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Made with Mandelbulb 3d
See more photos and abstract drawings in my gallery on DeviantArt:
Thank you!
www.messersmith.name/wordpress/2010/11/18/bart-simpsons-h...
Now that I have all of these pictures loaded onto my WordPress page, I am wondering how to write something that makes some kind of sense. In cases such as this my usual ploy is to abandon any hope of writing anything which pleases me and put the job off until tomorrow. However, I have a deadline. It's 8PM and I want to be ready to drink some kava an hour before I'd like to sleep. It worked the last two nights. I got more sleep than I have for a long time and I felt great in the morning. I'm going to write about kava soon. So, since I can't put it off, I'll write nonsense. It probably fits the subject matter better anyway.
As the title implies, the subject is twofold. Here is Bart Simpson's Hair:
Okay, does that give you some idea of where we are going with this? Fasten your seat belts.
I'm going to the kitchen now to get some cookies . . . okay, I'm back. Hmmmmm . . . delicious. The other subject, which I made you think has something to do with Bart Simpson's hair but it doesn't, is Why I'm Talking to Myself.
I never used to do that - talk to myself - at least not much. I'd let slip, "Idiot!" or "You old fool." or something similarly self- deprecating, but I had no serious conversations. Even now, my solo exchanges are usually not directed to me, but since there is nobody else around (I try not to do this when others might be observing.) one might be prone to suspect that my brain is doing a little recursive boogaloo. I don't know if this is healthy or not, but it is making me feel better.
So, who do I talk to?
Not far from Bart's hair I found this disgusting, encrusting sponge trying to strangle a branch of black coral:
See, I'm going to do that to you. I'll go along as if I have something interesting to say and when I sense you nodding off, I'll throw a bean bag at you. The image above is trying to connect up some wires in my brain between it and Sponge Bob Squarepants. Okay, time for another cookie. Hey, I need some milk.
Mostly I talk to two entities. I probably spend the most time conversing with Eunie. She was always a good listener. I ask her for advice. Then I think about what she would tell me if she were sitting next to me or we were having a walk through the woods. The surprising thing is that what I hear in my head, or rather what I make up from the million memories of how she was, seems very real to me. It can't be so far off from what she would have said. Quite often it makes me laugh.
Tonight I had a ham sandwich. The ham had been in the freezer for I don't know how many months. I got it out of the freezer a week or so ago. It didn't look bad, but I can't smell it, of course. I'm constantly concerned that I will poison myself. I quit thinking about suicide about a month ago, mainly because I couldn't stand the thought of the colossal mess it would leave behind for my friends to clean up. So, since that prospect is off the table, I've gone back to a less hair-raising and reckless existence. I actually don't want to die now. Something interesting might happen. I call that progress. I also had ten-day-old steamed broccoli which had nothing obvious growing on it. I don't know why I feel compelled to tell you what I'm eating - cookies, ham sandwiches, broccoli. I've been doing it for some time now.
Here is some whip coral at Magic Passage:
No, I'm not going to explain why it's called whip coral. I don't feel pedantic tonight. In fact, I don't feel much of anything. That's funny. I haven't had any kava yet. It has a strange calming effect which my pleasant Dr. Mackerel told me about. I told him no Prozac, so he said to try kava. I'm going to do this without major drugs. As I said, I'll get to that later. It'll be a hoot!
Talking to Eunie is fun. I close my eyes and see that surreal half-smile which said, "I'm watching you, you crazy guy." Man, I loved that smile. I carry it on my shoulder.
Often, though - about a hundred times a day, I need to unload on or seek counsel with someone with more clout. Eunie is my gentle advisor. When I need the heavy artillery, I talk to God. I talk out loud, like I do with Eunie.
It's much more difficult for me to imagine what God is saying back. Obviously, I don't hear anything. I'm not that far gone. I also have to admit that I don't know as much about God as I do Eunie. The truth is that you never know what God is up to. I do trust that it's all going to work out in the end, but man, in the meantime you have to be ready to catch some fast curve balls. I was never any good at baseball. After teams were chosen, I was always the one guy left standing there staring at my toes sticking out of the end of my sneakers.
I do seem to be getting some answers lately. The big questions remain mysteries, but some of the little ones are falling into place. So, I'm calling these productive conversations. There are fewer swords hanging over my head. I'm not afraid to look in my mailbox any more. Part of that is because I can't imagine what could happen that has not already happened. There's a certain comfort in knowing that the only things left to lose are things that really don't matter that much. It's tremendously liberating. Money - EHHH! There will always be enough. One simply has to adjust one's expectations. Property - MEH! I don't have any (Or at least I soon will not - that house is GOING, one way or another!) All of the rest of the stuff that I have accumulated - PFFFT! I can carry everything I need in a back pack and a small camera case. Free! Free at last!
What brought that on? Hey, my kitchen is full of ants. I'm too cheap to buy bug spray any more. That's off the shopping list. Beside, they don't eat much - only what I have dropped or slopped. There are a couple of dead ones floating in my milk. At least I hope they are dead. If they are not, they are in for quite a ride.
Does this look like a giant corkscrew to you?
I guess I mostly talk to myself because I am so used to having someone around to talk to and I just can't stop because she's not here now. I've noticed that I am much more talkative than I used to be when friends are around. I hope that is not a bad trend. I have seen that flick of the eyes to another which says, "When is he going to shut up?" I'm on the lookout for it.
This is the model which was used for The Blob in the original movie starring Steve McQueen:
It's about a metre wide. They had to scale it up and make it mobile for the movie. Inert blobs aren't very scary and they get real hungry. This one is quite immobile.
I don't anticipate finding any other conversation partners for my lonely quiet times when I'm feeling chatty. Who else would there be, Elvis? John Belushi? Jack Kerouac?
No, not them. If I talked to anyone else it would be absent friends, the living kind. There are so many who I would love to spend an evening with in quiet discourse.
Speaking of friends, I'm going to take advantage of you and sneak in a couple of very amusing images sent to me by Alison Raynor of Toogoolawah in Queensland. Here is what she wrote to me:
I've been on the road a fair bit in the last couple of days and this 6ft carpet snake (a common constricting python) crossed our path yesterday. We stopped for a look and he stopped to geek my camera... such a pretty snake, you should see the size of their mouths and fangs though......EEEEK! This one would be able to swallow an animal or bird heaps bigger than its own body weight and size:
Okay, Ali. How close are you going to get to this thing?
Okay, I'm impressed.
