I was going to do a follow-up post on the themes raised by my last post but something happened overnight that changed my mind. I had been re-reading some of the 1998 transcripts and stumbled upon something quite by accident, which linked up with my comments on St Bridget’s Cross in an earlier post above and to posts I have done in other threads. What I stumbled upon may have implications for UFT, so I thought I had better post it in case it may prove useful..
You will recall that I had this to say about St Bridget’s Cross and its links to the Triskelion, which is also the emblem on the Isle of Man flag.
“
The Triskelion has not just artistic significance in Celtic art but also esoteric and perhaps hidden scientific significance too. It is a very ancient symbol found all over the world and dates back at least to the Neolithic period. I have an article on it somewhere, which I will try and dig out.”
The Triskelion is an ancient symbol that is taken to represent many things. The present, past and future. Creation, preservation and destruction. It is a Buddhist meditation symbol. In Christianity the
triskelion can represent the Holy Trinity of the Father, Son and the Holy Spirit, the three days from the death of Jesus to his resurrection or the three temptations of Jesus by the devil. However, it is a far more ancient pedigree that can be found in neolithic rock art all over the world.
Here is what Wikipedia has to say about it
Triskelion - Wikipedia:
A
triskelion or
triskeles is a
motif consisting of a
triple spiral exhibiting
rotational symmetry. The spiral design can be based on interlocking
Archimedean spirals, or represent three bent human legs.
The triple spiral is found in artefacts of the European
Neolithic and
Bronze Age with continuation into the
Iron Age especially in the context of the
La Tène culture and related
Celtic traditions. The actual
triskeles symbol of three human legs is found especially in
Greek antiquity, beginning in
archaic pottery, and continued in
coinage of the
classical period.
In the
Hellenistic period, the symbol becomes associated with the island of
Sicily, appearing on coins minted under
Dionysius I of Syracuse beginning in c. 382 BC. The same symbol later appears in
heraldry, and, other than in the
flag of Sicily, came to be used in the flag of the
Isle of Man (known as
ny tree cassyn "the three legs").
Neolithic to Bronze Age
The triple spiral symbol, or three spiral volute, appears in many early cultures, the first in
Malta (4400–3600 BC) and in the astronomical calendar at the famous megalithic tomb of
Newgrange in Ireland built around 3200 BC, as well as on
Mycenaean vessels.
The
Neolithic era symbol of three conjoined spirals may have had triple significance similar to the imagery that lies behind the triskelion. It is carved into the rock of a stone lozenge near the main entrance of the prehistoric
Newgrange monument in County Meath, Ireland, which was built around 3200 BC.
The meaning of the Greek triskeles is not recorded directly. The Duc de Luynes in his 1835 study noted the co-occurrence of the symbol with the eagle, the cockerel,
the head of Medusa,
Perseus, three crescent moons, three ears of corn, and three grains of corn. From this, he reconstructed
feminine divine triad which he identified with the "
triple goddess"
Hecate.
The triskeles was adopted as an emblem by the rulers of
Syracuse. It is possible that this usage is related with the Greek name of the island of
Sicily,
Trinacria (Τρινακρία "having three headlands"). The Sicilian triskeles is shown with the
head of Medusa at the centre. The ancient symbol has been re-introduced in modern flags of Sicily since 1848.
As you can see, it has been adopted by others as well. The second image from the left is the emblem of the
27th SS Volunteer Division Langemarck and the third image is that of the flag of
Afrikaner Weerstandsbeweging.
So we find ourselves coming back again with the themes of
Medusa,
Perseus and the
triple goddess with this ancient image. We can’t seem to get away from them.
However, the three legs image also shares a correspondence to the equally ancient three hares image.
Three hares - Wikipedia
The
three hares (or
three rabbits) is a circular
motif or
meme appearing in sacred sites from the Middle and Far East to the churches of Devon, England (as the "
Tinners' Rabbits") and historical synagogues in Europe. It is used as an architectural ornament, a religious symbol, and in other modern works of art or a logo for adornment (including tattoos), jewellery, and a coat of arms on an escutcheon. It is
viewed as a puzzle, a
topology problem or a visual challenge, and has been rendered as sculpture, drawing, and painting.
The symbol features three hares or rabbits or rabbits chasing each other in a circle. Like the triskelion the
triquetra, and their antecedents (e.g., the triple spiral), the symbol of the three hares has a threefold rotational symmetry. Each of the ears is shared by two hares, so that only three ears are shown. Although its meaning is apparently not explained in contemporary written sources from any of the medieval cultures where it is found, it is thought to have a range of symbolic or mystical associations with fertility and the lunar cycle. When used in Christian churches, it is presumed to be a symbol of the Holy Trinity. Its origins and original significance are uncertain, as are the reasons why it appears in such diverse locations.
However, perhaps what we are seeing here is a hidden reference to atomic spin, which, having read Dr Joseph Farrell’s books, has profound implications for hyperdimensional physics.
