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Old 03-01-2011, 02:08 AM   #1
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Default Paul Laffoley, Hyper-space Cartographer

Paul Laffoley is a Architecturally trained Visionary artist in a field of his own, a completely original thinker on many dimensions:








"I began to research the concept of dimensionality from the point of view of quality, and not just quantity, as a mathematician might do. Taking my clues from the theosophical use made of the Vedantic levels of reality, I identified the western notion of Energy (as someting which is effecatious by means of motion), with the idea of Time. The more comprehensive dimension 'eternity' I defined as a form of energy which is efficacious without motion. In this manner I began to establish the qualities of dimensions and open out the seemingly monolithic concept of energy."
- Paul Laffoley, from: Elements of the Time Machine: Homage to H.G. Wells

The Aetheiapolis

or Singularity City, is a proposed conceptual city with one function: to realize the true nature of the form of utopia. The sixty-four inhabitants are made up of thirty-two people from the present, sixteen from the past, and sixteen from the future. It is of paramount importance to the concept of utopia to consult people from the past and future in order to avoid being temporally parasitic to the social intentions of those already dead and possibly temporally destructive toward the social intentions of those yet unborn. Most utopias are presented as constructs already in medias res with no indication of how they came to exist, or in what way they might dissolve or disrupt future societies. My city attempts to answer this problem. It is not, therefore, a utopia, but a device for confronting the entity of utopia.

The Aetheiapolis is built on a fifty-foot deep brine pond 1,000 feet in diameter which contains a hydromedusa, or jellyfish, genetically programmed to reach a diameter of 650 feet. At this size the jellyfish cannot possibly move and its electrical and psychic circuitry can be used. Thirty-two astral projection chambers are mounted at the end of the tendrils. Between the tendrils are thirty-two time machines controlled from the astral projection chambers. Sixteen of the time machines are tuned to specific space-time coordinates in the past, and sixteen tuned to coordinates in the future.

Through various electronic and psychotronic devices such as the Project Hermes Device, the particular resonant frequencies of the sixty-four souls of the inhabitants are converged into a standing wave and directed to the tetraheptahedron. This piezoelectric crystal form is spun simultaneously on three perpendicular axes by means of nested rings, it subsumes lower dimensions.



The tetraheptahedron creates the passage from dianoia (reason) to episteme (pure thought), or from the fourth to the fifth dimensional realm and back again.
- Paul Laffoley

The HYPERCUBE HOUSE & TIME TRAVEL - (extracts)

Tesseract (Hypercube) House
Because: The Time Machine implies that all creatures will meet eventually throughout the universe and genetically retrofit themselves into one species of being with one goal- the fulfillment of the Cosmic Task, which is to transform all of the absolute matter of physical universe into absolute spirit, starting from one instant before the Big Bang to whatever and whenever a motionless future is reached.


Because: The Big Bang is God (He, She, It) expelling all deadness from the ultimate void, and since there is nothing but “the all,” we must work to bring aliveness to the matter of physical universe and prepare it to be delivered from our dimensional frame of Time-Solvoid into the next higher dimensional realm of Eternity-Vosolid, and live with the fact that we have no way of knowing where we are going, but we do know that we have to go.

Therefore: The only logical thing to do is establish a series of built environments around the world that provide a higher dimensional mood, thereby allowing any strange phenomena to be interpreted in relation to time mechanics, such as flying saucers, UFOs, implants, psychic phenomena, all as being, therefore, parts of the time machine.

These environments, called Tesseract Houses (or fourth- dimensional houses), were invented by the American architect Claude Fayette Bragdon (1866- 1946). I have taken on the task of presenting The Tesseract House as it should be, i.e. as envisioned by the architect.
It is a live-in architectural studio for a team of designers. The team will pursue such design problems as:
1. Physically alive architecture, both vegetative and mammalian,
2. Developing time machine variations in relation to the natural scale of inertial frames of references,
3. Mega and nano engineering such as the earth-moon link up, redesign of the solar system and eventually the entire universe, and
4. The replacement of natural evolution by an understanding of authentic human intentionally under the guidance of pure spirit."
text: extracts from

Paul Laffoley's commentary on "Tesseract House"(1978)


From his myspace page (http://www.myspace.com/paullaffoley):

A theorist as much as an artist, Laffoley's work explores possible, but not yet provable phenomena. To create his complex works, the artist draws upon a staggering range of literature from the popular to the arcane - works in such disciplines as art history, history, physics, science fiction, classical literature, architecture, and such occult sciences as parapsychology and theosophy.

