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THE UNIFIED FIELD AND THE ILLUSION OF TIME: UNDERSTANDING THE SOURCE OF CREATION by Brandon West

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Notes from the article by Brandon West in Wakingtimes, April 2014

  • Time i just a construct of the universe to keep everything from happening all at once.”  — John Archibald Wheeler.
  • But what if everything IS happening all at once?  Moreover, what if there is no time at all?
  • How can the universe be static and unchanging — when our every experience is of change?
  • The predictions of the equations that are generally accepted by the scientific establishment suggest both that time is an illusion, and that the universe is in fact static.
  • What we perceive as motion is really due to the fact that reality is flashing in and out of existence at a high frequency and that creation is actually disappearing and reappearing, oscillating between form and formlessness at the quantum level innumerable times every second giving the appearance of motion.
  • Therefore, technically things do not move in this universe at all, but appear and disappear in slightly different patterns giving the appearance of motion.  It is not the unified field itself that is blinking, only that which we perceive as solid matter – i.e. particles, nuclei, sub-atomic particles, and the material world.
  • So, on the quantum theoretical level of reality, there really is no motion, but a flashing in and out of existence of creation, yet from our level it appears like fluid motion.  Just like the people on our television screen are not actually moving, but it is the little pixels which flash on and off in coordination with one another so it looks like motion.
  • If we perceive the universe from the level of the unified field, imagine that the unified field contains everything, and that all of creation and all of the past and future is holographically encoded within the unified field, and that all exists simultaneously, encoded within the structure of the vacuum.
  • In other words, creation arose out of this unified field in the form of subatomic particles, particles, atoms, and electrons, and nuclei, which are all just a form of condensed energy — formless energy condensed into form as the universe flashes in and out of existence, but nothing is solid.
  • Einstein said:  “What we have called matter is energy, whose vibration has been so lowered as to be perceptible to the senses.  There is no matter.”
  • All reality, all time, and all motion is merely the result of consciousness in motion.  
  • There is no motion in the physical world.  This has been proven to us by quantum physicists when they discovered that reality is flashing in and out of existence.  There are only holographic images which change as the consciousness expands and contracts into itself.
  • What if the flow of the unified field within the universe is itself the mechanism which causes reality to flash in and out of existence, and moreover which determines the flow of time?  This means also that all consciousness is an extension of universal consciousness — the unified field — and that as the unified field expands and contracts all other consciousness is brought along for the ride.
  • All of creation and all activity in creation is the result o consciousness interacting within consciousness, creating consciousness, and only because we all share a common consensus of reality (for the most part) does time arise at all on our planet.
  • The unified field:  the unified field is the vacuum structure which is theoretically expanding and collapsing through Nassim Haramein’s black whole dynamics, but it is not technically moving. 
  • It is my contention that all of time is the result of the rotation of consciousness at the level of the unified field, and that tie is completely relative determined by its own perceptual location and scalar dimension (level of consciousness) with which it observes reality from.
  • What we call time is an arbitrary division of the cycles we are experiencing based off of the cyclical rate of change that we are experiencing on this level of reality.
  • In other words, it is merely a matter of perception.  If we were in a void there would be no time because not only would there be no cycles to gauge time by, but there would be no objects to determine motion with. 
  • The unified field, which is consciousness, is expanding and contracting, and because we are that consciousness incarnated in a slightly denser level of reality, in the classical world, we can view that change.
  • Einstein:  “Everything is energy and that’s all there is to it.  Match the frequency of the reality that you want and you cannot help but get that reality.  It can be no other way.  This is not philosophy, this is physics.”
  • Everything has consciousness because everything is  consciousness.
  • At the level of the unified field which all emanates from we are all infinite consciousness. 
  • What all consciousness does is radiate (create) and then ove back towards itself through creation.
  • The universe is an infinite hologram, and we are just passing through and the image appears to be changing, but it is not.  We are just seeing what was encoded all along as we eternally shift our perspective.
  • Between your thoughts is a silence which is the unified field. 
  • Nothing new is created, for it is already present within the field. 

 

 

 

 

 

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The Novel Is Dead – Notes of Note

This is from the 2014 Richard Hillary Memorial Lecture,  Oxford, given by Will Self.

NovelIn Understanding Media, Marshall McLuhan writes about what he terms the “unified electrical field”.  This manifestation of technology allows people to “hold” and “release” information at a distance;  it provides for the instantaneous two-way transmission of data; and it radically transforms the relationship between producers and consumers — or, if you prefer, writers and readers.