The logo presents a problem in
topology. It is a
strange loop rendered as a puzzle.
Jurgis Baltrusaitis's 1955
Le Moyen-Âge fantastique. Antiquités et exotismes dans l'art gothique includes a 1576 Dutch engraving with the puzzle given in Dutch and French around the image. This is the oldest known dated example of the motif as a puzzle, with a caption that translates as:
The secret is not great when one knows it.
But it is something to one who does it.
Turn and turn again and we will also turn,
So that we give pleasure to each of you.
And when we have turned, count our ears,
It is there, without any disguise, you will find a marvel.
One recent philosophical book poses it as a problem in perception and an optical illusion—an example of
contour rivalry. Each rabbit can be individually seen as correct—it is only when you try to see all three at once that you see the problem with defining the hares' ears. This is similar to "The Impossible
Tribar" by
Roger Penrose, originated by
Oscar Reutersvärd. Compare
M.C. Escher's
impossible object.
You should note that Roger Penrose is a leading British physicist who has made contributions to the mathematical physics of
general relativity and
cosmology.
Roger Penrose - Wikipedia
Penrose was born in Colchester, Essex (is this the fabled “Colchis” of the Argonaut’s quest?)
In 1955, whilst still a student, Penrose reintroduced the
E. H. Moore generalised matrix inverse, also known as the
Moore–Penrose inverse, after it had been reinvented by
Arne Bjerhammar in 1951. Penrose finished his PhD at
St John's College, Cambridge, in 1958, with a thesis on "
tensor methods in algebraic geometry" under algebraist and geometer
John A. Todd. He devised and popularised the
Penrose triangle in the 1950s, describing it as "impossibility in its purest form", and exchanged material with the artist
M. C. Escher, whose earlier depictions of impossible objects partly inspired it. Escher's
Waterfall, and
Ascending and Descending were in turn inspired by Penrose. As a student in 1954, Penrose was attending a conference in Amsterdam when by chance he came across an exhibition of Escher's work. Soon he was trying to conjure up impossible figures of his own and discovered the
tribar – a triangle that
looks like a real, solid three-dimensional object, but isn't. Together with his father, a physicist and mathematician, Penrose went on to design a
staircase that simultaneously loops up and down. An article followed and a copy was sent to Escher. Completing a cyclical flow of creativity, the Dutch master of geometrical illusions was inspired to produce his two masterpieces.
Penrose has written books on the
connection between fundamental physics and human (or animal) consciousness. In
The Emperor's New Mind (1989), he argues that known laws of physics are inadequate to explain the
phenomenon of consciousness. Penrose proposes the characteristics this new physics may have and specifies the requirements for
a bridge between classical and quantum mechanics (what he calls
correct quantum gravity). Penrose uses a variant of
Turing's halting theorem to demonstrate that a system can be
deterministic without being
algorithmic. (For example, imagine a system with only two states, ON and OFF. If the system's state is ON when a given
Turing machine halts and OFF when the Turing machine does not halt, then the system's state is completely determined by the machine; nevertheless, there is no algorithmic way to determine whether the Turing machine stops.)
Hence, in many ways Penrose has adopted what the C’s have been saying about the inter-link between physics and consciousness.
This point now links with what was my first post in the Atlantis thread
Atlantis, which concerned the rather cryptic quote the C’s made in the session of 18 July 1998:
“A: You are dancing on the 3rd density ballroom floor."Alice likes to go through the looking glass" at the Crystal Palace. Atlantean reincarnation surge brings on the urge to have a repeat performance.”
In the Atlantis thread I had this to say about the quote:
It strikes me that the reference to Alice is obviously to Alice as in Alice's Adventures in Wonderland, the famous Victorian nonsense story, and its sequel 'Alice through the Looking Glass'. In the latter story, she meets the Red Queen who, of course, would live in a palace. At the beginning of the story Alice passes through a mirror into an alternative world. Perhaps this is an indirect reference by the C's to 4th Density. Alice gets involved in many strange adventures with odd characters such as the Mad Hatter, Humpty Dumpty and the twins Tweedledum and Tweedledee. The story ends with Alice recalling the speculation of the twin brothers, that everything may have been a dream of the Red King, and that Alice might herself be no more than a figment of
his imagination. The book also ends with the line
"Life, what is it but a dream?" The book therefore has a very esoteric bent and touches on some issues that the C's have referred to in their sessions such as humanity living in a virtual reality or Maya in hindu cosmology.
However, we also know from the C's that the Atlanteans were masters of crystal technology and I am guessing that they also were familiar with what we today would call the
'Unified Field Theory' and the existence of higher dimensions/densities. This made me wonder then what might be the connection between Alice and her looking through the Looking Glass. I learned some time ago that at CERN in Switzerland where they house the
Large Hadron Collider ("LHC") there is a sophisticated detection monitoring system called
'ALICE'.
