Udine, Italy January 20-22, 2005

WSEAS SESSION

Session organized and moderated by Prof. E.Macer-Story.

NEW PAPER

Experiment With Time: Zographie Rediscovered 
Author:  E.Macer-Story, B.S., M.F.A.

session canceled January 17 due to transportation problems 

click link above for PDF of paper

SUPER JUNCTION COSMOLOGY

The Quaisi Quantum Cosmos

Intellectual Property copyright 2004 E. Macer-Story

Cited material by other Authors (of course) remains the property of those individuals

Cave of Mithra (Fig. 1 below)

The cosmos as we know it is inside a cave. In the walls of this cave are embedded the solid earth environment, sky, stars and planets. Mithra is said to be born from a rock. Modern apologists theorize that “Mithra” was an actor in a ritual drama who made his appearance into a cave filled with worshipers from a hidden, outside entrance, thus seeming to come through the rock wall.

Plato, in his cave allegory, may have drawn from the Mithraic paradigm, which is a belief system dating from antiquity, originating prior to the familiar pre-Socratic philosophers of Greece and Asia Minor . The tradition has roots so ancient and obscure that there arte no exact records of its origin.

In Plato’s version of the “cave scenario” people sitting in a cave beside a fire and facing away from the entrance see only the shadows of figures moving outside the cave entrance as projected onto the rock wall in front of them and think that these partial images are a “higher reality” and/or the only reality.

In the modern day, one might advance this allegory to include persons sitting in a cave with laptop computers and cable television who believe that the information and images of people and places they receive on their screens are the only reality. It is common to state that “the map is not the territory”. We know these partial images are only interconnective and that a larger, wilder world lies outside the communications cave.

Taking this one step further, and re-invoking the Mithraic source of Plato’s thought, let us now assume that our “cave” is exactly where we are at any one time within the limitations of our physical, bodily mechanism to perceive., either locally or non-locally, and including the attachments of physical memory.

The inhabitant (Fig 2  below)

The circle represents a person enclosed by the limitations of perception, inside his or her cave  Their knowledge of the universe is bounded by their ability to perceive the universe, just as any recording mechanism is bounded by such limitations as electromagnetic frequency and geographical range. This diagram can be expanded by seeing the universe as we know it and can perceive it by  radio-telemetry and small particle measurements as oriented only toward the four-dimensional electromagnetic (sine wave) transmission and reception.

The inhabitant aware of perceived anomalies (Fig.4 below)

limited visual representations of cosmos

Outside the cave of our limited perception, there exist continua not governed by the photon and thus not completely governed by what is observed to be quantum dynamics, a system developed from observing the orbital behavior of atomic and molecular structure and bonding.

Effects such as the quantized structure of matter, tacyon particles which behave in in a way independent of linear time constructs and unexplained appearance/disappearance of ghosts, aerial lights and (occasionally)_ physical objects are the shadows we see on the walls of the cave. Actually, the situation attached to the shadows we see with our limited photonic illumination is much different. How can we conceptualize this within our limitations?

Literally, by a form of reverse stereographic projection, as when three dimensional diagrams can be rendered as two dimensional drawings and then, by use of the original coding, reconstituted. Between the absolute wall of the cave and the exterior (4+n) dimensions we can place an intermediate grid, analogous to the measure of latitude and longitude of the planetary sphere by Mercator projection.

Mercator projection of the earth (Fig.4 above)

We then have a way of recording the shape of spherical objects which can be conveniently placed in a book and which shows the entire configuration all at once, in a way blocked from view if we are looking at the sphere from one fixed angle or another. How do we render the (4+n) d transactions and situation in a way which is comprehensible? How can we make an approximate rendering which is not the whole object itself, but gives us a way to view this object?

acoustic change of shape in time

Going back to the Mithraic practice, it is known that the god Mithra was “born from the stone” as part of a ritual performance. Someone played the role of the god, who was seen as a Promethean figure, bringing enlightenment from the Unknown Kingdom to the people in the cave. But the actual nature of this information and performance is lost to posterity because it was not written down, as far as historians are aware.  Some facets of the performance, such as diagrams of the zodiac, were painted on the ceiling and walls of the cave temples. But this remaining artwork is only the stage set, so to speak. Why was this Mithraic practice not written down? Written language was available during the heyday of the later Mithraic practice, which co-existed with early Christianity.

What is the analogy to the Mercator projection of the planetary sphere here? It is an animated performance moving in sequential time which represents a static, non-sequential pattern ordained by “the gods” or “ananke”. Each performance of the entrance of Mithra from the stone wall would then, as in a sports event, not have been the same, although obeying the same rules of order. This is simply because each time Mithra enters the cosmic situation is a bit different, due to the path of this solar system through the Zodiac. The Zodiac of star constellations from antiquity was often depicted in Mithraic temples.

