Saturday, July 10, 2010

July 9 - Time’s pencil‏

Dear Friends,


You can check out Metod Saniga's theory here;

Geometry Of Psychological Time


Be Well.


Time’s pencil

July 9th, 2010 by admin · 7 Comments

One of the most vexing problems to most physicists is the notion of time and its absolute relativity, depending on the subjectivity of the observer. In the normal course of events, we experience time as a flow, or arrow.

But during extraordinary experiences — during a mystic revelation, while taking a mind-altering drug, in a moment of madness, or even during a near-death experience (NDE) — all of us experience time rather differently: as an eternal moment of now or even, in the case of clairvoyants, as a moment in the future.

To a person on a hallucinogenic drug, time can even feel as
though it is flowing backward. However, mainstream physics does not have a theory able to embrace either our ordinary or extraordinary perception of time.

Time as a cube
Time to the physicist is still described in accordance with Einstein’s concept of space–time, where time and space represent one giant cube, and the moments we experience are dots residing somewhere inside it, a bit like a Christmas pudding (or a chocolate chip Brownie, to you lot in America).

There is no physics equation to account for the ‘flow’ of time or, indeed, for those anomalous moments when time stops, speeds up, or even suddenly jumps backward or forward. Indeed, to most physicists, time as a forward arrow is an illusion.

Frustrated by the Einsteinian view of time, a Slovakian physicist has come up with another model that embraces both our conventional notion of time as an arrow as well as the subjective time experienced by humans undergoing extraordinary anomalous events.

A new model of time
Metod Saniga, an astrophysicist at the Slovak Academy of Sciences in Bratislava, studied the NDE research of Dr Raymond Moody and others, and came up with his ingenious mathematical model of time.

Saniga began by poring through a batch of accounts of people who’d described extraordinary moments of time. After gathering a large sample of these data, he began to construct a mathematical model of time elastic enough to represent time as either a flow or a moment, as an ordinary experience or an extraordinary state of consciousness.

But to do this, he required something more sophisticated andthree-dimensional than a linear model.

Conic pencils
He played around with fractal geometry until, in the mid-1990s, he discovered a picture in a book of what is known as a ‘pencil’ of conics, where each different conic section has four points in common.

Once he saw this pencil, Saniga realized that he had his model—something pliable enough to create a unified representation of time.

Saniga then resorted to a specialized branch of mathematics called ‘algebraic projective geometry’. Rather than delineating each event in time as a single point, he considers it more accurate to represent it as a curved line within an infinite series of curves arranged in a plane.

These curves are called ‘conic’ sections — circles, ellipses, parabolas and hyperbolas —formed whenever a circular cone is intersected by a plane. Geometry, which describes the mathematics of curves, and algebra, which describes the mathematical relationships between the curves taken together, could most accurately portray this new sense of time.

In the eye of the beholder
This is how Saniga’s model works. When you draw a pencil, each curve represents a moment in time. A dot on one of the curves is your own perspective, your place in the present moment as it is to you. The infinite number of conic sections outside of the point represents the past, and the infinite number of sections that the point lies inside of represent the future.

To represent an altered state of consciousness, take a point (your place in time) and place it on top of one of the four points in the pencil where all the curves meet. From that perspective, every moment exists as the present, so time is experienced as an eternal ‘now’.

To represent time standing still, says Saniga, you move the point (your perspective) to one of the two lines which cross at the centre of the picture.

Saniga has devised a similar description of space as an infinite set of lines that all pass through one point. To represent three dimensions, he has created three pencils of straight lines over three planes. At the point where all three pencils intersect, you are standing at the place where all space feels like one big

Spaghetti junction
Now, to create a complete model of space–time, as Saniga
describes, draw your pencil of conics, then draw three more pencils of straight lines on three other sheets of paper. Slot them into the pencil of conics so that all four pencils share the points where the lines intersect.

Then take a piece of uncooked spaghetti (representing yourself) and
slot it through the entire model. If you place yourself on one
conic and straight line, you are in a position of ‘ordinary’
perception of time and space.

But if your spaghetti lands in a place where more lines intersect, you may be at a point where you experience time as an eternal ‘now’ or space as a giant stretched-out ‘here’.

According to Saniga, there are 19 possible places to put your
spaghetti—analogous to 19 different possible experiences of
time and space.

If we can adopt this all-embracing science of time, all of our experiences outside of time — near death experiences, forecasting, retroactive intention — begin to make perfect sense.

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How to Digitally Record/Video a UFO sighting:

Como registar digitalmente ou gravar um vídeo de um avistamento de um UFO:

Stabilize the camera on a tripod. If there is no tripod, then set it on top of a stable, flat surface. If that is not possible lean against a wall to stabilize your body and prevent the camera from filming in a shaky, unsteady manner.