Abstract: (JACoW)
The ALICE experiment is a complex hardware and software device, monitored and operated with a control system based on WinCC OA. ALICE is composed of 19 detectors and installed in a cavern along the LHC at CERN; each detector is a set of modular elements, assembled in a hierarchical model called Finite State Machine. A 3-D model of the ALICE detector has been realized, where all elements of the FSM are represented in their relative location, giving an immediate overview of the status of the detector. For its simplicity, it can be a useful tool for the training of operators. The development is done using WinCC OA integrated with the JCOP fw3DViewer, based on the AliRoot geometry settings. Extraction and conversion of geometry data from AliRoot requires the usage of conversion libraries, which are currently being implemented. A preliminary version of ALICE 3-D is now deployed on the operator panel in the ALICE Run Control Centre. In the next future, the 3-D panel will be available on a big touch screen in the ALICE Visits Centre, providing visitors with the unique experience of navigating the experiment from both inside and out.
Since the Collider has been used to investigate the sub-atomic universe and, therefore, the underlying nature of matter, I just wonder if this is what the C's had in mind. Bear in mind that the C's once said that the famous disappearances in the Bermuda Triangle were caused by the unstable operation of the 5000 ft crystal pyramid built by the Atlanteans and now submerged 300 miles off the coast of Florida. These disappearances result from a hole being literally blasted in the fabric of space/time by power generated by the pyramid. Are the experiments at CERN just replicating this on a smaller scale perhaps?
I was re-reading the July 18th session last night when I suddenly discovered that I had overlooked something that had been right before my eyes, something which could potentially be relevant to Ark in his search for the Unified Field Theorem (UFT).
In the 18th July session there was much talk of gravity, UFT and the electromagnetic grid, which encompasses the Earth. The C’s described the grid as a gently waving geometric blanket that the STS forces of the 3rd/4th Consortium manipulated and used for their own nefarious purposes. They then stated that the grid was a net that calculates and made the cryptic statement about Alice going through the Looking Glass at the Crystal Palace. However, it is in the word ‘
calculates’ that I think I missed the clue. This is because Lewis Carroll (real name Charles Dodgson) was a brilliant mathematician and scholar who incorporated a lot of mathematical references in his fantasy stories and verse. Please note that he was a contemporary of the physicist James Clerk Maxwell, the father of modern electromagnetics. Carroll was also a Rosicrucian and an alleged member of the
Orphic Circle, a Rosicrucian front organisation.
Subsequently, I started a thread on science fiction and fantasy writers
Science Fiction and Fantasy Writers and one of the first entries was a piece I did on Lewis Carroll, which would be followed by one for Lord Edward Bulwer-Lytton
Science Fiction and Fantasy Writers , a leading Victorian British politician, writer and Rosicrucian, who would write the book ‘
Vrill – The Coming Race’ that would catch the attention of the Thule Society in Germany.
Bulwer-Lytton was also a member of the Orphic Circle (note the link to Orpheus for future reference) and he may have invited Lewis Carroll to channelling sessions carried out in an ornate room at his villa, Craven Cottage in London using a brilliant young medium, Emma Hardinge Britten (real name Emma Floyd). She was amongst other things an accomplished actress, singer and
dancer who performed on the London and Paris stages.
I then added further information I had found on the links Emma Hardinge-Britten had with the Orphic Circle:
“
I am also attaching an extract I found in an academic work by Robert Mathieson on Emma Hardinge Britten, which comments on her links with the Orphic Circle and Lord Edward Bulwer-Lytton. If Lewis Carroll was a Rosicrucian and member of the Orphic Circle, as many have suggested, he would have known Bulwer-Lytton well and would almost certainly have come into contact with Emma Harding Britten, possibly during some of her trance sessions for the Circle. Mathieson also makes reference to Frederick Hockley, a Rosicrucian who was the most well known English occultist of the first half of the 19th Century. Mathieson shows that Emma Hardinge Britten knew Hockley well and was even allowed to use his 'sacred mirrors' for vision trances to contact guiding spirits (who in her own words were extraterrestrial and not human). Hockley also kept important papers in what he called his "Crystal Manuscripts". These manuscripts may have been made available to Bulwer-Lytton and the information in them and his own rosicrucian knowledge, when taken together with what he may have learned from the trance medium sessions with the Orphic Circle, could have formed the basis of the ideas he wished to get across when writing the book 'Vril: The Coming Race'.”
If Britten used a mirror to gain the information that Carroll and Bulwer-Lytton subsequently used in their books, this may make sense of the C's statement "You are dancing on the 3rd density ballroom floor."Alice likes to go through the looking glass at the Crystal Palace".
I hope this reminds you somewhat of what John Dee and Edward Kelley were doing way back in the 16th Century. The C’s have referred to it as a psychomanteum. It suggests that some things have always remained the same where it comes to Rosicrucian methodology and that goes for the Knights Templar too (as I hope to demonstrate in a subsequent post).
In that entry for Lewis Carroll, I also made reference to an article that I had come across on the esoteric nature of Alice in Wonderland.
