|
||
|
|
|
|
||
|
||
|
DOES GOD PLAY DICE THE NEW MATHEMATICS OF CHAOS Ian Stewart 1989 Page 1 PROLOGUE CLOCKWORK OR CHAOS? "YOU BELIEVE IN A GOD WHO PLAYS DICE, AND I IN COMPLETE LAW AND ORDER." Albert Einstein, Letter to Max Born
CREATIVE LIFE THAT RED RIVER GODS RIVER RED THAT LIFE CREATIVE
I ME I SAY ISIS SAY I I SAY OSIRIS SAY I I SAY CHRIST SAY I I SAY KRISHNA SAY I I SAY RISHI ISHI ISHI RISHI SAY I I SAY VISHNU SHIVA SHIVA VISHNU SAY I ARISES THAT SUN SETS THAT SUN SETS THAT SUN ARISES THAT SUN OSIRIS THAT SON SETS THAT SON SETS THAT SON OSIRIS THAT SON
THAT SUN IS RISING RISING IS THAT SON THAT SON IN WHOM I AM WELL PLEASED
WISDOM OF THE EAST by Hari Prasad Shastri 1948 Page 8 "There is no such word in Sanscrita as 'Creation' applied to the universe. The Sanscrita word for Creation is Shristi, which means 'projection' Creation means to bring something into being out /Page 9/ of nothing, to create, as a novelist creates a character. There was no Miranda, for example, until Shakespeare created her. Similarly the ancient Indians (this term is innacurately used as there was no India at that time). who were our ancestors long, long ago. used a word for creation that means 'projection'.
I ME ISIS OSIRIS ISIS GODS SPIRIT GODS ARJUNA KRISHNA ARJUNA SHRISTI RISHI ISHI RISHI CHRIST VISHNU SHIVA BRAHMA SHIVA VISHNU SING A SONG OF NINES OF NINES A SONG SING VISHNU SHIVA KRISHNA SHRI KRISHNA SHIVA VISHNU ISISIS ISISIS ISISIS ISISIS ISISIS ISISIS ISISIS ISISIS ISISIS ISISIS
NUMBER 9 THE SEARCH FOR THE SIGMA CODE Cecil Balmond 1998 Page 32 5
THE BALANCING ONE TWO THREE FOUR FIVE NINE EIGHT SEVEN SIX
1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
2 Feb 2009 ... Arthur C. Clarke formulated the following three "laws" of prediction: ... Clarke's Third Law codifies perhaps the most significant of ... en.wikipedia.org/wiki/Clarke's_three_laws Clarke's three laws From Wikipedia, the free encyclopedia
Arthur C. Clarke formulated the following three "laws" of prediction:
[edit] Origins The first of the three laws, previously termed Clarke's Law, was proposed by Arthur C. Clarke in the essay "Hazards of Prophecy: The Failure of Imagination", in Profiles of the Future (1962). The second law is offered as a simple observation in the same essay; its status as Clarke's Second Law was conferred on it by others. In a 1973 revision of his compendium of essays, Profiles of the Future, Clarke acknowledged the Second Law and proposed the Third in order to round out the number, adding "As three laws were good enough for Newton, I have modestly decided to stop there." Of the three, the Third Law is the best known and most widely cited. Clarke's Third Law codifies perhaps the most significant of Clarke's unique contributions to speculative fiction. A model to other writers of hard science fiction, Clarke postulates advanced technologies without resorting to flawed engineering concepts (as Jules Verne sometimes did) or explanations grounded in incorrect science or engineering (a hallmark of "bad" science fiction), or taking clues from trends in research and engineering (which dates some of Larry Niven's novels). Accordingly, the powers of any future superintelligence or hyperintelligence which Clarke often described would seem astonishing. But in novels such as The City and the Stars and the story "The Sentinel" (upon which 2001: A Space Odyssey was based) Clarke goes further; he presents us with ultra-advanced technologies developed by hyperintelligences limited only by fundamental science. In Against the Fall of Night the human race has mysteriously regressed after a full billion years of civilization. Humanity is faced with the remnants of its past glories: for example, a network of roads and sidewalks that flow like rivers. Although physically possible, it is inexplicable from their perspective. Clarke's Third Law explains the source of our amazement as our limitation, rather than the impossibility of the technology. In his 1999 revision of Profiles of the Future, published in London by Indigo, Clarke added his Fourth Law: "For every expert there is an equal and opposite expert."
