he became better known under his real name for </p>
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<p> making sensitive photographs of pretty little girls </p>
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<p> all bare naked with no clothes on. </p>
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<p> ___________________________________
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I I
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I Scientists and artists I
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I are both mystics I
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I competing in the myth business. I
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I I
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I The differences between them I
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I are mainly a matter I
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I of professional jargon. I
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I___________________________________I</p>
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<p> YOU are able to perceive voluminous space only because your </p>
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<p>mind fuses the two different perspectives received by your two </p>
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<p>eyes. *1</p>
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<p> From one point of view, your inner eye sees merely plane </p>
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<p>images. In order to perceive solid structures in voluminous </p>
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<p>space, you must move around the subject under observation and </p>
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<p>fuse an indefinite number of aspects from all sides. A cone, </p>
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<p>for illustration, is seen as a circle in plan view, a triangle in </p>
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<p>elevation, and various angles subtended by various arcs in all </p>
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<p>other views. The solid structure of a cone is conceived only </p>
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<p>after fusing all images in the mind. If your mind were not able </p>
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<p>to construct this gestalt, you would be unable to recognize the
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-------
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triangular aspect of the cone as having the same identity as the </p>
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<p>circular aspect. (SIDE-1)</p>
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<p> The ability to fuse an indefinite number of plane images </p>
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<p>into a solid image in the mind is usually achieved during </p>
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<p>childhood as we master language, so no one is aware of common </p>
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<p>aberrations. As an example, few people saw the view from the top </p>
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<p>until everyone travelled by air. Without flight experience, you </p>
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<p>don't learn to fuse plan views of the landscape with the familiar </p>
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<p>elevations; therefore, aerial photographs remain unintelligible </p>
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<p>to most people. You would be surprised by the number of people </p>
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<p>who cannot read blueprints because of their inability to fuse all </p>
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<p>sectional drawings into a dynamic tridimensional gestalt. Cubism </p>
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<p>is four-dimensional perspective; the art of Cubism makes no sense </p>
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<p>to people who cannot analyze plural perspectives and recombine </p>
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<p>them mentally to form a hyperspacial image of the pictorial </p>
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<p>subject.</p>
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<p> Since George Eastman provided everyone with a camera, we find </p>
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<p>that most snapshots, like driver's IDs, can't be recognized by the </p>
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<p>subject's mother. How is it possible for the camera (that cannot </p>
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<p>lie) to produce unrecognizable portraits? From the infinite number </p>
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<p>of views you see of your nearest and dearest, only a certain number </p>
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<p>are selected for fusion into the mental image of the person you </p>
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<p>identify. The zillions of other views are occulted from the visual </p>
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<p>consciousness because they are insignificant or because the </p>
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<p>differences are great enough to produce the painful condition of </p>
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<p>cognitive dissonance that prevents fusion of disparate ideas.
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--------------------</p>
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<p> Cognitive dissonance is produced by harmonic discord among </p>
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<p>the vibrations defining ideas, images, and sounds. All </p>
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<p>differences produce cognitive dissonance until discordant phases </p>
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<p>are cancelled and the remaining vibrations are resolved into a </p>
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<p>harmonically integrated gestalt in a higher dimension, like a </p>
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<p>musical chord. Wave cancellation is the physical basis of the </p>
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<p>concept of psychological repression established by Freud; these </p>
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<p>wave mechanics also produce KARMA. (*2)</p>
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<p> Interference between (mental) waves transforms them into </p>
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<p>other frequencies so that objects are not perceived as they </p>
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<p>really are, if they are not rendered altogether invisible as a </p>
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<p>consequence of cognitive dissonance. Therefore, each person sees </p>
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<p>and hears truly only those signals that are congruent with the </p>
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<p>conceptual patterns already defining one's own mental structure; </p>
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<p>all other perceptions are distorted and repressed, occulted </p>
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<p>behind the Veils of Maja. (SIDE-2) At the bottom line, </p>
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<p>intereference produces a pair of predominant patterns separated </p>
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<p>by 180o of phase. As a result, reality is perceived to be </p>
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<p>polarized between good and evil, black and white, strong and </p>
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<p>weak, male and female, etc. </p>
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<p> Just as only one side of a solid structure can be seen at a </p>
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<p>time, without a mirror, only one phase of a hyperspacial </p>
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<p>structure can be perceived directly at one time. It is natural, </p>
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<p>therefore, to assign a unique identity to different phases that </p>
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<p>exceed the observer's capacity for resolution into a single </p>
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<p>gestalt. Virtue is not recognized as the front of vice, no light </p>
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<p>is seen in darkness, and you have to know your TAO to find </p>
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<p>strength in compliance. Union of complementary opposites </p>
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<p>transforms them both into a structure of higher dimension. The </p>
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<p>degree to which you can resolve polar opposites establishes the </p>
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<p>dimensional scope of your Consciousness. An understanding of </p>
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<p>hyperspace enables you to answer problems that defy all </p>
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<p>philosophers limited to three-dimensional concepts; given </p>
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<p>sufficient scope, you will even understand the opposite sex. (*3)</p>
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<p> CLOSE THIS FILE</p>
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<p> OPEN FILE "INTRO-D"</p>
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<p>SIDE-1
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Assigning different identities to </p>
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<p> different aspects of the same structure is </p>
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<p> most commonly experienced in interpersonal </p>
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<p> relationships. During the initial rush of </p>
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<p> love, all perceptions that trouble the purity </p>
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<p> of the relationship is repressed. Admonitions </p>
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<p> from friends and family to watch where you are </p>
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<p> giving your heart are ignored as utterly </p>
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<p> irrelevant to the paragon identified with all </p>
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<p> the virtues of true love, and none of the </p>
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<p> vices. When dissonant aspects of the loved one </p>
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<p> appear from behind the Veils of Maja, they are </p>
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<p> perceived to belong to another person, a </p>
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<p> stranger in your home and a devil in your bed. </p>
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<p>
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Unable to conceive that pleasure and pain </p>
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<p> can come from the same parent, infants </p>
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<p> perceive a good true-parent and a wicked step-</p>
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<p> parent. Most people still cannot identify God </p>
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<p> with the devil, nor can they perceive that </p>
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<p> Heaven and hell are complementary aspects of </p>
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<p> one real world. </p>
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<p>SIDE-2
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The Latin mind has no imprinted concept </p>
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<p> of the English SCHWA sound. Without the mental </p>
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<p> concept, the Latin ear cannot distinguish </p>
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<p> between his and hees. The sound of big
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--- ---- ---
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activates the concept of beeg, and beeg is
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---- ----
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what the Latin mind hears. Likewise, the </p>
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<p> Japanese mind has no imprint for the ell
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---
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sound; in the Japanese mind, the elle sound is
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----
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heard as arr.
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--- </p>
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<p> Male and female mentalities are </p>
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<p> imprinted with different concepts making it </p>
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<p> physically impossible for the opposite sex to </p>
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<p> receive the same message thatis sent. </p>
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<p> Communication between sexes is like </p>
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<p> communication between different species. No </p>
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<p> matter how many times arguments are settled, </p>
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<p> the very next argument is the very same </p>
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<p> argument. Acquiescence is not agreement, but </p>
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<p> resignation and tolerance of the </p>
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<p> incomprehensible. </p>
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<p>*1 If your mind is unable to fuse plural images, the brain
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is confused, and all images but one are erased from your visual
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Consciousness. The eye transmitting the voided image loses its
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functional capacity. It may be speculated that other sense
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organs also lose their function when their information is voided.</p>
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<p>*2 If Freud studied physics before medicine, he wouldn't
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have invented a square wheel in his theory of sexual
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determinism. Psychology and psychiatry would be radically
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different if a grounding in elementary physics were prerequisite.