As analogy again, your humble correspondent is now playing the character of Mithra this time around I have a vision of an earthquake. I “know” this will happen. But I do not speak the language of your country. I come from a country where words are specific objects, or talismans, with added dimensions attached. There are generic words: bus, book, foot and so on. But these words only mean something when imbued with specific location and history. The M104 bus route, the foot of E. Macer-Story, Sally’s copy of the dictionary she bought at the Strand bookstore.

Histories are tied to all word objects in Mithra’s lexicon. Thus the words are not interchangeable. There are no exactly duplicate copies, even if the typescript is printed out from the same template.

If I touch the Mithraic word, I will interact with the history of the word. The history of the rock will come through the walls of the rock, so to speak, as I hold it in my hand and I will then transcribe these impressions into sequential language.

In the situation of a piezo-electric crystal, as used in computers and quartz batteries, I will subject the crystal to kinetic stress and it will generate an electric current. Conversely, if I pulse electric current into such a chemical/mineral structure, it will change kinetic orientation and elements can be converted one into another by this method of jump-starting a change in the ionic structure.

Battery Cell (Fig 6 above)

It has been observed that battery cells which utilize ion flow within an arrangement of juxtaposed chemical components in layers often do not function normally in the presence of “ufo” phenomena and also sometimes when telepathic and/or spirit information has been transmitted. It can be inferred that the god Mithra is trying to come in through the stone wall in these battery cells and has thus displaced the literal, molecular structure of the cell itself.

But since Mithra can walk through this wall and back into Unknown Regions, the regular molecular structure closes behind him when the messenger  has delivered that specific message. Batteries affected by the presence of (4+n) dimensional intelligence and information often (but not always) return to normal functioning afterward**See QUAISI QUANTUM MATERIAL SHIFT pdf paper attached below.

 It is a jolt, a jump-start, an interjection, a message from afar which subtly changes the flow of events which has resumed after the swift delivery receipt has been signed.

But maybe the events do not significantly change until after the information in the swift mail missive has been parsed. The message may contain operative instructions such as: “Attack tonight at X location”.

This process is substantially the same as the download of an executable program into a computer. So, since we are still trying to design a global map of the (4+n) dimensional experience, the injection of a file followed by the file’s execution of instructions within the specific hard drive is somewhat of an allegory.

The personality of the operator, as in the appearance of the god Mithra enacted by different individuals at different times, may make the process of (4+n) dimensional transfer of information more like a courier delivery than a file transferal, even though this is accomplished by means of subtle energy.

In fact, this may be more than a simple allegory when synchronous behavior and selection is observed to operate on a computer, independent of the operator’s conscious (4d) volition.

So certain electrochemical and magnetic circumstances (for the computer hardware uses magnetized arrays to create the partitions which receive the software patterning) are more able to shift configuration in response to the kinetic touch of (4+n)d data transmission. It is interesting that magnetic plasma spheroids resemble the lights on a 35mm photo taken by this reporter on location at the Wanaque Reservoir location in New Jersey in 1982. This location has puzzled anomalies buffs and the casual tourist or employee who runs into these lights there for many years.

In the spirit of enigma, the originator of this website, E.Macer-Story, appears below with an olde tyme racehorse making the jump over the fence word  JOKER both upside down and straightforwardly seen on the Quaisi Quantum Joker card.  Obviously not the god Mithra, as in the previous narrration, she is representing the personality "Yankee Oracle" or "Zephyr Fidelis" in modern context, as this type of figure is used in all traditions of sorcery and mental magick.  The character of Zephyr Fidelis, being fantastic, takes the Querent to areas inaccessible to the linear, rational consciousness, landscapes which may be inhabited by a cart-wheeling racehorse or other shapeshifting, intelligent patterns.

QUAISI QUANTUM MATERIAL JOKER

The (4+n) dimensional Eigenstate of the Quaisi Quantum frame (red border) remains the same. Within the Main Frame, the Quaisi Quantum Material Ojects shift according to context, adapting to sub-eigenstates of the shifting timespace while the surrounding identity frame retains the same basic orientation. However, each (4+n) dimensional identity frame is absolutely unique, occupying a-symmetric and irreversible timespace.

The paper presented below, which will be in the proceedings of the WSEAS CSCC multiconference  in Vouliagmeni, Greece July 12-15, 2004, presents a detailed explanation of the concept of Quaisi Quantum Material Shift. If you cite this paper, please notify the author at info@fluidice.com &/or controversy@magickmirror.com. 

Quaisi Quantum Material Shift: Unexpected Effect To Battery Cells

LINK TO SYNC

Find the Previous Fluidice Synchronicity Pages by clicking the link above.