  • In the late 20th century, a culture typified by a consumerist ethic was convinced that it — that we — could have it all.  This “having it all” was even ascribed its own cultural era:  the postmodern.   We weren’t overtaken by new technologies, we simply took what we wanted from them, and collaged these fragments together, using the styles and modes of the past as a framework of ironic distancing:  hence the primacy of the message was reasserted over its medium.
  • The literary critic Robert Adams observed that if postmodernism was to be regarded as a genuine cultural era, then it made modernism itself a strangely abbreviated one.
  • If — as many seem keen to assert — postmodernism has already run its course, then what should we say has replaced it, post-postmodernism, perhaps?
  • The crisis registered in the novel form in the early 1900s continues apace.  The use of montage for transition; the telescoping of fictional characters into their streams of consciousness;  the abandonment of the omniscient narrator; the inability to suspend disbelief in the artificialities of plot.
  • So it was with the novel:  we may not have known altogether how to mae it novel again, but we knew it couldn’t go the way of Hollywood.  Now film, too, is losing its narrative hegemony, and so the novel is also in ineluctable decline.
  • The new media:  the web was there to provide instant literalism:  the work of the imagination, which needs must be fanciful, was at a few keystrokes reduced to factualism.
  • In the conflict between the medium and the message, in the long run it’s always the medium that wins.
  • Novelists who cannot make a living from their work become teachers of creative writing.
  • Teaching creative writing:  getting paid for the midwifery of stillborn novels.
  • Facebook links embedded in  digitised texts encourage readers to ‘share’ their insights, writing and reading have become the solitary acts of social beings.   And we all know how social beings tend to regard solitary acts — as perversities, if not outright perversions.
  • The current resistance of a lot of the literate public to difficulty in the form [the novel] is only a subconscious response to having a moribund message pushed at them.

TOO MUCH DARK MATTER, TOO LITTLE GREY

Dark matterSometimes the world seems terribly stupid.  Sometimes its me that is the black hole of stupidity.    Sometimes I meet folks whose brains are where stupid goes to die,  the intelligence killing fields,   the elephant graveyard of common sense.

Full disclosure:  I totally stole my headline from a book title by Mike Robinson.  I have no shame.

 

 

 

Got This One in Your Philosophy, Horatio? Pataphysics for the Masses

pirate_5 In 1948, a collective of avant-garde writers and artists set up the College de ‘Pataphysique.   In 1975, they decided to go underground as an experiment in survival.  In 2000, they re-emerged and today have about 1,000 members, Umberto Eco among them.  Go read this article,  and then go read this novella,  Tlon, Uqbar, Orbis Tertius, by Jorge Luis Borges,  and come back and we’ll talk.

Andrew Hugill tells us that pataphysics is

the science of imaginary solutions and the laws governing exceptions.  Resisting clear definition, purposefully useless, and almost impossible to understand, ‘pataphysics nevertheless lies around the roots of Absurdism, Dada, futurism, surrealism, situationism, and other key cultural developments of the twentieth century.

When dealing with pataphysics, we tiptoe between between the twin dangers of oversimplifying a serious subject and taking a joke too seriously,  because this really is a serious concept.  It is something of an offshoot of Absurdism.

But what the heck is pataphysics, really?  You will be thrilled to know there are over one hundred definitions.  I will try to bunch them together like a nosegay, a collection that contains all different varieties, but its result is one unified item.  (See what I did there?)

Works within the pataphysical tradition tend to focus on the processes of their creation, and elements of chance or arbitrary choices are frequently key in those processes. Select pieces from the artist Marcel Duchamp and the composer John Cage characterize this.    In addition, it can be found  in speculative computer applications applied to highly imaginative problem solving methods.  Who knew!

In writing, a pataphor essentially describes two degrees of separation from reality (rather than merely one degree of separation, which is the world of metaphors and metaphysics). The pataphor functions as a critical tool, describing the world of “assumptions based on assumptions”, such as belief systems or rhetoric run amok.

A pataphor is not the traditional metaphor, but rather a set of metaphors built upon an initial metaphor, obscuring its own origin rather than reiterating the same analogy in myriad ways.

Still with me?    So, whereas a metaphor is the comparison of a real object or event with a seemingly unrelated subject in order to emphasize the similarities between the two, the pataphor uses the newly created metaphorical similarity as a reality on which to base itself. In going beyond  the original idea, the pataphor seeks to describe a new and separate world, in which an idea or aspect has taken on a life of its own.

And where did this nifty word come from?  From a French writer named Alfred Jarey, back around the turn of the century. .. the LAST century.  It is a contracted formation, derived from the Greek epi meta ta physika, which means  “that which is above metaphysics”.

Whew.  Glad we go that all cleared up.

HEY, YOU KIDS, GET YOUR HIPPO OUT OF MY MOAT!

9jamhippo-3_180516Two Egyptian kings were having an argument.  The Hyksos King Apophis was pissed because King Seknere was keeping his pet hippopotamus in a moat, and it made too much noise. 

Well, instead of doing what Mexicans have surreptitiously been doing here for years about the neighbors’ barking dogs,  which is poisoning the dogs,  King Apophis sent King Seknere some nasty letters demanding surcease.  Pffft to you, replied King Seknere.  So, natch, King Apophis took offense, and took to arms and killed Seknere.

In case you are thinking I made this up,  the mummy of Seknere has been found, and it is clear he died naturally — from naturally dying when his head was hacked open with an axe.

Big wars start with little grievances. 