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These professions will soon be demolished and reconstructed by
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the hard science of artificial intelligence.</p>
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<p> The soft sciences are not soft by their very nature, but
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because soft ideas attract people incapable of comprehending
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hard, mathematical concepts, and once soft-heads populate a
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profession, hard-heads move out of the neighbourhood. As a
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consequence, the soft sciences degenerate into nonsense until
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they become too impractical to hold their customers. If astrology
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were not so soft-headed, actuaries would be calculating horoscopes
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instead of statistics.</p>
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<p> The essential difference between the hard-head and the soft-head is concentration of mental focus. Whereas the hard-head
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defines particulars, the soft-head senses the overview. Both
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heads are half-wits if they cannot vary the scope of their focus
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to integrate particulars with wholes to comprehend both at once
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in a higher dimension of Consciousness.</p>
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<p>*3</p>
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<p> OOOOOOOOOOOOO\ The confusion prodiced by the
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O\ O \ Necker cube is due to seeing the
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O \OOOOOOOOOOOOO inside and the outside of a box
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O O O O at the same time. When seen as a
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O O O O plane image, a transparent cube
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O O O O presents a different structure
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OOOOOOOOOOOOO O from every point of view, and
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\ O \ O except when seen in a plan or
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\OOOOOOOOOOOOO elevation, no aspect resembles
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the shape of an opaque box.
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This is an object lesson in the difference between the structure
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of an entity in hyperspace and the form it presents in a lower
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dimensional space. </p>
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<p> Since God is an Entity of utmost dimensional extent,
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no man can look at a complete image of It in this lifetime ---
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and that is the reason for the religious prohibition against
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graven images. In order to preclude any manifestation of The God
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That Is All That Is from being worshipped as the One Big I, The
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First Commandment is engraved, "Thou shalt not hold any god
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before Me." Anything less than God is the very devil, and the
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devil grows more diabolical as it grows more Godly; the devil is
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the Brightest Angel of them all. </p>
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<p> The worship of anything less than God, no matter how Godly,
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is Satanism; the good people of this world are far more
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dangerous than the bad. You see, the only difference between bad
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people and good people is that bad people say that all wars are
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good, whereas good people say that some wars are good; both
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sides agree that no war is bad unless it is lost. As the child
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prays, "Dear God, please make all the bad people good and the
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good people nice." </p>
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<p> THE mind is able to fuse two visual images only when </p>
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<p>there is practically no difference between them. Fusion of visual </p>
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<p>images into a stereo gestalt becomes impossible if the two </p>
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<p>perspectives differ by more than the interocular distance. In </p>
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<p>other words, there is a limit to the amount of difference that </p>
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<p>can be resolved without producing an identity crisis. (SIDE-1)</p>
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<p>
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To illustrate, if your views of a cone were limited to the </p>
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<p>extremes of plan and elevation, only extraordinary conditions and </p>
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<p>mathematical calculation would enable you to realize that the two </p>
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<p>mutually incommensurable figures were aspects of the same </p>
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<p>identity in a higher dimension of space. Ordinarily, you are able </p>
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<p>to relate one extreme view to the other extreme by innumerable
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other viewing angles revealing the gradual transformation of the </p>
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<p>circle into the triangle. Even after identifying the circle as </p>
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<p>an allotropic aspect of the triangle, you would still be unable </p>
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<p>to form the concept of a solid cone unless your mental space </p>
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<p>were large enough to comprehend three dimensions; you would </p>
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<p>believe that the conical structure alternates between a </p>
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<p>circle and a triangle according to the viewing angle; it would </p>
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<p>be the wave-particle paradox all over again.</p>
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<p> On the atomic scale, hyperspacial rotations occur at such </p>
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<p>speed that transition phases between extreme views cannot be </p>
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<p>resolved within the temporal precision of the experiment. The </p>
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<p>wave-particle dichotomy is refractory to scientific </p>
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<p>comprehension not only because an electron flips between its two </p>
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<p>phases faster than the instruments can follow, but also because </p>
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<p>both wave packets and particles are three-dimensional concepts. </p>
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<p>Mentally unable to comprehend ultratridimensional entities, </p>
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<p>physicists identify different projections of one subatomic </p>
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<p>particle as several new discoveries, and that is why there is no </p>
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<p>end to the number of elementary particles.</p>
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<p> At least four dimensions of space are required to fuse </p>
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<p>several three-dimensional structures into a single identity in </p>
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<p>the same place at the same time. The most highly respected </p>
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<p>scientific authorities aver that it is impossible for any human </p>
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<p>intellect to visualize space extending in more than three </p>
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<p>dimensions. Nevertheless, your mind reveals the mathematical </p>
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<p>parameters of four-dimensional hyperspace every time you fuse </p>
