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THE

MAGIKALALPHABET

 

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THE PEARLY GATES OF CYBERSPACE

Margaret Wertheim

1

999

HYPERSPACE.

Page 187 (number omitted)

Chapter Five

Clearly. . . any real body must have extension in four dimensions: it must have Length, Breadth, Thickness, and Duration. But through a natural infirmity of the flesh, which I will explain to you in a moment, we incline to overlook this fact. There are really four dimensions, three which we call the three planes of Space, and a fourth, Time.l

Not unreasonably, one might imagine this encapsulation of the idea of four-dimensional spacetime to be a quote from Einstein. Yet it is not from any physicist; it was written in 1895, fully a decade before the first paper on special relativity, by the science fiction writer H. G. Wells. The statement is from the opening pages of Wells' classic novel, The Time Machine, wherein the hero of the story explains to his friends the concept of the fourth dimension and the possibility of time travel. At a time when Einstein was still at school dreaming about riding on light beams, Wells in his fiction was already exploring the consequences of a fourth / Page 188 / dimension. In addition to The Time Machine, characters in The Wonderful Visit, "The Plattner Story," and "The Remarkable Case of Davidson's Eyes" all venture into a mysterious extra dimension, there to encounter phenomena impossible in the everyday space of our experience.
Wells was by no means alone among late nineteenth- and early twentieth-century writers in his invocation of other dimensions. "The list of prominent figures" interested in the subject in-cludes Fyodor Dostoevsky, who referred to higher dimensions in The Brothers Karamazov; Joseph Conrad and Ford Madox Ford, whose novel The-Inheritors focused on a cruel race from the fourth dimension; and Oscar Wilde, who made this dimension the butt of his wit in The Canterville Ghost. 2
Artists too were inspired by the notion of a "higher" dimension. Long before relativity filtered into public consciousness, Cubist theoretical writings abounded with references to a fourth dimension, as did the writing of the Russian Futurists. Marcel Duchamp, Kasimir Malevich, and the American painter Max Weber-to name just a few-all went through periods of intense interest in higher dimensional space. So did the composers Aieksandr Scriabin and George Antheil. The fourth dimension also provided impetus to philosophers and mystics. As art historian Linda Dalrymple Henderson has noted, in the late nineteenth century "the 'fourth dimension' gave rise to entire idealist and even mystical philosophical systems."3 In fact, Henderson says, by the year 1900 "the fourth dimension had become almost a household word. . . Ranging from an ideal Platonic or Kantian realityor even Heaven-to the answer to all the problems puzzling contemporary science, the fourth dimension could be all things to all people."4
Although Einstein's name is the one now most often associated with the idea of a fourth dimension, the concept originally emerged in the mid-nineteenth century. The key impetus was the / Page 189 / development of non-Euclidian geometry. From the 1860s on, interest in tihis new geometry rapidly effervesced into a public fascinationl with higher -than-three-dimensional space - what came to be called "hyperspace." First explored by writers, artists, and mystically inclined philosophers, this seemingly fantastical concept would eventually give rise to an extraordinary new scientific vision of reality, one in which space itself would come to be seen as the ultimate substrate of all existence. Here, we are not just talking about the extra dimension of time, but also about extra spatial dimensions. In this chapter we explore the bizarre story of higher-dimensional space, from its humble beginnings in the mathematics bf the nineteenth century to its culmination today with physicists' vision of an eleven-dimensional universe.
The bizarre potential of higher-dimensional space was evident from the beginning. As early as the 1860s, the great mathematical genius Carl Friedrich Gauss (founder of the new geometry) had begun to think about spaces with four or more dimensions. Significantly, Gauss specifically speculated about the possibility of higher-dimensional beings. Since one cannot imagine a'greater-than-three-dimensional world directly, Gauss used an analogy of beings in a two-dimensional world. Here, he envisaged beings "like infinitely attenuated book-worms in an infinitely thin sheet of paper" creatures that would possess only the experience of two-dimensional space.5 Now just as we can imagine such beings in a lesser-dimensional space than our own, so Gauss suggested that we might also imagine beings living in a "space of four or a greater number of dimensions." What would such a space be like? What would be its properties? What would it be like to live there? Gauss wondered. Here were the seeds of a science fiction writer's dream-and sure enough, before long the literary responses came pouring in.
One of the earliest and most charming visions of higher dimensional space was penned in 1884 by the Englishman Edwin / Page 190 / Abbott. The theme of Abbott's tale is immediately signaled by its wonderful title, Flatland: A Romance of Many Dimensions by A "'Square. As the subtitle suggests, the hero of Abbott's adventure is a Square, a being who lives in a two-dimensional space known as "Flatland." In the planar universe of Flatland, a rigid hierarchy reigns. Females, the lowliest beings, are mere straight lines. Males, on the other hand, are regular polygons: squares, hexagons, octagons, and so on. Among males, the more sides one possesses, the higher one's social status. With only fours sides, squares rank at the bottom of the pecking order. Circlesl who are infinitely-sided polygons, stand at the top - they are the priests of Flatland. Within this two-dimensional world it is forbidden to talk about, or even to think about, a third dimension, for the idea of anything "higher" than a circle is heresy.
On the plane of Flatland our humble quadrilateral hero is minding his own business, when one night the quiet tenor of his
life is shattered by the visitation of a being from the "Land of Three Dimensions." This magnificent creature is none other than a Sphere, a three-dimensional circle! Even in his own world, this paragon of perfection is a lord among his people. In order to demonstrate the inconceivable wonder of the third dimension to the astonished Square, Lord Sphere lifts him up into this higherdimensional world to see for himself. What especially takes the Square's breath away is the glorious sight of the Cubes he finds there: three-dimensional versions of his own lowly form. So taken is the Square with the expansion of vision he encounters in the third dimension that he urges Lord Sphere onward and upward to higher dimensions still"

 

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6 SQUARE 81 27 9
7 SQUARES 100 28 1
6 SPHERE 71 35 8
7 SPHERES 90 63 9
5 WORLD 72 27 9
5 ROUND 72 27 9
4 BALL 27 9 9
3 SUN 54 9 9
3 GEO 27 18 9
7 CENTRIC 72 36 9
10 GEOCENTRIC 99 54 9
8 GEOMETRY 108 45 9
6 EUCLID 54 27 9

 

Page 191

"Take me to that blessed Region where. . . before my ravished eye a Cube, moving in some altogether new direction. . . shall create a still more prefect perfection than himself. . . . And once there, shall we stay our upward course? In that blessed region of Four Dimensions, shall we linger on the threshold of the Fifth, and not enter therein? Ah, no! Let us rather resolve that our ambition shall soar with our corporeal ascent. Then, yielding to our intellectual onset, the gates of the Sixth Dimension shall fly open, after that a Seventh, and then an Eighth. . ."6

 
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4 CUBE 31 13 4
3 EYE 35 17 8
1 I 9 9 9
2 ME 18 9 9
4 EYES 54 18 9
3 GEO 27 18 9
3 EGO 27 18 9
10 EGOCENTRIC 99 54 9
7 REALITY 90 36 9

 

Sadly, this "ascent" into higher-dimensional space is not to be, for Lord Sphere is as adamantly opposed to the idea of a fourth dimension as the Circles of Flatland are set against the third. In indignation the Sphere flings the Square back to his two dimensional world, where he is soon imprisoned for his heretical stories of a third dimension.
If Abbott's Square was unable to reach the fourth dimension, otller fictional characters had better luck. In The Time Machine H. G. Wells had equated the fourth dimension with time, but in other stories he followed Abbott's example and imagined it as an extra dimension of space. Just as a two-dimensional napkin can be folded within three-dimensional space by bringing together two distant corners, so too within a four-dimensional space two parts of three dimensional space can be "folded" together. This "folding" of
space was the device Wells used in his story "The Remarkable Case of Davidson's Eyes." By judicious folding within fourdimensional space, the hero Davidson is brought into contact with a faraway South Sea island, which he is now able to observe while sitting at home in London. In another of We lIs' forays into higherdimensional space, science teacher Gottfried Plattner is blown away by an explosion and returns from the fourth dimension with his body left-right reversed so that his heart is now on the righthand side, his liver is on the left, and so on.7

"For many writers, the fourth dimension would become a / Page 192 / .place of liberation and redemption, one with distinctly heavenly overtones. Such was the vision of Wells' French disciple Gaston de Pawlowski. In Pawlowski's Voyage to the Country of the Fourth Dimension (1912), he served up a ringing moral tale in which the ability to see and comprehend a fourth dimension saves mankind from scientistic hubris. Within the novel, history was divided into three eras. Beginning in the early twentieth century was what Pawlowski called the "Epoch of Leviathan," an age of rampant materialism and positivism. According to the author this era would culminate during the late twentieth century with a "scientific period" full of nameless horrors. Finally, salvation would come when the fourth dimension was revealed, initiating the "epoch of the Golden Bird." In this "idealist renaissance" man would apparently "raise himself forever above the vulgar world" of three dimensions and find himself in a "higher" realm of wisdom and cosmic unity. As Pawlowski explained: "The notion of the fourth dimension opens absolutely new horizons for us. It completes our comprehension of the world; it allows the definitive synthesis of our knowledge to be realized. . . . When one reaches the country of the fourth dimension. . . one finds [one ]self blended with the entire universe."8

Pawlowski's heavenly vision of the fourth dimension and his belief in its salvific properties would be widely reflected by others in the first decades of our century. A whole brand of what Henderson terms "hyperspace philosophy" would spring up, giv-ing rise to all manner of curious blendings of science and spiritu- ality. Ironically, the same kind of mathematics that Einstein would later use in the general theory of relativity has also served as a foundation for some of the most bizarre pseudoscientific specula-tions of our age.
Foremost among the new hyperspace philosophers was Englishman Charles Hinton. As a professional mathematician, Hinton taught at Princeton University and later worked for the / Page 193 / United States Naval Observatory and the U.S. Patent Office, but parallel to this orthodox professional life was a mystical under-belly in which he pursued a spiritual approach to the fourth di- mension. In A New Era of Thought (1888) Hinton outlined a system by which people could supposedly train themselves to be- come aware of the true four-dimensional nature of space. At the core of this system was a set of special colored blocks, the con-templation of which would supposedly break down restricting "self-elements" within the mind, thereby opening the doors of perception to the fourth dimension.
Hinton dreamed of bringing forth "a complete system of four-dimensional thought-mechanics, science and art,"9 but in truth he was interested less in the practical applications of the fourth dimension than in its spiritual and philosophical ramifica- tions. Here he was inspired by Plato's analogy of prisoners chained in a cave, doomed forever to see only the shadows of the "real" world outside.
For Hinton, our normal experience of three-dimensional space doomed us to see only the "shadows" of the "rea1" reality, which is four-dimensional. By becoming aware of this extra di-mension, he believed that Plato's realm of the ideal would be re-vealed. As the realm of the noumenon, the fourth dimension could also be seen, in Hintons view, as Kant's "thing-in-itself"
Hinton never realized his "complete system" of four-dimensional thought, but his philosophical interpretation of the fourth dimension would greatly influence later hyperspace thinkers. Among them was the Russian mystic Peter Demianovich Ouspensky. "In the idea of a spatial fourth dimension," says Henderson, "Ouspensky believed he had found an explanation for the 'enigmas of the world,' and with this knowledge he could offer mankind a new truth that would, like the gift of Prometheus, transform human existence."10

 
4 REAL 36 18 9
7 REALITY 90 36 9

 

"For Ouspensky, the fourth dimension was none other than / Page 194 / time. But according to him, in our everyday experience of this di-mension we are deceived. In truth, Ouspensky declared, time is just another dimension of space, and thus all motion is an illusion. According to Ouspensky, the real reality is a changeless four-dimensional stasis. Not just time and motion, but matter also is an illusion that people must overcome by learning to "see" anew. Not everyone, however, was mentally equipped for Ouspensky's four-dimensional vision. Those who are so gifted constitute a race of "supermen" with the power to realize what Ouspensky called "cosmic consciousness." In this final state of evolution, the new "supermen" will find themselves graced with "higher emotion, higher intellect, intuition, and mystical wisdom."11 In this realm, ordinary laws of mathematics and logic will be superseded by a new "logic of ecstasy." It was through just such an "intuitive logic" that Ouspensky proposed to prepare future supermen for the mys-tical revelation of the fourth dimension.
In Ouspensky's vision of the fourth dimension de we not detect distinct echoes of the medieval Christian Heaven? Just as in the Empyrean time was negated, subsumed into an eternal bliss- ful stasis, so also in Ouspensky's hyperspace realm we find our-selves in a state of ecstatic stasis. Here too in the fourth dimension, we are promised "higher emotion," "higher intellect," even "mys- tical wisdom." In such early twentieth-century visions of a fourth dimension we witness a recasting into scientific terms the old idea of a transcendent, heavenly domain.

Another hyperspace philosopher with even more overtly Christian leanings was the Rochester, New York, architect Claude Bragdon. It was Bragdon who organized the English translation of Ouspensky's work, and the two men immediately recognized kin-dred spirits in one another. In addition to Bragdon's more philo- sophical works, his oeuvre also included a curious littte religious title called Man the Square: A Higher Space Parable. Here, Brag-don used the analogy of a two-dimensional world (rather like / Page 195 / Abbott's Flatland), "to convey a message of love and harmony."12 As in Flatland, Bragdon's characters are also simple geo-
metric figures living on a flat surface (see Figure 5.1).As the story unfolds, however, we learn that all these figures are really cross sec-tions of cubes, tilted at different angles to their two-dimensional planar world (See Figure 5.2). Seen from the "higher" reality of three dimensions, the beings are not flat figures but hearty, solid cubes. At the end of the story, this higher-dimensional reality is demonstrated to the flatlanders by a "Christos cube," which reveals its true cubic nature by folding down its six sides to form the shape of a cross. In the logic of the story, what brings about disharmony in the two-dimensional world is that the cubes of the flatlanders are all tilted at odd angles to their plane. To reinstate harmony, the cubes need to be aligned upright so they are all "square" with their plane. The moral of the tale (of course) was that we too need to get ourselves properly aligned in our own higher space dimen-sion-i.e., the fourth.
Along with the supposedly philosophical and moral impli-cations of the fourth dimension, Bragdon was also interested in its aesthetic possibilities. "Consciousness is moving towards the con-quest of a new space," he wrote. "Ornament must indicate this movement of consciousness."13 To this end, Bragdon produced Projective Ornament, a book of images created by projecting four-dimensional figures onto two-dimensional surfaces. The result, as in Figures 5.3 and 5.4, was a kind of geometric Art Deco that was in truth, rather banal. Bragdon's imagery failed to precipitate the aesthetic revolution he was hoping for, but elsewhere real art- world heavyweights were looking to the fourth dimension for in-spiration. And some may even have taken cues from Bragdon's work..."

HYPERSPACE

Page 200

..."That Cubists and other modernist artists should be inter-ested in higher-dimensional space is hardly surprising, for a pri- mary thrust of early twentieth-century art was to break with the tradition of perspective. If it turned out that physical space was not in fact three-dimensional, then the rules of linear perspective would simply be arbitrary. The possibility of higher-dimensional space thus served a powerful rhetorical function for the nascent modems. Recognizing this explicitly, Gleizes and Metzinger stated in Du Cubism that "If we wished to tie the painter's space to a particular geometry, we should have to refer it to the non- Euclidean scholars."17
The painter who most seriously took up this challenge was Marcel Duchamp. Originally associated with the Cubists, Duchamp soon spun off onto his own peripatetic paths. Like Malevich, his most famous work was also inspired by the fourth di-mension. The Bride Stripped Bare by Her Bachelors, Even, often known as The Large Glass, is surely one of the most pondered-over
works in the modem canon; and this time we have extensive notes by the artist detailing the process of genesis. Specifically, we know that in preparing for this work Duchamp embarked on a study of non-Euclidian and higher-dimensional geometries. The end result of these efforts was a complex work divided into two distinct halves: in the top half is the "Bride," and in the bottom half the "Bachelor Apparatus." According to Duchamp's notes the Bride is supposed to be a four-dimensional entity, while the bachelors are three- dimensional. Floating above her retinue, this higher-space spouse hovers enigmatically in a world of her own.