Estabilize a camera com um tripé. Se não tiver um tripé, então coloque-a em cima de uma superfície estável. Se não for possível, então encoste-se a uma parede para estabilizar o corpo e evitar que a camera registe de maneira tremida e instável.

Provide visual reference points for comparison. This includes the horizon, treetops, lampposts, houses, and geographical landmarks (i.e., Horsetooth Reservoir, Mt. Adams, etc.) Provide this in the video whenever is appropriate and doesn’t detract from what your focus is, the UFO.

Forneça pontos visuais de referência para comparação. Isso inclui o horizonte, cimo das árvores, postes de iluminação, pontos de referência geográficos (como o Reservatório de Horsetooth, Mone Adams, etc) Forneça esses pontos no vídeo sempre que for apropriado e não se distraia do que é o seu foco, o UFO/a Nave.

Narrate your videotape. Provide details of the date, time, location, and direction (N,S,E,W) you are looking in. Provide your observations on the weather, including approximate temperature, windspeed, any visible cloud cover or noticeable weather anomalies or events. Narrate on the shape, size, color, movements, approximate altitude of the UFO, etc and what it appears to be doing. Also include any unusual physical, psychological or emotional sensations you might have. Narrate any visual reference points on camera so they correlate with what the viewer will see, and thereby will be better able to understand.

Faça a narração do vídeo. Forneça pormenores sobre a data, hora, local e direcção (Norte, Sul, Este, Oeste) que está a observar. Faça observações sobre as condições atmosféricas, incluindo a temperatura aproximada, velocidade do vento, quantidade de nuvens, anomalias ou acontecimentos meteorológicos evidentes. Descreva a forma, o tamanho, a cor, os movimentos, a altitude aproximada onde se encontra o UFO/nave, etc e o que aparenta estar a fazer. Inclua também quaisquer aspectos pouco habituais de sensações físicas, psicológicas ou emocionais que possa ter. Faça a narração de todos os pontos de referência visual que o espectador irá ver e que, deste modo, será capaz de compreender melhor.

Be persistent and consistent. Return to the scene to videotape and record at this same location. If you have been successful once, the UFO sightings may be occurring in this region regularly, perhaps for specific reasons unknown, and you may be successful again. You may also wish to return to the same location at a different time of day (daylight hours) for better orientation and reference. Film just a minute or two under “normal” circumstances for comparison. Write down what you remember immediately after. As soon as you are done recording the experience/event, immediately write down your impressions, memories, thoughts, emotions, etc. so it is on the record in writing. If there were other witnesses, have them independently record their own impressions, thoughts, etc. Include in this exercise any drawings, sketches, or diagrams. Make sure you date and sign your documentation.

Seja persistente e não contraditório. Volte ao local da cena e registe o mesmo local. Se foi bem sucedido uma vez, pode ser que nessa região ocorram avistamentos de UFOs/naves com regularidade, talvez por razões específicas desconhecidas, e talvez possa ser novamente bem sucedido. Pode também desejar voltar ao mesmo lugar a horas diferentes do dia (durante as horas de luz)para ter uma orientação e referência melhor. Filme apenas um ,inuto ou dois em circunstâncias “normais” para ter um termo de comparação. Escreva tudo o que viu imediatamente após o acontecimento. Logo após ter feito o registo da experiência/acontecimento, escreva imediatamente as impressões, memórias, pensamentos, emoções, etc para que fiquem registadas por escrito. Se houver outras testemunhas, peça-lhes para registar independentemente as suas próprias impressões, pensamentos, etc. Inclua quaisquer desenhos, esbolos, diagramas. Certifique-se que data e assina o seu documento/testemunho.

Always be prepared. Have a digital camera or better yet a video camera with you, charged and ready to go, at all times. Make sure you know how to use your camera (and your cell phone video/photo camera) quickly and properly. These events can occur suddenly, unexpectedly, and often quite randomly, so you will need to be prepared.

Esteja sempre preparado, Tenha sempre uma camera digital, melhor ainda, uma camera vídeo consigo, carregada e pronta a usar sempre que necessário. Certifique-se que sabe como lidar com a sua camera (ou com o seu celular/camera fotográfica) rápida e adequadamente. Esses acontecimentos podem acontecer súbita e inesperadamente e, por vezes, acidentalmente, por isso, necessita estar preparado.

Look up. Be prepared. Report. Share.

Olhe para cima, Esteja preparado, Relate, Partilhe.



Pf., clique no símbolo do YouTube e depois no quadrado pequeno, em baixo, ao lado direito para obter as legendas CC, e escolha PORTUGUÊS

埋め込み画像 4埋め込み画像 5

What time is Around the World?


AND YOU AND I - click image



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