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<p>more than one three-dimensional image into a gestalt. Look at </p>
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<p>that, would you; like the atom, the inner space of your mind is
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-------------------------------
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hyper! Hyperspace is as familiar to you as your own mental
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-----
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concepts. How 'bout that, Dr. Einstein? </p>
|
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<p> The science of physics is actually the physics of </p>
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<p>perception. Your mind is a house of many mansions. Most people </p>
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<p>never see the doors in the walls of their nurseries; they spend </p>
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<p>their entire spiritual lives confined in the crib where they </p>
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<p>were born, while they can only wonder about the sounds of family </p>
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<p>activity that transpire dimly into their windowless </p>
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<p>compartments. In these pages, you will read the construction </p>
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<p>plans of your spiritual palace. Once you realize that the </p>
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<p>barriers limiting your experience are merely partitions, you </p>
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<p>will open the doors of your mind to explore the manifold halls </p>
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<p>of self-knowledge. You may even leave your father's house to </p>
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<p>make your way as a grown person in the big hyperworld outside. </p>
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<p>Of course, it is dangerous out there, and not all who venture </p>
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<p>return sound and successful, but that is what real life is all </p>
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<p>about when play school is left behind. The physics of </p>
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<p>consciousness is what this book is all about.</p>
|
|
<p> CLOSE THIS FILE</p>
|
|
<p> OPEN FILE "INTRO-E"</p>
|
|
<p>SIDE-1 </p>
|
|
<p> The limits of identity provide a </p>
|
|
<p> universally practical principle for getting </p>
|
|
<p> what you want out of life -- especially if you </p>
|
|
<p> have to get what you want out of other people. </p>
|
|
<p> To wit, it is impossible to change anyone's </p>
|
|
<p> mind except by nicely graduated argument that </p>
|
|
<p> slowly turns the other's point of view to your </p>
|
|
<p> direction; if you argue too strongly, you only </p>
|
|
<p> provoke rage, denial, and repression of </p>
|
|
<p> everything you say. The TAO teaches that the </p>
|
|
<p> battle does not go to the strong, nor the race </p>
|
|
<p> to the swift, but to the gentle and the </p>
|
|
<p> patient; this is the true meaning of Jesus' </p>
|
|
<p> promise that the meek will inherit the Earth. </p>
|
|
<p> Beggars, flatterers, and cheaters take more </p>
|
|
<p> than workers, racers, and robbers. </p>
|
|
<p> ___________________________
|
|
I I
|
|
I It is not in our stars I
|
|
I that our troubles arise, I
|
|
I my dear reader, I
|
|
I but in our telescopes. I
|
|
I___________________________I</p>
|
|
<p> FUSING disparate images depends upon the development of a </p>
|
|
<p>faculty for ignoring differences. The mind learns to ignore </p>
|
|
<p>differences by subsuming them to a common feature, such as </p>
|
|
<p>association of time, place, utility, or physical property. The </p>
|
|
<p>subsumption of ideas into abstract classifications is produced </p>
|
|
<p>by wave interference; and so, particular, individual differences </p>
|
|
<p>are repressed to the Unconscious as the mind grows from </p>
|
|
<p>perceptions limited to tangible sense data to comprehend </p>
|
|
<p>abstract concepts. (SIDE-1)</p>
|
|
<p> Plato wrote the original hyperspacial theory explaining </p>
|
|
<p>that each of the material bodies in this world is a </p>
|
|
<p>manifestation of an Ideal Form in Heaven. In modern mathematical </p>
|
|
<p>terms, Plato can be paraphrased to say that each individual </p>
|
|
<p>structure is a unique cross-section (or projection) of an </p>
|
|
<p>entity existing in a space of more than three dimensions, </p>
|
|
<p>intersecting with our tridimensional world. Plato conceived his </p>
|
|
<p>concept of Universal Form by the mental process of verbal </p>
|
|
<p>abstraction, and then with true philosophic backasswardness he </p>
|
|
<p>declared that the particular is derived from the abstract, </p>
|
|
<p>instead of the other way 'round; nevertheless, Plato is right.</p>
|
|
<p> Since Plato explained that all individual differences are </p>
|
|
<p>unique aspects of the ideal, and since wave interference is </p>
|
|
<p>proven to be the physical mechanism that subsumes differences </p>
|
|
<p>within the gestalt, the technical means for revealing a tangible </p>
|
|
<p>manifestation of the Ideal Form is self-evident. By </p>
|
|
<p>superimposing an indefinitely large number of individual images </p>
|
|
<p>of the same class of tangible manifestations, the individual
|
|
-----
|
|
wave-forms arrange themselves according to the principle of the </p>
|
|
<p>Conservation of Energy into a single, harmonically integrated </p>
|
|
<p>structure. Photographers will recognize this process as the way </p>
|
|
<p>to make a hologram. A hologram, therefore, is a tangible
|
|
--------
|
|
hyperspacial structure. How 'bout that, Dr. Gamow? </p>
|
|
<p> A hologram looks like nothing so much as a compounded </p>
|
|
<p>vortex. A compound vortex is what a hyperspacial entity looks </p>
|
|
<p>like when it becomes manifest in its entirety as a tridimensional </p>
|
|
<p>form. When Cecil B. DeMille represented the God of Moses as a </p>
|
|
<p>vortex of light, he was revealing his Unconscious knowledge of </p>
|
|
<p>the platonic Ideal. (SIDE-2)</p>
|
|
<p> _____________________
|
|
I I
|
|
I Beauty is the Beast I
|
|
I_____________________I</p>
|
|
<p> CLOSE THIS FILE</p>
|
|
<p> OPEN FILE "INTRO-F"</p>
|
|
<p>SIDE-1
|
|
|
|
Children notice microscopic differences; </p>
|
|
<p> they inspect details minutely, and object to </p>
|
|
<p> the slightest change in their environment ---</p>
|
|
<p> especially food. Children lose their </p>
|
|
<p> preternatural discrimination of tangible </p>
|
|
<p> reality as they learn to speak, and everyone </p>
|
|
<p> spends the rest of his life trying to find the </p>
|
|
<p> original reality of the child, by way of </p>
|
|
<p> sensory excitement, philosophizing, religious </p>
|
|
<p> disciplines, and chemical keys to the Kingdom.</p>
|
|
<p> Childish minds that grow big without </p>
|
|
<p> growing up make a profession of details </p>
|
|
<p> without being able to realize their meaning in </p>
|
|
<p> a universal gestalt; they are favoured to </p>
|
|
<p> become scholars and authorities. Swelled heads </p>
|
|
<p> are illustrated by the learned philosophers </p>
|
|
<p> who argued about Adam's navel while remaining </p>
|
|
<p> incapable of questioning Adam's rib. But </p>
|
|
<p> however narrow their perspective, scholars </p>
|
|
<p> are broadminded enough to realize that it does </p>
|
|
<p> not profiteth a man in this life to gain the </p>
|
|
<p> whole world in one vision. </p>
|
|
<p> The joys of youth, and its bellicosity, </p>
|
|
<p> are the intense excitement produced by the </p>
|
|
<p> perception of differences. Conversely, most </p>
|
|
<p> of the normal depression which grows with age </p>
|
|
<p> is the result of losing discrimination so </p>
|
|
<p> that nothing new is perceived under the Sun. </p>
|
|
<p> The conventional wisdom believes that the </p>
|
|
<p> senses atrophy along with the thymus gland, </p>
|
|
<p> the gonads, and the digestive organs, to </p>
|
|
<p> produce ennui from lack of excitement. </p>
|
|
<p> Actually, the sense organs atrophy as </p>
|
|
<p> interest in differences is lost because of </p>
|
|
<p> terminal classificationosis. Your tour of duty </p>
|
|
<p> on this planet is done when you no longer find </p>
|
|
<p> any difference between one day and the next, </p>
|
|
<p> one season and the next, one person and </p>
|
|
<p> another, one sex and the other. VIVE LES </p>
|
|
<p> DIFFERENCES! </p>
|
|
<p>SIDE-2</p>
|
|
<p> Christ is the God of Man, variously </p>
|
|
<p> called The Son of God and The Son of Man. The </p>
|
|
<p> epithets of Christ mean that He is the </p>
|
|
<p> platonic Ideal of the human species, and each </p>
|
|
<p> of us is a unique manifestation of this </p>
|
|
<p> Universal Ideal Human Being.</p>
|
|
<p> A special kind of holographic portrait </p>
|
|
<p> of the Christ can be produced by superimposing </p>
|
|
<p> an indefinite number of life-size photographs </p>
|
|
<p> of people. This technical photography has </p>
|
|
<p> actually been done. In this process, the </p>
|
|
<p> superimposed waves do not produce a vortex; </p>
|
|
<p> instead, the wave interference pattern is </p>
|
|