Today, I spent a fair amount of time getting lawns mowed. No, I didn't mow the lawns. It's Gosel's job to mow the lawns. However somebody has to haul his lawnmower around and get him to the grass which needs cutting. That's what I did today. Exciting, eh? Here is Gosel mowing a lawn:
I sat in there my blazing hot brand-new Nissan Navarra twin-cab utility truck. I didn't particularly want to buy a new car, but Eunie wanted one. Her old red truck was getting rusty and she didn't like that. Anyway, I'm glad now that I have it. It's like money in the bank, not that money in the bank is any guarantee of security. And, I probably have a car which will serve me for the rest of my life. Hey, my dog Sheba has a good chance of outlasting me. I'm not planting any more trees either. Like many other things which I am discovering, there is a certain comfort here.
I got bored reading Hollywood Crows by Joseph Wambaugh, so I had a nice, long conversation with Eunie.
Structure Synth / Sunflow
I wrote a short ruby script to generate the structure synth eisenscript rules for this image.
After showing this image to my wife, she pointed it out it looked like an inflatable arm flailing tube man :)
1. Tunnels of Time, 2. Doyle Spiral+Inversion, 3. Another fake reflection, 4. Slide-together : now with cards, 5. 16+1 polyhedron models, 6. Red Sun, 7. First Playmobil on the Moon, 8. I don't live near a lake,
9. Fly to the Moon, 10. Northern Lands, 11. Build your own one, 12. Inside the Riemann Sphere, 13. Fake sunset, fake birds, funny manips, 14. arizona flag effect, 15. swedish moon, 16. Quasi Doyle Spiral,
17. Blueing the sky, 18. Playing cards polyhedra, 19. Virtual slide-together on a snub icosidodecahedron with playing cards on the wrong side, 20. Moon Eclipse (last one), 21. Lautrec, 22. Spiral again, 23. Infinite staircase, 24. Manhole cover variation,
25. Silk Maze, 26. cardioid, 27. Doyle Flushing, 28. Doyle spiral + Mobius transform, 29. Mobius Transform of a regular circle packing, 30. Spiral space, 31. Passage, 32. Strong Wind today in Virtual Land,
33. Sphere packing, 34. Moon shifting, 35. A coumpound of five hamiltonian circuits of a rhomb-icosi-dodecahedron with the same symmetry as the compound of five tetrahedra this time I blow up the record of the longest title, 36. Santa Claus involved in a traffic accident : one wounded, 37. San Marino, 38. Olive oil bubble variations, 39. Counterlit Papaver, 40. Hexa Fractal,
41. Red Sun big, 42. Sanguine sunset, 43. FIFA FCC Packing, 44. From Babel with love, 45. Olive oil bubble variations, 46. Hell's Pit, 47. Caustic light, 48. The name of God,
49. Devil's tower, 50. alhambra, 51. From the Black Hole, 52. Wet Web, 53. Castres, 54. 72 pencils : finished, 55. Hypnotic tiling, 56. jm03symetrique,
57. Sunset Mandala through a Glass Magnifier, 58. Traces in the sand, 59. Police brutality against cultural symbol, 60. Orange lift wall through conformal mapping 1/(z*z), 61. Tracks in brown, 62. Druillet-like, 63. Recursive Chessboard, 64. Sun set sunspot,
65. indraDoyle, 66. Modular Origami : C240 finished, 67. Ring macro leds, 68. Infinite staircase revisited, 69. First steps on the Moon, 70. Alone on the keyboard, 71. Part of Moon's Corona, 72. icosidodecadodecahedron
Created with fd's Flickr Toys
Quoting from the official pamphlet:
FAST LIGHT • May 7 + 8, 2011, 7 pm - 10 pm
Contemporary pioneers in art, science, and technology have come together at MIT to create one of the most exhilarating and inventive spectacles metro Boston has ever seen. On May 7 and 8, 2011, visitors can interact with 20+ art and architectural installations illuminating the campus and the Charles River along Memorial Drive at MIT.
Installations scattered around campus (we didn't quite see all of them), again pasting from the official flyer:
• aFloat
MIT Chapel • Saturday, May 7th ONLY
Inspired by water in the Saarinen Chapel's moat, a touch releases flickers of light before serenity returns as a calm ripple.
By Otto Ng, Ben Regnier, Dena Molnar, and Arseni Zaitsev.
• Inflatables
Lobby 7, Infinite Corridor
A dodecahedron sculpture made of silver nylon resonates with gusts of air, heat from light bulbs, and the motions of passersby.
By Kyle Barker, Juan Jofre, Nick Polansky, Jorge Amaya.
• (now(now(now)))
Building 7, 4th Floor
This installation nests layers of the past into an image of the present, recursively intertwining slices of time.
By Eric Rosenbaum and Charles DeTar.
• Dis(Course)4
Building 3 Stair, Infinite Corridor
A stairwell transformed by a shummering aluminum conduit inspired by the discourse between floors and academic disciplines.
By Craig Boney, Jams Coleman and Andrew Manto.
• Maxwell's Dream
Building 10 Community Lounge, Infinite Corridor
An interactive mural created by magnetic fields that drive patterns of light, Maxwell's Dream is a visually expressive cybernetic loop.
By Kaustuv De Biswas and Daniel Rosenberg.
• Mood Meter
Student Center & Building 8, Infinite Corridor
Is the smile a barometer of happiness? Mood Meter playfully assesses and displays the mood of the MIT community onsite and at moodmeter.media.mit.edu
By Javier Hernandez and Ehsan Hoque.
• SOFT Rockers
Killian Court
Repose and charge your electronic devices using green solar powered technology
By Shiela Kennedy, P. Seaton, S. Rockcastle, W. Inam, A. Aolij, J. Nam, K. Bogenshutz, J. Bayless, M. Trimble.
• LightBridge
The Mass. Ave Bridge
A dynamic interactive LED array responds to pedestrians on the bridge, illustrating MIT's ties to both sides of the river. Thanks to Philips ColorKinetics, CISCO, SparkFun Electronics.
By Sysanne Seitinger.
• Sky Event
Killian Court, Saturday, May 7th ONLY
Immense inflatable stars soar over MIT in celebration of the distinctive symbiosis among artists, scientists and engineers.
By Otto Piene.
• Liquid Archive
Charles River
A floating inflatable screen provides a backdrop for projections that highlight MIT's history in science, technology, and art.
By Nader Tehrani and Gediminas Urbonas.
• Light Drift
Charles River
Ninety brightly glowing orbs in the river change color as they react to the presence of people along the shore.