Alice’s Adventures in Wonderland: An Esoteric Journey
Posted on
June 2, 2020 by
Nifty Buckles
In my post I made the following point about Lewis’ choice of using a white rabbit in ‘
Through the Looking Glass’:
“
Even the use of the White Rabbit may be a reference back to the ancient motif of the 'Three Hares' found in ancient China, Persia, Egypt and medieval Europe that is a rosicrucian symbol.”
The article supports the esoteric nature of Carroll’s works and makes the link with Emma Hardinge-Britten, who was the esoteric Alice in Wonderland. The author makes a few important points about the white rabbit symbolism:
Alice’s Adventures in Wonderland written by Children’s author Lewis Carrol (his Pen name). His real given name was Charles Lutwidge Dodgson. Lewis Carrol wrote this imaginative, creative Children’s novel in 1865. Lewis Carrol wrote a sequel called Through the Looking Glass in 1871. This is Children’s fiction not a Fairy Tale but it is a Classic, still loved by all.
The Fourth dimension became popular during this era. Some researchers such as New York Times, Melanie Bayley concludes this novel could be a satiric story based on non-Euclidean geometry.
“The White Rabbit symbolises purity, spiritual enlightenment. White Rabbit is a shamanic guide who journeys between worlds such as the Earth, underground and heavens. The Rabbit leads the seeker into Multiple worlds or realities to reveal truths of the universe and the seeker’s true self.”
The author then adds:
“White rabbit is also about time and out of time racing in and out of seven dimensions. The Book of Enoch mentions seven heavens. Time may not be linear like we have been taught, go ask the rabbit. It may represent our souls passing through different worlds being recycled and experiencing amnesia of past lives. Alice asks “Who am I?”
Hares were known to the Celts as guides to souls. Today some may think of the Grim Reaper as a guide to Heaven or Hell.”
Alice the iniate represented as psychiatrist Carl Jung’s the Child archetype is trying to find/remember spiritual self, as the esoteric Alice the psychic may be channeling several spirits.
Alice Adventures in Wonderland may also be based on Nietzsche’s eternal recurrence theory from his book Thus Spake Zarathustra published in 1883.
That black and white swirly tunnel that leads to Wonderland may represent our subconscious or a portal to other dimensions, or maybe a stargate? There are many references to time in the novel. This story may hint towards a tribute to time, Chronos the greek deity the personification of time.
All highly profound wouldn’t you say. Perhaps it may also remind you of what the Cassiopaeans having been telling us over the years. However, this may not get us to the treasure or chalice that is the Holy Grail of UFT yet.
Before returning to Lewis Carroll, I need to include a post I did on 14th March in the 30 January 2021 session thread since it will become relevant later:
Ark) My question is that in my research, related to the paper I've been writing for a year now, there appears a mathematical structure, an antisymmetric matrix or something like that. I believe it's important, but I don't know whether it's related to action of electromagnetic field, or gravitational field, or some kind of informational field. I have no clue and I would like to have a hint what it is doing this thing that is there and I don't know what kind of job it is doing?
I came across this interesting article in
Quanta magazine on
imaginary numbers by chance. I don't think it has anything really to say about the mathematical structure Ark was referring to but it still seems to be very interesting and I wasn't sure where to post it. It seems to cast
new light on the wave function as described in
Schrödinger's equation. I am happy for a moderator to move it to a thread which deals with such innovative work, where it would more properly belong.
Imaginary Numbers May Be Essential for Describing Reality
Music Man replied on 16th March:
“
Hmmm, I couldn't copy the quote that was part of the reply to this, but it mentioned 'imaginary numbers that turned negative when squared'. Now my education tells me that squaring will result in positive output, whether the original number was negative or positive. Just sayin'.”
Returning to the C’s, I am going to set out in full the 13th June 1998 session because it contained some highly pertinent clues regarding our quest. I have bolded/highlighted certain quotes for future reference:
Session June 13, 1998:
Laura, Ark, Frank
Q: Hello.
A: Hello.
Q: And who do we have with us this evening?
A: Verriah.
Q: And where do you transmit through?
A: Cassiopaea.
Q: First of all, this session on 11/11/95, the question was asked - you were talking about matrixing Gemini and Aquarius, the 11th and 3rd houses of the zodiac - and I made the remark that 33 could represent... giving my idea... and you answered
'Medusa 11.' I'm assuming loosely that your answer, Medusa 11' was to the question of what 33 represented. So, Medusa 11 was the answer?
A:
1/3 of 33.
Q: Medusa was 11 of the 33. So that means that there was 22 of the 33 that was represented by something else, is that it?
A: If you wish to perceive it as such.
Q: Okay, well then, is my perception erroneous?
A: The pathway chosen is fruitful, but do not suppose the terminus to have been reached.
Q: Well, Medusa 11 is one third of 33, what are the other two thirds. (A) I believe, that in general, they will try to take you out of this idea of 33. They never, by themselves - I am not sure that the 33 is right...