Page 201
With all this artistic, literary, and mystical speculation about a fourth dimension, what delicious synchronicity when the theory of relativity suddenly;enshrined the concept in physical reality. Einstein's revelation of the fourth dimension seemed to many hy-perspace enthusiasts a confirmation of what they had known all along. The common thread running between the worlds of rela-tivistic physics and that of the writers and artists was of course the new mathematics of non-Euclidian geometry. Ironically, many of the new-math pioneers had themselves been driven to their radi-cal geometries by a scientific interest in the structure of physical space. To these men, Gauss included, their fantastical new geo-metries had originally evolved as tools for helping them to better understand the nature of the concrete physical world. Thus while they are generally remembered today as mathematicians, along with Einstein these men ought also to be recognized as pioneers in the physics of space.
In fact, the whole development of non-Euclidian geometry that Gauss initiated emerged out of his work on the measurement of the earth. Given that the literal meaning of the word "geome-try" is "earth measurement," this was particularly apt. In its origi-nal incarnation, the science of geometry had emerged from ancient Egyptian surveying of the Nile Delta. This ancient (i.e., Euclidian) geometry had only dealt with flat space, such as the surface of this page. On a large scale, however, the surface of the earth is spherical, and hence curved. Thus a study of the earth's surface ultimately requires a geometry of curved surfaces. Gauss' seminal papers on curved-space geometry were inspired by his stint as scientific advisor to a geodetic survey of the region of Hanover. "Once again," says Max Jammer, "we see that histori-cally viewed, abstract theories of space owe their existence to the practice of geodetic work."18
Humans had long known that the surface of our planet is curved, but what about the space in which our globe is embedded? / Page 202 / Might space itself be curved? For Newton and his contemporaries there had been no mathematical alternatives to Euclidian space so they had simply assumed that this was-the correct model for phys-ical space. But after Gauss' work on curved surfaces, he began to wonder if the assumption of a Euclidian universe was justified. In the early nineteenth century -long before Einstein was born- Gauss actually tried to measure the curvature of physical space. He did this by the ingenious method of surveying a triangle formed by three mountaintops. In Euclidian, or flat space, three angles of a triangle must add up to 180 degrees, but if the space is curved the angles will add up to something else. (To more than 180 if the space is "positively" curved, like a sphere, and less than 180 if it is "negatively" curved, like a saddle.) Since Gauss failed to find any deviation from 180 degrees, he concluded that at least in the vicin- ity of the earth, space must be Euclidian.
The later Russian mathematician, Nikolai Ivanovich Lobachevsky, would try a similar experiment but on a much larger scale. Instead of mountains, Lobachevsky used distant stars, yet still he found no deviation from flat space. Both Gauss and Lobachevsky concluded, based on the evidence available to them, that our local area of the universe was Euclidian, but both realized there was no reason why this must be the case. As Gauss pre-sciently put it: "In some future life, perhaps, we may have other ideas about space which, at present, are inaccessible to us "19
While Gauss and Lobachevsky pioneered the idea of curved space, later in the nineteenth century a brilliant young mathe-matician named Bernhard Riemann even considered the pos- sibility that gravity was a by-product of curvature in higher- dimensional space. While there is no doubt that Einstein thought up this concept for himself, it is worth noting that the idea had already been imagined more than half a century before. The young man responsible for this astonishing insight was a disciple of Gauss, and he remains one of the most underrated / Page 203 / visionaries in modern science. Today Riemann is generally re-membered as a pure mathematician, but what really interested this pathologically shy Austrian was the problem of how physical forces arise. Decades before Einstein's birth, Riemann became convinced that the explanation for gravity must lie in the geometry of space.
Thinking about the problem of physical forces, Riemann imagined a world not unlike Abbott's Flatland, in which a race of two-dimensional creatures were living on a flat sheet of paper. Now what would happen, Riemann asked, if we crumpled the paper? Because the creatures' bodies are embedded in the paper, they would not be able to see the wrinkles - to them their world would still look perfectly flat. Yet Riemann realized that even if the space looked flat, it would no longer behave as if it were flat. He ar-gued that when the creatures tried to move about in their two - dimensional world they would feel a mysterious unseen "force" whenever they hit one of the wrinkles, and they would no longer be able to move in straight lines.
Extrapolating this idea to our three-dimensional universe, Riemann imagined that our three-dimensional space was also "crumpled" in an unseen fourth dimension. Like the two-dimensional beings of the paper universe, he reasoned that al-though we could not see such "wrinkles" in the space around us, we too would experience them as invisible forces. From this bril-liant insight, Riemann concluded that gravity was "caused by the crumpling of our three-dimensional universe in the unseen fourth dimension."20 Having outlined his basic theme, this shy genius set about developing a mathematical language in which to express these ideas. The result of his labors was the new geometry that Ein-stein would eventually use in his general theory of relativity. "In retrospect," says physicist Michio Kaku, "we now see how close Riemann came to discovering the theory of gravity 60 years before Einstein."2l In one way or other, speculations about the physics of Flatland have had profound consequences for us all.

Page 204
Einstein's "discovery"-of a fourth dimension must surely rate as one of modem science's most amazing findings. With this dis-covery, man was now in a position (like the Square in Abbott's tale) to see his world from a new perspective. But as the Square said to Lord Sphere, why stop at four dimensions? With our vision thus expanded, might we too not "resolve that our ambition [should] soar" onward and upward to higher dimensions still? And since human beings are as naturally curious as Squares, indeed it was not long before someone began to dream about a fifth dimension. In the 1920s, a young Polish mathematician had the bright idea that if the force of gravity could be explained by the geometry of four-dimensional space, then perhaps he might be able to explain the electromagnetic force by the geometry of five- dimensional space. With this seeming science fiction fantasy begins one of the most curious episodes in the history of space.
If Riemann was a maverick in the history of science, Theodr Kaluza was decidedly an oddity. An obscure mathematician at the University of Konigsberg (in what is now Kaliningrad in the former Soviet Union), Kaluza was convinced that Einstein's approach to gravity could be expanded and enhanced. In particular, he wanted to apply Einstein's approach to the electromagnetic force-the force responsible for electricity, magnetism, and, light. Along with Riemann, in fact, Kaluza believed that electromagnetism must also be the result of curvature (or ripples) in a higher-dimensional space. But the problem Kaluza faced was that there did not seem to be any more dimensions left. With three of space and one of time, nature's stock seemed to be exhausted.
Yet Kaluza was not a man to be deterred by such prosaic objections. In an audacious move he simply rewrote Einstein's equations of general relativity in five dimensions. Lo and behold, when he did so it turned out that these five-dimensional equations contained within them the regular four-dimensional equations of relativity, plus an extra bit which turned out to be / Page 205 / precisely the equations of electromagnetism. In effect, Kaluza's five-dimensional theory consisted of two separate pieces that fit- ted together like a jigsaw puzzle-Einstein's theory of gravity and Maxwell's theory of.-.electromagnetism (the field equations of light).
Another way of understanding this "mathematical miracle," says physicist Paul Davies, is that "Kaluza showed that electro-magnetism is actually a form of gravity." Not the regular gravity of everyday physics, but "the gravity of an unseen [fifth] dimension of space."22 In 1919 Kaluza sent a paper on all this to Einstein. So stunned was the great physicist by the young Pole's radical addition of an extra dimension that like Lord Sphere in Abbott's Flatland, he was appalled. For two years Einstein apparently refused to an- swer Kaluza's letter. But the whole construction was so mathe-matically elegant he could not get it out of his mind, and finally in 1921 he became convinced of the importance of Kaluza's ideas and submitted the paper to a scientific journal.
Ironically, it was the very beauty of Kaluza's construction that so shook Einstein, and many other physicists. Was this five- dimensional space of Kaluza's "just a parlor trick? Or numerology? Or black magic?"23 It was all very well to propose that time was a fourth dimension (for that, after all, is a real aspect of our physical experience), but what on earth was this supposed fifth dimension? If Kaluza's equations were to be taken seriously-and not just as mathematical chicanery-then the awkward question arose: Where is this extra dimension? Why don't we see it?
To this query Kaluza had a disarmingly simple answer. He declared that the extra dimension is so small it escapes our normal attention. The reason we don't see, he said, it is because it is mi-croscopic. To understand this proposal, again it is helpful to resort to a lower-dimensional analogy. Imagine this time that you live on a line, what we might call Lineland, the one-dimensional sibling of Flatland. As a dot in this linear universe, you can travel up and / Page 206 / down your line, always remaining in a single dimension. Now suppose that one day a scientist in your Lineland announces she has discovered an extra dimension and that your universe is really two-dimensional. At first you think she is mad. Where is this other dimension? you ask. Why can't we see it? But then the scientist ex-plains that in fact you don't live on a line, but on a very thin hose. Each point of your line universe is not really a point, but a tiny circle, one so small that you never notited it. Taking this extra microscopic dimension into account, your world is not a line, but really a two-dimensional cylindrical surface.
This was the essence of Kaluza's explanation for his fifth di-mension. According to him, every point in our three dimensions of space is actually a tiny circle, so that in reality there are four di-mensions of space, plus one of time, making a total of five. In 1926 the Swedish physicist Oskar Klein made improvements to Kaluza's theory which enabled him to calculate the size of this tiny hidden dimension. According to Klein's calculations, it was no wonder we had not observed the extra direction because it is ab-solutely minute. Its circumference was just 10-32 centimeters-a hundred billion billion (102°) times smaller than the nucleus of an atom!
So small was Kaluza's dimension that even if we ourselves were the size of atoms we would still not notice it. Yet this tiny di-mension could be responsible for all electromagnetic radiation: light, radio waves, X rays, microwaves, infrared, and ultraviolet. A powerful punch indeed for something so small. Unfortunately, the Kaluza-Klein dimension was so small there was no way of measuring it directly. Even our largest accelerators today still cannot measure things on such a minute scale. So what then are
we to make of Kaluza's vision? Is this fifth dimension physically real? Or is it just an elegant mathematical fiction?
Kaluza himself insisted that the beauty of his theory could not "amount to the mere alluring play of a capricious accident."24

Page 207

He firmly believed in the reality of his fourth spatial dimension. He knew his tiny dimension could not be tested directly, so he de-cided instead to conduct an experiment of his own to test the gen-eral correspondence between theory and reality. The test case he chose was not anything from the realm of physics, but the art of swimming. As someone who could not swim, Kaluza decided he would learn all he could about the theory of swimming and when he had mastered that then he would test this theoretical framework against the reality of the sea. Giving himself over to the,project, he diligently studied all aspects of the aquatic art until finally he felt he was ready. Now, trunks in hand, the young Pole escorted his family to the seaside for the crucial test. With no prior experience, in front of the assembled Kaluza clan, Theodr hurled himself into the waves. . . and 10 and behold he could swim! Theory had been born out by practice in the real world. Could the tiny dimension also be there in the real world?"

 
4 REAL 36 18 9
5 WORLD 72 27 9
7 REALITY 90 36 9

 

"Unfortunately, if in Kaluza's own mind the swimming ex-periment supported a general correspondence between theory and reality, few others were willing to embrace the idea of an unseen and unmeasurable fifth dimension. Sadly, after an initial flurry of interest, the physics community turned away. Yet the startling el-egance of Kaluza's equations raised an uneasy question: How many dimensions of space are there really in the world around us?
As happens so often in the history of science, it was not in fact a new question. As long ago as the second century, Ptolemy had considered the matter and had argued that no more than three di-mensions are permitted in nature. Kant also had argued that three dimensions are inevitable. In this he could call upon the support a good deal of hard science. For instance it is well known that gravity and the electromagnetic force both obey "inverse square laws" - the strength of the force drops off according to the square of the distance. As early as 1747, "Kant recognized the deep con-nection between this law and the three-dimensionality of space."25

Page 208

" It turns out that in anything other than three dimensions, problems quickly arise with inverse square forces. For example, in four or more spatial dimensions, gravity would be so strong that planets would spiral into the sun; they would not be able to form stable orbits. Similarly, electrons would not be able to form stable orbits around nuclei.26 Hence atoms could not form. It can also be shown that in four spatial dimensions, waves cannot propagate cleanly. From these physical facts, Kant and others had concluded that we must live in a universe with just three spatial dimensions.
But all these arguments had assumed that any extra dimen- sions would be fully extended like the regular three. If an addi- tional dimension was tiny, however, it would not affect the regular functioning of gravity, electricity, and wave propagation. On the large scale, such a universe would operate as if there were just three dimensions; only on the microscopic scale would the extra one reveal itself. In other words, our universe could function prop-erly with five dimensions.
If Kaluza was right, and such a thing did exist, it would pack a very potent punch. "Viewed this way, there [would be] no forces at all, only warped five-dimensional geometry, with particles me-andering freely in a landscape of structured nothingness."27 It was a very beautiful idea, but for over half a century most physicists paid no more attention to Kaluza than to Hinton or Ouspensky, and the fifth dimension seemed little less than an oddity of math-ematical mysticism. Then suddenly in the 1980s that began to change when new developments in particle physics began to sug- gest that Kaluza might just be onto something.
By the 1980s, two new forces of nature had been discovered. In addition to gravity and electromagnetism, there was now the weak nuclear force and the strong nuclear force. These forces are what holds atomic nucleirogether, hence they are responsible for keeping matter stable. With these nuclear powers, the basic "forces of nature" had expanded in number from two to four. Today physi-/ Page 209 / cists feel confident that this set-gravity, electromagnetism, the weak force, and the strong force - represent the full complement of our physical universe. But what really began to excite them was the idea that all four might be just different aspects of a single overarching force-a kind of unifying super-force.
The idea of an underlying unity among all four forces of na-ture was so thrilling to many theoretical and particle physicists they were prepared to try anything to realize this vision. Many at-tempts were made to find a unifying theory, but after a decade of failure, they began to realize that desperate measures might be called for. At this point they began to look again at Kaluza. After all, he had been able to unify gravity and the electromagnetic force; perhaps his approach might be able to unify all four forces? Now, the idea of unseen hidden dimensions reared its head with a vengeance, for while Kaluza had been able to explain electro-magnetism by adding just one more dimension to Einstein's equa-tions, physicists found that in order to accommodate the weak and strong forces they had to add another six dimensions of space- bringing the total number of dimensions to eleven! As before, all these extra dimensions are microscopic-tiny little curled-up di-rections in space that can never be detected by human senses.
The picture that has emerged over the past decade is thus of an eleven-dimensional universe, with four extant, or large, di-mensions (three of space and one of time), and seven microscopic space dimensions all rolled up into some tiny complex geometric form. On the scale that we humans experience, the world is four-dimensional, but underneath, say these new "hyperspace" physi-cists, the "true" reality is eleven-dimensional. (Or, according to some of the latest theories, maybe ten-dimensional.)
Perhaps the most radical feature of this eleven-dimensional vision is the fact that it explains not only all the forces, but matter also, as a by-product of the geometry of space. In these extended Kaluza-Klein theories, matter too becomes nothing but ripples in / Page 210 / he fabric of hyperspace. Here, subatomic particles are also ex-plained by the properties of the seven curled-up dimensions. One of the major projects of theoretical physics over the past two decades has been to articulate precisely how the curling up of these extra spatial dimen~ions. occurs. Unfortunately there are an enormous number of possible topologies for a seven-dimensional space, and so far it has proved impossible to tease out which ones (if any) correspond to the real world we live in. Part of the prob- lem, again, is that all these dimensions are too tiny to be measured directly, so any such theories can only be tested indirectly-if at all. Nonetheless, hyperspace physicists are confident that they will find the correct one.
We have looked at how the curvature of space can produce the effect of physical forces such as gravity; let us consider now the even more radicatidea that the curvature of space may also be re- sponsible for matter. Forces such as gravity and magnetism (which travel through thin air) have always, in a sense, been closely allied with space, but how could matter - the concrete stuff of our flesh and bones-arise from the non-substance of space?
At first glance the whole notion seems absurd, but once again the idea of matter as ripples in space is actually quite old. As early as the 1870s Riemann's English disciple William Clifford de-livered an address to the Cambridge Philosophical Society "On the Space Theory of Matter."28 Taking Riemann's ideas further even than the master himself, Clifford put forward the view that particles of matter were just tiny kinks in the "fabric" of space. A more sophisticated version of the same idea arose early in our own century when physicists began to think about wormholes. Original interest in wormholes was not in the large-scale ones that would so excite science fiction writers, but in microscopic wormholes that might be associated with subatomic particles. A host of physics luminaries from Einstein to Hermann Weyl "wondered whether all fundamental particles might not actually be microscopic worm-/ Page 211 / holes."z9 In other words, just "the products of warped spacetime." Einstein in particular became obsessed with the notion that matter might be ripples in space, and he spent the last thirty years of his life trying to extend the equations of general relativity in this direction. He called this dream a "unified field theory" and his fail-ure to find such a theory was the greatest disappointment of his life. According to Kaku, "to Einstein the curvature of spacetime was like the epitome of Greek architecture, beautiful and serene."30 But he regarded matter as messy and ugly. He likened space to "marble" and matter to "wood," and he desperately wanted a theory that could transform ugly "wood" into beautiful "marble."
Neither Clifford nor Einstein had the mathematical tools to achieve the difficult synthesis of matter and space-above all they were trying to work with just four dimensions. Today physicists know that if matter is to be incorporated into the structure of space, it must be achieved with a higher-dimensional theory. In such a theory, matter, like force, would not be an independent en- tity, but a secondary by-product of the totalizing substrate of space. Here, everything that exists would be enfolded into the bosom of hyperspace. Theories that attempt to do this are sometimes known by the modest nickname "theories of everything," commonly re- ferred to as TOEs. In a successful TOE, every particle that exists would be described as a vibration in the microscopic manifold of the extra hidden dimensions. Objects would not be in space, they
would be space. Protons, petunias, and people - we would all be- come patterns in a multidimensional hyperspace we cannot even see. According to this conception of reality, our very existence as material beings would be an illusion, for in the final analysis there would be nothing but "structured nothingness."
With a hyperspatial "theory of everything" we thus reach the apogee of a movement that began in the late Middle Ages: The el-evation of space as an ontological category is now complete. As we / Page 212 / have seen, in the Aristotelian world picture, space was a very minor and unimportant category of reality-so unimportant that Aristo-tle didn't really have a theory of "space" per se but strictly speak-ing only a theory of "place." With the emergence of Newtonian physics in the seventeenth century, the status of space was raised so that along with matter and force it became one of three major categories of reality. Now, at the close of the twentieth century, space is becoming the only primary category of the scientific world picture. Matter and force, which in Newtonian physics were really above space in ontological status, have now been relegated to sec-ondary status, with space alone occupying the primary rung of the real. It is a little-remarked-upon feature of modem Western physics that one way of characterizing the enterprise is by the gradual as-cent of space in our existential scheme. The final triumph of this invisible, intangible entity to the ultimate essence of existence is surely one of the more curious features of any world picture.
Hyperspace physicists' intensely geometric vision of reality also marks the final chapter of the saga begun by Giotto and the geometer-painters of the Renaissance. Here in TOE physicists' equations would be the ultimate "perspective" picture of the world, a vision in which everything is refracted through the clari-fying prism of geometry. If, as Plato famously declared, "God ever geometrizes," here would be the last word on divine action. As the apotheosis of Roger Bacon's "geometric figuring," a hyper-spatial "theory of everything" would be, quite simply, a twenty- first-century realization of a thirteenth-century dream.
In another way also a "theory of everything" would be the ul-timate perspective picture of our universe, for this picture too has a single point from which the whole world-image originates. Physi- cists call it the big bang. According to hyperspace physics, at the initial split second of creation the entire universe was condensed into a microscopic point containing all matter, force, energy, and space. At this quintessential point, however, matter, force, energy, / Page 213 / nd space were not yet separated from one another, but were united in a single hyperspace substrate. In other words, at the split second of creation everything was folded within the all-embracing oneness of "pure" eleven-dimensional space. From this point of hyperspatial unity, the universe then unfolded.
As the single point from which the physicists' world picture originates, the big bang is a scientific equivalent of the perspective painters' "center of projection." It is the point at which all "lines" in the hyperspace universe converge. This is the place, then, where TOE physicists would dearly like to "stand." Just as the viewer of a perspective painting gets the most dramatic effect when standing in the place from which the artist constructed the image, so a hyperspace physicist could see his world picture most clearly if he "stood" at the cosmic center of projection-the big bang.
It is in search of this particular "point of view" that physicists build ever larger particle accelerators. The higher the energy one can generate in an accelerator, the closer one gets to "melting" to-gether the four separate forces, and thus the more one can see of the underlying hyperspatial unity. In a very real sense, particle ac-celerators are tools for exploring higher-dimensional space, and the final goal with such machines is to glimpse once more the ini-tial point of "pure" eleven-dimensional hyperspace. Physicists speak about this initial period of hyperspace unity as the time when there was "perfect symmetry" between all eleven dimen- sions. What they want to do is to glimpse for themselves this orig-inal perfect symmetry. Ironically, while artists long ago abandoned Renaissance aesthetics, those classical ideals of beauty live on in physicists' dream of a "theory of everything." Like the Renaissance painters, TOE physicists also hold mathematical symmetry as the highest aesthetic ideal. It is their dream, their goal, and, it has even been said, their "Holy Grail."..."