EgyptianAmunNebketPharaoh

Ireland, Snakes, and St. Patrick

Driving the Snakes Did you know that not only are there no snakes in Ireland, there never were?   Neither are there moles, several species of bats, many bird species, and innumerable insect species.   Wanna know why?  It’s because Ireland is actually fairly small.  One law of ecology is the more land, the more species, the more diversity.

Present day Ireland was assembled largely after the glaciers of the Last Ice Age retreated.    So that means all the wildlife that is there got there by migration.  So anybody with wings or who could swim, could take a shot at the Emerald Isle.  Which pretty much leaves out snakes.  Hard to do the back stroke with no arms.  Or legs.

The legend about Saint Patrick probably came about as Christianity made its way pub-ward, pushing out the early Celtic pagan beliefs.  And one of those beliefs was a matriarchal religion, and  the snake is a representation of the Triple Goddess in the pre-Celtic culture.  When the patriarchal and warrior-like people became dominant, the symbol of the serpent was crushed. So Saint Patrick served also as a symbol of the crushing of the serpent, as the Druids and their culture was crushed.

The Druids associated the serpent with the sun.  They represented the creation and the universe by a serpent in a circle, sometimes by an egg (the cosmic egg) coming out of the mouth of the serpent.  You know who else did that?  The Phoenicians and the Egyptians.

Saint Patrick was not a unique reptile repeller.  There is a whole history of heroes defeating serpents, snakes and dragons, starting with the Greek, Herakles.   We just cleaned up the details and assigned the role to poor Patrick, who was just trying to do his job in the fifth century,  in this clash of the two cultures.

St-Patrick

 

 

Twittering and the Art of the Essay

I would like to Tweet.  Twitter.  Chirp.  But whatever I have to say doesn’t really fit into 140 characters, so I thought I would blog instead.  I admire the person who can condense his or her life into 140-character slices.  Microblogging, I believe they call it.  It takes me more than 140 characters just to wander through my intro paragraph to get to the part that I really wanted to talk about.

I think I am really an essayist at heart.  You know, Montaigne, Emerson, Kingsley Amis, Umberto Eco, those guys.  Distinguished by a dearth of women essayists.  I guess the gals were too busy living life to ponder upon it.

The essay is a very interesting literary form.  Wiki says: Essays can consist of a number of elements, including: literary criticism, political manifestos, learned arguments, observations of daily life, recollections, and reflections of the author. The definition of an essay is vague, overlapping with those of an article and a short story. Almost all modern essays are written in prose.

The definition of an essay is vague….   Whoopee!  I’m in like Flynn.  Vague is my middle name.  Therefore, I shall write rambling pieces devoted to literary criticism, observations of daily life, and reflections of my own inner conscious state. 

Could be fun. 

Did you know that the expression in like Flynn refers to Errol Flynn and dates back to 1942?  That was even before I was born.  But not much.  Dang, he was a handsome son of a gun.

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I never could resist a man in a trench coat. 

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Well, maybe not him.   Although they are low, I do have my standards. 

 

 

Reading for Fun and Education (Oops – The “E” Word

There’s fiction and then there’s fiction. Actually, in terms of the Pretentiousness Rating, there’s all kinds of fiction. There’s Literary Fiction, which always appears with Caps in my head. Big time themes, heavy and ponderous. The kind that moves you just a few steps away from wanting to kill yourself because of the existential hopelessness of it all. You know it’s heavy because the other kind of fiction is Light Fiction, but without the caps. Caps would weigh it down and make it heavier.

I like reading all kinds of fiction, except for the romance genre and the thriller genre. OK, and the horror genre, and most of the fantasy genre. Well, on further consideration, there’s a lot of genres I don’t like. But what I do like is a book from which I can learn something. It is amazing what you can stumble upon even in a mystery, and even in one that isn’t all that great a book in general.

A fine example of this is Carolyn Jourdan’s Out On A Limb – A Smoky Mountain Mystery. It was an OK mystery, not at all noir, and the reader soon comes to realize that nothing bad is really going to happen, and it will have an ‘all’s well that end’s well’ ending. A charming, even delightful book. She wrote two others, both non-fiction: Heart in the Right Place, and Medicine Men, both of which I have also read.

In Out On a Limb, I learned about the mycetozoan group of the amoebozoa, otherwise known to us civilians as slime mold. And yes, the story revolves around slime mold. And climbing extreme tall trees. Really interesting stuff I never knew. But then, how many of us DO know anything about tree climbing? Or about slime molds? Did you know they aren’t quite plants, aren’t quite fungii, aren’t quite animal, but a really spooky combo. I got so interested in slime molds from this book that I have downloaded a bunch of articles on them. And these creatures kind of jar our complacent definition of intelligence and sentient. And they should should star in their own horror movie — oh, wait! They did: The Blob) Here is some slime mold solving a maze.


It’s a-maz-ing. Sorry. Couldn’t help myself.

The other thing I learned from this book was a bunch of interesting facts about frogs. You know, you can’t say enough about frogs. Did you know they are deaf to all but the resonances of the calls of their own species? They live in a silent world, hoping to hear from somebody they can ….. ummm…. have consensual sex with.

So the mystery plot was fun, but the extraneous info was worth its weight in natural history.