A:
33 is right, but what it means is complex and fluid in nature.
Q: This Medusa idea, as I have recently learned, is part of a triad of female figures. And in this triad, the other two female figures are Cassiopaea and Andromeda, or Cassiopaean and Danae. I don't know which set to select.
A: Select that which fits.
Q: I think that Danae and Cassiopaea could be the same entity in the mythical sense...
A: Who speaks for Andromeda?
Q: Cassiopaea... or Perseus? What do you mean who 'speaks' for her?
A: If you do not know, you need more pieces before you can advance. You see,
ask the mathematics teacher what happens if students fail to maintain the progression of study? But why?
Q: Because, if you fall behind, you miss a piece and can never catch up because other pieces don't fit, so you have to find the piece that fits.
A: Is this true Arkadiusz?
Q: (A) What happens is just that they stop understanding what follows next. (L) Okay, the story says that Perseus has slain Medusa and he is on his way back and came to Ethiopia. He found that a lovely maiden had been given up to be devoured by a horrible sea-serpent, and her name was Andromeda. She was the daughter of a 'silly, vain woman named Cassiopaean.' She had boasted that she was more beautiful than the daughters of the Sea God. The punishment for the arrogance of Cassiopaea fell not on her, but on her daughter, Andromeda. The Ethiopians were being devoured in huge numbers by the serpent - sounds a little bit like what the Lizzies are doing today - and learning from the oracle that they could be freed from the pest only if Andromeda could be offered up to the beast - the forced Cephus, her father, to offer her up. So, her mother got her into the soup and her father turned on the heat. Anyway, Perseus arrived and the maiden was chained to a rocky ledge waiting for the monster. He saw her and fell instantly in love. So, he waited beside her until the great snake came and cut off its head. They sailed away and lived happily ever after. So, who spoke for Andromeda, her mother and father, is that what you mean?
A: It is a beginning.
Q: Okay, so what is the point of who spoke for Andromeda? What does that have to do with the 1/3 of 33?
A: Your searches sooner or later "net" results.
Q: Okay, one interesting thing that we just discovered was that Hyakatuke and Hale Bopp both crossed the eye of Medusa, the star Algol, on April 11th exactly one year apart. What is the significance of this?
A:
You must remember mosaic, matrix... When you are on the verge of quantum changes or discovery, the realities begin to reveal their perfectly squared nature to you.
Q: Is that the only thing you want to remark about the crossing of the comets in front of the eye of Medusa?
A: Can you not picture
all reality as a curving and bobbing journey through a transparent, undulating matrix mosaic?
Q: Well, do you have anything else to say about Andromeda? (It's VERY HOT in here!) Okay, Medusa 11. So, this was 11 of the 33, and assuming that you were not saying that there were 11 heads, but that Medusa was one of three heads, is that what we are getting at here, that there are three heads and Medusa was one?
A:
Or both times 2.
Q: What do you mean? I don't understand.
A:
Both times 2 is your square, my dear. In other words,
perfect balance.
Q: Okay...
A: No! Ponder,
do not jump around so much, lest ye lose the chance to learn!
Q: So, Medusa represents both heads times 2, and that is the square and balance. But that is only 22 or 121. So where does the 33 come from?
A: All these 1s 2s and 3s... hmmm...
Q: Well, if Medusa is one of the heads, what is the other head called?
A: Who are your
prime numbers?
Q: The dwellings or the mystics, or do you want specific numbers?
A: Yes.
Q: (A) Who?
A: Who?
Q: How do we find out who are the prime numbers? Do we plot...
A: Who are the first 3?
Q: Father, Son and Holy Ghost?
A: Numbers!!!
Q: (A) 1 2 3 are the first three prime numbers...
A: Yes, thank you Arkadiusz!!!! Laura is dancing around in wonderland, meanwhile all of creation, of existence, is contained in 1, 2, 3!!!
Look for this when you are trying to find the keys to the hidden secrets of all existence... They dwell within. 11, 22, 33, 1/2, 1/3, 1, 2, 3, 121, 11, 111, 222, 333, and so on! Get it?!?!
Q: When you say that the secrets of all existence dwell within 1 2 3 or variations thereof,
what kind of secrets are we talking about here?
A:
All.
Q: Well, name two at the top of the list just so I know where we are going here?
A: You can do that!
Q: Are we talking about
secrets of physics?
A:
Yes.
Q:
Are we talking about secrets as in encoded words?
A:
Yes.
Q: Are we talking about
the Fibonacci series?
A:
Yes.
Q: (A) Continuous fractions?
A: Yes.
Q: (A) That means all...
A: Yes.
Q: So, how can we most effectively utilize this information in some way that makes it useful?
A: You have.
Q: How have I utilized it?
A: By receiving it.
Q: Speaking of three... should we continue on this Medusa subject at this point?
A: You are beginning to obsess.
The answers lie within the finished painting, not within the paintbrushes.
