Science 1

Let's begin with Science One and try to imagine for ourselves. We're taking two of the most famous persons in the world from the twentieth century, Albert Einstein and Niels Bohr. One of them is the founder of the theory of relativity, the other is the founder of quantum mechanics. And we're going to take Kip Thorne's book Black Holes and Time Warps: Einstein's Outrageous Legacy. And we're gonna take Abraham Pais' Niels Bohr's Times: Physics, Philosophy and Polity. But as usual, we're not using our books as textbooks, but we're pairing them together. And we have to understand something about pairedness now and the easiest way to do it is to understand what our whole education has done, what our learning, the double cycle infinity learning has done. The first four phases were integral phases, they form a cycle. The second four are differential and they form an ecology, not a cycle. And the easiest sum remembrance is that in an integral, pairs are polarities, in a differential, pairs are symmetries. And it is the pairs of pairs, the polarities and the symmetries, that make the quadrupole of the complementarity. So that a complementarity is able to operate in an integral world of plus and minus, yes and no, hot and cold, all the polarities, but able to also operate in the transform ecology of symmetries. The median in-between the two is a zero focus of the mind. The integral of the mind is capable of being brought to a one pointedness, where all polarities become unified and it is in their unity that they reacquire something that was there before oneness, which is zero. The still point of the mind is a zero, a zero that has no point and so a really powerful meditation, a really powerful prayer mode will bring you to that point where it is vanished and is both zero and infinite at the same time, indistinguishable. That zero and infinite at the same time is the field of consciousness and the field of consciousness is the beginning of a new kind of emergence. The simplest way, traditionally, to talk about that emergence is that you're now dealing with alchemy, rather than chemistry. You're dealing with a transform, a transformation, which is processed, but in its initial occurrence the zero and the infinite, the field of consciousness, cannot record in the mind because it doesn't fit into the mind. And when it occurs within the mind initially, it occurs as an openness of no dimension. We're taking Einstein and Bohr because we're trying to appreciate the difference between the two men, the difference between the two theories, relativity and quantum mechanics and the way in which Einstein is a key for us, for all time, as one of the signal personalities in planetary history. The theory of quantum mechanics comes from the fifth phase and you can see as I speak now, the utility of having phases, because it is able to convey something that is otherwise not easily understandable by anyone. Niels Bohr begins with Vision and he develops through the entire ecology to the cosmos, from Vision to Science, from Vision through the Art of prismatic forms, through the phase of the kaleidoscopic flow of History, to the forms, infinite forms, of Science, which is the cosmos itself. Einstein, surprisingly, on the other hand, does not begin in Vision, he begins as an artist, he begins with Art. And so he doesn't stop with the cosmos, he goes through the cosmos back into Nature. So if you made a square of attention from Niels Bohr, it would be Vision, Art, History, Science. But if you did if for Einstein, it would be Art, History, Science, Nature. And so Einstein reveals for us the quality that the cosmos, as an infinite form, when it generates a dynamic, that dynamic is the zero field of nature. The Tao is actually generated by an infinity form and that infinity form shows up in the math all the time when you get into higher math, when you get into the farthest reaches of quantum mechanics, you come to a point, a threshold, a membrane, by which all of a sudden what has happened is that the infinite has occurred dynamically as a zero again. But the math shows that the infinities are not integrable into the math basis upon which you were doing your experiments and so there is a mathematical filter to take the infinities out and once you get the probability of the closest series of stacked solutions, that then make the closest probable answer, you now re-normalise, you put this back into the world, the classic world that normally we would live in, the world of physics and chemistry without going into alchemy, without going into the further reaches of physics, like quantum mechanics, like relativity. The reason for this is that Einstein was an independent, outlaw artist. He was never co-opted, he was never a part of any group and even as a young man, as a teenager, he became stateless for about five years. He didn't belong to any country, he didn't belong to any religion, he was separated from his family that had moved to northern Italy. He finally was accepted to go to school in Switzerland, it was about the only place that he could go to. And Einstein was always an outlaw out of the social realm and for this our phases again come in handy. The social realm is a Symbols phase. The social realm is the place in which all of the integrals come together and they make the world in which we then live and our minds as mentality, learns the order, learns the relationalities that are necessary to live in this social realm, this social world. And it's apparent that that social world is integrated from the flow of experience of everyone, including the experience that