By Meejin Yoon.
• Unflat Pavilion
Building 14 Lawn
This freestanding pavilion illuminated with LEDs flexes two dimensions into three. Flat sheets are bent and unfurl into skylights, columns, and windows.
By Nick Gelpi
• Gradated Field
Walker Memorial Lawn
A field of enticing mounts create a landscape that encourages passersby to meander through, or lounge upon the smooth plaster shapes.
By Kyle Coburn, Karina Silvester and Yihyun Lim.
• Bibliodoptera
Building 14, Hayden Library Corridor
Newly emerged from the chrysalis of MIT's diverse library pages, a cloud of butterflies flutters above, reacting to the movement of passersby.
By Elena Jessop and Peter Torpey.
• Wind Screen
Green Building Facade, Bldg 54
A shimmering curtain of light created by micro-turbines displays a visual register of the replenishable source of wind energy.
By Meejin Yoon.
• String Tunnel
Building 18 Bridge
A diaphonous tunnel creates a sense of entry to and from the Infinite Corridor and frames the surrounding landscape.
By Yuna Kim, Kelly Shaw, and Travis Williams.
• voltaDom
Building 56-66 Connector
A vaulted passageway utilizes an innovative fabrication technique that creates complex double curved vaults through the simple rolling of a sheet of material.
By Skylar Tibbits.
• Night of Numbers
Building 66 Facade & E15 Walkway
A lighting installation enlivens MIT architectre with numbers that hold special or historical significance to the Institute. Can you decode them all?
By Praveen Subramani and Anna Kotova.
• Overliner
Building E-25 Stairwell
Taking cues from a stairwell's spiraling geometry, Overliner transforms a familiar and busy passageway into a moment of surprise and repose.
By Joel Lamere and Cynthia Gunadi.
• Chroma District
Corner of Ames and Main Streets.
Lanterns react to visitors by passing sound and color from one to another, increasing in intensity along the way and illuminating the path to MIT's campus.
By Eyal Shahar, Akito van Troyer, and Seung Jin Ham.
www.fashioningtech.com/profiles/blogs/kasia-molga-interview
V2_Institute for the Unstable Media hold an annual “Summer Session” in which designers and artists are invited to develop a work under one of the three current research themes at V2_Lab: Wearable Technology; Augmented Reality and Ecology. This summer five projects were developed over a six week period which explore the future of these fields. The Summer Session projects were showcased at the 17th International Symposium on Electronic Art held this year in Istanbul, September 14-21, 2011 during one of V2_’s Test_Lab events.
Below is an interview with Kasia Molga who participated in the V2_ Summer Sessions 2011 with the work "Oil Compass":
- Kasia Molga, "Oil Compass" -
“Oil Compass,” done in collaboration with Sey Min, is a screen-based data-visualization interface, which lets users become aware of real-time oil spills on a global scale. Through the interface we are able to search and get close up views of locations, as well as view the history and data pertinent to the events. Through these we are able to consider the impact of continuous and largely under-reported cases of oil pollution in our global waters as well as ponder solutions for the prevention and de-contamination.
Everyday each tanker and each rig releases 600 litters of oil into the sea, not mentioning that we also have a "regular" vessels which use oil as a fuel.
One of the questions that you ask as is if we can “really connect with the complex subject of oil spills and understand its environmental impact?” via a real-time data visualization. What are your conclusions after this time? How can the visualization tangibly make a difference?
Like everything in the nature—an action causes reaction or/and provoke a chain of events causing imbalance. Everyday each tanker and each rig releases 600 litters of oil into the sea, not mentioning that we also have a "regular" vessels which use oil as a fuel. Although the vastness of the water covering our planet might seems almost infinite, within those areas where spills happen the local biodiversity is affected thus affecting us. "Oil Compass" through containing past and present data, as well as live data, gives a picture of the scale of that problem, because oil spills don't happen ONLY when it is broadcasted on the news, but they happens everyday.
The crucial and most interesting features of this work, in my opinion, is a live data visualization of oil tankers—updated every 10 minutes. It is also interesting to see (although not surprising) that most of them are around Europe and North America—places where the level of energy consumption is the highest. One of the maps which I produced while working on "Oil Compass" was a visualization of Earth at Night. North America and Europe are full of light compared to the rest of the world, and obviously there are a lot of tankers and that is where the biggest spills have happened.
Places like Africa or Asia—which are heavily explored for their oil, seem very dark in comparison. Africa didn't register any huge spills except in South Africa.It was not easy to get data on the position of oil rigs and we are still working on this. But I have noticed that often rigs and platforms are planted in places which don’t seem to be so well lit-up…such as Angola for example. I don’t want to jump to false conclusions—as “Oil Compass” is ever-evolving project which demands to be constantly updated, but while working on it I couldn't help thinking how big chunks of oil are taken from places with very limited access to energy/electricity and then transported to places which use it like there is no tomorrow.
I hope that I can make people to gain a distance—to see it in its entirety—so that perhaps a bigger emotional bond can be created.
I hope that "Oil Compass" can act as an objective and easy to understand a picture of the situation. By using a tool such as Google Earth—everybody can access it and contribute to it. At the same time by using the image of the globe—our planet—giving a viewer a point of view of an "astronaut" and some control of how to navigate/spin/move that virtual sphere—I hope that with that I can make people to gain a distance—to see it in its entirety—so that perhaps a bigger emotional bond can be created. It has been an interesting experience as this object which I call "Oil Compass" had to fulfill two, quite contradictory roles—it had to be very informative and objective about all facts on the subject but at the same time it had to evoke some emotions on viewers.
"Protei" is aimed to be a low-cost device that semiautonomously sails upwind, intercepting oil going downwind.
“Oil Compass” is also a modeling too to explore the potential of another work called “Protei” an Open Source Sailing Drone also developed at V2_. Can you tell us more about the “Protei” project, and is this research recursive, can it be applied to other environmental mappings?
“Protei” is a shape-shifting sailing robot that collects pollution—and it is a brainchild of artist/designer Cesar Harada. "Protei" would operate as a fleet and is developed as open hardware. The current version is “Protei_Oil_Spill” for collecting spilled oil at sea. It is aimed to be a low-cost device that semiautonomously sails upwind, intercepting oil going downwind. “Protei” is using existing technologies in an innovative design which can be implemented in the short term to address a crisis. Being an open source project, other versions may be designed in the future for other purposes: “Protei” for the North Pacific plastic garbage patch, heavy metals in coastal areas, fishery monitoring, physical oceanography, climate change studies...