 
4
HOLY
 60 24 6
5
GRAIL
 47 29 2
9
-
 107 53 8
-
-
 1+0+7 5+3 -
9
-
 8 8 8
-
-
 - - -
-
-
 - - -
1
A
 1 1 1
4
HOLY
 60 24 6
4
GIRL
 46 28 1
2
IS
 28 10 1
11
Add
 135 63 9
1+1
Reduce
 1+3+5 6+3 -
2
Deduce
 9 9 9

 

 

DICTIONARY OF SCIENCE
Siegfried Mandel 1969

Page350

"Van de Graaff generator: a particle accelerator; to obtain high voltage, static electricity is generated and picked up at one end of the machine by a rubber belt and carried to the other end where it is collected in a large sphere."

 

 
 
THE ROOTS OF COINCIDENCE
Arthur Koestler

1972

Page 87

"Kammerere was particularly interested in temporal Series of recurrent events; these he regarded as cyclic processes which propagate themselves like waves along the time-axis of the space time continuum."

"Einstein gave a favourable opinion of the book; he called it "original and by no means absurd".* he may have remembered that the non- Page 88 / Euclidian geometries, invented by earlier mathematicians more or less as a game, provided the basis for his relativistic cosmology.

2

Another great physicist whose thoughts moved in a similar direction was Wolfgang Pauli.
At the end of the 1932 conference on nuclear physics in Copenhagen the participants, as was their custom on these occasions, performed a skit full of that quantum humour of which we have already had a few samples. In that particular year they produced a parody of Goethe's Faust, in which Wolfgang Pauli was cast in the role of Mephistopheles; his Gretchen was the neutrino, whose existence Pauli had predicted, but which had not yet been discovered.


MEPHISTOPHELES

(to Faust):

Beware, beware, of Reason and of Science
Man's highest powers, unholy in alliance.
You'll let yourself, through dazzling witchcraft yield
To weird temptations of the quantum field.
Enter Gretchen; she sings to Faust. Melody: "Gretchen at the Spinning Wheel" by Schubert.
GRETCHEN:

My rest-mass is zero
My charge is the same
You are my hero
Neutrino's my name."

 

 

DAILY MAIL

Monday, August 18 2003

Front Page

" 999 STORM"

"Anger as police take 2 1/2 hours to answer desperate home owner's emergency call"

THE

999

"system was under fire again last night after police took 2 1/2 hours to answer a call"

"The case comes in the wake of a string of a string of appalling 999 delays

"officers from the same force took three days to respond to a 999 call"

Page 2

" police take 2 1/2 hours to answer 999 alert"

"He rang 999 and was promised an immediate response"

"I could have pushed the panic button on the phone it might have had a better result than dialling 999"

 

 

DAILY MAIL

Thursday, October 7th 2004

Front Page

WHY BOTHER DIALLING

999

Page 12

"Police receive two 999 calls"

"asks for help more than 50 times"

"64 minutes after the first 999 call"

Page 13

"I dialled 999"

 

RAMAH II

Arthur C. Clarke & Gentry Lee 1989

Page179

"the Wakefield dossier"

"and Wakefield"

"Wakefield"

 

THE SUN

Saturday May 29th

Page 93

SUPERDAD
Chris is on  the March

By Julie Stott

Page 93

"CHRIS MARCH is getting shirty with twin sons Paul and David.
Devoted father Chris has followed his sons' careers religiously but the identical twins, 24, have threatened to tear his loyalties down the middle since joining different clubs.
So Chris has come up with the idea of having a two-way shirt espe- cially made for himself.
One half is made up of David's Wakefield Wildcats colours and the other half is Paul's Huddersfield Giants strip.
And Chris will be wearing it tomor- row when Giants host the Wildcats at the McAlpine Stadium.
Wildcats hooker and vice-captain David said: "Luckily we've both got the same squad number, so there is no problem there. Dad has the No 9 on the back and the name March above it and keeps us both happy."
Paul said: "When we play against each other mum and dad don't know who to cheer for."

"Dad has the No 9 on the back"

 

 

WAKEFIELD EXPRESS
Friday March 5th 2004


"ROOKIE officer PC999 Phil Jacobs met his' collar-number counterpart - and discovered they had the same surname too.
 In a bizarre coincidence 20-year-old Phil, of West Yorkshire Police, met PC 999 David Jacobs, who has been a North Yorkshire officer for more than 30 years, and realised they shared the same profession, name and famous number.
The veteran officer, who came to Wakefield to teach in the force's driver training school at Crofton, had a word of advice for his young namesake,
"Hand the number in," David joked. , "I heard the same jokes over and over again. A popular one was, 'What are you doing with your phone number on your shoulder?'
"Sometimes you just laugh it off and eventually your colleagues get sick of making jokes. But I stuck it for 30 years and they still remember me."
David, 51, spotted Phil's picture in West Yorkshire Police's internal magazine The Beat.
"I was snapped in an identical pose in the Police Review magazine as Phil was for his picture in The Beat almost 25 years later," he said.
David was front-page news in the national papers in 1980 when his quirky number was noticed and recent recruit Phil hit the headlines in December when he was given his collar number.
Phil, who will begin walking the beat in Wakefield next month after he finishes training, said: "It is such a coincidence and quite spooky that we both have the same name and unusual number. We're not related though."

 

"...999..." "...999..."

 

IN

MEMORIUM

WAKEFIELD EXPRESS
Friday March 5th 2004
OBITUARY NOTICES


DENISON , (Nee McTiernan)
NORAH ; On February 28 in Hospital after a short illness aged 93 years. Wife of the late Ernest,

beloved mother

of

Michael, David and John

and a loving grandma and friend.


Funeral Friday March 5th service at St Paul's Church, AIverthorpe at 9.45 am, followed by
internment in Wakefield Cemetery.

NORAH DENISON

Born 26 July 1910, died February 28th 2004

Rest In Peace

GOODNIGHT AND GOD BLESS DEAR MOTHER

 

 

Service of Thanksgiving

THE

HOLY BIBLE

Psalm

23

The LORD is my shepherd; I shall not want.

2
He maketh me to lie down in green pastures:
He leadeth me beside the still waters.

3
He restoreth my soul:
He leadeth me in the paths of
righteousness for his name's sake.

4
Yea, though I walk through the valley of the shadow of death,
I will fear no evil; For thou art with me;
Thy rod and thy staff they comfort me.

5
Thou preparest a table before me in the presence of mine enemies:
Thou anointest my head with oil;
My cup runneth over.

6
Surely goodness and mercy shall follow me all the days of my life:

And I will dwell in the house of the

LORD

forever.


Hymn

O Lord my God! when I in awesome wonder

Consider all the works Thy hand hath made,

I see the stars, I hear the mighty thunder,

Thy pow'r throughout the universe display'd:

Then sings my soul, my Saviour God, to thee,

How great thou art! How great thou art!

Then sings my soul, my Saviour God, to thee,

How great thou art ! How great thou art!

When through the woods and forest glades I wander

And hear the birds sing sweetly in the trees;

When I look down from lofty mountain grandeur,

And hear the brook, and feel the gentle breeze;

And when I think that God His Son not sparing,

Sent Him to die - I scarce can take it in.

That on the cross my burden gladly bearing,

He bled and died to take away my sin:

When Christ shall come with shout of acclamation

And take me home - what joy shall fill my heart!

Then shall I bow in humble adoration

And there proclaim, my God, how great Thou art!

HOW GREAT THOU ART MY GOD HOW GREAT THOU ART

OM

AUMMANIPADMEHUM

AZAZAZAZAZAZAZAZAZZAZAZAZAZAZAZAZAZA

 

 

4 REAL 36 18 9
7 REALITY 90 36 9
6 OXYGEN 90 36 9
7 SILICON 81 36 9
7 CARBONS 72 27 9

The Natural Remedy For The Relief Of Arthritis

Dr. Anton Robinson

Bodywell (no date)

"The treatments active ingredient was a metal present in the soil, found almost everywhere on earth. In fact, silicon is the second most abundant element on the planet, after oxygen. The dioxide of silicon (SiO2), called silica, is an extremely hard solid that constitutes over half of the Earth's crust. That explains why clay, which is essentially composed of hydrated aluminum silicates, has been used to treat rheumatic and other types of joint pain since time immemorial."

 

LIVING AT THE END OF THE WORLD

Marina Benjamin

JOSEPH SMITHS KINGDOM

Page 144

"Mormonism is currently the fastest-growing new religion in the modern world.Its subscribers number 10 million and rising, it continues to attract converts from across the globe at an astonishing rate of 900 per day"

 

 

BREWER'S

 DICTIONARY OF PHRASE AND FABLE

Ivor H Evans

1985

Page 785
"Nihilism (ni' hil izm) (Lat. nihil, nothing). The name given to an essentially philo-sophical and literary movement in Russia which questioned and protested against conventional and established values, etc. The term was popularized by Turgenev's novel Fathers and Sons (1862) and was subsequently confused with a kind of re-volutionary anarchism. Although nihil-ism proper was basically non-political, it strengthened revolutionary trends. The term was not new having long been ap-plied to negative systems of philosophy..."

Nile. The Egyptians used to say that the rising of the Nile was caused by the tears of ISIS. The feast of Isis was celebrated at the anniversary of the death of OSIRIS, when Isis was supposed to mourn for her husband..."

 

4 ISIS 56 20 2
6 OSIRIS 89 35 8
10
.
 145 55 10
1+0
.
 1+4+5

5+5

 1+0
1
.
 10 10 1
.
.
 1+0 1+0 .
1 . 1 1 1
.
.
.
.
.
.
.
.

.
.
4 NILE 40 22 4
4 LINE 40 22 4
8
.
 80 44 8
.
.
 8+0 . .
8
.
 8 8 8
.
.
 . . .
.
.
 . . .
. HALO . . .
2 HA 9 9 9
2 LO 27 9 9
4 HALO 36 18 9
.
.
 3+6 1+8 .
4 HALO 9 9 9

 

 

BREWER'S

 DICTIONARY OF PHRASE AND FABLE

Ivor H Evans

1985

Page 785

"Nimbus (Lat., a cloud). In Christian art a HALO of light placed round the head of an eminent personage. There are three forms: (1) Vesica piscis, or fish form (cp. ICHTHYS), used in representations of Christ and occasionally of the Virgin Mary, extending round the whole figure; (2) a circular halo; (3) radiated like a star or sun. The enrichments are: (1) for our Lord, a CROSS; (2) for the Virgin, a circlet of stars; (3) for ANGELS, a circlet of small rays, and an outer circle of quatrefoils; (4) the same for SAINTS and martyrs, but with the name often inscribed round the circumference; (5) for the Deity the rays diverge in a triangular direction. Nimbi / Page 786 / of a square form signify that the persons so represented were living when they were painted.
The nimbus was used by heathen nations long before painters Introduced it into sacred pictures of saints, the TRINITY, and the Virgin Mary. PROSER. PINE was represented with a nimbus; the Roman EMPERORS were also decorated in the same manner because they were divi.  Cpo AUREOLE."

"Nimrod. Any daring or outstanding hun-ter; from the "mighty hunter before the Lord" (Gen. x, 9 , which the TARGUM says means a "sinful hunting of the sons of men". Pope says of him, he was "a mighty hunter, and his prey was man" (Windsor Forest, 62); so also Milton inter-prets the phrase (Paradise Lost, XII, 24, etc.).
The legend is that the tomb of Nimrod still exists in Damascus, and that no dew ever falls upon it, even though all its sur-roundings are saturated..."


Nine. Nine, FIVE, THREE are mystical num-mbers-the DIAPASON, diapente, and dia-trion of the Greeks. Nine consists of a trinity of trinities. According to the Pythagoreans man is a full chord, or eight notes, and deity comes next. Three, being the TRINITY, represents a perfect unity; twice three is the perfect dual; and thrice three is the perfect plural. This explains why nine is a mystical number.
From ancient times the number nine has been held of particular significance. DEUCALION'S ark was tossed about for nine days when it stranded on the top of Mount PARNASSUS. There were nine MUSES, nine Gallicenae or virgin priest-esses of the ancient Gallic ORACLE; and Lars Porsena swore by nine gods.
NIOBE'S children lay nine days in their blood before they were buried; the HYDRA had nine heads; at the Lemuria, held by the Romans on 9, 11 , and 13 May, persons haunted threw black beans over their heads, pronouncing nine times the words: "Avaunt, ye spectres, from this house!" and the EXORCISM was complete (see Ovid's Fasti).
There were nine rivers of HELL, or, according to some accounts, the STYX en-compassed the infernal regions in nine circles; and Milton makes the gates of HELL "thrice three-fold", "three folds were brass, three iron, three of adaman-tine rock". They had nine folds, nine plates, and nine linings (Paradise Lost, II, 645).
VULCAN, when kicked from OLYMPUS, was nine days falling to the island of LEM- NOS; and when the fallen ANGELS were cast out of HEAVEN Milton says "Nine days they fell" (Paradise Lost, VI, 871).
In the early Ptolemaic system of astronomy, before the PRIMUM MOBILE was added, there were nine SPHERES; hence Milton, in his Arcades, speaks of

The celestial siren's harmony
That sat upon the nine enfolded spheres.

In Scandinavian mythology there were nine earths, HEL being the goddess of the ninth; there were nine worlds in NIFL-HElM, and ODIN'S ring dropped eight other rings every ninth night.
In folk-lore nine appears frequently.
The ABRACADABRA was worn nine days, and then flung into a river; in order to see the FAIRIES one is directed to put "nine grains of wheat on a four-leaved clover"; nine knots are made on black wool as a charm for a sprained ankle; if a servant fmds nine green peas in a peascod, she lays it on the lintel of the kitchen door, and the fIrst man that enters is to be her cavalier; to see nine magpies is most un-lucky; a cat has nine lives (see also CAT O'NINE TAILS); and the nine of Diamonds is known as the CURSE OF SCOTLAND.
The weird sisters in Shakespeare's Macbeth (I, ill) sang, as they danced round the cauldron, "Thrice to thine, and thrice to mine, and thrice again to make up nine"; and then declared "the charm wound up"; and we drink a Three- limes-three to those most highly hon-oured.
Leases are sometimes granted for 999 years, that is three times three-three-three.

Page 787

Many run for 99 years, the dual of a trinity of trinities.
See also the NINE POINTS OF THE LAW below, and the NINE WORTHIES under WORTHIES. There are nine orders of angels; in HERALDRY there are nine marks of cadency and nine different crowns recognized.
Dressed up to the nines. See DRESSED. Nine days' Queen. Lady Jane Grey. She was proclaimed queen in London on 10 July 1553; Queen Mary was proclaimed in London on 19 July.
Nine days' wonder. Something that causes a great sensation for a few days, and then passes into the LIMBO of things forgotten. An old proverb is: "A wonder lasts nine days, and then the puppy's eyes are open", alluding to dogs, which like cats, are born blind. As much as to say, the eyes of the public are blind in aston-ishment for nine days, but then their eyes are open, and they see too much to won-der any longer.

King: You'd think it strange if I should marry her. Gloster: That would be ten days' wonder, at the least. Clar.: That's a day longer than a wonder lasts.
SHAKESPEARE: Henry VI, Pt. III, III, ii.

The Nine First Fridays. In the ROMAN CATHOLIC CHURCH the special observ-ance of the first FRIDAY in each of nine consecutive months, marked by receiv-ing the EUCHARIST. The practice derives from St. Mary Alacoque (see SACRED
HEART under HEART), who held that Christ told her that special grace would be granted to those fulfilling this observ-ance.
Nine Men's Morris. See under MORRIS. Nine-tail bruiser. Prison slang for the CAT-O'-NINE-TAILS.
Nine tailors make a man. See TAILOR.
Nine times out of ten. Far more often] than not.
Possession is nine points of the law. It is every advantage a person can have short of actual right. The "nine points of the law" have been given as: (1) a good deal of money; (2) a good deal of patience; (3) a good cause; (4) a good lawyer; (5) a good ]
counsel; (6) good witnesses; (7) a good jury; (8) a good judge; and (9) good luck. To look nine ways. To squint.
Ninepence. Commendation Nine-pence. See COMMENDATION.
Nice as ninepence. A corruption of "Nice as nine-pins". In the game of nine- pins, the "men" are set in three rows with the utmost exactitude or nicety.
Nimble as ninepence. Silver ninepences were common till the year 1696, when all Unmilled coin was called in. These nine- pences were very pliable or "nimble", and, being bent, were given as love tokens, the usual formula of presentation being To my love, from my love. There is an old proverb, A nimble ninepence is bet-ter than a slow shilling.
Ninepence to a shilling. An old rustic phrase in the West of England meaning that the person referred to is deficient in common sense or intelligence.
Right as ninepence. Perfectly well; in perfect condition.
Ninus. Son of Belus, husband of SEMI-RAMIS, and the reputed builder of Nineveh. It is at his tomb that the lovers meet in the PYRAMUS and This be trav-esty:

Pyr.: Wilt thou at Ninny's tomb meet me straight- way?
This.: 'Tide life, 'tide death, I come without delay.
SHAKESPEARE: Midsummer Night's Dream, V, i.

 

5
 NIOBE

45

27

9
8
 TANTALUS
108
18
9
6
 LATONA
63
18
9
6
 APOLLO
71
26
8
7
 AMPHION
76
40
4
6
 THEBES
59
23
5

 

Niobe (ni' o be). The personification of maternal sorrow. According to Greek legend, Niobe, the daughter of TANTA-LUS and wife of AMPHION, King of THEBES, was the mother of fourteen chil-dren, and taunted LATONA because she had but two)-APOLLO and DIANA. Lato-na commanded her children to avenge the insult and they consequently de-stroyed Niobe's sons and daughters. Niobe, inconsolable, wept herself to death, and was changed into a stone, from which ran water, "Like Niobe, all tears" (SHAKESPEARE: Hamlet, I, ii).
The Niobe of Nations. So BYRON styles ROME, the "lone mother of dead empires", with "broken thrones and temples"; a "chaos of ruins"; a "desert where we steer stumbling o'er recollec-tions" (Childe Harold, iv, 79).