they have on a cultural level, or in the various tribes or groups that they come out of. It isn't their individuality, the individuality is integrated out of the character that participates, that undergoes the experience. And the individual, the individualisation of the character is an integral into symbolic form and thought and its confirmation of its individuality is a referential identity, not back to the flow of experience, but back to the ritual comportment of actions, of what you do and things, what they are. And so the individual is identified with the referentiality, back to the things of existence and the actions that correlate with the things of existence. And so the social world makes sense to the symbol ordered mind. It not only makes sense, it is what sense is. In that realm a fictiveness creeps in to such an extent that it is usually unnoticed, not differentiated, except by the rarest of men and women. One of the most profound things that Einstein discovered in his artistic, outlaw...we have to use the term here, personal spirit contemplation. The artist is creative and when they contemplate it isn't like a meditation of the mind, it's a contemplation of their visionary capacities, but it's brought to bear in a crystal like, jewel like, prismatic quality of the artist whose interest here is to produce works of art, to produce crystals and jewels that are able to diffract and open up one's experience into a world of possibilities. Not the social world, but the world of possibilities. And because of this, Einstein all his life was not only a loner, but he had difficulty relating to anyone else, in what would be called in the social world, in a realistic way, in a practical way. Because he was not involved in practical things, he was involved in prismatic possibilities. He didn't want to have identities, his referential was not to existence and the actions that we do, his referential was to the future of the possible things we might do. Of the possible existences that could be alchemically teased out and for him the square of attention, the frame of reference, was not the three dimensions of space and the dimension of time, but it was that space time, all four of them, are a creative matrix that is able to generate unlimited relativity of possibilities and that one of the peculiarities out of this was noticeable immediately by him, when he was working at one of the most menial jobs imaginable for a talented young man. He was a patent clerk, third class, in Bern, Switzerland, in the Patent Office. And it occurred to him, while not daydreaming, not theorising, but as an artist using his visionary theology of openness, to think 'How would God see somebody who was in an elevator and suddenly the cable snapped and the elevator fell in free fall?' The man inside would float. He would be in free fall just like the elevator. And only when the elevator hit would gravity again pull him down and probably injure him if it were, or kill him. And that if you were a human being, not just in an elevator, but in a rocket ship and that rocket ship got into a certain configuration, you would have free fall. And Einstein was the first person in the world, scientifically, not mystically, not theoretically, but scientifically, to envision in his creative self and put it out historically so that it registered as now something that has occurred as a real possibility in the cosmos. He was the first to see that free fall, weightlessness, is a characteristic all over the universe of anyone who gets into a certain configuration. And that time, space time now, has a whole different possibility and that this reveals something that we were imprisoned in our mentality and it weighed that our mentality could never have discovered that it was imprisoned. One of his little friend co-authors, Leopold Infeld, did a beautiful little book in 1950, Albert Einstein, His Work and Its Influence on Our World. He writes in here about the first Einstein revolution, that 'There's a divergence between classical and relativistic concepts of simultaneity. It's apparent only if we consider simultaneous events in two systems.' The classical physics understanding, from everyone, through Isaac Newton up to Einstein, was that anything that is simultaneous in a system, will also be simultaneous in another system. This is carrying polarity by implication over into, say, a second system, or a third system, or whatever it is. Einstein was able to understand not only is there like a free fall, but that the polarity in one system, that makes a simultaneity, is not necessarily simultaneous in a second system at all. Now, this was a very deep probing of an artistic person by their spirit, into something that to someone locked in a social world, locked in a mentality, it would have been a fracturing insight which they would have dismissed, shied away from, covered up, not recognised. Either not recognised because it didn't register, or not recognised because they would not let it register and to fend against it. That 'This is anathema. This is an oblivion.' And the inculcated integral will always produce a fear of zero and infinity. The zero as an oblivion and the infinity as a madness without respite. An integral will always consider those the associations. Thus one of the sayings in wisdom traditions: 'This is for mad men and mad women only.' You have to lose your mind in order to gain the fantastic, open possibilities of an open mind. Now, both Einstein and Bohr were extremely testimonial during their whole lives. The Challenge of an Open World, Niels Bohr, his essays. This is the Bohr