<p> manifest like the superimposition of musical </p>
|
|
<p> notes to produce a predominant key tone. The </p>
|
|
<p> image resulting from this extraordinary </p>
|
|
<p> holographic process reveals an ineffably </p>
|
|
<p> beautiful human body of exquisitely perfect </p>
|
|
<p> proportions. Christ is quite simply the One </p>
|
|
<p> Perfect Human Being from Whom all mortals are </p>
|
|
<p> imperfectly projected.</p>
|
|
<p>
|
|
Individuals possessing features </p>
|
|
<p> approximating the human average manifest some </p>
|
|
<p> of Christ's Divine Beauty, and that is why all </p>
|
|
<p> us mortals who deviate from the average are </p>
|
|
<p> moved to adore these paragons of pulchritude. </p>
|
|
<p> Unhappily, the instinct to deify the norm has </p>
|
|
<p> the necessary consequence of abhorring </p>
|
|
<p> deviation as the very devil. </p>
|
|
<p> The great truth revealed by this </p>
|
|
<p> photographic demonstration is not that good </p>
|
|
<p> looks are as good as God; the image of the </p>
|
|
<p> Perfect Human Being is composed of every one </p>
|
|
<p> of the ugliest and most deviant among us, as </p>
|
|
<p> well as the most beautiful freaks. Beauty </p>
|
|
<p> without ugliness is less than the whole </p>
|
|
<p> platonic Human Being, and anything less than </p>
|
|
<p> perfect is diabolical to the degree that </p>
|
|
<p> wholeness is lacking. </p>
|
|
<p>
|
|
The youthful, female form divine tends </p>
|
|
<p> toward the average human proportions; the </p>
|
|
<p> elderly, male form is the ugly deviant. </p>
|
|
<p> Mortals who have seen the Christ Spirit </p>
|
|
<p> testify that His counten-nance is like an </p>
|
|
<p> unmarked youth with compassion that is learned </p>
|
|
<p> only through eons of suffering; His ugliness </p>
|
|
<p> radiates beauty.</p>
|
|
<p> The closer a nearly holy creature </p>
|
|
<p> approaches perfection, the greateris its power </p>
|
|
<p> for evil, and that is why Satan is the </p>
|
|
<p> Brightest Angel of them all, second only to </p>
|
|
<p> the Creator, Itself; the buck private's </p>
|
|
<p> mistakes will kill him, but the general's </p>
|
|
<p> mistakes kill everyone. Before damning the </p>
|
|
<p> practically good, execrating the almost true, </p>
|
|
<p> and abominating the compellingly beautiful as </p>
|
|
<p> Temptation, always remember and bear in mind </p>
|
|
<p> that Money is not Evil; it is the worship
|
|
-------
|
|
of Money that possesses one's soul. We are </p>
|
|
<p> given beauty to enjoy while it lasts; the </p>
|
|
<p> mortal sin is worshipping beauty --- or any </p>
|
|
<p> other god that does not incorporate its </p>
|
|
<p> proper devil.</p>
|
|
<p> WORDS are ultraspacial structures created by abstracting </p>
|
|
<p>common features of significance while ignoring unique features. </p>
|
|
<p>Words amplify similarities and eliminate differences by wave </p>
|
|
<p>interference. Words are the product of fusing all the unique </p>
|
|
<p>images of several structures into an ultraspacial gestalt. </p>
|
|
<p> The gestalt represented by its abstract noun is not visible </p>
|
|
<p>to the material eye because it is a ultratridimensional physical </p>
|
|
<p>structure that is manifest to our Consciousness only as a form </p>
|
|
<p>of what we conceive to be mental energy, more rarified than </p>
|
|
<p>electromagnetic substance. A word is an image of an ultraspatial </p>
|
|
<p>mental Form; words are the very Ideas that Plato talked about.</p>
|
|
<p> The tridimensional material eye can see only a unique, </p>
|
|
<p>material example of the gestalt at any one time. In other words, </p>
|
|
<p>a gestalt exists as an extension of its material manifestations </p>
|
|
<p>in the form of a trajectory through time and space; to wit, a
|
|
---------- ----
|
|
mental concept extends through no fewer than four dimensions. </p>
|
|
<p>(SIDE-1) The minds comprehends the dimensions of time; this is </p>
|
|
<p>why intelligence is identified with the sense of time. Abstract </p>
|
|
<p>verbal concepts are understood only as they can be comprehended </p>
|
|
<p>within the temporal dimensions of one's mind; a mind is perceived </p>
|
|
<p>to grow to the extent that it perceives precedents and </p>
|
|
<p>consequences. Athena is merely the god of intellect; the ruler of </p>
|
|
<p>consciousness is Kronus, the Overlord of Time and Change.</p>
|
|
<p> The nemesis of abstraction, as Korzybski pointed out, is </p>
|
|
<p>that the symbol becomes the reality, and the individual </p>
|
|
<p>differences in the real world are occulted behind the Veils of </p>
|
|
<p>Maja. As the focus of the mind shifts from the immediately </p>
|
|
<p>tangible world to verbal concepts, the mind becomes separated </p>
|
|
<p>from the body and both lose their health. Paradise is a myth </p>
|
|
<p>about a preverbal Consciousness, before men created words and </p>
|
|
<p>subsequently mistook the symbol (idol) for reality (God); the </p>
|
|
<p>Fall of Man and his Expulsion is the consequence of worshipping </p>
|
|
<p>verbally fashioned images. Philosophers pretend to lead us back </p>
|
|
<p>to reality on ways paved with more words of higher abstraction, </p>
|
|
<p>like devils promising to lead us to Heaven. If the devil is the </p>
|
|
<p>Father of Lies, words are surely the Mother.</p>
|
|
<p> Conscious mind is a creation of words. Therefore, no one in </p>
|
|
<p>his socially defined, right-thinking, right-handed mind can </p>
|
|
<p>perceive anything not previously defined by words. Experiments </p>
|
|
<p>have found that people lacking the words to describe subtle </p>
|
|
<p>colours are also unable to distinguish fine differences in hues, </p>
|
|
<p>but as soon as they are given the words to define the </p>
|
|
<p>differences between crimson, scarlet, and vermillion, for </p>
|
|
<p>example, they no longer see all reds as red. Poets expand the </p>
|
|
<p>common Consciousness by giving new meanings to old words and by </p>
|
|
<p>coining new words. </p>
|
|
<p> Words referring to abstract concepts are projections of </p>
|
|
<p>spiritual structures from hyperspace into our mental space. </p>
|
|
<p>We are unable to know the higher dimensions of the hyperspacial </p>
|
|
<p>universe we live in because our culture lacks the verbal </p>
|
|
<p>concepts for our minds to perceive what our eyes plainly see. </p>
|
|
<p>Although there is no way that you can learn to swim without </p>
|
|
<p>getting wet, reading is the most efficient way for you to </p>
|
|
<p>acquire the vocabulary of hyperspace that you need for your eyes
|
|
----------
|
|
to open on the New Heaven and New Earth of hyperspace. </p>
|
|
<p>Hyperspacial vocabulary is what this book is all about.</p>
|
|
<p> Scientific knowledge is nothing but verbal knowledge, and </p>
|
|
<p>knowledge is the key to power; humanity is ruled by words. The </p>
|
|
<p>physical and mathematical principles that explain the material </p>
|
|
<p>world of three dimensions also control the manifestations of </p>
|
|
<p>hyperspacial energies; e.g., e=mc^2 opens the way to the high-</p>
|
|
<p>dimensional energies of the atom. Furthermore, the very forms in </p>
|
|
<p>which higher-dimensional energies are represented serve as a </p>
|
|
<p>handle for wielding the power. This is what magic, idols, </p>
|
|
<p>charms, amulets, spells, incantations, hexes, and prayers are </p>
|
|
<p>all about. (*1)</p>
|
|
<p> Artists, scientists, and mystics who glimpse spirits dimly </p>
|
|
<p>through the Veils of Maja limn a projection of the eternal </p>
|
|
<p>entities into the human dimensions of literature, theatre, </p>
|
|
<p>music, dance, architecture, engineering, philosophy, </p>
|
|
<p>mathematics, justice, politics, morality --- in a word, culture.
|
|
-------
|
|
Like pictorial art, all cultural artifacts compress hyperspacial </p>
|
|
<p>structures into fewer dimensions so that ideas are represented </p>
|
|
<p>in more or less tangible forms. The form is the specialized </p>
|
|
<p>language of its poet and the meaning of the form is the essence </p>
|
|
<p>of the myth. </p>
|
|
<p> The difference between science and religion is the </p>
|
|
<p>difference between the quantified equations of mathematics and </p>
|
|
<p>the unquantified equations of metaphore. Those who cannot focus </p>
|
|
<p>their mental scope with sufficient precision to count must </p>
|
|
<p>guesstimate relationships by comparing superficial attributes to </p>
|
|
<p>derive meanings from their experiences. The errors of both </p>
|
|
<p>science and religion are produced by logical deductions made </p>
|
|
<p>from inherently faulty language, but the errors cannot be </p>
|
|
<p>perceived by people who mistake their words for real things and </p>
|
|
<p>their language for a real map. Philosophic disputes are word </p>
|
|
<p>wars; those who live by their words also die by their words.</p>
|
|
<p> The highest energies are manifest in the power of pure </p>
|
|
<p>thought, which mortals call God. Words are the coins of thought, </p>
|
|
<p>like money is minted power. It is the extraspacial power of the </p>
|
|
<p>human God expressed through the words of men that vouchsafes our </p>
|
|
<p>articulate species dominion over all the dumb beasts of the </p>
|
|
<p>field, and word power is the very Divine soul deficient in all </p>
|
|
<p>other planetary life. The extraspacial power of God expressed </p>
|
|
<p>through the word is attested in John 1:1, IN THE BEGINNING WAS </p>
|
|
<p>THE WORD AND THE WORD WAS WITH GOD, AND THE WORD WAS GOD.