I

i i i i i i i i 

 

CASSELL'S ENGLISH DICTIONARY

1968

Page 775

"Nimrod (nim' rod) [the mighty hunter of Geo. x. 8-9], n. (fig.) A great hunter.
nincompoop (nin' k6m poop) [etym. unknown], no A noodle, a blockhead, a fool.
nine (nin) [A.-S. nigon (cp. Dut. mgen, G. neun, Icel. niu, L. novem, Gr. ennea, Sansk. navan)], a. Containing eight and one. n. The number com-posed of eight and one, 9, Ix; a card of nine pips. nine days' wonder: An event, person, or thing that is a novelty for the moment but ia soon for-gotten. nine times out often: Usually, generally. to the nines: To perfection, elaborately. the Nine: The Muses. nine-pins, n. A game with nine skittles set up to be bowled at, (Am. ten-pina). nine-tenths, n. (collq.) Nearly all. ninefold, a. Nine times repeated. nineteen, a. Containing one more than eighteen. n. The number representing this quantity, 19, xix. nineteen to the dozen: Volubly. nineteenth, a. nineteenth hole: (colloq. Golf) The clubhouse bar. ninety, a. Con-taining nine times ten. n. The number containing nine times ten, 90, xc; (pl.) the years between 89 and 100 in a century or a person's life. nine-tieth, a.

ninny (nin' i) [perh. imit., cpo Sp. nino, It. ninno, child], n. A fool, a simpleton.
ninon (ne' non) [F.~, no (Textiles) A aerni-diaphan- ous light silk material.
ninth (ninth) [NINE, -TH], a. Next after the eighth. n. One of nine equal parts; (Mus.) an interval of an octave and a second. ninthly, adu.
niobium (ni o' bi ium) [Niobe, daughter of Tantalus, -IUM], n. (Chern.) A metallic element occurring in tantalite etc. niobic (ni /I' bik), a. nioblte (ni' 6 bit), n. A niobic aalt; (Min.) a variety of tantalite.

Page 943

RAMADAN (ramadan') [Arab.(cp. Pers. and Turk.Ramazan), from ramada, to be hot], The ninth month of the Mohammedan year, the time of the great annual fast

 

7 RAMADAN - - -
4 RAMA 33 15 6
3 DAN 19 10 1
-   52 25 7
-   5+2 2+5 -
7 RAMADAN

52

 25 7
- - - - -
- - - - -
8 MOHAMMED 72 36 9
-   7+2 3+6 -
8 MOHAMMED 9 9 9
- - - - -
- - - - -
8 MOHAMMED - - -
3 M+O+H

36

 9 9
3 A+M+M

27

 9 9
2 E+D

9

 9 9
- MOHAMMED

72

 36 9
-   7+2 3+6 -
8 MOHAMMED 9 9 9
- - - - -
- - - - -
8 MOHAMMED - - -
- M+O 28 10 1
- H+A 9 9 9
- M+M 26 8 8
- E+D

9

 9 9
- MOHAMMED

72

 36 9
-   7+2 3+6 -
8 MOHAMMED 9 9 9
- - - - -
- - - - -
8 MOHAMMED - - -
- M 13 13 4
- O 15 15 6
- HA 9 9 9
- M 13 13 4
- M 13 13 4
- E+D 9 9 9
- MOHAMMED

72

 36 9
-   7+2 3+6 -
8 MOHAMMED 9 9 9

 

PEACE BE UPON HIM

 

10 NAMES OF GOD

99

 45 9

7

 MANKIND

66

 30 3

 

 

KEEPER OF GENESIS

A QUEST FOR THE HIDDEN LEGACY OF MANKIND

Robert Bauval Graham Hancock 1996

Page 254

"...Is there in any sense an interstellar Rosetta Stone? We believe there is a common language that all technical civilizations, no matter how different, must have.

That common language is science and mathematics.

The laws of Nature are the same everywhere:..."

Page 255

" In addition, though the monuments are enabled to 'speak' from the moment that their astronomical context is understood, we have also to consider the amazing profusion of funerary texts that have come down to us from all periods of Egyptian history - all apparently emanating from the same very few common sources5 As we have seen, these texts operate like 'software' to the monuments' 'hardware', charting the route that the Horus-King (and all other future seekers) must follow.

We recall a remark made by Giorgio de Santillana and Hertha von Dechend in Hamlet's Mill to the effect that the great strength of myths as vehicles for specific technical information is that they are capable of transmitting that information independently of the knowledge of individual story-tellers.6 In other words as long as a myth continues to be told true, it will also continue to transmit any higher message that may be concealed within its structure - even if neither the teller nor the hearer understands that message."

 

CHEIRO'S
BOOK OF NUMBERS
Circa 1926
Page106
"Shakespeare, that Prince of Philosophers, whose thoughts will adorn English litera-ture for all time, laid down the well-known axiom: There is a tide in the affairs of men which if taken at the flood, leads on to fortune." The question has been asked again and again, Is there some means of knowing when the moment has come to take the tide at the flood?
My answer to this question is that the Great Architect of the Universe in His Infinite Wisdom so created all things in such harmony of design that He endowed the human mind with some part of that omnipotent knowledge which is the attribute of the Divine Mind as the Creator of all.

 

 

HARMONIC 288
Bruce Cathie
1977

Page 95 ( Eight)


THE MEASURE OF LIGHT

"The search for this particular value was a lengthy one and the clue that led me finally to a possible solution was a study of the construction of the Grand Gallery. The height of the Gallery was the first indication that it was not just an elaborate access passage. Previous measurements made by scientific investigators pointed to some interesting possibilities."

Page 95

"The value that I calculated for length was extremely close to that of the one published in Davidson and Aldersmith's book, their value being 1836 inches,"
Page 95/97


"A search of my physics books revealed that 1836 was the closest approximation the scientists have calculated to the mass / ratio of the positive hydrogen ion, i.e. the proton, to the electron."
 

 
JUST SIX NUMBERS
Martin Rees
1
999
OUR COSMIC HABITAT

I
PLANETS STARS AND LIFE
Page 24
 
"A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' "
 
Page 24 / 25

"A manifestly artificial signal- even if it were as boring as lists of prime numbers, or the digits of 'pi' - would imply that 'intelli-gence' wasn't unique to the Earth and had evolved elsewhere. The nearest potential sites are so far away that signals would take many years in transit. For this reason alone, transmission would be primarily one-way. There would be time to send a measured response, but no scope for quick repartee!
Any remote beings who could communicate with us would have some concepts of mathematics and logic that paralleled our own. And they would also share a knowledge of the basic particles and forces that govern our universe. Their habitat may be very different (and the biosphere even more different) from ours here on Earth; but they, and their planet, would be made of atoms just like those on Earth. For them, as for us, the most important particles would be protons and electrons: one electron orbiting a proton makes a hydrogen atom, and electric currents and radio transmitters involve streams of electrons. A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' able and motivated to transmit radio signals. All the basic forces and natural laws would be the same. Indeed, this uniformity - without which our universe would be a far more baffling place - seems to extend to the remotest galaxies that astronomers can study. (Later chapters in this book will, however, speculate about other 'universes', forever beyond range of our telescopes, where different laws may prevail.)
Clearly, alien beings wouldn't use metres, kilograms or seconds. But we could exchange information about the ratios of two masses (such as thc ratio of proton and electron masses) or of two lengths, which are 'pure numbers' that don't depend on what units are used: the statement that one rod is ten times as long as another is true (or false) whether we measure lengths / in feet or metres or some alien units"

 

 

THE TUTANKHAMUN PROPHECIES
Maurice Cotterell

1

999

Page 195

"Anderson's Constitutions of the Freemasons (1723) comments:
. . . the finest structures of Tyre and Sidon could not be compared with the Eternal God's Temple at Jerusalem. . . there were employed 3,600 Princes, or 'Master Masons', to conduct the w,ork according to Solomon's directions, with 80,000 hewers of stone in the mountains ('Fellow Craftsmen'), and 70,000 labourers, in all 153,600, besides the levy under Adoniram to work in the mountains of Lebanon by turns with the Sidonians, viz 30,000 being in all 183,600."

"being in all 183,600."

 

 

THE TUTANKHAMUN PROPHECIES
Maurice Cotterell

1

999

Page 190

BEHIND THE WALL OF SILENCE
 "The holy number of sun-worshippers is 9, the highest number that can be reached before becoming one (10) with the creator. This is why Tutankhamun was entombed in nine layers of coffin. This is why the pyramid skirts of the two statues, guarding the entrance to the Burial Chamber, were triangular (base 3), when the all-seeing eye-skirt of Mereruka contained a pyramid skirt with a base of four sides. The message concealed here is that the 3 should be squared, which equals 9"   "The message concealed here is that the 3 should be squared, which equals 9"

 

 

THE JUPITER EFFECT
John Gribbin and Stephen Plagemann
1977
 Page 122
"Seventeen 'major historical earthquakes' are referred to in the report all of which occurred since
1836"

 

 

THE TUTANKHAMUN PROPHECIES
Maurice Cotterel

1

999


BEHIND THE WALL OF SILENCE

Page 190
 "The holy number of sun-worshippers is 9, the highest number that can be reached before becoming one (10) with the creator. This is why Tutankhamun was entombed in nine layers of coffin. This is why the pyramid skirts of the two statues, guarding the entrance to the Burial Chamber, were triangular (base 3), when the all-seeing eye-skirt of Mereruka contained a pyramid skirt with a base of four sides. The message concealed here is that the 3 should be squared, which equals 9"   "The message concealed here is that the 3 should be squared, which equals 9"

     

STEPHEN HAWKING

Quest for a theory of everything Kitty Ferguson 1991

Page 103

"The square root of 9 is three. So we know that the third side.' (line ends)   There are 13 words and the number 9 in the 33rd line down of page 103

 

 

THE BIOLOGY OF DEATH
Lyall Watson
1974

Page 49
"As long ago as 1836, in a Manual of Medical Jurisprudence, this was said: 'Individuals who are apparently destroyed in a sudden manner, by certain wounds, diseases or even decapi-tation, are not really dead, but are only in conditions incompat-ible with the persistence of life."

 

THE OTHER MAN
continues, weaving the thread of the gossamer web

 

 

THE

EIGHT

Katherine Neville

1988

"A QUEST WITH SOMETHING FOR EVERYONE"

Page 407 (number omitted)

THE CASTLE
Alice: It's a great huge game of chess that's being played all over the world. . . Oh what fun
                it is! How I wish I was one of them! I wouldn't mind being a Pawn, if only I
                might join - though of course I should like to be a Queen best.

Red Queen: That's easily managed. You can be the White Queen's Pawn if you like, as Lily's
                too young to play - and you're in the Second Square to begin with. When you
                get to the Eighth Square you'll be a Queen. . . .
Lewis CarrollThrough the Looking-Glass

 

 

DAILY MIRROR

Tuesday June 8, 2004

Jonathan Cainer

VENUS MAKES A PASS

THE TRANSIT OF VENUS ACROSS THE SUN

Page 26 / 27

"IF YOU'RE reading this before noon, there is a show that is out of this world happening over your head.Venus is passing in front of the face of  THE SUN.

Page 35

GAUTAMA SHAKYAMUNI SIDDARTHA 153 153 SIDDARTHA SHAKYAMUNI GAUTAMA

"So he issued from the womb as befits a Buddha."

"When born, he was so lustrous and stead-fast that it appeared as if the young son had come down to earth and yet, when people gazed at his dazling brilliance, he held their eyes like the moon. His limbs shone with the radiant hue of precious gold, and lit up the space all around. Instantly he walked seven steps, firmly and with long strides.

In that he was like the constellation of the seven seers. With the bearing of a lion he surveyed the four quarters, and spoke these words full of meaning for the future: 'For enlightenment I was born, for the good of all that lives. This is the last time that I have been born into this world of becoming."

MAITREYA, THE FUTURE BUDDHA

Page 237

"As the years pass, the impulse of the teachings of the Buddha Shakymuni gradually exhausts itself, and attention shifts to Maitreya, the coming Buddha who will appear in the future, after about 30,000 years or so. At present Maitreya is belived to reside in Tushita heaven, awaiting his last rebirth when the time is ripe."

 

4
LORD
49
22
4
8
MAITREYA
92
38
2
6
BUDDHA
40
22
4
18
First Total
181
82
10
1+8
Add to Reduce
1+8+1
8+2
1+0
9
Second Total
10
10
1
-
Reduce to Deduce
1+0
1+0
-
9
 Essence of Number
1
1
1

 

 

7
TUSHITA
98
26
8
6
HEAVEN
55
28
1
13
Add
153
54
9
1+3
Reduce
1+5+3
5+4
-
4
Deduce
9
9
9

 

 

4
LORD
49
22
4
8
AMITABHA
55
28
1
6
BUDDHA
40
22
4
18
LORD AMITABHA BUDDHA
144
72
9

 

 

SACRED BOOKS OF THE WORLD

A. C. Bouquet 1954

( vi)- Extract from.the Lotus Sutra (Mahayana)

Page 153

" I am the Tathagata, O ye gods and men! the Arhat, the perfectly enlightened one; having reached the shore myself, I carry others to the shore; being free, I make free; being comforted, I comfort; being perfectly at rest, I lead others to rest.
By my perfect wisdom I know both this world and the next, such as they really are I am-all knowing, all-seeing; Come to me, ye gods and men! hear the law. I am he who indicates the path, as knowing the path, being acquainted, with the path.

I shall refresh all beings whose bodies are withered, who are clogged to the triple world, I shall bring to felicity those that are pining away with toils, give them pleasures and final rest.

Hearken to me; ye hosts of gods and men approach to behold me: I am the Tathagata, the Lord, who has no superior, who appears in this world to save. To thousands of kotis of living beings I preach a.pure and most bright law that has but one scope, to wit, deliverance and rest.

I preach with ever the same voice, constantly taking enlightenment as my text. For this is equal for all; no partiality is in it, neither hatred nor affection. I am inexorable, bear no love nor hatred towards anyone, and proclaim the law towards anyone, and proclaim the law to all creatures without distinction, to the one as well as the other.

Page 154
I recreate the whole world like a cloud shedding its water without distinction; I have the same feelings for respectable people as for the low; for moral persons as for the immoral; for the depraved as for those who observe the rules of good conduct; for those who hold sectarian views and unsound tenets as for those whose views are sound and correct. I preach the law to the inferior in mental culture as well as to persons of superior understanding and extraordinary faculties; inaccessible to weariness, I spread in season the rain of the law."

 

THE

RAINBOW

OF

RA

 

 
10
NAMES OF GOD

99

 45 9
 
THOUGHT
99
 36 9
 
PUREST
99
 27 9
 
DIVINE
63
 36 9
 
LOVE
54
 18 9

 

 

SO RISES THAT SUN SO SETS THAT SON

  ORISIS THAT SON SO SETS THAT SON

ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

HEARETH THEE THINE INNER VOICE

THOUARTNOWENTERINGINTODEEPHYPNOTICTRANCEANDWILLBEGIVENTHESEAUTOSUGGESTIONS

WHICHWILLBECARRIEDOUTBYTHEMINDBYTHEBODYBYTHESUBCONSCIOUSMINDBYTHECONSCIOUS

MINDBYTHEHIGHERMINDALLCONTAINEDWITHINTHEQUINTESSENTIALMOMENTOFCREATIVE

CONSCIOUSNESSOFMINDESSENCETHESETHENARETHEAUTOSUGGESTIONSTHATDAYBYDAYANDIN

EVERYWAYTHATTHATTHATHOLYISISISDRAWETHTHEKUNDALINISPIRITENERGYFROMOUTTHEINOFHOLY

MOTHERWOMBGUIDEINGHERUPWARDSTHROUGHTHEROOTSPINEUNTOTHEFIRSTSECONDANDTHIRD

CHAKRAONTOTHEFOURTHFIFTH SIXTHANDSEVENTHCHAKRAINTOTHEEIGHTHANDNINTHCHAKRA

OFHIGHESTENLIGHTENMENTOFMINDESSENCETHETHOUSANDPETALLOTUSOFBUDDHAHOODAND

THEREINVOWTOCONTINUEDREAMINGTHEDREAMANDNOTENTERFINALLYINTOHIGHEST

ENLIGHTENMENTOFMINDESSENCEASLONGASSENTIENTBEINGSDREAMOUTTHEIRDESTINIESOR

THATGREATMOTHERTHATHOLYISISISDREAMETHTHATDREAMAWAYAUMMANIPADMEHUM 

AMEN

 

O

NAMUH

I

AM

YOU AND YOU

ARE ME WE ARE

THAT THAT THAT

ISISIS

YOU

I

EVERYTHING

ALL

ARE

CREATORS

HAPPY BIRTH DAY

O

NAMUH

THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE

HOW GREAT THOU ART HOW GREAT THOU ART

THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE

HOW GREAT THOU ART HOW GREAT THOU ART

 

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

 

THE

MAGIKALALPHABET

 

A
B
C
D
E
F
G
H
I
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
J
K
L
M
N
O
P
Q
R
10
11
12
13
14
15
16
17
18
1+0 1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
S
T
U
V
W
X
Y
Z
I
19
20
21
22
23
24
25
26
9
1+9 2+0 2+1 2+2 2+3 2+4 2+5 2+6
ME
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
=
ME
I
ME
I
ME
I
ME
1
9
18
9
18
9
18
9
18
9
=
1+8
=
1+8
=
1+8
=
1+8
=
=
9
=
9
=
9
=
9
=
I
ME
I
ME
I
ME
I
ME
1
9
9
9
9
9
9
9
9
9
I
ME
I
ME
I
ME
I
ME
1

 

 

A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
                  1+0 1+1 1+2 1+3 1+4 1+5 1+6 1+7 1+8 1+9 2+0 2+1 2+2 2+3 2+4 2+5 2+6
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
                                                   
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

 

 

THE PEARLY GATES OF CYBERSPACE

Margaret Wertheim

1

999

HYPERSPACE.