Institute in Copenhagen. And the open world is that we cannot any longer, with atomic weapons, with rockets that are able to leave the earth, not to mention the ability on chemical lines and biogenetic lines to change the very DNA, to manipulate atoms and cells, we can no longer afford to stop our learning and our maturation at a social world that is endemically characterised by a closed mentality. That the only way to deal with this, is to transform, to go through the limiting membrane which is a mentality like a mirror that reflects back to itself its identification with the things of the world, its identification with the ritual processes that you do and doesn't the experience come out of those processes, out of these things? And doesn't the mind order them and put them together? Yes they do. And it's completely mad to suppose that they don't and yet the limitations are clear. One of the most incredible events that helped Niels Bohr mature into the kind of man where he envisioned all the time that it wasn't just him alone that was doing this, but that there were guides and mentors and teachers and then there were students and co-workers. And so Niels Bohr fit into a whole continuum of people who were helping each other to experiment and to know and to learn. And his great guide was a man originally from New Zealand, Ernest Rutherford. And Rutherford was a particularly interesting character. He spent a great deal of time at McGill University in Montreal and when he was in Montreal, when he was at McGill - it's a very, very good University - it turned out that he was equally good at building equipment, lab experiments and also building the population of people who could use them in an open way. And eventually Rutherford went to England, went to Manchester University and eventually became one of the most famous men in the British Empire, he was made a lord, Lord Ernest Rutherford. Even though he was from Nelson in New Zealand, he was made a Peer of the Realm. He gave a very interesting lecture at the Franklin Institute in Philadelphia and this was done in 1924 and its title The Natural and Artificial Disintegration of the Elements. In other words, things of existence do not remain as they are; they decay, which means that they lose an energy and material part of their shape, of their mass, of their energy, over time. And there is such a way to speed up that time so that it happens and what comes out then is that the element that was stable in the integral of nature, now becomes unstable in the integral of nature alone and acquires the character of radioactivity. And so the world's first book on radioactivity was published by Ernest Rutherford, published by Cambridge University Press in 1904. It was extraordinary and sold out so fast that he had to bring a second edition out in 1905 and it is dedicated to his friend J.J. Thomson. 'A tribute of my respect and admiration.' Because as Rutherford would become a prime mentor for Niels Bohr, Rutherford's prime mentor, not that he studied as a young man under him, but that he was the creative prism that most teased out of Rutherford his own artistic capacities and that man was J.J. Johnson...J.J. Thomson. J.J. Johnson is a jazz player. Thomson, in 1923 at the Franklin Institute had delivered a series of lectures The Electron in Chemistry: Five Lectures Delivered at the Franklin Institute. And he's the Master of Trinity College, Professor of Experimental Physics at the University of Cambridge and J.J. Thomson is the discoverer of the electron, 1896. It's the first time that anyone ever understood that the atom is not the ultimate constituent of existence, of things. Even back to the Classical Greeks, with Democritus, the atomic theory, all the way up through Newton, all the way up into the late nineteenth century. And then in 1896, when Thomson discovered that electricity is carried by a particle, the electron, enormously smaller than the atom, the lectures had to be delivered at the Franklin Institute, in Philadelphia, because it is Benjamin Franklin who discovered electricity, who named the positive and minus poles, the polarity, who gave all the names that came down to batteries that are able to conserve electricity and to preserve it and then to discharge it and use it. And it is Franklin who made the basis of electrifying the world. And out of that Franklin basis it began to occur to people that there were elements, that there were atoms, which were the basic constituents of things and one of the first elements found was found by a renegade named Joseph Priestley, who was a great writer on world religious faith, of new, interpenetrative qualities, as well as a great scientist. He was the discoverer of oxygen. When Priestley's house in Birmingham, England was burnt to the ground by irate citizens who said, 'This is a man taking us away from our old-time religion. Taking us away from our old-time confidence in things and the world.' So they burnt his house and burnt his library and his friend, Thomas Jefferson, sent for him and his family and they were brought to the United States and given a place to live for the final years of their life. Jefferson had met Priestley through Benjamin Franklin. By the time of J.J. Thomson, it was apparent that there were many other aspects to the atom and it is Ernest Rutherford, Lord Rutherford, who found the nucleus. That the atom is a miniature solar system: it has a sun at the centre, it has like planets orbiting it, which are the electrons and it was the beginnings then of understanding that there is a great deal of mystery yet to be found, but not to be