"Oil Compass" in this context has 3 functions:
1) Educational/Didactic: for everyone concerning past major oil spills as well as everyday spills (which depends on the volume of tanker vessels around the world and oil rigs). The plan is be keep updating the data with other less "famous" spills as well as information how the spills were managed and dealt with. This will also help in assessments when and where another disaster might happen.
2) Navigational: tracking the traffic of vessels and therefore spills; keeping updated maps with position of all oil rigs—so that it can become as a centralized informative hub; keeping updated maps not only with oil spills situations, but other issues/problems which waters are facing today, i.e.: plastic debris, radioactive spills etc. Ideally I also would like to be able to update all of it with currents and weather forecasts—but that is all a long shot. A better funding structure would be very needed to achieve that.
3) “Protei” Locations: based on the navigational function of "Oil Compass" we can asses where “Protei” drones are the most needed, how to navigate them around other vessels, rigs etc; obviously tracking “Protei” and informing what function drones have in what areas.
- Kasia Molga, "Oil Compass" -
Of course we are all political—whether consciousness or unconscious of it. We are all involved in some relations with other people and/or environment and nature.
When looking at eco-art I am struck by how for a number of years now we have engaged in “causes” in the arts from feminism, cultural identity, to AIDS, etc. Why do you think that artists are invested in the political? Is it endemic of society being in need of more “political” players? Or is it more of a crisis in terms of art’s role in society?
But aren't we all "political?" The concept of evolution is political. Of course we are all political—whether consciousness or unconscious of it. We are all involved in some relations with other people and/or environment and nature. We are all engaged in some kind of dialogue with our surroundings. I am not sure if the engagement in politics/social or environmental issues are the result of a crisis. Alain de Botton once said that (and I am paraphrasing not quoting) we, humans, when we are around something/some situation for a bit too long, we stop to notice it. The role of artists and what artists can do is to remind us about those forgotten/taken for granted/unnoticed things.
I am rather a facilitator who creates a platform for people to explore certain issues in alternative ways and learn about them and form opinion for themselves.
So I guess it is not about the crisis of art’s role. It is just that artists often can see sharper and clearer and deeper and spot alternative/forgotten/hidden situations, matters, connections and thus also respond to the zeitgeist. It is often a commentary on existing situations. On a personal level, as an artist/designer who engages often (but not always) in environmental issues, sometimes I feel that I don't create just an artwork—a subjective transformation of my opinion/view of the world. I am rather a facilitator who creates a platform for people to explore certain issues in alternative ways and learn about them and form opinion for themselves. In “Oil Compass”—I think I had a difficult task of trying to be objective about the subject—not to get carried away with too much emotions...
We often forget to perceive ourselves as a part of nature and we often make that disassociation even when we speak of "we" and "nature."
How do you relate your work to earthworks of the late 60s early 70s such as Robert Smithson’s "Spiral Jetty" which celebrated nature while also aestheticizing it? Are we now aestheticizing nature through politics instead of structural compositions?
I would turn that question around a bit to speak here about the concept of beauty—whether it lies in pure visual harmonies of colors and shape or is in fact encapsulated in the content/the emanating/the message. Both are important—the capturing of fragments of ephemeral sublime moments to convey that feeling of awe—the fact that we are part of this amazing creation as nature—we are its fruits, therefore what we do shall be integral to it. However, for some reason sometimes is not.
We often forget to perceive ourselves as a part of nature and we often make that disassociation even when we speak of "we" and "nature." While nature/environment/climate is a part of a human narrative, I think many of the earth/land artists of the late 60s and early 70s explored nature in that way. Hopefully having that in common with people such as Robert Smithson, I don't work with the landscape as such, but with its digital representation. I also often use a "bigger picture" in my work—whether it is a map of the entire city or a whole globe; or an interactive live data feed. The immediacy of time, possibility to witness concurrent events at once—that concept of liveness and presence is more important in my work…
Istanbul, September 2011
Tags: Kasia Molga, V2_, Valerie Lamontagne, environment, oil, protei
Ada and all the other Adas. Last one is here: www.flickr.com/photos/quinn/6751114875/ going back to the day she was born.
"... the fundamentally recursive character of observation -- namely, that stabbing is best witnessed, rather than experienced." - T.A. Wilson, excerpt from Plastic Tub Phrenologist (1920)
[hipstamatic portraiture - folded, spindled & mutilated]
Jun 21 2012
Weyland-Yutani
I just got this shirt from TeeFury today, but I wasn't intending it to be the focus of today's photo. What I wanted to do for the selfie squared topic was to do a recursive photo, but when I pulled out the frame to use, this photo was in it! I couldn't resist. So, yeah, you have to deal with another Alien photo. Sorry.
For WH: Selfie Squared
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This image and its name are protected under copyright laws.
All their rights are reserved to my own and unique property.
Any download, copy, duplication, edition, modification,
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Best viewed large
Made with Mandelbulb 3d
See more photos and abstract drawings in my gallery on DeviantArt:
Thank you!
Best viewed large
Made with Mandelbulb 3d
See more photos and abstract drawings in my gallery on DeviantArt:
Thank you!
A very complete list of ingredients for a loaf of bread (boasting that it contains only natural raw materials). Note the repetitiveness, since "flour" actually consists of certain ingredients - and sourdough has ingredients with ingredients. Most products are likely far more complex than this.
Fractal space invaders in Blender. Each pixel contains a copy of the space invader, for 3 levels. (You probably won't be able to make out the smallest ones). Is it just me or does this remind you of Stickle Bricks? :-)
Made a low res (13x10) black/white sprite in GIMP, scale up by 100 on both axes with no interpolation.
Used this black/white raster 3 times to generate each of the 3 "layers". Each layer uses a mapping node to scale the rasters in all 3 axes, then added the z values together with a math 'add' node to do the displacement. Shader is a mix of diffuse and ambient occlusion.
Best viewed large
Made with Mandelbulb 3d
See more photos and abstract drawings in my gallery on DeviantArt:
Thank you!