Page 187 (number omitted)

Chapter Five

Clearly. . . any real body must have extension in four dimensions: it must have Length, Breadth, Thickness, and Duration. But through a natural infirmity of the flesh, which I will explain to you in a moment, we incline to overlook this fact. There are really four dimensions, three which we call the three planes of Space, and a fourth, Time.l

Not unreasonably, one might imagine this encapsulation of the idea of four-dimensional spacetime to be a quote from Einstein. Yet it is not from any physicist; it was written in 1895, fully a decade before the first paper on special relativity, by the science fiction writer H. G. Wells. The statement is from the opening pages of Wells' classic novel, The Time Machine, wherein the hero of the story explains to his friends the concept of the fourth dimension and the possibility of time travel. At a time when Einstein was still at school dreaming about riding on light beams, Wells in his fiction was already exploring the consequences of a fourth / Page 188 / dimension. In addition to The Time Machine, characters in The Wonderful Visit, "The Plattner Story," and "The Remarkable Case of Davidson's Eyes" all venture into a mysterious extra dimension, there to encounter phenomena impossible in the everyday space of our experience.
Wells was by no means alone among late nineteenth- and early twentieth-century writers in his invocation of other dimensions. "The list of prominent figures" interested in the subject in-cludes Fyodor Dostoevsky, who referred to higher dimensions in The Brothers Karamazov; Joseph Conrad and Ford Madox Ford, whose novel The-Inheritors focused on a cruel race from the fourth dimension; and Oscar Wilde, who made this dimension the butt of his wit in The Canterville Ghost. 2
Artists too were inspired by the notion of a "higher" dimension. Long before relativity filtered into public consciousness, Cubist theoretical writings abounded with references to a fourth dimension, as did the writing of the Russian Futurists. Marcel Duchamp, Kasimir Malevich, and the American painter Max Weber-to name just a few-all went through periods of intense interest in higher dimensional space. So did the composers Aieksandr Scriabin and George Antheil. The fourth dimension also provided impetus to philosophers and mystics. As art historian Linda Dalrymple Henderson has noted, in the late nineteenth century "the 'fourth dimension' gave rise to entire idealist and even mystical philosophical systems."3 In fact, Henderson says, by the year 1900 "the fourth dimension had become almost a household word. . . Ranging from an ideal Platonic or Kantian realityor even Heaven-to the answer to all the problems puzzling contemporary science, the fourth dimension could be all things to all people."4
Although Einstein's name is the one now most often associated with the idea of a fourth dimension, the concept originally emerged in the mid-nineteenth century. The key impetus was the / Page 189 / development of non-Euclidian geometry. From the 1860s on, interest in tihis new geometry rapidly effervesced into a public fascinationl with higher -than-three-dimensional space - what came to be called "hyperspace." First explored by writers, artists, and mystically inclined philosophers, this seemingly fantastical concept would eventually give rise to an extraordinary new scientific vision of reality, one in which space itself would come to be seen as the ultimate substrate of all existence. Here, we are not just talking about the extra dimension of time, but also about extra spatial dimensions. In this chapter we explore the bizarre story of higher-dimensional space, from its humble beginnings in the mathematics bf the nineteenth century to its culmination today with physicists' vision of an eleven-dimensional universe.
The bizarre potential of higher-dimensional space was evident from the beginning. As early as the 1860s, the great mathematical genius Carl Friedrich Gauss (founder of the new geometry) had begun to think about spaces with four or more dimensions. Significantly, Gauss specifically speculated about the possibility of higher-dimensional beings. Since one cannot imagine a'greater-than-three-dimensional world directly, Gauss used an analogy of beings in a two-dimensional world. Here, he envisaged beings "like infinitely attenuated book-worms in an infinitely thin sheet of paper" creatures that would possess only the experience of two-dimensional space.5 Now just as we can imagine such beings in a lesser-dimensional space than our own, so Gauss suggested that we might also imagine beings living in a "space of four or a greater number of dimensions." What would such a space be like? What would be its properties? What would it be like to live there? Gauss wondered. Here were the seeds of a science fiction writer's dream-and sure enough, before long the literary responses came pouring in.
One of the earliest and most charming visions of higher dimensional space was penned in 1884 by the Englishman Edwin / Page 190 / Abbott. The theme of Abbott's tale is immediately signaled by its wonderful title, Flatland: A Romance of Many Dimensions by A "'Square. As the subtitle suggests, the hero of Abbott's adventure is a Square, a being who lives in a two-dimensional space known as "Flatland." In the planar universe of Flatland, a rigid hierarchy reigns. Females, the lowliest beings, are mere straight lines. Males, on the other hand, are regular polygons: squares, hexagons, octagons, and so on. Among males, the more sides one possesses, the higher one's social status. With only fours sides, squares rank at the bottom of the pecking order. Circlesl who are infinitely-sided polygons, stand at the top - they are the priests of Flatland. Within this two-dimensional world it is forbidden to talk about, or even to think about, a third dimension, for the idea of anything "higher" than a circle is heresy.
On the plane of Flatland our humble quadrilateral hero is minding his own business, when one night the quiet tenor of his
life is shattered by the visitation of a being from the "Land of Three Dimensions." This magnificent creature is none other than a Sphere, a three-dimensional circle! Even in his own world, this paragon of perfection is a lord among his people. In order to demonstrate the inconceivable wonder of the third dimension to the astonished Square, Lord Sphere lifts him up into this higherdimensional world to see for himself. What especially takes the Square's breath away is the glorious sight of the Cubes he finds there: three-dimensional versions of his own lowly form. So taken is the Square with the expansion of vision he encounters in the third dimension that he urges Lord Sphere onward and upward to higher dimensions still"

 

.
6 SQUARE 81 27 9
7 SQUARES 100 28 1
6 SPHERE 71 35 8
7 SPHERES 90 63 9
5 WORLD 72 27 9
5 ROUND 72 27 9
4 BALL 27 9 9
3 SUN 54 9 9
3 GEO 27 18 9
7 CENTRIC 72 36 9
10 GEOCENTRIC 99 54 9
8 GEOMETRY 108 45 9
6 EUCLID 54 27 9

 

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"Take me to that blessed Region where. . . before my ravished eye a Cube, moving in some altogether new direction. . . shall create a still more prefect perfection than himself. . . . And once there, shall we stay our upward course? In that blessed region of Four Dimensions, shall we linger on the threshold of the Fifth, and not enter therein? Ah, no! Let us rather resolve that our ambition shall soar with our corporeal ascent. Then, yielding to our intellectual onset, the gates of the Sixth Dimension shall fly open, after that a Seventh, and then an Eighth. . ."6

 
4 REAL 36 18 9
4 CUBE 31 13 4
3 EYE 35 17 8
1 I 9 9 9
2 ME 18 9 9
4 EYES 54 18 9
3 GEO 27 18 9
3 EGO 27 18 9
10 EGOCENTRIC 99 54 9
7 REALITY 90 36 9

 

Sadly, this "ascent" into higher-dimensional space is not to be, for Lord Sphere is as adamantly opposed to the idea of a fourth dimension as the Circles of Flatland are set against the third. In indignation the Sphere flings the Square back to his two dimensional world, where he is soon imprisoned for his heretical stories of a third dimension.
If Abbott's Square was unable to reach the fourth dimension, otller fictional characters had better luck. In The Time Machine H. G. Wells had equated the fourth dimension with time, but in other stories he followed Abbott's example and imagined it as an extra dimension of space. Just as a two-dimensional napkin can be folded within three-dimensional space by bringing together two distant corners, so too within a four-dimensional space two parts of three dimensional space can be "folded" together. This "folding" of
space was the device Wells used in his story "The Remarkable Case of Davidson's Eyes." By judicious folding within fourdimensional space, the hero Davidson is brought into contact with a faraway South Sea island, which he is now able to observe while sitting at home in London. In another of We lIs' forays into higherdimensional space, science teacher Gottfried Plattner is blown away by an explosion and returns from the fourth dimension with his body left-right reversed so that his heart is now on the righthand side, his liver is on the left, and so on.7

"For many writers, the fourth dimension would become a / Page 192 / .place of liberation and redemption, one with distinctly heavenly overtones. Such was the vision of Wells' French disciple Gaston de Pawlowski. In Pawlowski's Voyage to the Country of the Fourth Dimension (1912), he served up a ringing moral tale in which the ability to see and comprehend a fourth dimension saves mankind from scientistic hubris. Within the novel, history was divided into three eras. Beginning in the early twentieth century was what Pawlowski called the "Epoch of Leviathan," an age of rampant materialism and positivism. According to the author this era would culminate during the late twentieth century with a "scientific period" full of nameless horrors. Finally, salvation would come when the fourth dimension was revealed, initiating the "epoch of the Golden Bird." In this "idealist renaissance" man would apparently "raise himself forever above the vulgar world" of three dimensions and find himself in a "higher" realm of wisdom and cosmic unity. As Pawlowski explained: "The notion of the fourth dimension opens absolutely new horizons for us. It completes our comprehension of the world; it allows the definitive synthesis of our knowledge to be realized. . . . When one reaches the country of the fourth dimension. . . one finds [one ]self blended with the entire universe."8

Pawlowski's heavenly vision of the fourth dimension and his belief in its salvific properties would be widely reflected by others in the first decades of our century. A whole brand of what Henderson terms "hyperspace philosophy" would spring up, giv-ing rise to all manner of curious blendings of science and spiritu- ality. Ironically, the same kind of mathematics that Einstein would later use in the general theory of relativity has also served as a foundation for some of the most bizarre pseudoscientific specula-tions of our age.
Foremost among the new hyperspace philosophers was Englishman Charles Hinton. As a professional mathematician, Hinton taught at Princeton University and later worked for the / Page 193 / United States Naval Observatory and the U.S. Patent Office, but parallel to this orthodox professional life was a mystical under-belly in which he pursued a spiritual approach to the fourth di- mension. In A New Era of Thought (1888) Hinton outlined a system by which people could supposedly train themselves to be- come aware of the true four-dimensional nature of space. At the core of this system was a set of special colored blocks, the con-templation of which would supposedly break down restricting "self-elements" within the mind, thereby opening the doors of perception to the fourth dimension.
Hinton dreamed of bringing forth "a complete system of four-dimensional thought-mechanics, science and art,"9 but in truth he was interested less in the practical applications of the fourth dimension than in its spiritual and philosophical ramifica- tions. Here he was inspired by Plato's analogy of prisoners chained in a cave, doomed forever to see only the shadows of the "real" world outside.
For Hinton, our normal experience of three-dimensional space doomed us to see only the "shadows" of the "rea1" reality, which is four-dimensional. By becoming aware of this extra di-mension, he believed that Plato's realm of the ideal would be re-vealed. As the realm of the noumenon, the fourth dimension could also be seen, in Hintons view, as Kant's "thing-in-itself"
Hinton never realized his "complete system" of four-dimensional thought, but his philosophical interpretation of the fourth dimension would greatly influence later hyperspace thinkers. Among them was the Russian mystic Peter Demianovich Ouspensky. "In the idea of a spatial fourth dimension," says Henderson, "Ouspensky believed he had found an explanation for the 'enigmas of the world,' and with this knowledge he could offer mankind a new truth that would, like the gift of Prometheus, transform human existence."10

 
4 REAL 36 18 9
7 REALITY 90 36 9

 

"For Ouspensky, the fourth dimension was none other than / Page 194 / time. But according to him, in our everyday experience of this di-mension we are deceived. In truth, Ouspensky declared, time is just another dimension of space, and thus all motion is an illusion. According to Ouspensky, the real reality is a changeless four-dimensional stasis. Not just time and motion, but matter also is an illusion that people must overcome by learning to "see" anew. Not everyone, however, was mentally equipped for Ouspensky's four-dimensional vision. Those who are so gifted constitute a race of "supermen" with the power to realize what Ouspensky called "cosmic consciousness." In this final state of evolution, the new "supermen" will find themselves graced with "higher emotion, higher intellect, intuition, and mystical wisdom."11 In this realm, ordinary laws of mathematics and logic will be superseded by a new "logic of ecstasy." It was through just such an "intuitive logic" that Ouspensky proposed to prepare future supermen for the mys-tical revelation of the fourth dimension.
In Ouspensky's vision of the fourth dimension de we not detect distinct echoes of the medieval Christian Heaven? Just as in the Empyrean time was negated, subsumed into an eternal bliss- ful stasis, so also in Ouspensky's hyperspace realm we find our-selves in a state of ecstatic stasis. Here too in the fourth dimension, we are promised "higher emotion," "higher intellect," even "mys- tical wisdom." In such early twentieth-century visions of a fourth dimension we witness a recasting into scientific terms the old idea of a transcendent, heavenly domain.

Another hyperspace philosopher with even more overtly Christian leanings was the Rochester, New York, architect Claude Bragdon. It was Bragdon who organized the English translation of Ouspensky's work, and the two men immediately recognized kin-dred spirits in one another. In addition to Bragdon's more philo- sophical works, his oeuvre also included a curious littte religious title called Man the Square: A Higher Space Parable. Here, Brag-don used the analogy of a two-dimensional world (rather like / Page 195 / Abbott's Flatland), "to convey a message of love and harmony."12 As in Flatland, Bragdon's characters are also simple geo-
metric figures living on a flat surface (see Figure 5.1).As the story unfolds, however, we learn that all these figures are really cross sec-tions of cubes, tilted at different angles to their two-dimensional planar world (See Figure 5.2). Seen from the "higher" reality of three dimensions, the beings are not flat figures but hearty, solid cubes. At the end of the story, this higher-dimensional reality is demonstrated to the flatlanders by a "Christos cube," which reveals its true cubic nature by folding down its six sides to form the shape of a cross. In the logic of the story, what brings about disharmony in the two-dimensional world is that the cubes of the flatlanders are all tilted at odd angles to their plane. To reinstate harmony, the cubes need to be aligned upright so they are all "square" with their plane. The moral of the tale (of course) was that we too need to get ourselves properly aligned in our own higher space dimen-sion-i.e., the fourth.
Along with the supposedly philosophical and moral impli-cations of the fourth dimension, Bragdon was also interested in its aesthetic possibilities. "Consciousness is moving towards the con-quest of a new space," he wrote. "Ornament must indicate this movement of consciousness."13 To this end, Bragdon produced Projective Ornament, a book of images created by projecting four-dimensional figures onto two-dimensional surfaces. The result, as in Figures 5.3 and 5.4, was a kind of geometric Art Deco that was in truth, rather banal. Bragdon's imagery failed to precipitate the aesthetic revolution he was hoping for, but elsewhere real art- world heavyweights were looking to the fourth dimension for in-spiration. And some may even have taken cues from Bragdon's work..."

HYPERSPACE

Page 200

..."That Cubists and other modernist artists should be inter-ested in higher-dimensional space is hardly surprising, for a pri- mary thrust of early twentieth-century art was to break with the tradition of perspective. If it turned out that physical space was not in fact three-dimensional, then the rules of linear perspective would simply be arbitrary. The possibility of higher-dimensional space thus served a powerful rhetorical function for the nascent modems. Recognizing this explicitly, Gleizes and Metzinger stated in Du Cubism that "If we wished to tie the painter's space to a particular geometry, we should have to refer it to the non- Euclidean scholars."17
The painter who most seriously took up this challenge was Marcel Duchamp. Originally associated with the Cubists, Duchamp soon spun off onto his own peripatetic paths. Like Malevich, his most famous work was also inspired by the fourth di-mension. The Bride Stripped Bare by Her Bachelors, Even, often known as The Large Glass, is surely one of the most pondered-over
works in the modem canon; and this time we have extensive notes by the artist detailing the process of genesis. Specifically, we know that in preparing for this work Duchamp embarked on a study of non-Euclidian and higher-dimensional geometries. The end result of these efforts was a complex work divided into two distinct halves: in the top half is the "Bride," and in the bottom half the "Bachelor Apparatus." According to Duchamp's notes the Bride is supposed to be a four-dimensional entity, while the bachelors are three- dimensional. Floating above her retinue, this higher-space spouse hovers enigmatically in a world of her own.

Page 201
With all this artistic, literary, and mystical speculation about a fourth dimension, what delicious synchronicity when the theory of relativity suddenly;enshrined the concept in physical reality. Einstein's revelation of the fourth dimension seemed to many hy-perspace enthusiasts a confirmation of what they had known all along. The common thread running between the worlds of rela-tivistic physics and that of the writers and artists was of course the new mathematics of non-Euclidian geometry. Ironically, many of the new-math pioneers had themselves been driven to their radi-cal geometries by a scientific interest in the structure of physical space. To these men, Gauss included, their fantastical new geo-metries had originally evolved as tools for helping them to better understand the nature of the concrete physical world. Thus while they are generally remembered today as mathematicians, along with Einstein these men ought also to be recognized as pioneers in the physics of space.
In fact, the whole development of non-Euclidian geometry that Gauss initiated emerged out of his work on the measurement of the earth. Given that the literal meaning of the word "geome-try" is "earth measurement," this was particularly apt. In its origi-nal incarnation, the science of geometry had emerged from ancient Egyptian surveying of the Nile Delta. This ancient (i.e., Euclidian) geometry had only dealt with flat space, such as the surface of this page. On a large scale, however, the surface of the earth is spherical, and hence curved. Thus a study of the earth's surface ultimately requires a geometry of curved surfaces. Gauss' seminal papers on curved-space geometry were inspired by his stint as scientific advisor to a geodetic survey of the region of Hanover. "Once again," says Max Jammer, "we see that histori-cally viewed, abstract theories of space owe their existence to the practice of geodetic work."18
Humans had long known that the surface of our planet is curved, but what about the space in which our globe is embedded? / Page 202 / Might space itself be curved? For Newton and his contemporaries there had been no mathematical alternatives to Euclidian space so they had simply assumed that this was-the correct model for phys-ical space. But after Gauss' work on curved surfaces, he began to wonder if the assumption of a Euclidian universe was justified. In the early nineteenth century -long before Einstein was born- Gauss actually tried to measure the curvature of physical space. He did this by the ingenious method of surveying a triangle formed by three mountaintops. In Euclidian, or flat space, three angles of a triangle must add up to 180 degrees, but if the space is curved the angles will add up to something else. (To more than 180 if the space is "positively" curved, like a sphere, and less than 180 if it is "negatively" curved, like a saddle.) Since Gauss failed to find any deviation from 180 degrees, he concluded that at least in the vicin- ity of the earth, space must be Euclidian.
The later Russian mathematician, Nikolai Ivanovich Lobachevsky, would try a similar experiment but on a much larger scale. Instead of mountains, Lobachevsky used distant stars, yet still he found no deviation from flat space. Both Gauss and Lobachevsky concluded, based on the evidence available to them, that our local area of the universe was Euclidian, but both realized there was no reason why this must be the case. As Gauss pre-sciently put it: "In some future life, perhaps, we may have other ideas about space which, at present, are inaccessible to us "19
While Gauss and Lobachevsky pioneered the idea of curved space, later in the nineteenth century a brilliant young mathe-matician named Bernhard Riemann even considered the pos- sibility that gravity was a by-product of curvature in higher- dimensional space. While there is no doubt that Einstein thought up this concept for himself, it is worth noting that the idea had already been imagined more than half a century before. The young man responsible for this astonishing insight was a disciple of Gauss, and he remains one of the most underrated / Page 203 / visionaries in modern science. Today Riemann is generally re-membered as a pure mathematician, but what really interested this pathologically shy Austrian was the problem of how physical forces arise. Decades before Einstein's birth, Riemann became convinced that the explanation for gravity must lie in the geometry of space.
Thinking about the problem of physical forces, Riemann imagined a world not unlike Abbott's Flatland, in which a race of two-dimensional creatures were living on a flat sheet of paper. Now what would happen, Riemann asked, if we crumpled the paper? Because the creatures' bodies are embedded in the paper, they would not be able to see the wrinkles - to them their world would still look perfectly flat. Yet Riemann realized that even if the space looked flat, it would no longer behave as if it were flat. He ar-gued that when the creatures tried to move about in their two - dimensional world they would feel a mysterious unseen "force" whenever they hit one of the wrinkles, and they would no longer be able to move in straight lines.
Extrapolating this idea to our three-dimensional universe, Riemann imagined that our three-dimensional space was also "crumpled" in an unseen fourth dimension. Like the two-dimensional beings of the paper universe, he reasoned that al-though we could not see such "wrinkles" in the space around us, we too would experience them as invisible forces. From this bril-liant insight, Riemann concluded that gravity was "caused by the crumpling of our three-dimensional universe in the unseen fourth dimension."20 Having outlined his basic theme, this shy genius set about developing a mathematical language in which to express these ideas. The result of his labors was the new geometry that Ein-stein would eventually use in his general theory of relativity. "In retrospect," says physicist Michio Kaku, "we now see how close Riemann came to discovering the theory of gravity 60 years before Einstein."2l In one way or other, speculations about the physics of Flatland have had profound consequences for us all.