found mystically, but to be found scientifically and this is where science has a very particular relationship. Symbols will always refer back to the ritual existence and actions for its sense of identification, whereas the prismatic person will always refer forward to possibilities in the cosmos, to give, not the identity of something, but the probability that it might exist under certain conditions, under certain perimeters and if you change them it will exist then in a different way, in a variation. And so something is not just what it is, it is the range of what it could be, within possibility, within probability. And that while polarity handles the tandem of an integral definition, the resonance of symmetries confers the spectrum in a range of possibilities of what might be. So that one of the earliest books by Niels Bohr, Three Essays, published by, again, by Cambridge University Press, The Theory of Spectra and Atomic Constitution, published in 1922. It was an extraordinary thing because while Rutherford's Radioactivity, published in 1904 and then reissued in 1905, went through another third edition by 1913 and now instead of just being called Radioactivity, Radioactive Substances and their Radiations, enormous jump. And he says, just in a few words: 'In the seven years that have elapsed since the later publication'...second edition. 'There has been a steady and rapid growth of our knowledge of the properties of the radiations from active substances and of a remarkable series of transformations that occur in them. In the present work I have endeavoured to give an accurate and concise account of the whole subject as it stands today, within the compass of a single volume.' The volume is 700 pages. By the time of the last edition that he was able to do, in 1930, it's now called Radiations from Radioactive Substances and it is extremely complicated. The figure that makes a change in this is that when the second edition in 1905 came out, is the miracle year, they call it the annus mirabilis, of Albert Einstein. He published The Special Theory of Relativity in 1905. He was a patent clerk, on the top floor of the Patent Office, in a little room. And the handful of people that read the little monograph, published in a German scientific publication, understood this was a penetration into the future, into the unknown, that no one had expected. And it was Einstein's puncturing of the mental prison veil, that he put an artistic hand through that and found that there is more creative space outside of that than is imaginable within. The upshot is that just before the 1913 volume, in 1911, a very wealthy chemist in Brussels, Belgium, his name was Ernest Solvay, decided to put his money where his scientific insight was and he held a conference called The First Solvay Conference, in Brussels. And invited to this conference were 23 of the greatest figures in the world at the time, in physics. Ernest Solvay was a very distinguished Belgian industrialist, but also had been raised by a family that it is a social responsibility, not a social world of limitations, but of creative responsibility to contribute to opening up possibilities for man. And so at The First Solvay Conference in 1911, Albert Einstein was the youngest person there and when you look at the photo of the 23 collected together and I'll leave it out for you and I'll put it in the notes as well, you can see the expression on Einstein's face. He has the particular look of a world-class mystic, who's not just staying in his vision, but has emerged as the creative artist out of that vision and he in turn is generating a kaleidoscopic consciousness, which we know now through our phases as history. He was making history. And when you make history, the field of consciousness coming through the prismatic artist, flows kaleidoscopically like a multicoloured river in full flood. And it is out of that multicoloured, rainbow surge, that the cosmos is able to take form, its infinite form. And the spectrum is a spectrum of unlimited creativity. Ernest Rutherford, towards the end of his life...he in fact, died just a few months before this was published, his last book, published by Cambridge University in 1937. It's entitled The Newer Alchemy: Based on the Sedgwick Memorial Lecture delivered at Newnham College, Cambridge, November 1936. The Newer Alchemy. We're not looking at a medieval alchemy, based on an ancient possibility. We're looking on a future alchemy that is based on what we are doing now to generate the jewel matrix creativity forms, out of which then others will come and they will produce it. In fact, it was a cause celèbre I remember as a boy, understanding that you can really make gold out of nuclear transformations. You can make other things, you can make elements more complex than nature does. Unfortunately, the first element that you make beyond uranium, is plutonium, which is deathly radioactive, but now that we have made 22 elements beyond uranium, up to Element 114, we can see through the theory prismed, artistic, artist of science that Element 118 will be stable. It will be like a noble gas like helium, or neon, or argon and though it will be enormously complex and very heavy, it will be stable in that it will be able to be worked with as a constituent of material, of reaching out into the supposedly supernatural and bringing it in, so that nature now will include this as an expanded possibility. Out of a gas like hydrogen you can make all the other elements. Out of a gas like Element 118, there's no limit to what can be made and be made to exist. Let's take a little break. File 2 