* The Time Machine. Of those inventions prophesied by H.G. Wells, the Time Machine is the only one which has not yet become a reality. Laffoley, however believes there is a linkage between time machine awareness and the presence of U.F.O.s, which may in fact be time machines from another dimension.

* Operating systems. Laffoley approaches truth not as an absolute, but as a series of interdependent choices. Works like Temporality and Dimensionality suggest that our sense of reality is only true to the degree we are able to perceive all that is possible.

* Lucid Dreams. These works, such as It Came From Beneath the Sea, are the artist's depictions of extraordinary dreams he has had while he was aware of dreaming. To picture his utopian world view, Paul Laffoley combines representational imagery with diagrams,symbols, and texts. Painstakingly wrought, he produces only a handful of canvases each year. With their dense fields of information, these paintings are to be read and pondered as much as beheld. "







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Old 03-01-2011, 02:11 AM   #2
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One of his most famous works, the Thanaton III


Comments:
The painting depicts an extraterrestrial's exhortation to me, explaining how to:
1) Link life to death in a continuous experience.
2) Utilize the resulting thanatonic energy to travel faster than the speed of light,
turn matter into consciousness and back again, alter evolution at will
and exist simultaneously at every moment of time.
3) Move the entire universe into the fifth dimensional realm,
and say when in history it is possible for this to happen.

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Old 03-01-2011, 02:36 AM   #3
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Dimensionality:


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From the mid-nineteenth century until now, dimensionality has gradually replaced the traditional concept of fate, first anthropomorphized by the ancient Greeks as three female sovereigns who determine the course of human life.
The Fates from the Latin “fata” [singular – “fatum”] derives from the ancient Greek word “moirai” [singular – “moira”]. Both words mean “prophetic declarations” or “oracular utterance.” When an event is said to be fated, it is the same as that particular event being decreed to come to pass. But for humanity the future always remains unknowable except for an occasional divine inspiration, which is seldom heeded. The interlocutor for the Romans was Jupiter, while the decisions of the Fates for the Greeks were spoken by Zeus. Cassandra, a daughter of Priam [king of Troy], was endowed with the gift of prophecy but fated never to be believed. This is the condition the human species finds itself in relation to the future, never to know the absolute future, but always believing it can.

In Greek and Roman cultures, the three Fates:
1) Clotho- the spinner – she who spins the thread of life
2) Lachesis- the disposer of lots – she who determines the length of life
3) Atropos- the inflexible – she who cuts off the thread of life all three were called goddesses.

They were, however, of such primordial nature that even early Greek commentators such as the poet Hesiod [Fl. ca. 800 B.C.E.] and the historian Herodotus [ca. 484-420 B.C.E], considered them Titans [the parents of the gods]. Eventually even that description would not suffice. Ultimately the function of the Fates in the universe became associated with the term “anagke” or necessity.

This is a concept that includes the notions of both the abstract and the concrete, an idea for which we have no word because it is assumed that they are opposites. Even the ancient Greek philosopher Plato [ca. 428-348 B.C.E.] was unable to find a principle that would act as a sufficient contrary to necessity. He proposed the concept “nous” or reason. In the Timaeus, one of his last writings, he had to accept that reason – the highest and most perfect knowledge humans could strive for – could only persuade the dictates of necessity, that is sometimes the fact that necessity has no particular concern for the human condition either individually or collectively cast a shadow on the efficacy of reason to persuade anything. This doubt led in classical Greek drama to a tragic sense of life in which humanity lives in a tension of faith in the future and hope for personal control in the present by reason. And since life seems like an abrupt vacillation between joy and agony, passion and apathy, success and struggle, it was assumed that all human concerns are subject to the whim of the gods. And sometimes even the gods are dominated by necessity.

The fall into history that began in the eighteenth century away from a total consideration for the aliveness of the universe can only be offset by some version of the so-called Anthropic Principle of Cosmology. The principle states that these are conditions observed in the universe, which must allow the observer of the universe to exist, and the universe must have properties that inevitably result in the existence of intelligent life.

This means that the dimensional realm, which I am associating with the traditional concept of fate, is the decoding of The Anthropic Principle of Cosmology, or at least are the logical implications of the formal structure of the dimensional realm.