THE TRANSMODERN ALCHEMIST hacks the undifferentiated potential, exploring the theoretical usefulness of Dynamics for modeling processes in the alchemical art. Dynamics is an organic model, an alternative to mechanistic or cyber- models of process. It prioritizes life as the root science. Alchemy is a multidisciplinary pursuit focusing on mystic technologies, spagyrics, healing, life sciences, metallurgy, chemistry, dynamics and physics.Transmodern alchemy is a new Renaissance science-art -- a treasury of psychophysical meaning. Alchemists sought the experience of Unus Mundus, the one world united through material, emotional, mental and spiritual aspects. Science illuminates the spiritual quest, and spiritual tech illuminates the deep nature of matter and our nature.Universal Meta-Syn
Alchemy is a metanarrative, a way of framing all our experience. Alchemy begins and ends in the quest for eternal life. It is a spiritual technology of rebirth using natural methods that in their effect transcend nature by amplifying that which is immortal within us. It does not exist in nature but must be prepared by Art. Art is a form of manifesting, making and objectifying the world - spiritual physics.
Artists and mystics are aware of their own internal space and thus able to enter it, playing the mindbody like a musical instrument. Looking inside, they see the true nature of reality and can express that literally and symbolically. We all possess the creative potential. All creative acts are a marriage of spirit and matter, reaching down into the body as the source of our essential being and becoming."There is a generic process in nature and consciousness which dissolves and regenerates all forms. The essence of this transformative, morphological process is chaotic -- purposeful yet inherently unpredictable holistic repatterning. The Great Work of the art of alchemy is the creation of the Philosopher's Stone, a symbol of wholeness and integration. The liquid form of the Stone, called the Universal Solvent, dissolves all old forms like a rushing stream, and is the self-organizing matrix for the rebirth of new forms. It is thus a metaphor or model for the dynamic process of transformation, ego death and re-creation." -- Iona Miller, ‘Chaos As the Universal Solvent’
ABSTRACT: Physicist Wolfgang Pauli and psychologist Carl Jung suggested, “We should now proceed to find a neutral, or unitarian, language in which every concept we use is applicable as well to the unconscious as to matter, in order to overcome this wrong view that the unconscious psyche and matter are two things.”
Jung thought both alchemy and physics mirrored the psyche and were central in the process of transformation, the Great Work. Alchemist Fulcanelli (1937) claimed that Great Work involved “…a way of manipulating matter and energy so as to produce what modern scientists call a 'field of force.' The field acts on the observer and puts him in a privileged position vis-a-vis the Universe. From this position he has access to the realities which are ordinarily hidden from us by time and space, matter and energy.” Today we understand that primal unitive field is holographic in nature and we are embedded within it. Electromagnetic energy and particles arise from the virtual vacuum flux of subspace – the Void, which is the metaphysical root of all form. We are embedded within that field and our existential root is Likewise constantly in local virtual photon fluctuation. The fine vehicle of that interaction has been called the ‘energy body,’ ‘body of light,’ ‘diamond body,’ ‘astral body,’ ‘Merkabah,’ and a variety of cultural variations.
The classical magical operation known as The Middle Pillar provides a way of nourishing the energy body by feeding off that virtual light, connecting with Cosmos, our primordial Source or Groundstate for renewal. Alchemy provides a Unitarian language that reconciles the tension of opposites between magic and physics, between psyche and matter. A transmodern view of virtual vacuum physics allows us to employ the language of alchemy to move medieval natural philosophy into the 21st Century.
Transmodern Alchemy & Chaos
Alchemical philosophy supports the phenomenological notion that the universe exists primarily as we perceive it through what we know. Therefore, by changing perception, we can essentially change the universe and ourselves. Transmodern scientific imagination confirms this transformative postulate as the basis of matter/consciousness in dynamics, holographic and chaos theories. Trans- is the prefix that guides the vision of reality as virtual and fluctuating process. At the subquantal level, virtual photon flux, “cosmic zero,” or zero-point energy is the literal and metaphysical substrate of manifestation. An ocean of energetic flux boils into and out of existence as virtual vacuum fluctuation. The fiction of substantive ‘reality’ is revealed and nature’s transparent veil is ripped away.Alchemy is a science-art and tradition of participatory wisdom. Medieval alchemy was couched in the archaic language of its time, but we are not limited to that, or to theological, Hermetic, Masonic, Theosophical or New Age jargon. Philosophies and sciences evolve in articulation, theory and practice. New discoveries and statements of meaning inform our practice at all levels. In many cases, alchemy anticipated them. Like the cryptic tomes and dense texts of alchemy, unfamiliar scientific or philosophical theories require thoughtful reflection until they take root in our awareness. Models from many disciplines weave together, amplifying the meaning of alchemical process and patterns. Old experiments can be revisioned in a new light while new dynamical phenomena remain to be discovered. We can even revision the alchemical formula for surviving death.
At the zero-point time is no longer a flow, projection or hope. It accelerates at overwhelming speed, turns back on itself and becomes compressed and plays itself out. Instantaneously, everything takes place before us simultaneously, including retrievals of the past and projections of multiple futures. We have a greater understanding of deep time, earthly cycles and cosmic process than ever before. We communicate at light speed. We talk of supraliminality -- faster than light potentials. Light is our essential nature.Learning each technical or symbolic language is like learning a foreign language, but becomes second-nature once we sense the overall gestalt. It takes contemplation and consideration of implications. We unpack them one metaphor at a time as we descend into finer domains of existence, from particles to the subquantal world of the microcosm. Motivation theory suggests if we adopt a mastery orientation to our subjects, we exhibit all the productive learning behaviors we know will work. Even when challenged, we have the natural ability to learn and to keep at it while understanding grows. Simple concepts, not mathematical details, from dynamics and physics are all that is required for illuminating alchemical practice. Field and Flow Our worldview has evolved to include quantum physics and dynamics in our models of reality. As in the alchemical dictum, "As Above, So Below," a satisfactory theory must explain both cosmogenesis and microphysics. In the 20th Century, Carl Jung described alchemy in terms of depth psychology and the physics of his day, shedding new light on an old science. The Modern Alchemist, (1994) describes Jung’s process of individuation -- the transformation of personality and Self. Searching for the hidden structure of matter, the alchemists discovered that of the psyche. Depth psychology continues to redefine itself beyond postmodern notions as new research emerges in nonunitary consciousness, the fractal nature of archetypes and complexes and new models in microphysics mirroring cosmos and co-creator. The alchemical process is its own solution. Jung's notions of a heroic, striving Self have been transcended with imaginal, nonlinear models of consciousness, archetypes as strange attractors and metanarratives as healing fictions. If new theories in astrophysics, quantum physics and depth psychology supersede the old, can we expect any less from 21st century alchemy itself? The esoteric pursuit for the arcane nature of matter continues.Transmodern alchemy describes the secrets of matter in scientific terms with correlates of the alchemical worldview. The dynamic blueprints of nature as we comprehend them today are unfolded by stripping away Nature's etheric veil, revealing naked awareness. As we deconstruct our old notions, new realities emerge. The Philosopher's Stone is awakened consciousness.Hacking the undifferentiated potential, we can explore the theoretical usefulness of Dynamics for modeling processes in the alchemical art. Dynamics is an organic model, an alternative to mechanistic or cyber- models of process. It prioritizes life as the root science. Alchemy is a multidisciplinary pursuit focusing on mystic technologies, spagyrics, healing, life sciences, metallurgy, chemistry, dynamics and physics.