starts Let's come back and reprism what we're doing. This is definitely an artistic creation. What we're going through here, the symbol for it is a rainbow infinity sign and that this infinity sign is not like a Möbius strip of unending two dimensions made into three, but the ancient symbol for this, 5,000 years ago, in Egypt, was a king cobra, that in order to rear itself up, it has to curl its body in such a way that it is like a spring and the central configuration that happens in that is an infinity sign. And I have put in the notes for you the image of the king cobra that bases itself on the infinity configuration, in order for it to spring into its royal, noble freedom. And it is that king cobra that forms the uraeus on the crown of the pharaohs of Egypt. It is also then abstracted and expanded so that at the far back wall of one of the great pyramids, the inside of it covered with sacred hieroglyphics coming to the coffin, sarcophagus chamber and it is not a sarcophagus chamber where the body will stay, but by putting the human body into a sarcophagus...the Greek 'Sarcophagus' means 'Body eater.' The lime of the sarcophagus originally ate away the body so that eventually, over a long time, the sarcophagus would be empty and only the spirit of who was put in there will be left. This is the ancient alchemy and the alchemy was applied to the cupellation process of gold. If you put a gold ore into this asbestos like cupeller cup and heat it and keep the heat applied, eventually all of the dross will evaporate, melt and evaporate away, leaving only the little button of pure gold in the bottom of the cupeller. This cupellation was always an understanding that this was a superior process. It's one process to be able to go and get the ore, it's a second process to alchemically refine it to the pure gold. It's the same kind of correlation that the fermentation process can produce the wine, but if you distil the wine, now you can have the Cognac, now you have the liqueur. And so an alchemy was always a double process. The first transform of ourselves is out of our body and mind tandem into the realm of the spirit. And then to take that person, the fermented person, who has come out of a visionary consciousness, added to the dimensions of time space, so that you have a quintessential, five-dimensional, conscious time space. The person that comes out of that is able, having transformed once, by the wine, is able now to distil and become the farther secret liqueur. Arts are about the wine, sciences are about the liqueurs, about the Cognacs. And the appreciation of the resonances in art are capable of increasing their appreciation indefinitely by the process that would have destroyed in the mind. The critical processes in a mental, social world destroy the order, but in an art the critiques improve the art, they refine it. A director who has once blocked out the play on the stage, gotten the characters to be in character and the actors and actresses ready to utilise and lift that blocked out diagram of the ritual off the chalk, off the stage, into the theatre, into the amplitude of the presentation, they now are able to do the same thing. Lift the words off the script, off the page, into the prism of themselves and deliver them, not in the limited space of a building, not in the limited time of a performance, but in the higher dimensions of an amphitheatrical theatre. Where the wisdom is scintillating and there are definitely resonances where the audience and the performers belong to a harmonic that is many orders beyond just simply a ritual, or a symbol, but has gone into the art of the performance and through that to the kaleidoscope of the history making event. This really has happened many times. For Einstein, his artistic, prismatic event was looking in his scintillating, outlaw, artistic way at the way in which the actual star system seemed to work and yet had some exemptions. And that those exemptions were clues to a higher dimensional actuality, a prismatic actuality. And for this, paradoxically, he chose the Ancient Egyptian wisdom figure, whose name was Thoth, whose Greek name is Hermes, whose Latin name is Mercury, he looked at the orbit of the planet Mercury. And it was almost right in terms of Newtonian physics, it was relentlessly wrong on the slightest way and Einstein figured out and understood why, wrote it up and he presented the fact that the orbit of Mercury around the sun shifts ever so slightly, every single orbit, so that it is not going to classical form at all, it's participating in something that is of higher dimensional order and he presented exactly what this is and that it turned out to be not only mathematically true, but observable. And the observation took place in 1919, the full eclipse of the sun. And one of the resonances that came out is not only will Mercury shift its orbit because of the bending of space time, but that the bending of space time that close to the sun, will not only bend the orbital mechanics of Mercury so that they now are creative and it isn't just a wobble, it's a degree of freedom and that starlight also will bend. And in 1919 the British went to the South Atlantic seas and observed the full eclipse and there Einstein was proved correct. And in 1919 it became apparent that he had seen with eyes that had created a completely new world possibility, everything was different. And one of the qualities that came is that by 1913, just six years before, he had had a quality where Rutherford's atom and Niels Bohr's understanding of the orbit of electrons around the nucleus in an atom would likewise