Page 204
Einstein's "discovery"-of a fourth dimension must surely rate as one of modem science's most amazing findings. With this dis-covery, man was now in a position (like the Square in Abbott's tale) to see his world from a new perspective. But as the Square said to Lord Sphere, why stop at four dimensions? With our vision thus expanded, might we too not "resolve that our ambition [should] soar" onward and upward to higher dimensions still? And since human beings are as naturally curious as Squares, indeed it was not long before someone began to dream about a fifth dimension. In the 1920s, a young Polish mathematician had the bright idea that if the force of gravity could be explained by the geometry of four-dimensional space, then perhaps he might be able to explain the electromagnetic force by the geometry of five- dimensional space. With this seeming science fiction fantasy begins one of the most curious episodes in the history of space.
If Riemann was a maverick in the history of science, Theodr Kaluza was decidedly an oddity. An obscure mathematician at the University of Konigsberg (in what is now Kaliningrad in the former Soviet Union), Kaluza was convinced that Einstein's approach to gravity could be expanded and enhanced. In particular, he wanted to apply Einstein's approach to the electromagnetic force-the force responsible for electricity, magnetism, and, light. Along with Riemann, in fact, Kaluza believed that electromagnetism must also be the result of curvature (or ripples) in a higher-dimensional space. But the problem Kaluza faced was that there did not seem to be any more dimensions left. With three of space and one of time, nature's stock seemed to be exhausted.
Yet Kaluza was not a man to be deterred by such prosaic objections. In an audacious move he simply rewrote Einstein's equations of general relativity in five dimensions. Lo and behold, when he did so it turned out that these five-dimensional equations contained within them the regular four-dimensional equations of relativity, plus an extra bit which turned out to be / Page 205 / precisely the equations of electromagnetism. In effect, Kaluza's five-dimensional theory consisted of two separate pieces that fit- ted together like a jigsaw puzzle-Einstein's theory of gravity and Maxwell's theory of.-.electromagnetism (the field equations of light).
Another way of understanding this "mathematical miracle," says physicist Paul Davies, is that "Kaluza showed that electro-magnetism is actually a form of gravity." Not the regular gravity of everyday physics, but "the gravity of an unseen [fifth] dimension of space."22 In 1919 Kaluza sent a paper on all this to Einstein. So stunned was the great physicist by the young Pole's radical addition of an extra dimension that like Lord Sphere in Abbott's Flatland, he was appalled. For two years Einstein apparently refused to an- swer Kaluza's letter. But the whole construction was so mathe-matically elegant he could not get it out of his mind, and finally in 1921 he became convinced of the importance of Kaluza's ideas and submitted the paper to a scientific journal.
Ironically, it was the very beauty of Kaluza's construction that so shook Einstein, and many other physicists. Was this five- dimensional space of Kaluza's "just a parlor trick? Or numerology? Or black magic?"23 It was all very well to propose that time was a fourth dimension (for that, after all, is a real aspect of our physical experience), but what on earth was this supposed fifth dimension? If Kaluza's equations were to be taken seriously-and not just as mathematical chicanery-then the awkward question arose: Where is this extra dimension? Why don't we see it?
To this query Kaluza had a disarmingly simple answer. He declared that the extra dimension is so small it escapes our normal attention. The reason we don't see, he said, it is because it is mi-croscopic. To understand this proposal, again it is helpful to resort to a lower-dimensional analogy. Imagine this time that you live on a line, what we might call Lineland, the one-dimensional sibling of Flatland. As a dot in this linear universe, you can travel up and / Page 206 / down your line, always remaining in a single dimension. Now suppose that one day a scientist in your Lineland announces she has discovered an extra dimension and that your universe is really two-dimensional. At first you think she is mad. Where is this other dimension? you ask. Why can't we see it? But then the scientist ex-plains that in fact you don't live on a line, but on a very thin hose. Each point of your line universe is not really a point, but a tiny circle, one so small that you never notited it. Taking this extra microscopic dimension into account, your world is not a line, but really a two-dimensional cylindrical surface.
This was the essence of Kaluza's explanation for his fifth di-mension. According to him, every point in our three dimensions of space is actually a tiny circle, so that in reality there are four di-mensions of space, plus one of time, making a total of five. In 1926 the Swedish physicist Oskar Klein made improvements to Kaluza's theory which enabled him to calculate the size of this tiny hidden dimension. According to Klein's calculations, it was no wonder we had not observed the extra direction because it is ab-solutely minute. Its circumference was just 10-32 centimeters-a hundred billion billion (102°) times smaller than the nucleus of an atom!
So small was Kaluza's dimension that even if we ourselves were the size of atoms we would still not notice it. Yet this tiny di-mension could be responsible for all electromagnetic radiation: light, radio waves, X rays, microwaves, infrared, and ultraviolet. A powerful punch indeed for something so small. Unfortunately, the Kaluza-Klein dimension was so small there was no way of measuring it directly. Even our largest accelerators today still cannot measure things on such a minute scale. So what then are
we to make of Kaluza's vision? Is this fifth dimension physically real? Or is it just an elegant mathematical fiction?
Kaluza himself insisted that the beauty of his theory could not "amount to the mere alluring play of a capricious accident."24

Page 207

He firmly believed in the reality of his fourth spatial dimension. He knew his tiny dimension could not be tested directly, so he de-cided instead to conduct an experiment of his own to test the gen-eral correspondence between theory and reality. The test case he chose was not anything from the realm of physics, but the art of swimming. As someone who could not swim, Kaluza decided he would learn all he could about the theory of swimming and when he had mastered that then he would test this theoretical framework against the reality of the sea. Giving himself over to the,project, he diligently studied all aspects of the aquatic art until finally he felt he was ready. Now, trunks in hand, the young Pole escorted his family to the seaside for the crucial test. With no prior experience, in front of the assembled Kaluza clan, Theodr hurled himself into the waves. . . and 10 and behold he could swim! Theory had been born out by practice in the real world. Could the tiny dimension also be there in the real world?"

 
4 REAL 36 18 9
5 WORLD 72 27 9
7 REALITY 90 36 9

 

"Unfortunately, if in Kaluza's own mind the swimming ex-periment supported a general correspondence between theory and reality, few others were willing to embrace the idea of an unseen and unmeasurable fifth dimension. Sadly, after an initial flurry of interest, the physics community turned away. Yet the startling el-egance of Kaluza's equations raised an uneasy question: How many dimensions of space are there really in the world around us?
As happens so often in the history of science, it was not in fact a new question. As long ago as the second century, Ptolemy had considered the matter and had argued that no more than three di-mensions are permitted in nature. Kant also had argued that three dimensions are inevitable. In this he could call upon the support a good deal of hard science. For instance it is well known that gravity and the electromagnetic force both obey "inverse square laws" - the strength of the force drops off according to the square of the distance. As early as 1747, "Kant recognized the deep con-nection between this law and the three-dimensionality of space."25

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" It turns out that in anything other than three dimensions, problems quickly arise with inverse square forces. For example, in four or more spatial dimensions, gravity would be so strong that planets would spiral into the sun; they would not be able to form stable orbits. Similarly, electrons would not be able to form stable orbits around nuclei.26 Hence atoms could not form. It can also be shown that in four spatial dimensions, waves cannot propagate cleanly. From these physical facts, Kant and others had concluded that we must live in a universe with just three spatial dimensions.
But all these arguments had assumed that any extra dimen- sions would be fully extended like the regular three. If an addi- tional dimension was tiny, however, it would not affect the regular functioning of gravity, electricity, and wave propagation. On the large scale, such a universe would operate as if there were just three dimensions; only on the microscopic scale would the extra one reveal itself. In other words, our universe could function prop-erly with five dimensions.
If Kaluza was right, and such a thing did exist, it would pack a very potent punch. "Viewed this way, there [would be] no forces at all, only warped five-dimensional geometry, with particles me-andering freely in a landscape of structured nothingness."27 It was a very beautiful idea, but for over half a century most physicists paid no more attention to Kaluza than to Hinton or Ouspensky, and the fifth dimension seemed little less than an oddity of math-ematical mysticism. Then suddenly in the 1980s that began to change when new developments in particle physics began to sug- gest that Kaluza might just be onto something.
By the 1980s, two new forces of nature had been discovered. In addition to gravity and electromagnetism, there was now the weak nuclear force and the strong nuclear force. These forces are what holds atomic nucleirogether, hence they are responsible for keeping matter stable. With these nuclear powers, the basic "forces of nature" had expanded in number from two to four. Today physi-/ Page 209 / cists feel confident that this set-gravity, electromagnetism, the weak force, and the strong force - represent the full complement of our physical universe. But what really began to excite them was the idea that all four might be just different aspects of a single overarching force-a kind of unifying super-force.
The idea of an underlying unity among all four forces of na-ture was so thrilling to many theoretical and particle physicists they were prepared to try anything to realize this vision. Many at-tempts were made to find a unifying theory, but after a decade of failure, they began to realize that desperate measures might be called for. At this point they began to look again at Kaluza. After all, he had been able to unify gravity and the electromagnetic force; perhaps his approach might be able to unify all four forces? Now, the idea of unseen hidden dimensions reared its head with a vengeance, for while Kaluza had been able to explain electro-magnetism by adding just one more dimension to Einstein's equa-tions, physicists found that in order to accommodate the weak and strong forces they had to add another six dimensions of space- bringing the total number of dimensions to eleven! As before, all these extra dimensions are microscopic-tiny little curled-up di-rections in space that can never be detected by human senses.
The picture that has emerged over the past decade is thus of an eleven-dimensional universe, with four extant, or large, di-mensions (three of space and one of time), and seven microscopic space dimensions all rolled up into some tiny complex geometric form. On the scale that we humans experience, the world is four-dimensional, but underneath, say these new "hyperspace" physi-cists, the "true" reality is eleven-dimensional. (Or, according to some of the latest theories, maybe ten-dimensional.)
Perhaps the most radical feature of this eleven-dimensional vision is the fact that it explains not only all the forces, but matter also, as a by-product of the geometry of space. In these extended Kaluza-Klein theories, matter too becomes nothing but ripples in / Page 210 / he fabric of hyperspace. Here, subatomic particles are also ex-plained by the properties of the seven curled-up dimensions. One of the major projects of theoretical physics over the past two decades has been to articulate precisely how the curling up of these extra spatial dimen~ions. occurs. Unfortunately there are an enormous number of possible topologies for a seven-dimensional space, and so far it has proved impossible to tease out which ones (if any) correspond to the real world we live in. Part of the prob- lem, again, is that all these dimensions are too tiny to be measured directly, so any such theories can only be tested indirectly-if at all. Nonetheless, hyperspace physicists are confident that they will find the correct one.
We have looked at how the curvature of space can produce the effect of physical forces such as gravity; let us consider now the even more radicatidea that the curvature of space may also be re- sponsible for matter. Forces such as gravity and magnetism (which travel through thin air) have always, in a sense, been closely allied with space, but how could matter - the concrete stuff of our flesh and bones-arise from the non-substance of space?
At first glance the whole notion seems absurd, but once again the idea of matter as ripples in space is actually quite old. As early as the 1870s Riemann's English disciple William Clifford de-livered an address to the Cambridge Philosophical Society "On the Space Theory of Matter."28 Taking Riemann's ideas further even than the master himself, Clifford put forward the view that particles of matter were just tiny kinks in the "fabric" of space. A more sophisticated version of the same idea arose early in our own century when physicists began to think about wormholes. Original interest in wormholes was not in the large-scale ones that would so excite science fiction writers, but in microscopic wormholes that might be associated with subatomic particles. A host of physics luminaries from Einstein to Hermann Weyl "wondered whether all fundamental particles might not actually be microscopic worm-/ Page 211 / holes."z9 In other words, just "the products of warped spacetime." Einstein in particular became obsessed with the notion that matter might be ripples in space, and he spent the last thirty years of his life trying to extend the equations of general relativity in this direction. He called this dream a "unified field theory" and his fail-ure to find such a theory was the greatest disappointment of his life. According to Kaku, "to Einstein the curvature of spacetime was like the epitome of Greek architecture, beautiful and serene."30 But he regarded matter as messy and ugly. He likened space to "marble" and matter to "wood," and he desperately wanted a theory that could transform ugly "wood" into beautiful "marble."
Neither Clifford nor Einstein had the mathematical tools to achieve the difficult synthesis of matter and space-above all they were trying to work with just four dimensions. Today physicists know that if matter is to be incorporated into the structure of space, it must be achieved with a higher-dimensional theory. In such a theory, matter, like force, would not be an independent en- tity, but a secondary by-product of the totalizing substrate of space. Here, everything that exists would be enfolded into the bosom of hyperspace. Theories that attempt to do this are sometimes known by the modest nickname "theories of everything," commonly re- ferred to as TOEs. In a successful TOE, every particle that exists would be described as a vibration in the microscopic manifold of the extra hidden dimensions. Objects would not be in space, they
would be space. Protons, petunias, and people - we would all be- come patterns in a multidimensional hyperspace we cannot even see. According to this conception of reality, our very existence as material beings would be an illusion, for in the final analysis there would be nothing but "structured nothingness."
With a hyperspatial "theory of everything" we thus reach the apogee of a movement that began in the late Middle Ages: The el-evation of space as an ontological category is now complete. As we / Page 212 / have seen, in the Aristotelian world picture, space was a very minor and unimportant category of reality-so unimportant that Aristo-tle didn't really have a theory of "space" per se but strictly speak-ing only a theory of "place." With the emergence of Newtonian physics in the seventeenth century, the status of space was raised so that along with matter and force it became one of three major categories of reality. Now, at the close of the twentieth century, space is becoming the only primary category of the scientific world picture. Matter and force, which in Newtonian physics were really above space in ontological status, have now been relegated to sec-ondary status, with space alone occupying the primary rung of the real. It is a little-remarked-upon feature of modem Western physics that one way of characterizing the enterprise is by the gradual as-cent of space in our existential scheme. The final triumph of this invisible, intangible entity to the ultimate essence of existence is surely one of the more curious features of any world picture.
Hyperspace physicists' intensely geometric vision of reality also marks the final chapter of the saga begun by Giotto and the geometer-painters of the Renaissance. Here in TOE physicists' equations would be the ultimate "perspective" picture of the world, a vision in which everything is refracted through the clari-fying prism of geometry. If, as Plato famously declared, "God ever geometrizes," here would be the last word on divine action. As the apotheosis of Roger Bacon's "geometric figuring," a hyper-spatial "theory of everything" would be, quite simply, a twenty- first-century realization of a thirteenth-century dream.
In another way also a "theory of everything" would be the ul-timate perspective picture of our universe, for this picture too has a single point from which the whole world-image originates. Physi- cists call it the big bang. According to hyperspace physics, at the initial split second of creation the entire universe was condensed into a microscopic point containing all matter, force, energy, and space. At this quintessential point, however, matter, force, energy, / Page 213 / nd space were not yet separated from one another, but were united in a single hyperspace substrate. In other words, at the split second of creation everything was folded within the all-embracing oneness of "pure" eleven-dimensional space. From this point of hyperspatial unity, the universe then unfolded.
As the single point from which the physicists' world picture originates, the big bang is a scientific equivalent of the perspective painters' "center of projection." It is the point at which all "lines" in the hyperspace universe converge. This is the place, then, where TOE physicists would dearly like to "stand." Just as the viewer of a perspective painting gets the most dramatic effect when standing in the place from which the artist constructed the image, so a hyperspace physicist could see his world picture most clearly if he "stood" at the cosmic center of projection-the big bang.
It is in search of this particular "point of view" that physicists build ever larger particle accelerators. The higher the energy one can generate in an accelerator, the closer one gets to "melting" to-gether the four separate forces, and thus the more one can see of the underlying hyperspatial unity. In a very real sense, particle ac-celerators are tools for exploring higher-dimensional space, and the final goal with such machines is to glimpse once more the ini-tial point of "pure" eleven-dimensional hyperspace. Physicists speak about this initial period of hyperspace unity as the time when there was "perfect symmetry" between all eleven dimen- sions. What they want to do is to glimpse for themselves this orig-inal perfect symmetry. Ironically, while artists long ago abandoned Renaissance aesthetics, those classical ideals of beauty live on in physicists' dream of a "theory of everything." Like the Renaissance painters, TOE physicists also hold mathematical symmetry as the highest aesthetic ideal. It is their dream, their goal, and, it has even been said, their "Holy Grail."..."

 
4
HOLY
 60 24 6
5
GRAIL
 47 29 2
9
-
 107 53 8
-
-
 1+0+7 5+3 -
9
-
 8 8 8
-
-
 - - -
-
-
 - - -
1
A
 1 1 1
4
HOLY
 60 24 6
4
GIRL
 46 28 1
2
IS
 28 10 1
11
Add
 135 63 9
1+1
Reduce
 1+3+5 6+3 -
2
Deduce
 9 9 9

 

 

DICTIONARY OF SCIENCE
Siegfried Mandel 1969

Page350

"Van de Graaff generator: a particle accelerator; to obtain high voltage, static electricity is generated and picked up at one end of the machine by a rubber belt and carried to the other end where it is collected in a large sphere."