Transmodern alchemy is a new Renaissance science-art -- a treasury of psychophysical meaning. Alchemists sought the experience of Unus Mundus, the one world united through material, emotional, mental and spiritual aspects. Science illuminates the spiritual quest, and spiritual tech illuminates the deep nature of matter and our nature.Universal Meta-SynAlchemy is a metanarrative, a way of framing all our experience. Alchemy begins and ends in the quest for eternal life. It is a spiritual technology of rebirth using natural methods that in their effect transcend nature by amplifying that which is immortal within us. It does not exist in nature but must be prepared by Art. Art is a form of manifesting, making and objectifying the world - spiritual physics.
Artists and mystics are aware of their own internal space and thus able to enter it, playing the mindbody like a musical instrument. Looking inside, they see the true nature of reality and can express that literally and symbolically. We all possess the creative potential. All creative acts are a marriage of spirit and matter, reaching down into the body as the source of our essential being and becoming.Today, we might describe this resonance as accessing biophotonic or free energy that regenerates the mindbody. Healing is an aspect of creativity; nature is within and without us. Resonating with the whole, the Magus does not dominate reality but develops embodied psychophysical equilibrium, clarity, wisdom and compassion. We perform our greatest experiment on ourselves. Creative work originates in the body and is projected out into the world. The projections are then internalized into awareness. The bodymind of the artist is an alchemical vessel containing the creative flux and lux of transformation. We feed on Light.
Awareness and consciousness form a continuous alchemical movement. The creative gold is generated and embodied in the alembic of the mindbody. The mindbody is the same substance as the Cosmos and contains and reveals its mysteries. Alchemy reduces all to the first state, the ground state of being - original experience that is timeless, infinite. The classical Void, the quantum vacuum is a carrier of information. The energy body or the field body -- along with the scalars (virtual photons) of our holographic blueprint -- connect us directly with the negentropic potential of the zero-point field. Radiant light literally emerges from this mystic void. Primordial structuring processes are common to both psyche and matter, working in the gap or empty interval between intention and action. Alchemy refines the way the mindbody generates and processes inherent light as medicine. It refines the aspirant's ability for tapping and amplifying Medicine Light. This primordial state is the luminous ground of our being, hidden deep in the heart of things.All other goals are subordinate to this prime directive which includes meditative techniques for continuing consciousness after death. This Philosopher's Stone is the Universal Medicine, the regenerative Elixir of Life. The greatest mystery is Life After Death: we don't die but continue in transcendent form. This is the secret of man and nature.
Paradoxically, when we look into the depths of matter, we look into the depths of ourselves. Scientists and mystics report similar phenomena in their models and phenomenology. Spiritual technologies, the software of sacred penetration and amplification, virtually predicted the fine nature of matter as nothing but a complex illusion. We now understand energy/matter as a hologram. Mystics have also always emphasized the primal nature of Light, and claimed that we are in fact made of light itself. Science has confirmed this in numerous ways. Ambient Vacuum is a Plenum of Transformation Light is an excitation of empty space. "Aether" means ‘shine’ in Greek. Scalar physics tells us the ambient void is omnipresent, yet inherently nonobservable -- it is an omnipresent field of radiant energy potential emanating from every zero-point in the cosmos. But we can observe and infer results of this virtual vacuum fluctuation. Quantum Mechanics demonstrates no discrete particle or solid chunk of anything exists in metric space -- the whole Physical Universe. Everything is made of Light. Only light matters. Nothing arises but standing waves from the seething zero-point field created by cosmic beings like ourselves. How we do so is a mystery to ourselves. But we are getting closer to non-religious descriptions of reality that curiously have profound mystical overtones. The properties of mass, inertia, charge and gravity -- and those who observe them -- are the result of space resonances produced by zero-point scalar waves. At zero-point, waves pass through waves without interference. We come from, are sustained by, and are returning to the radiant light of our mass. All electromagnetic force is mediated by virtual photons.
The void is not devoid. In the absence of "solid" matter, we can take a revolutionary view of today's alchemy as dynamic process using Chaos Theory, and related sciences to inform our search. We are indivisibly wedded to our earthly and cosmic environment through zero point field phenomena and resonance. Could consciousness order the world?
Alchemy's prima materia and 'sensitive initial conditions' of chaos are the same. Initiation recalibrates our "initial conditions" and sets transformational "butterfly effects" in motion. The potential of enfolded time energy is transduced into dynamic spatial energy as cosmic jitter (ZPE, Isotropic Vector Matrix). Zero represents the Cosmic egg, the primordial Androgyne merging positive and negative charge - the Plenum. Zero point creative process manifests cosmos, nature and consciousness from roiling quantum flux.
Biophysics tells us we are brilliantly disguised photonic humans -- Homo Lumen -- if we but realize that awareness. The quantum vacuum is a radiant sea of light, encrypted information waves, a dynamic matrix of energy exchange. Our bioplasmic energy pulsates along with this matrix. Because it is ubiquitous, inside and outside, we are blind to it. It is the groundstate of our being. Transmodernity is the synthesis of modernity and postmodern philosophy, reflected in alchemical notions of transcendence, transformation and transmutation. It transcends the construction and deconstruction of recent historical eras by re-enchanting the post-Millennial world. So what might a chaos-informed Transmodern Alchemy look like? First and foremost our existential state space is in flux. We arise from an infinite ocean of quantum foam. Phenomena no longer correspond with old-paradigm frameworks. Anomalies, the strangest phenomena have the most to teach us.