|
|
---- ---- --- ---
|
|
Parsing the language of hyperspace reveals the very diction, </p>
|
|
<p>syntax, and grammar of Creation, Itself. </p>
|
|
<p> CLOSE THIS FILE</p>
|
|
<p> OPEN FILE "INTRO-G"</p>
|
|
<p>SIDE-1</p>
|
|
<p> A trajectory is a mathematical and </p>
|
|
<p> physical reality that lacks tangible </p>
|
|
<p> substance, confounding all scientific </p>
|
|
<p> philosophers. A trajectory is a commonplace </p>
|
|
<p> example of a pure, objective thought form. A
|
|
------------
|
|
compound vortex is an infinite trajectory </p>
|
|
<p> compressed in time until its entire extension </p>
|
|
<p> can be comprehended within a single view. </p>
|
|
<p>*1 The automobile is actually a mathematical idea
|
|
expressed in a material form, like an idol, that enables us to
|
|
use the power of gasoline for propulsion. No other idol possesses
|
|
its devotees so compellingly as the automobile, nor does any
|
|
other god demand such human sacrifice, not even Ares; the apple
|
|
of our modern Eden is a red sports car.</p>
|
|
<p> ________________________________
|
|
I I
|
|
I The sound of one hand clapping I
|
|
I is the echo I
|
|
I of your own praise I
|
|
I for your own beliefs I
|
|
I reflected from the wall I
|
|
I of an indifferent world, I
|
|
I and heard only by yourself. I
|
|
I________________________________I</p>
|
|
<p> AS modern physics becomes mystical, "the ZEN of science" has </p>
|
|
<p>become a parlour cliche among the scientifically literate. ZEN </p>
|
|
<p>Masters penetrate the Veils of Maja cast by verbal logic to </p>
|
|
<p>apprehend reality by direct experience. (SIDE-1) Since they </p>
|
|
<p>eschew words, ZEN Masters write no books and preach no sermons. </p>
|
|
<p>ZEN disparages texts because no mathematical terminology existed </p>
|
|
<p>in its high and far-off times when the YOGAs were developed </p>
|
|
<p>empirically. (*2) Nevertheless the Masters knew a mathematical </p>
|
|
<p>language, and they used it to express their knowledge of </p>
|
|
<p>hyperspace. They composed their KATAs as mathematical equations </p>
|
|
<p>in the languages of art, music, chanting, dancing, theatre, </p>
|
|
<p>graphics, and architecture. The arts inspired with ZEN are </p>
|
|
<p>exquisitely measured. The Hyperspace Trilogy is a Rosetta Stone </p>
|
|
<p>translating the language of the ZEN arts into the language of </p>
|
|
<p>modern science. This book could be called The Physics of TAO. </p>
|
|
<p> The sage says, "Seek and ye will find. Ask and it will be </p>
|
|
<p>answered unto you." Scientists are fond of saying that their </p>
|
|
<p>business is discovering the right questions to ask. If </p>
|
|
<p>scientists weren't so cocksure that they knew everything there </p>
|
|
<p>is to know about their business, any lawyer could tell them how </p>
|
|
<p>to discover the right questions. The correct question is the
|
|
---------------------------
|
|
question to which you already know the answer. If you don't have
|
|
---------------------------------------------
|
|
an immediate answer, you must know where to find it. No other </p>
|
|
<p>questions are of any use in the enterprise of deducing Nature's </p>
|
|
<p>secrets. </p>
|
|
<p> ZEN Masters are fond of answering disciples asking for </p>
|
|
<p>wisdom by a question called a KOAN. KOANs are believed to be </p>
|
|
<p>nonsense intended to confuse one's mind until a critical tension </p>
|
|
<p>precipitates a mystical insight. KOANs are not nonsense; they </p>
|
|
<p>are a special kind of question to which you already know the </p>
|
|
<p>answer, but you don't want to know you know because such </p>
|
|
<p>knowledge is self-knowledge; the most heinous crime of this </p>
|
|
<p>civilization is to be caught in possession of self-knowledge. </p>
|
|
<p>Self-knowledge, you see, is the special kind of knowledge that </p>
|
|
<p>releases a person from the KARMIC wheel of life and the rule of </p>
|
|
<p>Satan, however you conceive your devil. As soon as you answer </p>
|
|
<p>the KOAN, you are expelled from Plato's cave, and the game of </p>
|
|
<p>darkness is over. The Laughing Buddha in the heart of your </p>
|
|
<p>personal Lotus Blossum isn't ready to cash your chips because of </p>
|
|
<p>Enlightenment until damn good and ready. The mental crisis of </p>
|
|
<p>the KOAN is resolved by formulating a plausible answer that </p>
|
|
<p>satisfies the curiosity without actually taking the terminal </p>
|
|
<p>gaze into the brilliant Face of God. Psychoanalysts get </p>
|
|
<p>plausible answers from all their patients; the trouble with </p>
|
|
<p>psychoanalysis is that the entire science is nothing but a </p>
|
|
<p>plausible answer to estop its advertised purpose of self-</p>
|
|
<p>discovery.</p>
|
|
<p> All those posing unanswerable questions, or declaring that </p>
|
|
<p>their questions can't be answered are not in the business of </p>
|
|
<p>creating science, nor do they have any intention of informing </p>
|
|
<p>the public; their real purpose is obscuring knowledge and </p>
|
|
<p>confusing you in order that they may gain and hold their </p>
|
|
<p>advantage over you. Rhetorical questions take many forms, and </p>
|
|
<p>none are so beguiling as the scientific poser. Rhetoric </p>
|
|
<p>manipulates automatic psychological reflexes so as to make the </p>
|
|
<p>audience believe that the authority who cannot answer his own </p>
|
|
<p>questions knows something that his audience doesn't know. The </p>
|
|
<p>only thing he knows that you don't know is how to get well paid </p>
|
|
<p>for knowing nothing you don't know --- and telling you to your </p>
|
|
<p>face.</p>
|
|
<p> CLOSE THIS FILE</p>
|
|
<p> OPEN FILE "INTRO-H"</p>
|
|
<p>SIDE-1</p>
|
|
<p> ZEN defies comprehension by Europeans </p>
|
|
<p> for reasons similar to the incomprehensibility </p>
|
|
<p> of mathematics by broadly focussed minds. It </p>
|
|
<p> is simply impossible to describe the </p>
|
|
<p> essentially hard-headed precision of ZEN </p>
|
|
<p> practise by soft-headed language, and it is </p>
|
|
<p> just the softest of American heads that are </p>
|
|
<p> attracted to ZEN as an escape from </p>
|
|
<p> responsibility, rather than for love of </p>
|
|
<p> order. Like a symphony and a cathedral, ZEN </p>
|
|
<p> is pure mathematics with out words. ZEN is </p>
|
|
<p> the essence of art. (*1) </p>
|
|
<p>*1 I used to tease waitresses by ordering two fried
|
|
eggs, the first egg fried on one side and the second fried on the
|
|
other. Eventually I met a serving maid who gave me exactly what I
|
|
asked for. She sure shut my mouth. I wonder what she is doing,
|
|
now?</p>
|
|
<p> I've never met a ZEN freak who used KOANs to blow his mind.
|
|
They were all playing one upmanship on me, in the curious belief
|
|
that posing an unanswerable question made them superior. They
|
|
invested all their faith in the conviction that the KOAN can't be
|
|
answered logically, so they have something greater than reason
|
|
going for them. Children delight in playing with words to create
|
|
statements that are self-contradictory and impossible to realize;
|
|
it is a childish mind that believes unanswerable questions are
|
|
more significant than answers. When the KOAN is answered, like
|
|
drawing the Sword from the Stone, they not only lose their game,
|
|
but they also lose their faith. It satisfies their competitive
|
|
humility to proclaim they are stupid, but no one can be smarter
|
|
than their GURU, so they are wiped out when their GURU's bluff is
|
|
called.</p>
|
|
<p>*2 Every arcane study has devotees of vastly different degrees
|
|
of competence. Groupies preserve and preach all precepts
|
|
indiscriminately, because they don't know the difference between
|
|
genius and learned fools.</p>
|
|
<p> The moral is that everyone who believes he knows what's what
|
|
should write his solutions for world salvation. Sooner or later,
|
|
people will regard every recorded folly as inspired wisdom; it
|
|
could be yours.</p>
|
|
<p>30
|
|
FILENAME: INTRO-H</p>
|
|
<p> ____________________________________________________
|
|
I I
|
|
I Like proverbs and all other legislation, I
|
|
I every scientific law and mathematical equation I
|
|
I is contradicted I
|
|
I by another scientific law and mathematical proof. I
|
|
I I
|
|
I Wisdom is a matter I
|
|
I of choosing the law I
|
|
I which satisfies your purpose. I
|
|
I____________________________________________________I</p>
|
|
<p> YOU will find nothing of theoretical importance in this </p>
|
|
<p>book that you don't already know; all you will find in this book </p>
|
|
<p>is innumerable different views of what you already know and </p>
|
|
<p>believe in different contexts. Since the TAO of "phasics" turns </p>
|
|
<p>everything into its opposite, you will find that everything you </p>
|
|
<p>believe is self-contradictory; nevertheless, PLUS CA CHANGE and </p>
|
|
<p>all that. How much of this book you will understand and believe </p>