be able to be investigated by the quality of the diffraction of light into a spectrum. And his early book on the spectrum, The Theory of Spectra and Atomic Constitutions: Three Essays, the spectrum he chose is the spectrum of hydrogen. That the simplest, the first element, hydrogen, having one proton and one electron in its base state, that if we can get an astrophysical spectrum of the atom of hydrogen...and his Collected Works are in three volumes and three colours and they're the three states of the atom of hydrogen in their spectrum colours, it is possible to be able to understand an analysis like a critique in art, an analysis in science that would continually refine, both by reference back, it would refine the artist seer, the one creatively seeing, at the same time as refine the resonance of it with the cosmos. So that now the kaleidoscopic history between them is a creative spectrum that continually expands. It isn't simply that our spiritual person is related to the cosmos, it's that creatively together, we refine together and our refinement adds to the possibilities of the cosmos and so we become not co-creators, but we become creative artists in the real. Not just for real, but in the real. What we do actually adds to the scope of reality. One of the most difficult qualities at the time was to be able to find new ways to look at spectrographs. And it was discovered that crystals will take a mysterious energy, later called X-rays and diffract it in such a way that there's an X-ray crystallography available for very complex molecules and very complex atoms. And it was this refinement in the 1920's and in the 1930's that led to the development in the 1940's of making the application of X-ray crystallography available for the probing of the structure of DNA. And it was finally the X-ray crystallography of the late 1940's, early 1950's, that allowed Watson and Crick to be able to see that the structure of the molecule of DNA was indeed an old Hermetic double helix. A double helix because the chirality of it has a symmetry of resonance, rather than a polarity of existence. It isn't just that it exists, but on many orders more powerfully is that it occurs really, creatively, constantly, in a symmetrical resonance, so that the double helixes generate together a column of complementarity that has an interweaving of chirality. That the chirality is not just that some things spin left-handedly and some things spin right-handedly, but that those two chirals, weaving together, produce a reality that has symmetry and resonance into harmonics without end. 2500 years ago, the first insight to mark an initial creative facet of this was done by Pythagoras, studying in Heliopolis in Ancient Egypt and understood if you have a square, if you have a frame of attention, frame of reference, square of attention, if you have that square and you put a diagonal through it, now you have the Pythagorean right triangle. Except that if you do it with contemplation and not just meditation, that focuses on the triangle that is made out of the frame of reference, but a contemplation which has visionary, differential consciousness as its field, we'll see that there are a pair of triangles. And that the diagonal is not only the hypotenuse of this triangle and the hypotenuse of the other triangle, but that the hypotenuse is not a boundary so much, but a threshold of complementation, of symmetry and that the polarity is by singling out one of the shapes, one of the forms out of the original matrix. Now from a square, one has a right triangle, a three, a five, a four right triangle which will have special properties, or you will have a triangle that is 60, 60, 60 degrees out of the square, but you will have a pair of them. The mind in its integral will always focus on the further unity that is abstracted out and will not be able to shift its gaze away from that funnelling integral. It's the same as two eyes in order to see something, have to focus; they focus together on what they see. If you transpose that into the mind, if you take the two, focusing to the one in order to be clear and you put that into the mind, what you think is clear in the mind is actually something that has been abstracted out and is not real. It's an artefact of the filtering reduction. So that the individuality, the 'I-ness' that is seeable in the mind in this way, is actually an appearance. It's an artefact of a procedure that works externally, but does not work internally. Nor does it have the capacity to put into a symmetry that the outer focus of oneness and the inner focus of infinity, or zeroness, actually are symmetrical in themselves and that this one and this zero because they are...have a polarity ability on the level of existence and mind, but they have a symmetry capability on the level of art and science. So that the arts and sciences are the other side of the rituals and symbols and that those pair of pairs come together and they make a new kind of a quaternary, not just the quaternary of the three dimensions of space and the dimension of time. In this little DVD done by Nova, Michio Kaku of City College, New York, a great physicist, talks about how three numbers will give you the width, the depth, the height, the space and if you add a fourth number, with four numbers you can factor time into it. And so space time then has this kind of determination by four numbers. Reality is not captured in that limitation. What is captured in that limitation is a method of mentality that completes an integral cycle, but needs to transform many times over to achieve the ability to have resonances