12 november 2020: Can light be dated?
John Bjarne Grover
It was on 11 november 2020 that I outlined the following theory on my computer - and it seems to have triggered a nervous response among 'spectators' (also, the internet suddenly behaves a little strange but hopefully it functions) which makes it sensible to publish the idea right away - in the following rudimentary form:
If lightbeams could be dated, then light could be narrowly filtered to let only light of a certain age through and then the reflexes of life on earth reflected from a planet 1000 lightyears away could tell of things on earth 2000 years ago - at least light originating on earth at that time.
But can light be dated?
My theory is that if it can, that could be just the meaning of the socalled Purkinje effect - if what is reflected from the eyes deviates a little from the light that went towards them. In general, if the Purkinje effect is an 'archetypization' or degree of 'formalization' of the reflexes, that means that the red metre (in my inventory) obtains. Then the blue metre (my blue metre, that is) can tell of the formal basis of former events while the red can tell of the non-formal light source therein. Expectedly, it would be the degree of 'formalization' or 'archetypization' in the Purkinje effect that would give the age of a lightbeam.
The Madonna of Guadalupe has been investigated for the reflexes of light in her eyes as depicted on the 'tilma' (Jose Aste Tonsmann). These have been photographed and computer-enhanced - according to the theory that the light seen in her eyes reflect the scene in the moment when the imprint on Juan Diego's tilma appeared to those present.
This means that the Purkinje effect - at least in this example - resembles the formation of a 'lapis philosophorum'.
The computer-enhanced photos of the people present at the revelation of the icon on the tilma is given in the web page www.amen-etm.org/Milagre5.htm. This page brings some computer-enhanced reproductions of the 'purkinje' images in the eyes of the Madonna of Guadalupe which I bring some quotations from in the below scheme. What is interesting is that these seem to follow with considerable precision the lines of my DDS #78 - the poem with relative enumeration #78 (which is absolute enumeration #111) in 'Der Dornenstrach' - this poem has been reproduced earlier on my homepage in the article 'The fundamental theorem of linguistics'. This DDS is the yellow metre - which thereby adds theoretic support to the formalisms that can be constructed on basis of the blue and the red metre. Here is the poem with enumerated lines in accordance with the photographic material in www.amen-etm.org/Milagre5.htm which I have quoted in the column to the left (if problems, try this) :
# 78
Leben fährt fort
eben wenn die äußere Bedingungen
die innere Erscheinungen
wiederspiegeln. Hier
see #1 sind wir plötzlich versteinert,
see #2 unsere Gedanken sich in die zweifelhafte Verhältnis
see #3 wieder und wiedermal ähneln
see #4 wie in ein Spiegel der Zeit
see #5 wenn die Negerin im blauen Kleid
see #6 meine gestrige Gedanken außpricht.
see #7 in this So ist es immer in das gekrümmte Licht
see #8 in this beim Fortschreiten des paradoxalen Lebens
see #9 in this eine Ausfaltung der inneren Geschichte
see #10 in this in der Hoffnung
see #11 in this daß einmal
see #12 in this die große Schönheit
see #13 in this sich in der ständige Endzeit offenbaren will.
See the overview in this quotation
This could suggest that the formation of a lapis philosophorum is the same as this 'Purkinje' effect in the eyes of the Madonna on the tilma of Juan Diego in Guadalupe: The scene which is assumed to be reflected in the eyes of the Madonna is the moment when Juan Diego's 'secret' which he had got from the Madonna is revealed to the community. It is the moment when he presents the truth and does not keep it secret. That is the moment of 'lapis philosophorum'.
It is a rule of thumb, as I see it: If you get a secret from the divine, that has been told to you in order for you to tell it on to the rest of the community and not make a secret esotheric brotherhood thereof - and in particular not put an administrative stamp of secrecy on it. My personal view is that this could have been the historic background of the holocaust: That the jews kept their mystic knowledge too secret - and therefore Hitler came and turned the Sobibor and the Treblinka mysteries (I fancy that these are jewish-philosophical mysteries) into death camps. Not to speak of the 'Au-schwitz' as in the present example - which Hitler could have turned into an USA-witz.
Only the four first lines of the poem are not in the 'Purkinje' photos - here with suggestive interpretations (if problems, try this):
| Leben fährt fort | = the age of light |
| eben wenn die äußere Bedingungen | = the outer 'bedingungen' (= 'lapisations') are equal to |
| die innere Erscheinungen | = the inner revelations |
| wiederspiegeln. Hier | = mirroring in the here |
It is this 'here' which turns into 'now' with the following 'plötzlich' when the metaphysical mind turns into physical matter. In principle, one can guess that all metres can contribute to aspects of the reconstructed events.
Of course one has to ask whether these very detailed computer-enhanced reproductions of the light in the Madonna's eyes could have been modelled after the lines in my poem - if, that is, they were made after my book was finished in 2015. (I had most probably - rather certainly - never seen these photos when I wrote my poem). I can present two pieces of evidence in favour of the idea that the computer-enhanced photos can have a real value: The one is in the 5 photos I took of a gull on a Venice bridge some days ago (31 october 2020) - one of them is also the last photo in 31 october 2020: The one of interest here is this photo which compares with the the first of the Madonna photos from the quoted website. The reason for this is that I recognized it from Wang's recording of Debussy's Arabesque, which is the second example telling of a relevance of the relation between photos of the Madonna tilma and the poetic lines of mine. The 'arabesque' district is between the hebrew Moses and the 'wooden' vedas in the burning bush - according to my theory that where the chinese radicals could find their rooting. But that is just what this poem #78 from DDS part 1 is about. In the 214 system (absolute), radical #111 is the sign for 'arrow'. In the 188 system (relative), radical #78 is the sign for 'ritual'. The line with this significant ('ritualistic'?) movement (from 'die innere Erscheinungen' to 'die äußere Bedingungen'?) is presumably the line for the formation of the lapis philosophorum - or the image on the tilma. Is the female on the 'lapis' even performing the same sort of movement of the head? There are 17 lines with 77 words in my poem #78.
It can be observed that my poetry has a very significant part of its intended knowledge-formation in readers of this kind of knowledge.
© John Bjarne Grover
On the web 12 november 2020