|
|
<p>depends entirely on your ability to maintain mental focus on the </p>
|
|
<p>structural points of the subject so that you can hold its </p>
|
|
<p>identity as I change the perspective. By the time you finish </p>
|
|
<p>this book, you will realize that the entire universe is your own </p>
|
|
<p>self, turned around every which way and inside out. </p>
|
|
<p> This is not a scholarly thesis; it is not the product of </p>
|
|
<p>laboratory experiments, abstruse calculations, nor of library </p>
|
|
<p>research. Everything you will read in this book is derived from </p>
|
|
<p>observation of everyday, ordinary life. I shall introduce </p>
|
|
<p>cardinal cases with commonplace observations or some commonplace </p>
|
|
<p>facts and see what comes by way of some commonplace logic. As </p>
|
|
<p>you follow my line of reason, you will see that your common </p>
|
|
<p>sense leads to insights that are ignored and denied by </p>
|
|
<p>authorized versions of truth. Now, what do you do? Do you deny </p>
|
|
<p>your own senses and let authorities tell you what your life is </p>
|
|
<p>all about, or do you decide for yourself the basis of your facts </p>
|
|
<p>and take responsibility for making up your own mind? </p>
|
|
<p>Professional authorities are convinced that the public is too </p>
|
|
<p>stupid and ignorant to understand science, health, religion, and </p>
|
|
<p>politics, not to mention teaching your children. The authorities </p>
|
|
<p>have always condemned the Socratic dialogue as a corruption of </p>
|
|
<p>youth. You won't think you are so stupid and ignorant by the </p>
|
|
<p>time you finish reading this book. </p>
|
|
<p> It is just because this thesis is based on common </p>
|
|
<p>experience that you can satisfy yourself of its truth. If you do </p>
|
|
<p>not agree with me after checking my observations and facts </p>
|
|
<p>against your own, tell me about it. You may be right; we may </p>
|
|
<p>both be right from our respective points of view and frames of </p>
|
|
<p>reference. If you find me mistaken, this book will have served a </p>
|
|
<p>worthwhile purpose as an object lesson illustrating the ways </p>
|
|
<p>that observations are susceptible to misperceptions, common </p>
|
|
<p>facts are liable to be mistaken, and common sense can lead to </p>
|
|
<p>common delusion. You need only look at the continual revisions </p>
|
|
<p>of established scientific facts to see that the most highly </p>
|
|
<p>qualified experts are just as subject to changing views as the </p>
|
|
<p>rest of us --- which is why they should not be believed with </p>
|
|
<p>less question than you are expected to direct at this book. (*1)</p>
|
|
<p>The best advice your medical doctor will ever give you is </p>
|
|
<p>"seek a second opinion"; the advice is just as wise when you </p>
|
|
<p>attend doctors of philosophy.</p>
|
|
<p> During earlier years of my life while my livelihood </p>
|
|
<p>depended on orthodox beliefs, I refused to give a thought to any </p>
|
|
<p>of the ideas I am able to entertain now that my employer doesn't </p>
|
|
<p>care what science I believe, as long as I don't bad mouth his </p>
|
|
<p>politics (I work for the government, now). So do not suppose </p>
|
|
<p>that I have no sympathy for the authorities; I have believed </p>
|
|
<p>their doctrine for the same reasons they maintain their faith. I </p>
|
|
<p>use satire only to reduce the awe of authority that stultifies </p>
|
|
<p>people under oppressive doctrines. As you know, no one hates </p>
|
|
<p>smokers more than a quitter --- who longs for a drag.</p>
|
|
<p> The critical word in the previous sentence is oppressive.
|
|
----------
|
|
As long as a doctrine is bigger than its believers, it opens </p>
|
|
<p>their minds to explore the vastness of its comprehension; no </p>
|
|
<p>believer is going to give up that space --- nor should anyone. </p>
|
|
<p>But when its believers outgrow their doctrine, it becomes </p>
|
|
<p>spiritually oppressive, and they seek a greater freedom. And so, </p>
|
|
<p>you see, no doctrine is inherently true or false; its truth </p>
|
|
<p>depends upon how well it fits the vital needs and the mental </p>
|
|
<p>stature of the people who believe it. Try this book on for size. </p>
|
|
<p>If it fits your head, give it a test run on your road of life; </p>
|
|
<p>if it cramps your style or rattles your chassis, you should have </p>
|
|
<p>learned by now that we have to kiss a lot of frogs before we </p>
|
|
<p>find our princes, and lick a lot of muddy feet before we find a </p>
|
|
<p>God that repays our belief with as much support as we give.</p>
|
|
<p> My comments on religions are not informed by scholarship </p>
|
|
<p>but merely reflect generally held conceptions that outsiders </p>
|
|
<p>entertain about creeds other than their own, like ethnic jokes </p>
|
|
<p>express one's perspective on foreigners. Outsiders perceive </p>
|
|
<p>meanings quite different from insiders. Confession, for example,
|
|
----------
|
|
has an entirely different meaning for Romans than for other </p>
|
|
<p>people; you have to be a Catholic to experience it. Which is the </p>
|
|
<p>true meaning? It depends on whether you are looking from the </p>
|
|
<p>inside or the outside, doesn't it? Nevertheless, ethnic jokes </p>
|
|
<p>express human identities, values, and follies more acutely than </p>
|
|
<p>anthropological studies --- especially the identity, the values, </p>
|
|
<p>and the follies of the teller. Some pious people may not be able </p>
|
|
<p>to tolerate the respect I have for any church but theirs, nor </p>
|
|
<p>can they tolerate any mention of their obvious follies. I ask </p>
|
|
<p>you --- is a sense of humour and appreciation of the ludicrous a </p>
|
|
<p>gift of the devil? No soul could abide in a Heaven without </p>
|
|
<p>humour if hell holds all the fun. If I failed to offend anyone, </p>
|
|
<p>let me know and the next edition will treat you the same as </p>
|
|
<p>everyone else. </p>
|
|
<p> If you find this book intolerable, it is mainly because you </p>
|
|
<p>have not been exposed to this kind of ideas before. You will be </p>
|
|
<p>surprised at how inoffensive they will be the next time you have </p>
|
|
<p>an encounter of this challenging kind. The initial denial, </p>
|
|
<p>ridicule, and scepticism of Flying Saucer sightings gradually </p>
|
|
<p>changed to belief for no reason other than the persistence of </p>
|
|
<p>the reports for forty years; it doesn't matter that most of the </p>
|
|
<p>reports are not true, and UFO hysteria was composed by the media </p>
|
|
<p>to supply popular demand. If you haven't come here from </p>
|
|
<p>Buckminster Fuller, see how his "Synergetics 1 & 2" grab you when </p>
|
|
<p>you go there from here.</p>
|
|
<p> Most people expect to understand a book on one reading; a </p>
|
|
<p>book baffling at first sight can't get a literary review. I </p>
|
|
<p>expect many readers to appreciate the insights into their </p>
|
|
<p>special interest and competence, but be lost through the pages </p>
|
|
<p>referring to other kinds of knowledge. You must realize, </p>
|
|
<p>however, that this book would have no reason for its existence </p>
|
|
<p>if it explained hyperspace from the mathematical view, alone --- </p>
|
|
<p>as all other books on this subject do. This is a synthesis of </p>
|
|
<p>many disciplines and philosophies; your mind must be capable of </p>
|
|
<p>fusing the concepts and languages of many arts, crafts, sports, </p>
|
|
<p>and sciences into a single gestalt in order to understand the </p>
|
|
<p>physical structure and manifestations of hyperspace in your
|
|
----
|
|
everyday life; this book is a holy scripture for the working
|
|
-------------
|
|
days of the week. Mathematics and metaphore, high philosophy and </p>
|
|
<p>vulgarity, are combined in the same paragraph, if not in the </p>
|
|
<p>same sentence, so that you may realize that all languages </p>
|
|
<p>express the very same truths. Thus, the believers of every faith </p>
|
|
<p>will find scientific substantiation of their religion in the </p>
|
|
<p>structure of hyperspace, and artists will find their common </p>
|
|
<p>identity with scientists in politics' strangest bed. </p>
|
|
<p>Mathematics, science, art, philosophy and religion cannot be </p>
|
|
<p>experienced in everyday life unless they are expressed as </p>
|
|
<p>everyday ideas in everyday language.</p>
|
|
<p> This book is as paradoxical as its subject. It is clear and </p>
|
|
<p>confused, profound and superficial, comic and tragic, ludicrous </p>
|
|
<p>and reverent, it has no single thread of reason but spreads a </p>
|
|
<p>tapestry, it is incoherent but an indivisible whole, it is fact </p>
|
|
<p>and fantasy --- with more truth in the fantasy than in the fact. </p>
|
|
<p>Writing it has been my KOAN; I composed it to be your KOAN. </p>
|
|