Q: Okay. Next: On this subject of 'looking for the frequency of light,' the 'undreamed of treasures in Rhineland,' and needing a better 'handl' on it. I came to the conclusion that it might be Liechtenstein because of the 'handle of a stein' and Liecht is light in German, so we have the frequency of light with a handle on it, or Liechtenstein. And, in this place there is a little town called Triesen.
A: What does stein mean, is it "written in stone?"
Q: Stein as in 'grail,' and stone as in 'philosopher's.' So, maybe we are getting close.
A: What does Einstein mean?
Q: 'One stone.'
And a stein is a cup and a stone at the same time. So, Triesen is in the 'beautiful countryside between the Rhine and the alpine world.' There is an alp called Lawena, nearby Lake Constance, and the Swiss canton of St. Gallen. You said something about being buried in 'Galle' and this seems to have all the related elements collected together... all the key words... so am I...
A: On the right track? It looks good.
Q: But how do alfalfa fields connect with all of this? There is nothing about alfalfa? Comment?
A: You think there is no alfalfa in the Germanic highland?
Q: Well, are we supposed to go to Liechtenstein to find what we are looking for?
A: Be patient... clues will progress nicely. Remember the Canary Islands?
Q: Yes, I remember. Okay, that takes care of several things. You are talking about bloodlines becoming parasitically infested and harassed at times of quantum leaps such as now, when I was reading back over this, it seems that this is a repeating cycle, this parasitic infestation; and then reading the history of Gregory of Tours, and all of these truly amazing things - lights in the sky, plagues, repeated incidents of aerial phenomena... a 'light like a serpent' in the sky... a bright light and 'snakes fell from the clouds...' in 590, fiery globes traversed the heavens and then an eclipse of the sun. These astronomical phenomena were usually followed by inclement weather which, in its turn, brought plague... is this the kind of parasitical infestation, harassment and so forth that we are talking about here?
A: Maybe, look for more clues.
Q: Well, do you have a specific point that you would like to toss on me here so that I have an idea of what I am looking for?
A:
Undulating matrix/mosaic.
Q: Well, there is definitely a LOT of that. It is completely amazing what our forebears wrote about that other people just pass off as an overactive imagination. Are we talking about these kinds of things going on nowadays... it seems pretty obvious that it is...
A: Wait for more... and good night.
Where they say: “.......
The answers lie within the finished painting, not within the paintbrushes.”, I think they are referring to Nicolas Poussin and his ‘Shepherds of Arcadia’ painting, which I hope to return to in a future post, as Poussin’s paintings are filled with mathematical details.
In the following session on 20th June 1998 the C’s also made an important reference for our purposes, as follows:
A: Seldom are answers so readily obtainable as in the "
key" book.
*************************************
A: And you may see the connection. Why do you suppose alchemists knew of the secrets brought "
to the table" by the Maya/Egyptians?
Q: They constructed a
mathematical table of some sort and this fits into that table, is that it? Is that why it reveals a secret?
A: It is a start.
Please also remember that the C’s also said that the most profound of truths can be found in works of fiction. Well I believe the key book may be Lewis Carroll’s ‘
Alice through the Looking Glass’ and my reason for saying so lies in an article that I am setting out below in full for your consideration. It is not for nothing that the C’s referred to Alice going through the looking glass at the Crystal Palace but it took this article to open my eyes. For your information, I opened the article last night but felt too tired to read it. It was the first thing that greeted me when I logged into my computer this morning.
It is worth pointing out that the Nifty Buckle article I quoted from above only became available in 2020 and the article I now set out below was written in 2011. Hence, these materials were not available to Laura in 1998. I wonder if she had a copy of ‘Alice Through the Looking Glass’ in her home/study at the time?
Opinion | Algebra in Wonderland (Published 2010)
Algebra in Wonderland
By Melanie Bayley
March 6, 2010
Oxford, England
SINCE “Alice’s Adventures in Wonderland” was published, in 1865, scholars have noted how its characters are based on real people in the life of its author, Charles Dodgson, who wrote under the name Lewis Carroll. Alice is Alice Pleasance Liddell, the daughter of an Oxford dean; the Lory and Eaglet are Alice’s sisters Lorina and Edith; Dodgson himself, a stutterer, is the Dodo (“Do-Do-Dodgson”).
But Alice’s adventures with the Caterpillar, the Mad Hatter, the Cheshire Cat and so on have often been assumed to be based purely on wild imagination. Just fantastical tales for children and, as such, ideal material for the fanciful movie director Tim Burton, whose “Alice in Wonderland” opened on Friday.
Yet Dodgson most likely had real models for the strange happenings in Wonderland, too. He was a tutor in mathematics at Christ Church, Oxford, and Alice’s search for a beautiful garden can be neatly interpreted as a mishmash of satire directed at the advances taking place in Dodgson’s field.