Nonlinear Recursive Process Paradoxically, chaos is the essence of order. That order is inherent in and emerges from chaos. Dynamics has successfully explained many natural phenomena and been heralded as a new scientific paradigm. The quintessence is now found in nonlinear dynamics, the holographic field and the virtual vacuum of absolute space. Only when we comprehend the groundstate of being can we fathom reality. It fundamentally changes and deepens our alchemical and scientific notions about transformations in ourselves, matter, systems, patterns and structure.Psychology and neurology now recognize the psyche and brain as a dynamic dissipative system. Therapeutic techniques lead to reorganization of the individual at a higher level of order. Medicine realizes chaos is essential to health. Biophysics recognizes the primacy of light in life processes. The artworld recognizes the aesthetic appeal, rhythm and beauty of fractals. But the poetic science of alchemy made a workable theoretical and experimental system in which chaos was central centuries ago. Each era views nature from the paradigm of its time. Chaos Theory has been associated with every aspect of human behavior. Alchemy is an irreducible fusion of mysticism, science and art that also happens to be therapeutic or growth-promoting and tantalizingly hints at illumination. The process begins in nigredo, with doubts and lack of conviction but time spent on self-knowledge, experiments and spiritual exercises is amply rewarded. Chaos keeps the process fluid. Alchemy calls chaos the "universal solvent." Virtual Physics describes jitterbugging quantum subspace plasma as a superconducting superfluid.
Alchemy is a nonlinear organizational framework, a model to make sense of our experience, and a means of facilitating transformation. The universe without and within is our alchemical laboratory. The fire is kindled and stoked in the ‘magic theatre’ of the mind and the retort vessel of the body. Alchemy plants virtual fractal seeds in the gaps or intervals of consciousness. We are the portal for the fractal seed to unfold its liberating potential. But we must remain open.
Cosmic Zero The universe is the cosmic "parent fractal" of the microcosmic scale. Matter and consciousness share deep unity. The outer world we observe through our senses is nothing more than a consistent series of mental images that exists in our mind. Matter itself is an image in the mind, and mental images are the natural phenomena of consciousness. Mining the soul, we disassemble ourselves to reorganize in more refined form, reintegrating at a holistic level.
Alchemy calls Chaos the prima and ultima materia. The prima materia is ubiquitous, everywhere all the time. As we practice spiritual and practical alchemy, we come to understand the deep nature of chaos as the source of all transformative energy. In this chaosophical philosophy, all systems emerge from and eventually dissolve back into chaos. Solve et Coagula: Chaos is the essence of self-organization. Chaos Theory allows us to follow the Hermetic Spirit deep into the heart of matter and beyond into the subquantal realm in our quest for Nature's secrets. The undecomposable domain of Chaos is not an emptiness, but a rich, generative source -- a bornless nothingness from which all form
emerges.Consciousness, like creativity, is an emergent phenomenon patterned by strange attractors which govern the complexity of information in dynamic flow. Our consciousness appears co-temporaneously with our embodiment, creating the imaginal flux of representational and nonrepresentational perception - the stream of consciousness. The cosmic trinity of chaos, matter, and attraction appears at the heart of modern chaos theory and alchemy.
The Vedas identify all creative intent and substance as a manifestation of primal consciousness -- the basis of all manifestation. In this worldview, there is nothing but primordial consciousness. Complex dynamics is implicated in the energetic translation of "waves of unborn nothingness". Healing is the biological equivalent of creativity. The more complex a system, the more stable and self-correcting it is.
The objective (Sol, Frater) and subjective (Luna, Soror Mystica) are not divorced from one another, anymore than the left and right hemispheres of the brain. They marry in the mystic, in entanglement with Cosmos. Science adapted the artist’s sense that the detail of nature is significant. Like yin and yang, they rely on one another in a dynamic meld that transcends the tension of opposites. Synthesizing and transcending opposites is the theme of alchemy.
Truth of the Matter Alchemy, quantum mysticism and the holographic paradigm reveal the secrets of nature's subquantal realm. Metaphors are instructive. They are a Way of leaping the chasm between old and new knowledge, old and new ways of essential being. We can tap the source of creativity, healing and holistic restructuring through imagination and metaphor, including alchemical operations. They can be deeply transformative -- more than mere language. They are a technology for changing our behaviors, feelings, thoughts, and beliefs -- our spirit and soul.
Alchemy is a science-art, a tool to describe and mold reality using experimental and meditative techniques. As an art medium, alchemy helps us illustrate nature and our own nature in contemporary terms by creating new paradigms and environments. Matter has lost its central role in physics to dynamics. Alchemy can be informed by this new physics. There is aesthetic pleasure in finding likenesses between things once thought unalike. It gives a sense of richness and understanding. The creative mind looks for unexpected likenesses, through engagement of the whole person. Organic metaphors of quantum physics, field theory, and chaos theory illuminate the alchemical art.
The many theories of reality are the post-Millennial version of the alchemical peacock’s tail that heralds the beginnings of integration, the Unus Mundus -- the Grand Unified Theory or Theory of Everything in physics. The search for the Stone is a long rite of initiation, culminating in the cauda pavonis which signals the perfect transmutation. It is a dazzling synthesis of all qualities and elements much like rainbow colors unite as white light. The iridescent tail represents all the colors of light while the "eyes" symbolize all potential universes. The Peacock's Tail is the central part of the alchemical process. The myriad eyes in the tail suggest the highly-chromatic view includes multiple perspectives of imaginal vision. The kaleidoscopic vision is a metaphor for the spiritual rebirth that awakens the Third Eye and consciousness of the deeper subtle and field bodies. The universe informs our awareness and being. Sometimes the universal laws of nature lead us beyond ordinary science. Subjects in isolation don't provide enough to accurately describe our complex world. More disciplines, more tools, better technologies lead to best practice. In theoretics we build up and tear down relentlessly, questioning our own underpinnings, adhering to no stale theory: "Solve et Coagula."Since matter remains a paradox, our Work, comprehending the spirit of matter, means learning more than the Standard Theory of physics. Both orthodox and heterodox theories stimulate our imaginative and spiritual perception. Energy and information fields, not just genetics, drive human psychophysiology. Libido (psychic energy) drives the imagination. When we speak of Mercury, Sulphur and Salt, we mean our spiritual, energetic and physical bodies as well as the elements. Each theory adds another piece to the puzzle of existence and meaning, potentially leading to breakthrough on the bench or in consciousness. Such a brief, conceptual survey of alternate theories in physics cannot do them justice, but it can provide leads for further contemplation and research for the esoteric physics of lab work. We study the nature of being and our own being, the essence of inner reality. Consciousness is a timeless transformative force unfolding in nature. Alchemy, art and physics are complimentary modes of inquiry. Symbolic contemplation and interaction transform the material and immaterial self.