<p>There is at least one epiphany for every reader, but, like a </p>
|
|
<p>joke, you must be baffled to get it. This is a book for reading </p>
|
|
<p>many times between reflections on life because it yields </p>
|
|
<p>different meanings as you learn your living. Read it like a </p>
|
|
<p>Bible that can be understood only in parts, according to your </p>
|
|
<p>experience, intelligence, and wisdom --- and the number of </p>
|
|
<p>children you have raised --- especially the little darlings who </p>
|
|
<p>came with your second spouse.</p>
|
|
<p> Understanding hyperspace is nothing but the ability to </p>
|
|
<p>comprehend plural concepts, including polar opposites, within </p>
|
|
<p>the same gestalt. Not only have I written the text to reflect </p>
|
|
<p>the confusion of hyperspace, but I have also composed the format </p>
|
|
<p>to serve as your object lesson in comprehending multiple views </p>
|
|
<p>simultaneously. A magazine style should present no difficulty to </p>
|
|
<p>a generation brought up on split-screen movies, multi-media </p>
|
|
<p>light shows, and studying for academic exams while watching </p>
|
|
<p>television with a friendly friend of the opposite sex. After </p>
|
|
<p>reading the sidenotes to get the relevance, the logic is woven </p>
|
|
<p>by the continuous text. On the third run through, you may read </p>
|
|
<p>the footnotes without feeling interrupted. </p>
|
|
<p> Reading this book is somewhat like listening to a symphony; </p>
|
|
<p>on first hearing, it is noise. It is only after the structure </p>
|
|
<p>and the details have imprinted a gestalt in one's mind that </p>
|
|
<p>melodies and counterpoint can be heard as musical architecture. </p>
|
|
<p>The meaning of music is the gestalt; otherwise it is only notes; </p>
|
|
<p>the beautiful sensation of music is produced by experiencing the </p>
|
|
<p>energy of the gestalt amplified by harmonic resonance with each </p>
|
|
<p>note. Likewise, the meaning of this book is in its gestalt, a </p>
|
|
<p>synthesis of all its disparate parts in a higher dimension of </p>
|
|
<p>consciousness. Nevertheless, each page can also be fruitful </p>
|
|
<p>without further reference; this book offers something for </p>
|
|
<p>everyone at any time.</p>
|
|
<p> Once you are informed that lw=a, no further instruction is </p>
|
|
<p>required for you to realize that a/l=w and a/w=l; the three </p>
|
|
<p>equations express the very same structure. If you can only </p>
|
|
<p>memorize equations, however, they will always seem mutually </p>
|
|
<p>contradictory to you; lacking any intuitive understanding of why </p>
|
|
<p>lw=a, the only proof you have of its truth is that the wallpaper </p>
|
|
<p>fits the wall. As a consequence, Hitler was adequately trained </p>
|
|
<p>to cut wall paper, but his groupies are unable to calculate the </p>
|
|
<p>cost of deceptive packaging. </p>
|
|
<p> There is nothing in this book that is not self-evident from </p>
|
|
<p>elementary equations known to everyone before entering high </p>
|
|
<p>school. The only reason this book can be considered necessary </p>
|
|
<p>reading is to clear your mind of the rote thinking inculcated by </p>
|
|
<p>formal schooling. Formal education is determined to prohibit </p>
|
|
<p>everyone from relating facts into a whole body of knowledge that </p>
|
|
<p>inspires wisdom. Deprived of faculties for judgement, the public </p>
|
|
<p>is unable to understand what is really being done to them; thus, </p>
|
|
<p>everyone is forced to pay the professional establishment </p>
|
|
<p>exhorbitant fees for simple services everyone can do for himself </p>
|
|
<p>--- like filing divorce papers --- and rendered susceptible to </p>
|
|
<p>believing everything one is told, like perennial children. </p>
|
|
<p>Liberated women know exactly what I mean.</p>
|
|
<p> You don't learn about hyperspace so much as you grow into
|
|
----- ----
|
|
understanding as a consequence of mental/physical/spiritual </p>
|
|
<p>evolution, like you grow into walking, talking, and sexual </p>
|
|
<p>consciousness. Always remember and bear in mind that hyperspace </p>
|
|
<p>extends through more than three dimensions, so you must be able </p>
|
|
<p>to read construction plans easily before you can make sense of </p>
|
|
<p>this book. In short, hyperspace is not difficult to understand; </p>
|
|
<p>if its meaning does not develop like music after some </p>
|
|
<p>rumination, comprehension is simply impossible, so don't sweat it. </p>
|
|
<p> CLOSE THIS FILE</p>
|
|
<p> OPEN FILE "INTRO-I"</p>
|
|
<p>* I am impressed that the speakers at conferences are
|
|
determined to persuade their audiences to believe, not
|
|
criticize, and the audiences are seeking something to believe
|
|
rather than a mandate to exercise their judgement. Thus, both
|
|
parties waste the opportunty to learn something --- like, maybe
|
|
they are mistaken.</p>
|
|
<p> 30
|
|
FILENAME: INTRO-I</p>
|
|
<p> ________________________
|
|
I I
|
|
I The Hyperspace Trilogy I
|
|
I is a universal theory. I
|
|
I________________________I</p>
|
|
<p> "TIME TRAVEL --- The Secret Science of The UFOs " is the </p>
|
|
<p>first volume of a trilogy. This First Book puts you on The Yellow </p>
|
|
<p>Brick Road by way by studying some simple models illustrating how </p>
|
|
<p>familiar space is converted into familiar time by increasingly
|
|
----- ----
|
|
fine division and increasingly accelerated velocity. Once you </p>
|
|
<p>arrive in The Emerald City of hyperspace, you will learn how </p>
|
|
<p>higher dimensions are defined by the familiar measurements of </p>
|
|
<p>energy; i.e., frequency, phase, and amplitude. You will see how </p>
|
|
<p>the familiar physical fields of force known as nuclear, </p>
|
|
<p>electromagnetic, gravitic, sonic, and even life and mental </p>
|
|
<p>forces, constitute a scale of successively rarified hyperspacial </p>
|
|
<p>worlds manifest to our senses as pure energy. Hyperspace is </p>
|
|
<p>nothing but energy, and the geometry of hyperspace is nothing but </p>
|
|
<p>a mathematical plotting of the laws governing transformations of </p>
|
|
<p>energy. </p>
|
|
<p> "TIME TRAVEL --- THe Secret Science of The UFOs"</p>
|
|
<p>presents a graphic solution to the Unified Field Equations that </p>
|
|
<p>has defied the entire scientific world for a century. Unlike </p>
|
|
<p>e=mc^2, which could not be implemented without an army of the </p>
|
|
<p>world's most creative engineers funded by national treasuries, </p>
|
|
<p>e=mc^3 is within the economic capacity of a home workshop, </p>
|
|
<p>enabling free-enterprising Yankee know-how to open a new era of </p>
|
|
<p>peace and prosperity like the palmy days of Edison, Ford, Tesla, </p>
|
|
<p>the Wright Brothers, Tim Leary and Hugh Hefner. To the degree </p>
|
|
<p>that the experiments of Henry Moray, Thomas Townsend-Brown, </p>
|
|
<p>Bruce de Palma, and Pat Flanagan are as successful as they </p>
|
|
<p>claim, the first lights are already shining into the New Age. </p>
|
|
<p>Professional engineers will develop this Unified Field Theory to </p>
|
|
<p>technical details beyond the scope of this book --- not to </p>
|
|
<p>mention the competence of this author. After giving a </p>
|
|
<p>ringful of keys to several adventurers who would be kings, the rest </p>
|
|
<p>of this book will speculate on the probable design and </p>
|
|
<p>engineering of the Flying Saucers. Once we have some practicable </p>
|
|
<p>idea of how the Saucers operate, the possibilities of who builds
|
|
--- ---
|
|
them, where they come from, and what they are doing here are
|
|
----- ----
|
|
reduced to a practical argument.</p>
|
|
<p> The Second Book of Hyperspace, titled "LIVING CRYSTAL --- </p>
|
|
<p>The Philosopher's Stone", explains the theorems of hypergeometry, </p>
|
|
<p>providing inventive explorers with a mathematical foundation to </p>
|
|
<p>create new engines, sciences, and arts. The discovery of the New </p>
|
|
<p>World of Hyperspace will transform our civilization more </p>
|
|
<p>radically than the discovery of America. Like the early </p>
|
|
<p>explorers of this world found wealth, power, and fame, the </p>
|
|
<p>explorers of the New Reality on the other side of the universal </p>
|
|
<p>Klein Bottle will also found their empires and fortunes --- if </p>
|
|
<p>they manage to avoid the savage cannibals prowling the </p>
|
|
<p>hyperspacial jungles and the jealousy of the nobility when they </p>
|
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<p>return with their finds to civilization --- you are better off </p>
|
|
<p>with the savages. Success could be yours, if you are young, </p>
|
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<p>energetic, enterprising --- and if your spouse will support you </p>
|
|
<p>while you get your act together.</p>
|
|
<p> The theorems of hypergeometry actually describe the </p>
|
|
<p>properties of crystals, the quintessence of solid state physics.