 

 
 
THE ROOTS OF COINCIDENCE
Arthur Koestler

1972

Page 87

"Kammerere was particularly interested in temporal Series of recurrent events; these he regarded as cyclic processes which propagate themselves like waves along the time-axis of the space time continuum."

"Einstein gave a favourable opinion of the book; he called it "original and by no means absurd".* he may have remembered that the non- Page 88 / Euclidian geometries, invented by earlier mathematicians more or less as a game, provided the basis for his relativistic cosmology.

2

Another great physicist whose thoughts moved in a similar direction was Wolfgang Pauli.
At the end of the 1932 conference on nuclear physics in Copenhagen the participants, as was their custom on these occasions, performed a skit full of that quantum humour of which we have already had a few samples. In that particular year they produced a parody of Goethe's Faust, in which Wolfgang Pauli was cast in the role of Mephistopheles; his Gretchen was the neutrino, whose existence Pauli had predicted, but which had not yet been discovered.


MEPHISTOPHELES

(to Faust):

Beware, beware, of Reason and of Science
Man's highest powers, unholy in alliance.
You'll let yourself, through dazzling witchcraft yield
To weird temptations of the quantum field.
Enter Gretchen; she sings to Faust. Melody: "Gretchen at the Spinning Wheel" by Schubert.
GRETCHEN:

My rest-mass is zero
My charge is the same
You are my hero
Neutrino's my name."

 

 

DAILY MAIL

Monday, August 18 2003

Front Page

" 999 STORM"

"Anger as police take 2 1/2 hours to answer desperate home owner's emergency call"

THE

999

"system was under fire again last night after police took 2 1/2 hours to answer a call"

"The case comes in the wake of a string of a string of appalling 999 delays

"officers from the same force took three days to respond to a 999 call"

Page 2

" police take 2 1/2 hours to answer 999 alert"

"He rang 999 and was promised an immediate response"

"I could have pushed the panic button on the phone it might have had a better result than dialling 999"

 

 

DAILY MAIL

Thursday, October 7th 2004

Front Page

WHY BOTHER DIALLING

999

Page 12

"Police receive two 999 calls"

"asks for help more than 50 times"

"64 minutes after the first 999 call"

Page 13

"I dialled 999"

 

RAMAH II

Arthur C. Clarke & Gentry Lee 1989

Page179

"the Wakefield dossier"

"and Wakefield"

"Wakefield"

 

THE SUN

Saturday May 29th

Page 93

SUPERDAD
Chris is on  the March

By Julie Stott

Page 93

"CHRIS MARCH is getting shirty with twin sons Paul and David.
Devoted father Chris has followed his sons' careers religiously but the identical twins, 24, have threatened to tear his loyalties down the middle since joining different clubs.
So Chris has come up with the idea of having a two-way shirt espe- cially made for himself.
One half is made up of David's Wakefield Wildcats colours and the other half is Paul's Huddersfield Giants strip.
And Chris will be wearing it tomor- row when Giants host the Wildcats at the McAlpine Stadium.
Wildcats hooker and vice-captain David said: "Luckily we've both got the same squad number, so there is no problem there. Dad has the No 9 on the back and the name March above it and keeps us both happy."
Paul said: "When we play against each other mum and dad don't know who to cheer for."

"Dad has the No 9 on the back"

 

 

WAKEFIELD EXPRESS
Friday March 5th 2004


"ROOKIE officer PC999 Phil Jacobs met his' collar-number counterpart - and discovered they had the same surname too.
 In a bizarre coincidence 20-year-old Phil, of West Yorkshire Police, met PC 999 David Jacobs, who has been a North Yorkshire officer for more than 30 years, and realised they shared the same profession, name and famous number.
The veteran officer, who came to Wakefield to teach in the force's driver training school at Crofton, had a word of advice for his young namesake,
"Hand the number in," David joked. , "I heard the same jokes over and over again. A popular one was, 'What are you doing with your phone number on your shoulder?'
"Sometimes you just laugh it off and eventually your colleagues get sick of making jokes. But I stuck it for 30 years and they still remember me."
David, 51, spotted Phil's picture in West Yorkshire Police's internal magazine The Beat.
"I was snapped in an identical pose in the Police Review magazine as Phil was for his picture in The Beat almost 25 years later," he said.
David was front-page news in the national papers in 1980 when his quirky number was noticed and recent recruit Phil hit the headlines in December when he was given his collar number.
Phil, who will begin walking the beat in Wakefield next month after he finishes training, said: "It is such a coincidence and quite spooky that we both have the same name and unusual number. We're not related though."

 

"...999..." "...999..."

 

IN

MEMORIUM

WAKEFIELD EXPRESS
Friday March 5th 2004
OBITUARY NOTICES


DENISON , (Nee McTiernan)
NORAH ; On February 28 in Hospital after a short illness aged 93 years. Wife of the late Ernest,

beloved mother

of

Michael, David and John

and a loving grandma and friend.


Funeral Friday March 5th service at St Paul's Church, AIverthorpe at 9.45 am, followed by
internment in Wakefield Cemetery.

NORAH DENISON

Born 26 July 1910, died February 28th 2004

Rest In Peace

GOODNIGHT AND GOD BLESS DEAR MOTHER

 

 

Service of Thanksgiving

THE

HOLY BIBLE

Psalm

23

The LORD is my shepherd; I shall not want.

2
He maketh me to lie down in green pastures:
He leadeth me beside the still waters.

3
He restoreth my soul:
He leadeth me in the paths of
righteousness for his name's sake.

4
Yea, though I walk through the valley of the shadow of death,
I will fear no evil; For thou art with me;
Thy rod and thy staff they comfort me.

5
Thou preparest a table before me in the presence of mine enemies:
Thou anointest my head with oil;
My cup runneth over.

6
Surely goodness and mercy shall follow me all the days of my life:

And I will dwell in the house of the

LORD

forever.


Hymn

O Lord my God! when I in awesome wonder

Consider all the works Thy hand hath made,

I see the stars, I hear the mighty thunder,

Thy pow'r throughout the universe display'd:

Then sings my soul, my Saviour God, to thee,

How great thou art! How great thou art!

Then sings my soul, my Saviour God, to thee,

How great thou art ! How great thou art!

When through the woods and forest glades I wander

And hear the birds sing sweetly in the trees;

When I look down from lofty mountain grandeur,

And hear the brook, and feel the gentle breeze;

And when I think that God His Son not sparing,

Sent Him to die - I scarce can take it in.

That on the cross my burden gladly bearing,

He bled and died to take away my sin:

When Christ shall come with shout of acclamation

And take me home - what joy shall fill my heart!

Then shall I bow in humble adoration

And there proclaim, my God, how great Thou art!

HOW GREAT THOU ART MY GOD HOW GREAT THOU ART

OM

AUMMANIPADMEHUM

AZAZAZAZAZAZAZAZAZZAZAZAZAZAZAZAZAZA

 

 

4 REAL 36 18 9
7 REALITY 90 36 9
6 OXYGEN 90 36 9
7 SILICON 81 36 9
7 CARBONS 72 27 9

The Natural Remedy For The Relief Of Arthritis

Dr. Anton Robinson

Bodywell (no date)

"The treatments active ingredient was a metal present in the soil, found almost everywhere on earth. In fact, silicon is the second most abundant element on the planet, after oxygen. The dioxide of silicon (SiO2), called silica, is an extremely hard solid that constitutes over half of the Earth's crust. That explains why clay, which is essentially composed of hydrated aluminum silicates, has been used to treat rheumatic and other types of joint pain since time immemorial."

 

LIVING AT THE END OF THE WORLD

Marina Benjamin

JOSEPH SMITHS KINGDOM

Page 144

"Mormonism is currently the fastest-growing new religion in the modern world.Its subscribers number 10 million and rising, it continues to attract converts from across the globe at an astonishing rate of 900 per day"

 

 

BREWER'S

 DICTIONARY OF PHRASE AND FABLE

Ivor H Evans

1985

Page 785
"Nihilism (ni' hil izm) (Lat. nihil, nothing). The name given to an essentially philo-sophical and literary movement in Russia which questioned and protested against conventional and established values, etc. The term was popularized by Turgenev's novel Fathers and Sons (1862) and was subsequently confused with a kind of re-volutionary anarchism. Although nihil-ism proper was basically non-political, it strengthened revolutionary trends. The term was not new having long been ap-plied to negative systems of philosophy..."

Nile. The Egyptians used to say that the rising of the Nile was caused by the tears of ISIS. The feast of Isis was celebrated at the anniversary of the death of OSIRIS, when Isis was supposed to mourn for her husband..."

 

4 ISIS 56 20 2
6 OSIRIS 89 35 8
10
.
 145 55 10
1+0
.
 1+4+5

5+5

 1+0
1
.
 10 10 1
.
.
 1+0 1+0 .
1 . 1 1 1
.
.
.
.
.
.
.
.

.
.
4 NILE 40 22 4
4 LINE 40 22 4
8
.
 80 44 8
.
.
 8+0 . .
8
.
 8 8 8
.
.
 . . .
.
.
 . . .
. HALO . . .
2 HA 9 9 9
2 LO 27 9 9
4 HALO 36 18 9
.
.
 3+6 1+8 .
4 HALO 9 9 9

 

 

BREWER'S

 DICTIONARY OF PHRASE AND FABLE

Ivor H Evans

1985

Page 785

"Nimbus (Lat., a cloud). In Christian art a HALO of light placed round the head of an eminent personage. There are three forms: (1) Vesica piscis, or fish form (cp. ICHTHYS), used in representations of Christ and occasionally of the Virgin Mary, extending round the whole figure; (2) a circular halo; (3) radiated like a star or sun. The enrichments are: (1) for our Lord, a CROSS; (2) for the Virgin, a circlet of stars; (3) for ANGELS, a circlet of small rays, and an outer circle of quatrefoils; (4) the same for SAINTS and martyrs, but with the name often inscribed round the circumference; (5) for the Deity the rays diverge in a triangular direction. Nimbi / Page 786 / of a square form signify that the persons so represented were living when they were painted.
The nimbus was used by heathen nations long before painters Introduced it into sacred pictures of saints, the TRINITY, and the Virgin Mary. PROSER. PINE was represented with a nimbus; the Roman EMPERORS were also decorated in the same manner because they were divi.  Cpo AUREOLE."

"Nimrod. Any daring or outstanding hun-ter; from the "mighty hunter before the Lord" (Gen. x, 9 , which the TARGUM says means a "sinful hunting of the sons of men". Pope says of him, he was "a mighty hunter, and his prey was man" (Windsor Forest, 62); so also Milton inter-prets the phrase (Paradise Lost, XII, 24, etc.).
The legend is that the tomb of Nimrod still exists in Damascus, and that no dew ever falls upon it, even though all its sur-roundings are saturated..."


Nine. Nine, FIVE, THREE are mystical num-mbers-the DIAPASON, diapente, and dia-trion of the Greeks. Nine consists of a trinity of trinities. According to the Pythagoreans man is a full chord, or eight notes, and deity comes next. Three, being the TRINITY, represents a perfect unity; twice three is the perfect dual; and thrice three is the perfect plural. This explains why nine is a mystical number.
From ancient times the number nine has been held of particular significance. DEUCALION'S ark was tossed about for nine days when it stranded on the top of Mount PARNASSUS. There were nine MUSES, nine Gallicenae or virgin priest-esses of the ancient Gallic ORACLE; and Lars Porsena swore by nine gods.
NIOBE'S children lay nine days in their blood before they were buried; the HYDRA had nine heads; at the Lemuria, held by the Romans on 9, 11 , and 13 May, persons haunted threw black beans over their heads, pronouncing nine times the words: "Avaunt, ye spectres, from this house!" and the EXORCISM was complete (see Ovid's Fasti).
There were nine rivers of HELL, or, according to some accounts, the STYX en-compassed the infernal regions in nine circles; and Milton makes the gates of HELL "thrice three-fold", "three folds were brass, three iron, three of adaman-tine rock". They had nine folds, nine plates, and nine linings (Paradise Lost, II, 645).
VULCAN, when kicked from OLYMPUS, was nine days falling to the island of LEM- NOS; and when the fallen ANGELS were cast out of HEAVEN Milton says "Nine days they fell" (Paradise Lost, VI, 871).
In the early Ptolemaic system of astronomy, before the PRIMUM MOBILE was added, there were nine SPHERES; hence Milton, in his Arcades, speaks of

The celestial siren's harmony
That sat upon the nine enfolded spheres.

In Scandinavian mythology there were nine earths, HEL being the goddess of the ninth; there were nine worlds in NIFL-HElM, and ODIN'S ring dropped eight other rings every ninth night.
In folk-lore nine appears frequently.
The ABRACADABRA was worn nine days, and then flung into a river; in order to see the FAIRIES one is directed to put "nine grains of wheat on a four-leaved clover"; nine knots are made on black wool as a charm for a sprained ankle; if a servant fmds nine green peas in a peascod, she lays it on the lintel of the kitchen door, and the fIrst man that enters is to be her cavalier; to see nine magpies is most un-lucky; a cat has nine lives (see also CAT O'NINE TAILS); and the nine of Diamonds is known as the CURSE OF SCOTLAND.
The weird sisters in Shakespeare's Macbeth (I, ill) sang, as they danced round the cauldron, "Thrice to thine, and thrice to mine, and thrice again to make up nine"; and then declared "the charm wound up"; and we drink a Three- limes-three to those most highly hon-oured.
Leases are sometimes granted for 999 years, that is three times three-three-three.

Page 787

Many run for 99 years, the dual of a trinity of trinities.
See also the NINE POINTS OF THE LAW below, and the NINE WORTHIES under WORTHIES. There are nine orders of angels; in HERALDRY there are nine marks of cadency and nine different crowns recognized.
Dressed up to the nines. See DRESSED. Nine days' Queen. Lady Jane Grey. She was proclaimed queen in London on 10 July 1553; Queen Mary was proclaimed in London on 19 July.
Nine days' wonder. Something that causes a great sensation for a few days, and then passes into the LIMBO of things forgotten. An old proverb is: "A wonder lasts nine days, and then the puppy's eyes are open", alluding to dogs, which like cats, are born blind. As much as to say, the eyes of the public are blind in aston-ishment for nine days, but then their eyes are open, and they see too much to won-der any longer.

King: You'd think it strange if I should marry her. Gloster: That would be ten days' wonder, at the least. Clar.: That's a day longer than a wonder lasts.
SHAKESPEARE: Henry VI, Pt. III, III, ii.

The Nine First Fridays. In the ROMAN CATHOLIC CHURCH the special observ-ance of the first FRIDAY in each of nine consecutive months, marked by receiv-ing the EUCHARIST. The practice derives from St. Mary Alacoque (see SACRED
HEART under HEART), who held that Christ told her that special grace would be granted to those fulfilling this observ-ance.
Nine Men's Morris. See under MORRIS. Nine-tail bruiser. Prison slang for the CAT-O'-NINE-TAILS.
Nine tailors make a man. See TAILOR.
Nine times out of ten. Far more often] than not.
Possession is nine points of the law. It is every advantage a person can have short of actual right. The "nine points of the law" have been given as: (1) a good deal of money; (2) a good deal of patience; (3) a good cause; (4) a good lawyer; (5) a good ]
counsel; (6) good witnesses; (7) a good jury; (8) a good judge; and (9) good luck. To look nine ways. To squint.
Ninepence. Commendation Nine-pence. See COMMENDATION.
Nice as ninepence. A corruption of "Nice as nine-pins". In the game of nine- pins, the "men" are set in three rows with the utmost exactitude or nicety.
Nimble as ninepence. Silver ninepences were common till the year 1696, when all Unmilled coin was called in. These nine- pences were very pliable or "nimble", and, being bent, were given as love tokens, the usual formula of presentation being To my love, from my love. There is an old proverb, A nimble ninepence is bet-ter than a slow shilling.
Ninepence to a shilling. An old rustic phrase in the West of England meaning that the person referred to is deficient in common sense or intelligence.
Right as ninepence. Perfectly well; in perfect condition.
Ninus. Son of Belus, husband of SEMI-RAMIS, and the reputed builder of Nineveh. It is at his tomb that the lovers meet in the PYRAMUS and This be trav-esty:

Pyr.: Wilt thou at Ninny's tomb meet me straight- way?
This.: 'Tide life, 'tide death, I come without delay.
SHAKESPEARE: Midsummer Night's Dream, V, i.

 

5
 NIOBE

45

27

9
8
 TANTALUS
108
18
9
6
 LATONA
63
18
9
6
 APOLLO
71
26
8
7
 AMPHION
76
40
4
6
 THEBES
59
23
5

 

Niobe (ni' o be). The personification of maternal sorrow. According to Greek legend, Niobe, the daughter of TANTA-LUS and wife of AMPHION, King of THEBES, was the mother of fourteen chil-dren, and taunted LATONA because she had but two)-APOLLO and DIANA. Lato-na commanded her children to avenge the insult and they consequently de-stroyed Niobe's sons and daughters. Niobe, inconsolable, wept herself to death, and was changed into a stone, from which ran water, "Like Niobe, all tears" (SHAKESPEARE: Hamlet, I, ii).
The Niobe of Nations. So BYRON styles ROME, the "lone mother of dead empires", with "broken thrones and temples"; a "chaos of ruins"; a "desert where we steer stumbling o'er recollec-tions" (Childe Harold, iv, 79).