In the mid-19th century, mathematics was rapidly blossoming into what it is today: a finely honed language for describing the conceptual relations between things. Dodgson found the radical new math illogical and lacking in intellectual rigour. In “Alice,” he attacked some of the new ideas as nonsense using a technique familiar from Euclid’s proofs, reductio ad absurdum, where the validity of an idea is tested by taking its premises to their logical extreme.
Early in the story, for instance, Alice’s exchange with the Caterpillar parodies the first purely symbolic system of algebra, proposed in the mid-19th century by Augustus De Morgan, a London math professor. De Morgan had proposed a more modern approach to algebra, which held that any procedure was valid as long as it followed an internal logic. This allowed for results like the square root of a negative number, which even De Morgan himself called “unintelligible” and “absurd” (because all numbers when squared give positive results).
The word “algebra,” De Morgan said in one of his footnotes, comes from an Arabic phrase he transliterated as “al jebr e al mokabala,” meaning restoration and reduction. He explained that even though algebra had been reduced to a seemingly absurd but logical set of operations, eventually some sort of meaning would be restored.
Such loose mathematical reasoning would have riled a punctilious logician like Dodgson. And so, the Caterpillar is sitting on a mushroom and smoking a hookah suggesting that something has mushroomed up from nowhere, and is dulling the thoughts of its followers — and Alice is subjected to a monstrous form of “al jebr e al mokabala.” She first tries to “restore” herself to her original (larger) size, but ends up “reducing” so rapidly that her chin hits her foot.
Alice has slid down from a world governed by the logic of universal arithmetic to one where her size can vary from nine feet to three inches. She thinks this is the root of her problem: “Being so many different sizes in a day is very confusing.” No, it isn’t, replies the Caterpillar, who comes from the mad world of symbolic algebra. He advises Alice to “Keep your temper”
In Dodgson’s day, intellectuals still understood “temper” to mean the proportions in which qualities were mixed as in “tempered steel” so the Caterpillar is telling Alice not to avoid getting angry but to stay in proportion, even if she can’t “keep the same size for 10 minutes together!” Proportion, rather than absolute length, was what mattered in Alice’s above-ground world of Euclidean geometry.
In an algebraic world, of course, this isn’t easy. Alice eats a bit of mushroom and her neck elongates like a serpent, annoying a nesting pigeon. Eventually, though, she finds a way to nibble herself down to nine inches, and enters a little house where she finds the Duchess, her baby, the Cook and the Cheshire Cat.
Chapter 6, “Pig and Pepper,” parodies the principle of continuity, a bizarre concept from projective geometry, which was introduced in the mid-19th century from France. This principle (now an important aspect of modern topology) involves the idea that one shape can bend and stretch into another, provided it retains the same basic properties, a circle is the same as an ellipse or a parabola (the curve of the Cheshire cat’s grin).
Taking the notion to its extreme, what works for a circle should also work for a baby. So, when Alice takes the Duchess’s baby outside, it turns into a pig. The Cheshire Cat says, “I thought it would.”
The Cheshire Cat provides the voice of traditional geometric logic — say where you want to go if you want to find out how to get there, he tells Alice after she’s let the pig run off into the wood. He points Alice toward the Mad Hatter and the March Hare. “Visit either you like,” he says, “they’re both mad.”
The Mad Hatter and the March Hare champion the mathematics of William Rowan Hamilton, one of the great innovators in Victorian algebra. Hamilton decided that manipulations of numbers like adding and subtracting should be thought of as steps in what he called “pure time.” This was a Kantian notion that had more to do with sequence than with real time, and it seems to have captivated Dodgson. In the title of Chapter 7, “A Mad Tea-Party,” we should read tea-party as t-party, with “t” being the mathematical symbol for time.
Dodgson has the Hatter, the Hare and the Dormouse stuck going round and round the tea table to reflect the way in which Hamilton used what he called quaternions a number system based on four terms. In the 1860s, quaternions were hailed as the last great step in calculating motion. Even Dodgson may have considered them an ingenious tool for advanced mathematicians, though he would have thought them maddeningly confusing for the likes of Alice (and perhaps for many of his math students).
At the mad tea party, time is the absent fourth presence at the table. The Hatter tells Alice that he quarreled with Time last March, and now “he won’t do a thing I ask.” So the Hatter, the Hare and the Dormouse (the third “term”) are forced to rotate forever in a plane around the tea table.
When Alice leaves the tea partiers, they are trying to stuff the Dormouse into the teapot so they can exist as an independent pair of numbers, complex, still mad, but at least free to leave the party.
Alice will go on to meet the Queen of Hearts, a “blind and aimless Fury,” who probably represents an irrational number. (Her keenness to execute everyone comes from a ghastly pun on axes the plural of axis on a graph.)
How do we know for sure that “Alice” was making fun of the new math? The author never explained the symbolism in his story. But Dodgson rarely wrote amusing nonsense for children: his best humour was directed at adults. In addition to the “Alice” stories, he produced two hilarious pamphlets for colleagues, both in the style of mathematical papers, ridiculing life at Oxford.