|
|
--------
|
|
Crystals provide the means for tapping the titanic energies of </p>
|
|
<p>hyperspace for human industry. By the time you read The Second </p>
|
|
<p>Book of Hyperspace, you will realize that the human body is </p>
|
|
<p>actually a living crystal, the most highly evolved crystal in </p>
|
|
<p>this world. Miracles are worked by holy men, such as Jesus, </p>
|
|
<p>when they learn to alter the crystal parameters of their bodies. </p>
|
|
<p>The Rock on which Christ built His Church is the very
|
|
----
|
|
Philosopher's Stone sought by alchemists throughout history;
|
|
-------------------
|
|
like the Riddle of The Sphynx, Peter is the human body. The very
|
|
-----------------------
|
|
fact that the Philosopher King Arthur's Stone is sought indicates </p>
|
|
<p>that this hyperscience was known by prehistoric cabals; they are </p>
|
|
<p>probably still alive and herding the human livestock on this </p>
|
|
<p>lively little planet for their own benefit more than ours. Anyone </p>
|
|
<p>who trusts the shepherd when he comes bearing gifts has got to be </p>
|
|
<p>some kind of sheep.</p>
|
|
<p> "KARMA --- The Birth, Life, and Death of YOUR SOUL"</p>
|
|
<p>completes this trilogy. You will learn why some people are </p>
|
|
<p>healthy, wealthy, and wise, while others suffer various </p>
|
|
<p>deficiency diseases. Even love, marriage, and happiness are </p>
|
|
<p>determined by each person's position in hyperspace, commonly </p>
|
|
<p>plotted by astrologists. Just as modern science has already </p>
|
|
<p>opened hyperspace for trade and commerce without knowing what </p>
|
|
<p>they hath wrought, the spiritual dimensions of hyperspace are </p>
|
|
<p>all described in the world's religions without anyone knowing </p>
|
|
<p>what the great Teachers were really talking about. You will </p>
|
|
<p>realize the meaning of your life and your eternal soul by the </p>
|
|
<p>time you complete The Hyperspace Trilogy. (*1)</p>
|
|
<p> If I live long enough, the story of how I made all these </p>
|
|
<p>discoveries in the ZEN martial arts will be told when I finish </p>
|
|
<p>writing the first book I began, "FIERCE LOVE --- The Secret </p>
|
|
<p>of Spiritual Power in The ZEN MARTIAL ARTS".</p>
|
|
<p> The Flying Saucer is a challenge to science and politics. As </p>
|
|
<p>far as the millions of wonderersare concerned, however, the UFO </p>
|
|
<p>phenomenon is an essentially religious excitement, the secular </p>
|
|
<p>apotheosis of the Messiah. Unlike any other study, The Hyperspace </p>
|
|
<p>Trilogy responds to all public concerns by explaining the </p>
|
|
<p>technological, the political, and the religious mysteries </p>
|
|
<p>concurrently. This book is the beginning of a literary work </p>
|
|
<p>destined to be a seminal classic of the New Age, a text for </p>
|
|
<p>researchers, inventors, engineers, farmers and gardeners, </p>
|
|
<p>psychologists and psychiatrists, religious disciples, medical </p>
|
|
<p>doctors and interminably ill patients, politicians, advertisers, </p>
|
|
<p>artists, architects, athletes, science-fiction writers and </p>
|
|
<p>everyone who wants to know why people are such problems, </p>
|
|
<p>especially the people we love. You are not starting to read a </p>
|
|
<p>book but beginning a graduate university course of studies that </p>
|
|
<p>will change your perception more drastically than an O.D. ticket </p>
|
|
<p>on the SugarCube Express. The Hyperspace Trilogy is the kind of </p>
|
|
<p>study that enables its readers to fullfill their vocations to </p>
|
|
<p>become holistic teachers needed to lead people into the New Age.</p>
|
|
<p> CLOSE THIS FILE</p>
|
|
<p> OPEN FILE "INTRO-J"</p>
|
|
<p>*1 Everyone prays that "Thy will be done", and then prays that
|
|
"My will be done". We'll get one or the other, shan't we.</p>
|
|
<p> 30
|
|
FILENAME: INTRO-J</p>
|
|
<p> __________________________________________________
|
|
I I
|
|
I Curiosity about hyperspace I
|
|
I is the mental forerunner I
|
|
I of our metamorphosis I
|
|
I into the Kingdom of Christ, I
|
|
I like curiosity about sex I
|
|
I is the forerunner I
|
|
I of sexual maturation. I
|
|
I People with no curiosity I
|
|
I about the higher dimensions of ther existence I
|
|
I are not yet ready for their Salvation. I
|
|
I I
|
|
I The direct perception I
|
|
I of our Divine Entity in hyperspace I
|
|
I is the spiritual destiny of every soul, I
|
|
I like parenthood is the destiny of most mortals. I
|
|
I__________________________________________________I</p>
|
|
<p> EVERY creature is born into this world instinct with all the </p>
|
|
<p>knowledge it needs to understand the meaning of its own life and </p>
|
|
<p>solve its problems without consulting professional authorities. </p>
|
|
<p>Rather than seek a teacher, you are better advised to find your </p>
|
|
<p>instincts; your Christ Consciousness is nothing but your higher </p>
|
|
<p>instincts. The little child sent to lead us is a symbol of our
|
|
------------
|
|
instincts. The child will show you your way by the following </p>
|
|
<p>pentalogue. A real little blind child led me --- which just goes </p>
|
|
<p>to show that the blind can lead.</p>
|
|
<p>1. The Universe does not hide from Her Children.</p>
|
|
<p> The Truth is always in plain sight.</p>
|
|
<p> But the Truth is always subtle.</p>
|
|
<p> The Child must be perceptive.</p>
|
|
<p>2. The Universe does not deceive Her Children.</p>
|
|
<p> The Truth is always simple.</p>
|
|
<p> But the Truth is always comprehensive.</p>
|
|
<p> The Child must be responsible.</p>
|
|
<p>3. The Universe wants Her Children to know Right from Wrong.</p>
|
|
<p> The Truth always works.</p>
|
|
<p> The Truth works immediately.</p>
|
|
<p> The Truth works without effort.</p>
|
|
<p> The Truth is always gentle.</p>
|
|
<p> The Child must be practical.</p>
|
|
<p>4. The Universe wants Her Children to love life.</p>
|
|
<p> The Truth is always joyous.</p>
|
|
<p> But the Truth is always changing.</p>
|
|
<p> The Child must be reborn each day.</p>
|
|
<p> Rebirth is the other side of death's door.</p>
|
|
<p>5. The Universe is an Equal Opportunity Teacher.</p>
|
|
<p> She answers all who ask in commitment to the answer.</p>
|
|
<p> It's a wise Child that knows when to stop asking </p>
|
|
<p> questions. </p>
|
|
<p> It is a wiser parent that knows when to stop answering </p>
|
|
<p> them. </p>
|
|
<p> END OF INTRODUCTION GO TO CHAPTER 1</p>
|
|
</div>
|
|
</xml>
|