[edit] References in other works
Clarke's laws, especially the third, have been referenced or alluded to numerous times in literature. Sometimes they provide corollaries to one or more of the laws. Often, these are parodies solely for humor value, but sometimes they offer interesting applications or perspectives.
EACH FOR TOMORROW Arthur C. Clarke 1956 Introduction to 1989 Edition "However I have made some interesting discoveries; for instance, on the very first page of the first story, I see the number 9000. Ive no idea why I selected it again for HALs serial number 20 years later. . . " I see the number 9000 Ive no idea why I selected it again for HALs serial number 20 years later. . . "
THE LOST WORLDS OF 2001 Arthur C. Clarke 1972 Page179 "A long time ago," said Kaminski, "I came across a remark that I've never forgotten-though I can't remember who made it. 'Any sufficiently advanced technology is indistinguishable from magic.' That's what we're up against here. Our lasers and mesotrons and nuclear reactors and neutrino telescopes would have seemed pure magic to the best scientists of the nineteenth century. But they could have understood how they worked-more or less-if we were around to explain the theory to them."
Page 189 "The other is Clarke's Third* Law "Any sufficiently advanced technology is indistinguishable from magic"
GODS OF THE DAWN Peter Lemesurier 1997 "As Arthur C. Clarke's perceptive Third Law puts it: "Any sufficiently advanced technology is indistinguishable from magic."
THE SECRET HISTORY OF ANCIENT EGYPT Herbie Brennan 2000 "The British science fiction writer Arthur C. Clarke is said to have commented that "any sufficiently high technology is indistinguishable from magic"
THE BIBLE CODE Michael Drosnin 1997 Chapter Four THE SEALED BOOK Page 70 "The astronomer Carl Sagan once noted that if there was other intelligent life in the universe some of it would have certainly evolved far earlier than we did, and had thousands, or hundreds of thousands, or millions, or hundreds of millions of years to develop the advanced technology that we are only now beginning to develop. 'After billions of years of biological evolution - on their planet and ours - an alien civilization cannot be in technological lockstep with us,' wrote Sagan. 'There 'have been humans for more than twenty thousand centuries, but we've had radio only for about one century,' wrote Sagan. 'If alien civilizations are behind us, they're likely to be too far behind us to have radio. And if they're ahead of us, they're likely to be far ahead of us. Think of the technical advances on our world over just the last few centuries. What is for us technologically difficult or impossible, what might seem to us like magic, might for them be trivially easy.' 'Any sufficiently advanced technology is indistinguishable from magic.' Page 163 pages 69-75 Chapter notes,
"The astronomer Carl Sagan suggested that an advanced alien technology 'might seem to us like magic' in Pale Blue Dot (Random House, 1994), p. 352.
The author of 2001, Arthur C. Clarke, made a similar observation: 'Any sufficiently advanced technology is indistinguishable from magic' (Profiles of the Future, Holt, Rinehart, and Winston, 1984). Paul Davies' imagined 'alien artifact' is described in his book Are We Alone? (Basic Books, 1995), p. 42. Stanley Kubrick, in his famous movie version of Clarke's 2001, showed a mysterious black monolith that seemed to reappear at successive stages of human evolution, each time we were ready to be taken to a higher level. When I told him about the Bible code, Kubrick's immediate reaction was, 'It's like the monolith in 2001.' "
1990
SEIZING THE MOMENT ANTHROPOCENTRISM GOOD-BYE Page311 "The most profound message from the aliens may never be spoken: We are not alone or unique. Contact would tell us that life and intelligence have evolved elsewhere in the Universe, and that they may be common by-products of cosmic evolution. Contact would tend to confirm the theory that life evolves chemically from inanimate mat- ter, through universal processes,implying that there are other alien civilizations in addition to the one we had detected. We might see ourselves as just one example of biocosmic processes, one facet of the Universe becoming aware of itself. We would undergo a revolution in the way that we conceive our own position in the Universe; any remaining pretense of centrality or a special role, any belief that we are a chosen species would be dashed for- ever, completing the process begun by Copernicus four centuries ago.
The revelation that we are not the most technologi-cally advanced intelligent species could lead to a humbling deflation of our sense of self-importance. We might reclassify ourselves to a lower level of ability and worth. This leveling of our pretensions, this anti-hubris, could be intensified if we were confronted with alien technology beyond our understanding. (Arthur C. Clarke has observed that any sufficiently advanced tech-nology would be indistinguishable from magic.)