Without math, “Alice” might have been more like Dodgson’s later book, “Sylvie and Bruno” a dull and sentimental fairy tale. Math gave “Alice” a darker side, and made it the kind of puzzle that could entertain people of every age, for centuries.
Melanie Bayley is a doctoral candidate in English literature at Oxford.
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Now I am no mathematician but in this light one may now be able to view Carroll’s work as a hidden treatise on the new mathematics of his day and, given that he may have learned of hidden knowledge as a Rosicrucian and member of the Orphic Circle, I don’t think you can rule out that he may have included masked references to the Unified Field Theory within this work.
James Clerk Maxwell, a brilliant mathematician in his own right had produced a unified field theory of his own about the time Carroll wrote his book. In 1861 and 1862, Maxwell published an early form of the equations that included the Lorentz force law (N.B. Carroll wrote his book in 1865). Maxwell first used the equations to propose that
light is an electromagnetic phenomenon. I understand that Ark has looked into Maxwell’s work and rejected it but my recollection is that his original theory was tampered with by
Oliver Heaviside who rewrote
Maxwell's equations after Maxwell’s death in the form commonly used today.
In 1884 Heaviside recast Maxwell's mathematical analysis from its original cumbersome form (they had already been recast as quaternions) to its modern vector terminology, thereby reducing twelve of the original twenty equations in twenty unknowns down to the four
differential equations in two unknowns we now know as
Maxwell's equations. The four re-formulated Maxwell's equations describe the nature of electric charges (both static and moving), magnetic fields, and the relationship between the two, namely electromagnetic fields.
Heaviside, a fellow of the Royal Society, did much to develop and advocate
vector methods and
vector calculus.
Maxwell's formulation of
electromagnetism consisted of
20 equations in 20 variables. Heaviside employed the
curl and
divergence operators of the
vector calculus to
reformulate 12 of these 20 equations into four equations in four variables B , E , J and ρ {\displaystyle {\textbf {B}},{\textbf {E}},{\textbf {J}}~{\text{and}}~\rho }, the form by which they have been known ever since. Less well known is that Heaviside's equations and Maxwell's are not exactly the same, and in fact
it is easier to modify the former to make them compatible with quantum physics. The possibility of
gravitational waves was also discussed by Heaviside using the analogy between the inverse-square law in gravitation and electricity.
With quaternion multiplication, the square of a vector is a negative quantity, much to Heaviside’s displeasure. As he advocated abolishing this negativity, he has been credited by
C. J. Joly with developing
hyperbolic quaternions, though in fact that mathematical structure was largely the work of
Alexander Macfarlane.
It is interesting for me to note that whilst Maxwell was at Trinity College Cambridge, he was elected to an
elite secret society known as the
Cambridge Apostles.
I am not saying that Lewis Carroll’s work necessarily has all the answers to UFT but it strikes me as strange that the C’s should have referred specifically to ‘Alice through the Looking Glass’ without meaning deliberately to draw our attention to it.
And what of the C’s strange reference to a table:
A: And you may see the connection. Why do you suppose alchemists knew of the secrets brought "to the table" by the Maya/Egyptians?
Is it possible that the C’s were referring to the Mad Hatter’s table and secrets that Carroll was divulging at it? Could the ‘
Hatter’s quarrel with time last March’ be a subtle reference to a dispute Carroll may have had with Maxwell over his equations and particularly his use of quaternions. Recall also that the reference to the Hatter, the Hare and the Dormouse (the third “term”) being forced to rotate forever in a plane around the tea table is clearly a reference to the Three Hares and the Triskelion (which is where we came in), since this is an ancient memory of Atlantian science and something Carroll, as an esotericist, would probably have been aware of. You will notice that time has no place at the party. And is the C’s warning to Laura not to “
jump around so much lest ye lose the chance to learn” a subtle reference to what the characters round the table at the Tea Party were doing? Why did they use the old usage of “lest ye” instead of the more modern “in case you”. “Lest” and “Ye” is only really used in England and generally in a quaint context like Dickens ‘Ye Olde Curiosity Shop’. Of course, I recognise that this may also be a reference to the plays of William Shakespeare, which were probably written by Francis Bacon and the Old Curiosity Shop, a real Tudor building, is certainly of that vintage (1567 in case you wondered).
In his book, Carroll clearly appears to be championing traditional Euclidian geometry and the victorian algebra of
William Rowan Hamilton. It should be noted that the C’s have stressed the importance of algebra on a number of occasions.
BTW: The reference to the Queen of Hearts being a Fury relates to the
Furies (The Erinyes) who were three goddesses of vengeance and retribution who punished men for crimes against the natural order.
For those of a mathematical bent, I attach a link to an online version of the Through the Looking Glass
The Project Gutenberg eBook of Through the Looking-glass, by Lewis Carroll.
Let me know what you come up with.
My next post will be on one of Nicolas Poussin’s paintings, which will bring to light even more hidden mathematical secrets.