In order to represent the natural energy states and subjectivity of temporality, I have selected the traditional Vedic Chakra glyphs that have a natural spiritual progression. In like manner, the octave of spatiality has a pure objectivity that can be best depicted by vibrating spheres of a homogenous liquid each with identical diameters. Because the liquid is confined, the frequency change alters by octaves of octaves.

The litany of the dimensional realm is as follows:
0 – instant: point;
1 – interval: line;
2 – succession: plane;
3 – durance: solid;
4 – time: solvoid;
5 – eternity: vosolid;
6 – hyparxis: void;
7 – zeit: raum;
8 – metatime: metaspace.

The epistemic ladder, which creates a
gradual unity of the dimensional notes, begins with:
list: sign;
anecdote: index;
tale: icon;
legend: archtype:
myth: symbol;
epiphany: cypher;
kratophany: cipher;
and finally; hierophany: sypher

But the main concern for the human personality is the transition between the fourth and fifth dimensional notes: myth: symbol. This is the location of Utopic Space, which exists as an ontic and epistemic bridge between time and eternity, solvoid vosolid. Utopic space is often defined as the environment for the mystical experience, but this is technically untrue in my dimensional system. The real environment consists epistemically of a total immersion in eternity and vosolid and actually the pressing of the entry into hyparxis and void and onto the pure revelation obtained from epiphany and cypher.

Degrees of consciousness, from almost blinding light to almost total darkness, provide the metaphor for Good to Evil, The Divine to The Demonic, Life to Death, all as degrees of embodiment. These are the aspects of the entire electromagnetic spectrum, which include what we call visible light –a very small portion of the spectrum. Most of the spectrum is undetectable by our unaided senses, but nevertheless, it contains octaves of energy which separate themselves into individual dimensions.

Today so-called “physical light” is a metaphor of the position of human consciousness within the total dimensional system for two reasons:
(1) “Physical light” always has its origin in the Past, whether or not that origin is a star or a candle;
(2) The “brilliance” that we associate with light exists in Nature only in the minds of intelligent conscious life-forms, and is not inherent in the non-conscious aspects of Nature. The photons which deliver energy to waiting retinae do not “carry” light. If it was the case that they do, the entire Universe would be “lit up” all of the time in an isotropic and homogeneous manner, and there would be no “darkness” in the Sky.

The symbol for the velocity light has been in our contemporary world the letter “C” meaning 299,796 + or – 4 km./ sec. in a vacuum near the Earth , or in the open air. But now astrophysicists are discovering there is a type of space which can not be monitored by any aspects of the electromagnetic spectrum. This is the space where an old star goes when it explodes and dies. This space is distinct from the space of a Black Hole, only in the sense that the Black Hole space is an infinitesimal point of that , space infinite in extent, which acts as the background energy plenum of the Universe.

On Earth these same astrophysicists have discovered a way of slowing down the speed of light to 17 mph by changes of media. They expect very soon to have light to travel at 4 mph. Then everyone will be able to interact directly with light, even the blind , because the energy of the electromagnetic spectrum travels in the human brain at 700 mph.

According to Philip Gibbs in an article entitled: “The Symbol For The Speed Of Light ? “, he states : “…, it is possible that its use persisted because “C” could stand for “celeritas” and had therefore become a conventional symbol for speed. We can not tell for sure how Drude, Lorentz, Planck or Einstein thought about their notation, so there can be no definitive answer for what it stood for then. The only logical answer is that when you use the symbol “C”, it stands for whatever possibility you prefer “.

While there are many physicists who propose an identification between light and consciousness by means of formulae that rival the simplicity and power of Einstein’s famous E = Mc2. I prefer, therefore, to use “C’ to stand for consciousness.

~Paul Laffoley
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Old 03-01-2011, 06:06 AM   #4
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these are fantastic, thank you

Quote:
These environments, called Tesseract Houses (or fourth- dimensional houses), were invented by the American architect Claude Fayette Bragdon (1866- 1946). I have taken on the task of presenting The Tesseract House as it should be, i.e. as envisioned by the architect.
It is a live-in architectural studio for a team of designers. The team will pursue such design problems as:
1. Physically alive architecture, both vegetative and mammalian,
2. Developing time machine variations in relation to the natural scale of inertial frames of references,
3. Mega and nano engineering such as the earth-moon link up, redesign of the solar system and eventually the entire universe, and
4. The replacement of natural evolution by an understanding of authentic human intentionally under the guidance of pure spirit."
text: extracts from
brilliant, i love it!!
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