"ANY SUFFICIENTLY ADVANCED TECHNOLOGY IS INDISTINGUISHABLE FROM MAGIC"
IN SEARCH OF EXTRA TERRESTRIALS Unsolved UFO sightings... strange secrets of the moon... new evidence that alien astronauts are exploring the earth Alan Landsburg 1976 Page 79 " The words of J. B. S. Haldane came back to haunt me. He once wrote, "Now my suspicion is that the universe is not only queerer than we suppose, but queerer than we can suppose. I suspect that there are more things in heaven and earth than are dreamed of in any philosophy. That is the reason why I have no philosophy myself, and must be my excuse for dreaming."
THE DIE IS NOW CAST NOW CAST IS THE DIE
THE LOST WORLDS OF 2001 Arthur C.Clarke 1972 "Sorry to interrupt the festivities, but we have a problem."
Zarathustra theme to his TV audience, aboard Apollo 13 Command Module Odyssey)
HARMONIC 288 Bruce Cathie 1977 THE MEASURE OF LIGHT Page 95 "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 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 proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' "
The Tempest's Epilogue "You do look, my son, in a moved sort, William Shakespeare 1564-1616 .
THE LOST LANGUAGE OF SYMBOLISM Harold Bayley 1912 Page 278 ""According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH, was Egyptian for Light-Light."
Page 278 "ONE-EYE, TWO-EYES, THREE-EYES" "According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH,
I ME I SAY ISIS SAY I I SAY OSIRIS SAY I I SAY CHRIST SAY I I SAY KRISHNA SAY I I SAY RISHI ISHI ISHI RISHI SAY I I SAY VISHNU SHIVA SHIVA VISHNU SAY I ARISES THAT SUN SETS THAT SUN SETS THAT SUN ARISES THAT SUN OSIRIS THAT SON SETS THAT SON SETS THAT SON OSIRIS THAT SON
WISDOM OF THE EAST by Hari Prasad Shastri 1948 Page 8 "There is no such word in Sanscrita as 'Creation' applied to the universe. The Sanscrita word for Creation is Shristi, which means 'projection' Creation means to bring something into being out /Page 9/ of nothing, to create, as a novelist creates a character. There was no Miranda, for example, until Shakespeare created her. Similarly the ancient Indians (this term is innacurately used as there was no India at that time). who were our ancestors long, long ago. used a word for creation that means 'projection'.
UNCONDITIONAL LIFE MASTERING THE FORCES THAT SHAPE PERSONAL REALITY Deepak Chopra 1991 A Mirage of Miracles Page 89 "The Mask of Maya" "...denoting the ability of gods to change form, to make worlds, to assume masks and disguises." "Maya also means magic a show of illusions" "Maya also denotes the delusion of thinking that you are seeing reality when in fact you are only seeing a layer of trick effects superimposed upon the real reality True to its deceptive nature, Maya is full of paradoxes. First of all it is everywhere, even though it doesnt exist. It is / Page 90 / often compared with a desert mirage, yet unlike a mirage Maya does not merely float "out there" The Mysterious One is nowhere if not in each person. Finally Maya is not so omnipotent that we cannot control it - and that is the key point Maya is fearfull or diverting all powerful or completely impotent depending on your perspective." "The fearfull illusion becomes a wonderful show if only you can manipulate it."
GOD IS ALIVE words: Leonard Cohen music: Buffy Sainte-Marie 1
THE MAGIC MOUNTAIN Thomas Mann 1875-1955 Page 466 "Had not the normal, since time was, lived on the achievements of the abnormal? Men consciously and voluntarily descended into disease and madness, in search of knowledge which, acquired by fanaticism, would lead back to health; after the possession and use of it had ceased to be conditioned by that heroic and abnormal act of sacrifice. That was the true death on the cross, the true Atonement."
CHEIRO'S BOOK OF NUMBERS Circa 1926 Page106 "Shakespeare, that Prince of Philosophers, whose thoughts will adorn English literature 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?
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
I ME MAGI THE MAGIC GODS MAGIC THE MAGI I SAY QUO VADIS QUO VADIS SAY I
|
 |
||
|
|
||
|
|
|
|
|
|
||