BODY OF LIGHT
The body of light is a spiritual term for the non-physical body associated with enlightenment. It is known by many names in different spiritual traditions, such as "the resurrection body" and "the glorified body" in Christianity, "the most sacred body" (wujud al-aqdas) and "supracelestial body" (jism asli haqiqi) in Sufism, "the diamond body" in Taoism and Vajrayana, "the light body" or "rainbow body" in Tibetan Buddhism, "the body of bliss" in Kriya Yoga, and "the immortal body" (soma athanaton) in Hermeticism.Enlightenment is not purely psychological; it is psychophysical, including the energy or subtle body. In the course of realizing full human potential, physical changes also occur, most dramatically in the later phases of the enlightenment process. In the final phase, according to various sacred traditions, the body is alchemically changed into light. Enlightenment becomes literally so, through the transubstantiation of flesh, blood, and bone into an immortal body of light. Through a combination of personal effort and divine grace, a person attains a deathless condition through the alchemical transmutation of his or her ordinary fleshly body. This transubstantiated body is called various names in the traditions, such as light body, solar body, diamond body, or resurrection body. (John White) www.wie.org/j21/white.asp
The radiant ground is the fundamental source beyond the boundary layer of quantum foam. Our healing task is to somehow realize this radiant image of the body in earth, to ground this body in its essential nature, which is the source of creativity and healing. It is precisely in the world, in life itself, that we experience compassion, wisdom, enlightenment. It is only our persistent rigid delusions to the contrary that prevents us from realizing it every moment.
Meditation masters speak of an inner Light that pervades the physical and energy bodies, and now science investigates it as biophotons, and through quantum physics we can watch that matter/energy/information devolve back into the unstructured void from which potential emanates.
Mystics have often equated this pervasive Light/Sound with primordial Consciousness and the source of life as well as matter. Quantum bioholography shows the DNA literally produces coherent light, which transduces to sound that directs the formative processes of life. Radiant energy is radiant energy. Whether we look outside into our environment or inside into ourselves we find primordial Light.
Biophotons are weak emissions of light radiated from the cells of all living things. The light is too faint to be seen by the naked eye, but biophotons have been detected and verified using photomultiplier tubes. Light is constantly being absorbed and remitted by DNA molecules within each cell's nucleus, creating a dynamic, coherent web of light. This system could be responsible for chemical reactions within the cells, cellular communication throughout the organism, and the overall regulation of the biological system, including embryonic development into a predetermined form.
Photonic Body is a biohologram projected by coherent light and sound. We arise from and are sustained by field phenomena, waves of biophotonic light and sound, which form our essential nature through acoustic holography This coherent light transduces itself into radio waves (holographic biophoton field), which carry sound as information that decodes the 4-D form as a material object. We also suspect chromosomes transform their genetic-sign laser radiations into broadband genetic-sign radio waves. The polarizations of chromosome laser photons are connected nonlocally and coherently to polarizations of radio waves. Thus, we have an explicit physical analogue for the traditional mystical apprehension of inner Light and the Audible Life Stream.
Sacred Light is generated internally by DMT, the spirit molecule. Meditation evokes pineal DMT release through EM vibrations. Visionary experience with symbolic or religious content gives way to dazzling light of illumination, reported in eastern and western religions.
In the Judeo-Christian tradition, it is called "the resurrection body " and "the glorified body." The prophet Isaiah said, "The dead shall live, their bodies shall rise" (Isa. 26:19). St. Paul called it "the celestial body" or "spiritual body " (soma pneumatikon) (I Corinthians 15:40). In Sufism it is called "the most sacred body " (wujud al-aqdas) and "supracelestial body " (jism asli haqiqi). In Taoism, it is called "the diamond body," and those who have attained it are called "the immortals" and "the cloudwalkers." In Tibetan Buddhism it is called "the light body." In Tantrism and some schools of yoga, it is called "the vajra body," "the adamantine body," and "the divine body." In Kriya yoga it is called "the body of bliss." In Vedanta it is called "the superconductive body." In Gnosticism and Neoplatonism, it is called "the radiant body."
In the alchemical tradition, the Emerald Tablet calls it "the Glory of the Whole Universe" and "the golden body." The alchemist Paracelsus called it "the astral body." In the Hermetic Corpus, it is called "the immortal body " (soma athanaton). In some mystery schools, it is called "the solar body." In Rosicrucianism, it is called "the diamond body of the temple of God." In ancient Egypt it was called "the luminous body or being" (ankh).
In Old Persia it was called "the indwelling divine potential" (fravashi or fravarti). In the Mithraic liturgy it was called "the perfect body " (soma teilion). In the philosophy of Sri Aurobindo, it is called "the divine body," composed of supramental substance. In the philosophy of Teilhard de Chardin, it is called "the ultrahuman."
The idea of the “Body of Light” often called the “Rainbow” or “Diamond Body” is the perfection of a vehicle for the exteriorization (projection), and continuation of consciousness beyond material reality. In Qabala, the astral body has access to three levels of consciousness, and then must be shed, or encounter the ‘Second Death” in order to penetrate the Veil, or Paroketh, to the next three levels of the “Thrice Born.”
DIAMOND AWARENESS
In this dynamic model there are no “things”, just energetic events. Light and sound (acoustic cymatics) modulate all matter. This “holoflux” includes the ultimately flowing nature of what is, and all possible forms. All the objects of our world are three-dimensional images formed of standing and moving waves by electromagnetic and nuclear processes. This is the guiding matrix for self-assembly, and manipulating and organizing physical reality. It is how our DNA creates and projects our psychophysical structure.
Our brains mathematically construct ‘concrete’ reality by interpreting frequencies from another dimension. This information realm of meaningful, patterned primary reality transcends time and space. Thus, the brain is an embedded hologram, interpreting a holographic universe. Supernal light emerges from this ground of being, both in the cosmos and our human brains and bodies.
All existence consists of embedded holograms within holograms, fractally embedded waves within waves of clear light. Their interrelatedness somehow gives rise to our existence and sensory images. When we embody this intimate wisdom, our bodies become temples of the living spirit.
Absolute space is the womb of creation and the physics of virtual photon fluctuation reflects not only Nature, but also our nature. Only now are we learning just how literal that experience of Light is, and the interactive mechanisms it engages in our holistic psychophysical Being
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It was #kubkar week with the @6thdundasscouts this week with Max’s racer, and Jack’s “Kubkeption” Kar featuring a race track design, on which a race track Kub Kar is racing! Thanks to Grandpa and Mom for their contributions! #recursive #scoutsdostuff
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