I

i i i i i i i i 

 

CASSELL'S ENGLISH DICTIONARY

1968

Page 775

"Nimrod (nim' rod) [the mighty hunter of Geo. x. 8-9], n. (fig.) A great hunter.
nincompoop (nin' k6m poop) [etym. unknown], no A noodle, a blockhead, a fool.
nine (nin) [A.-S. nigon (cp. Dut. mgen, G. neun, Icel. niu, L. novem, Gr. ennea, Sansk. navan)], a. Containing eight and one. n. The number com-posed of eight and one, 9, Ix; a card of nine pips. nine days' wonder: An event, person, or thing that is a novelty for the moment but ia soon for-gotten. nine times out often: Usually, generally. to the nines: To perfection, elaborately. the Nine: The Muses. nine-pins, n. A game with nine skittles set up to be bowled at, (Am. ten-pina). nine-tenths, n. (collq.) Nearly all. ninefold, a. Nine times repeated. nineteen, a. Containing one more than eighteen. n. The number representing this quantity, 19, xix. nineteen to the dozen: Volubly. nineteenth, a. nineteenth hole: (colloq. Golf) The clubhouse bar. ninety, a. Con-taining nine times ten. n. The number containing nine times ten, 90, xc; (pl.) the years between 89 and 100 in a century or a person's life. nine-tieth, a.

ninny (nin' i) [perh. imit., cpo Sp. nino, It. ninno, child], n. A fool, a simpleton.
ninon (ne' non) [F.~, no (Textiles) A aerni-diaphan- ous light silk material.
ninth (ninth) [NINE, -TH], a. Next after the eighth. n. One of nine equal parts; (Mus.) an interval of an octave and a second. ninthly, adu.
niobium (ni o' bi ium) [Niobe, daughter of Tantalus, -IUM], n. (Chern.) A metallic element occurring in tantalite etc. niobic (ni /I' bik), a. nioblte (ni' 6 bit), n. A niobic aalt; (Min.) a variety of tantalite.

Page 943

RAMADAN (ramadan') [Arab.(cp. Pers. and Turk.Ramazan), from ramada, to be hot], The ninth month of the Mohammedan year, the time of the great annual fast

 

7 RAMADAN - - -
4 RAMA 33 15 6
3 DAN 19 10 1
-   52 25 7
-   5+2 2+5 -
7 RAMADAN

52

 25 7
- - - - -
- - - - -
8 MOHAMMED 72 36 9
-   7+2 3+6 -
8 MOHAMMED 9 9 9
- - - - -
- - - - -
8 MOHAMMED - - -
3 M+O+H

36

 9 9
3 A+M+M

27

 9 9
2 E+D

9

 9 9
- MOHAMMED

72

 36 9
-   7+2 3+6 -
8 MOHAMMED 9 9 9
- - - - -
- - - - -
8 MOHAMMED - - -
- M+O 28 10 1
- H+A 9 9 9
- M+M 26 8 8
- E+D

9

 9 9
- MOHAMMED

72

 36 9
-   7+2 3+6 -
8 MOHAMMED 9 9 9
- - - - -
- - - - -
8 MOHAMMED - - -
- M 13 13 4
- O 15 15 6
- HA 9 9 9
- M 13 13 4
- M 13 13 4
- E+D 9 9 9
- MOHAMMED

72

 36 9
-   7+2 3+6 -
8 MOHAMMED 9 9 9

 

PEACE BE UPON HIM

 

10 NAMES OF GOD

99

 45 9

7

 MANKIND

66

 30 3

 

 

KEEPER OF GENESIS

A QUEST FOR THE HIDDEN LEGACY OF MANKIND

Robert Bauval Graham Hancock 1996

Page 254

"...Is there in any sense an interstellar Rosetta Stone? We believe there is a common language that all technical civilizations, no matter how different, must have.

That common language is science and mathematics.

The laws of Nature are the same everywhere:..."

Page 255

" In addition, though the monuments are enabled to 'speak' from the moment that their astronomical context is understood, we have also to consider the amazing profusion of funerary texts that have come down to us from all periods of Egyptian history - all apparently emanating from the same very few common sources5 As we have seen, these texts operate like 'software' to the monuments' 'hardware', charting the route that the Horus-King (and all other future seekers) must follow.

We recall a remark made by Giorgio de Santillana and Hertha von Dechend in Hamlet's Mill to the effect that the great strength of myths as vehicles for specific technical information is that they are capable of transmitting that information independently of the knowledge of individual story-tellers.6 In other words as long as a myth continues to be told true, it will also continue to transmit any higher message that may be concealed within its structure - even if neither the teller nor the hearer understands that message."

 

CHEIRO'S
BOOK OF NUMBERS
Circa 1926
Page106
"Shakespeare, that Prince of Philosophers, whose thoughts will adorn English litera-ture for all time, laid down the well-known axiom: There is a tide in the affairs of men which if taken at the flood, leads on to fortune." The question has been asked again and again, Is there some means of knowing when the moment has come to take the tide at the flood?
My answer to this question is that the Great Architect of the Universe in His Infinite Wisdom so created all things in such harmony of design that He endowed the human mind with some part of that omnipotent knowledge which is the attribute of the Divine Mind as the Creator of all.

 

 

HARMONIC 288
Bruce Cathie
1977

Page 95 ( Eight)


THE MEASURE OF LIGHT

"The search for this particular value was a lengthy one and the clue that led me finally to a possible solution was a study of the construction of the Grand Gallery. The height of the Gallery was the first indication that it was not just an elaborate access passage. Previous measurements made by scientific investigators pointed to some interesting possibilities."

Page 95

"The value that I calculated for length was extremely close to that of the one published in Davidson and Aldersmith's book, their value being 1836 inches,"
Page 95/97


"A search of my physics books revealed that 1836 was the closest approximation the scientists have calculated to the mass / ratio of the positive hydrogen ion, i.e. the proton, to the electron."
 

 
JUST SIX NUMBERS
Martin Rees
1
999
OUR COSMIC HABITAT

I
PLANETS STARS AND LIFE
Page 24
 
"A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' "
 
Page 24 / 25

"A manifestly artificial signal- even if it were as boring as lists of prime numbers, or the digits of 'pi' - would imply that 'intelli-gence' wasn't unique to the Earth and had evolved elsewhere. The nearest potential sites are so far away that signals would take many years in transit. For this reason alone, transmission would be primarily one-way. There would be time to send a measured response, but no scope for quick repartee!
Any remote beings who could communicate with us would have some concepts of mathematics and logic that paralleled our own. And they would also share a knowledge of the basic particles and forces that govern our universe. Their habitat may be very different (and the biosphere even more different) from ours here on Earth; but they, and their planet, would be made of atoms just like those on Earth. For them, as for us, the most important particles would be protons and electrons: one electron orbiting a proton makes a hydrogen atom, and electric currents and radio transmitters involve streams of electrons. A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' able and motivated to transmit radio signals. All the basic forces and natural laws would be the same. Indeed, this uniformity - without which our universe would be a far more baffling place - seems to extend to the remotest galaxies that astronomers can study. (Later chapters in this book will, however, speculate about other 'universes', forever beyond range of our telescopes, where different laws may prevail.)
Clearly, alien beings wouldn't use metres, kilograms or seconds. But we could exchange information about the ratios of two masses (such as thc ratio of proton and electron masses) or of two lengths, which are 'pure numbers' that don't depend on what units are used: the statement that one rod is ten times as long as another is true (or false) whether we measure lengths / in feet or metres or some alien units"

 

 

THE TUTANKHAMUN PROPHECIES
Maurice Cotterell

1

999

Page 195

"Anderson's Constitutions of the Freemasons (1723) comments:
. . . the finest structures of Tyre and Sidon could not be compared with the Eternal God's Temple at Jerusalem. . . there were employed 3,600 Princes, or 'Master Masons', to conduct the w,ork according to Solomon's directions, with 80,000 hewers of stone in the mountains ('Fellow Craftsmen'), and 70,000 labourers, in all 153,600, besides the levy under Adoniram to work in the mountains of Lebanon by turns with the Sidonians, viz 30,000 being in all 183,600."

"being in all 183,600."

 

 

THE TUTANKHAMUN PROPHECIES
Maurice Cotterell

1

999

Page 190

BEHIND THE WALL OF SILENCE
 "The holy number of sun-worshippers is 9, the highest number that can be reached before becoming one (10) with the creator. This is why Tutankhamun was entombed in nine layers of coffin. This is why the pyramid skirts of the two statues, guarding the entrance to the Burial Chamber, were triangular (base 3), when the all-seeing eye-skirt of Mereruka contained a pyramid skirt with a base of four sides. The message concealed here is that the 3 should be squared, which equals 9"   "The message concealed here is that the 3 should be squared, which equals 9"

 

 

THE JUPITER EFFECT
John Gribbin and Stephen Plagemann
1977
 Page 122
"Seventeen 'major historical earthquakes' are referred to in the report all of which occurred since
1836"

 

 

THE TUTANKHAMUN PROPHECIES
Maurice Cotterel

1

999


BEHIND THE WALL OF SILENCE

Page 190
 "The holy number of sun-worshippers is 9, the highest number that can be reached before becoming one (10) with the creator. This is why Tutankhamun was entombed in nine layers of coffin. This is why the pyramid skirts of the two statues, guarding the entrance to the Burial Chamber, were triangular (base 3), when the all-seeing eye-skirt of Mereruka contained a pyramid skirt with a base of four sides. The message concealed here is that the 3 should be squared, which equals 9"   "The message concealed here is that the 3 should be squared, which equals 9"

     

STEPHEN HAWKING

Quest for a theory of everything Kitty Ferguson 1991

Page 103

"The square root of 9 is three. So we know that the third side.' (line ends)   There are 13 words and the number 9 in the 33rd line down of page 103

 

 

THE BIOLOGY OF DEATH
Lyall Watson
1974

Page 49
"As long ago as 1836, in a Manual of Medical Jurisprudence, this was said: 'Individuals who are apparently destroyed in a sudden manner, by certain wounds, diseases or even decapi-tation, are not really dead, but are only in conditions incompat-ible with the persistence of life."

 

THE OTHER MAN
continues, weaving the thread of the gossamer web

 

 

THE

EIGHT

Katherine Neville

1988

"A QUEST WITH SOMETHING FOR EVERYONE"

Page 407 (number omitted)

THE CASTLE
Alice: It's a great huge game of chess that's being played all over the world. . . Oh what fun
                it is! How I wish I was one of them! I wouldn't mind being a Pawn, if only I
                might join - though of course I should like to be a Queen best.

Red Queen: That's easily managed. You can be the White Queen's Pawn if you like, as Lily's
                too young to play - and you're in the Second Square to begin with. When you
                get to the Eighth Square you'll be a Queen. . . .
Lewis CarrollThrough the Looking-Glass

 

 

DAILY MIRROR

Tuesday June 8, 2004

Jonathan Cainer

VENUS MAKES A PASS

THE TRANSIT OF VENUS ACROSS THE SUN

Page 26 / 27

"IF YOU'RE reading this before noon, there is a show that is out of this world happening over your head.Venus is passing in front of the face of 

Page 35

GAUTAMA SHAKYAMUNI SIDDARTHA 153 153 SIDDARTHA SHAKYAMUNI GAUTAMA

"So he issued from the womb as befits a Buddha."

"When born, he was so lustrous and stead-fast that it appeared as if the young son had come down to earth and yet, when people gazed at his dazling brilliance, he held their eyes like the moon. His limbs shone with the radiant hue of precious gold, and lit up the space all around. Instantly he walked seven steps, firmly and with long strides.

In that he was like the constellation of the seven seers. With the bearing of a lion he surveyed the four quarters, and spoke these words full of meaning for the future: 'For enlightenment I was born, for the good of all that lives. This is the last time that I have been born into this world of becoming."

MAITREYA, THE FUTURE BUDDHA

Page 237

"As the years pass, the impulse of the teachings of the Buddha Shakymuni gradually exhausts itself, and attention shifts to Maitreya, the coming Buddha who will appear in the future, after about 30,000 years or so. At present Maitreya is belived to reside in Tushita heaven, awaiting his last rebirth when the time is ripe."

 

4
LORD
49
22
4
8
MAITREYA
92
38
2
6
BUDDHA
40
22
4
18
First Total
181
82
10
1+8
Add to Reduce
1+8+1
8+2
1+0
9
Second Total
10
10
1
-
Reduce to Deduce
1+0
1+0
-
9
 Essence of Number
1
1
1

 

 

7
TUSHITA
98
26
8
6
HEAVEN
55
28
1
13
Add
153
54
9
1+3
Reduce
1+5+3
5+4
-
4
Deduce
9
9
9

 

 

4
LORD
49
22
4
8
AMITABHA
55
28
1
6
BUDDHA
40
22
4
18
LORD AMITABHA BUDDHA
144
72
9

 

 

SACRED BOOKS OF THE WORLD

A. C. Bouquet 1954

( vi)- Extract from.the Lotus Sutra (Mahayana)

Page 153

" I am the Tathagata, O ye gods and men! the Arhat, the perfectly enlightened one; having reached the shore myself, I carry others to the shore; being free, I make free; being comforted, I comfort; being perfectly at rest, I lead others to rest.
By my perfect wisdom I know both this world and the next, such as they really are I am-all knowing, all-seeing; Come to me, ye gods and men! hear the law. I am he who indicates the path, as knowing the path, being acquainted, with the path.

I shall refresh all beings whose bodies are withered, who are clogged to the triple world, I shall bring to felicity those that are pining away with toils, give them pleasures and final rest.

Hearken to me; ye hosts of gods and men approach to behold me: I am the Tathagata, the Lord, who has no superior, who appears in this world to save. To thousands of kotis of living beings I preach a.pure and most bright law that has but one scope, to wit, deliverance and rest.

I preach with ever the same voice, constantly taking enlightenment as my text. For this is equal for all; no partiality is in it, neither hatred nor affection. I am inexorable, bear no love nor hatred towards anyone, and proclaim the law towards anyone, and proclaim the law to all creatures without distinction, to the one as well as the other.

Page 154
I recreate the whole world like a cloud shedding its water without distinction; I have the same feelings for respectable people as for the low; for moral persons as for the immoral; for the depraved as for those who observe the rules of good conduct; for those who hold sectarian views and unsound tenets as for those whose views are sound and correct. I preach the law to the inferior in mental culture as well as to persons of superior understanding and extraordinary faculties; inaccessible to weariness, I spread in season the rain of the law."

 

THE

RAINBOW

OF

RA

 

 
10
NAMES OF GOD

99

 45 9
 
THOUGHT
99
 36 9
 
PUREST
99
 27 9
 
DIVINE
63
 36 9
 
LOVE
54
 18 9

 

 

SO RISES THAT SUN SO SETS THAT SON

  ORISIS THAT SON SO SETS THAT SON

ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

HEARETH THEE THINE INNER VOICE

THOUARTNOWENTERINGINTODEEPHYPNOTICTRANCEANDWILLBEGIVENTHESEAUTOSUGGESTIONS

WHICHWILLBECARRIEDOUTBYTHEMINDBYTHEBODYBYTHESUBCONSCIOUSMINDBYTHECONSCIOUS

MINDBYTHEHIGHERMINDALLCONTAINEDWITHINTHEQUINTESSENTIALMOMENTOFCREATIVE

CONSCIOUSNESSOFMINDESSENCETHESETHENARETHEAUTOSUGGESTIONSTHATDAYBYDAYANDIN

EVERYWAYTHATTHATTHATHOLYISISISDRAWETHTHEKUNDALINISPIRITENERGYFROMOUTTHEINOFHOLY

MOTHERWOMBGUIDEINGHERUPWARDSTHROUGHTHEROOTSPINEUNTOTHEFIRSTSECONDANDTHIRD

CHAKRAONTOTHEFOURTHFIFTH SIXTHANDSEVENTHCHAKRAINTOTHEEIGHTHANDNINTHCHAKRA

OFHIGHESTENLIGHTENMENTOFMINDESSENCETHETHOUSANDPETALLOTUSOFBUDDHAHOODAND

THEREINVOWTOCONTINUEDREAMINGTHEDREAMANDNOTENTERFINALLYINTOHIGHEST

ENLIGHTENMENTOFMINDESSENCEASLONGASSENTIENTBEINGSDREAMOUTTHEIRDESTINIESOR

THATGREATMOTHERTHATHOLYISISISDREAMETHTHATDREAMAWAYAUMMANIPADMEHUM 

AMEN

 

O

NAMUH

I

AM

YOU AND YOU

ARE ME WE ARE

THAT THAT THAT

ISISIS

YOU

I

EVERYTHING

ALL

ARE

CREATORS

HAPPY BIRTH DAY

O

NAMUH

THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE

HOW GREAT THOU ART HOW GREAT THOU ART

THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE

HOW GREAT THOU ART HOW GREAT THOU ART

 

 

 

AVATAR 10 AVATAR

 

-
THE RAINBOW LIGHT
-
-
-
3
THE
33
15
6
3
RAINBOW
82
37
1
2
LIGHT
56
29
2
10
THE RAINBOW LIGHT
171
81
9
1+0
-
1+7+1
8+1
-
1
THE RAINBOW LIGHT
9
9
9

 

THE

FIELD

THE QUEST FOR THE SECRET FORCE OF THE UNIVERSE

Lynne McTaggart 2001

LIGHT IN THE DARKNESS

PROLOGUE

The Coming Revolution

"WE ARE POISED ON THE brink of a revolution - a revolution as daring.and profound as Einstein's discovery of relativity; At the very frontier of science new ideas are emerging that challenge everything we believe about how our world works and how we define ourselves. Discoveries are being made that prove what religion has always espoused: that human beings are far more extraordinary than an assemblage of flesh and bones. At its most fundamental, this new science answers questions that have perplexed scientists for hundreds of years. At its.most profound, this is a science of the miraculous.
For a number of decades respected scientists in a variety of disciplines all over the world have been carrying out well­
designed ex:perimenfs whose results fly in the face of current, biology and physics together, these studies offer us copious information about the central organizing force governing our bodies and the rest of the cosmos.
What they have discovered is nothing less than astonishing. At our most elemental, we are not a chemical reaction, but an energetic charge. Human beings and all living things are a coalescence of energy in a field of energy connected to every other thing in the world. This pulsating energy field is the / Page XVI / central engine of our being and our consciousness, the alpha and the Omega of our existence.

There is no 'me' and 'not-me' duality to our bodies in relation to the universe, but one underlying energy field. This field is responsible'for our mind's highest functions, the information source guiding the growth of our bodies. It is our brain, our heart, our memory - indeed, a blueprint of the world for all time. The field is the force, rather than germs or genes, that finally determines whether we are healthy or ill, the force which must be tapped in order to heal. We are attached and engaged, indivisible from our world, and our only fundamental truth is our relationship with it, 'The field,' as Einstein once succinctly put it, 'is the only reality.'1"

MIN DOTH DREAM WHAT IN HEAVEN DOTH MIN MEAN

 

 

TABOO

Alan Watts

Page 295

Traditional Australian Aborigines believe, as do many other 'primitive' cultures, that rocks, stones and mountains are alive / Page 296 / and that we 'sing' the world into being - that we are creating as we name things. The discoveries of Braud and Jalm showed that this was more than superstition. It was just as the Achuar and the Huaorani Indians believe. On our deepest level, we do share our dreams."

"we 'sing' the world into being - that we are creating as we name things."

SING ME ANOTHER ONE DO

 

 
 
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