of the real, or as I used to call it decades ago, 'Ratios of the real.' The proportion is not of inner and outer, forming a higher integral, that's baby talk. That's a sure sign to someone who can see artistically and who can spectrum scientifically, but they have no experience whatsoever, they have no yoga, they have no transform. They have only the fictive imagination that they have and all integral limitations that are promoted all over the planet today by speakers and gurus without end, are so many blind alleys. Einstein and Bohr together have always formed a particular creative symmetry. It isn't that they're polarised, that relativity and quantum don't go together, it's Einstein the artist who is the one to see that there is something deeper about both that will...and this was a limitation of his aging time, he called it the unified theory. And again and again had recourse of his creative person to go back and form an identification with the symbolic individual, the symbolic centre, to use the creative person to transform the integral individual and by that way tease out a new theory. This was the fatal flaw in Einstein and the reason why he was never able to find it, a unified theory. There is no unified theory, there is an infinity spectrum of possibility, that raises theory to reality. This takes a different order of endeavour. Anything that comes into existence, comes in paired. For every particle there's an antiparticle, for every proton there's an antiproton, for every electron there's an antielectron, called a positron initially. And on every level, energy level, as you step the electron up to next level of the muon, there's an antimuon as well. To the tau particle there is an antitau. So there are like sets of threes, but there are sets of threes of pairs and every pair has its zero and oneness in complementarity and that the polarity can be worked with, in terms of a certain practical way, but it is the symmetry of them that can be worked in a prismatic way. What emerges out of this and we'll cover increasingly as we go through the Science, while electrons as a negative and protons as a positive, have electricity that flows between them and that this electricity that flows between them also has a magnetic quality, so that there are magnetic fields with poles, there is such a thing as monopole magnetism and monopole magnetism is a clue, like the orbit of Mercury, that the complement to a monopole magnetic moment has something on a higher order by far than mere existence and space time. In fact, the math shows, if one will look at it openly and let it be and speak, the complement to that is about 10,000,000,000 to 20,000,000,000 times the energy. And that on that level of reality someone in that kind of a body, mind and spirit could walk through this entire universe without touching a single thing, single atom, a single electron, a single wave of energy and freely concourse in this way. This isn't just like the magic carpet that is able to fly, or the spirit beings that are able to fly, it is about the reality of a spiritual presence that is unfettered by limitations of any kind so far encountered in our existence. In order for this level, this scale, to be approached, took some place where there would not just be these conferences every three years, like the Solvay conferences and then they were interrupted by World War One for many years and then they were interrupted by World War Two and the Nazis for 15 years, but there needed to be a place that was made, which was independent of every other social world necessity, where visioning could take place on the level of art and history could be generated without all of the snags and dibs that usually were accompanied and the place was made in Princeton, New Jersey. The whole development of this runs in this way: Abraham Flexner, who helped reshape American higher education as an officer of the Rockefeller Foundation, was in process of creating a haven where scholars could work without any academic pressures or teaching duties and as he put it, without being carried off in the maelstrom of the immediate. Funded by a $5,000,000 donation from Louis Bamberger and his sister Caroline Bamberger Fuld, who had the good fortune to sell their department store chain just weeks before the 1929 stock crash, it would be named the Institute for Advanced Studies and located in New Jersey, probably next to, but not formally affiliated with, Princeton University, where Einstein had already spent some enjoyable time. For Flexner, he was looking for the right person to make the pivot, so that the chiral resonances and all of the harmonics that might be possible, that no one could foresee, would be free to emerge and the obvious only person in the world at that time was Einstein. The peculiarity we'll get into next week of how that came to be, but for Einstein himself it was an uncanny ability to keep shedding social skins constantly, until he realised that he was like a spiritual king cobra, he was almost one of a kind. And that his freedom was not his freedom as an individual, but was characteristic of characters resonant to him of anyone might be possibly this way. And one of the peculiar relationships of his entire life, in the 1930's, when it became possible for him to have enough funds, he hired a little orphaned Jewish woman, named Helen Dukas, to be his secretary, who accompanied him for the rest of his life, until 1955 when he died and she lived on for many years and decades later. It is a peculiarity that Helen Dukas, this tiny woman, an orphan in all aspects of the world, would be able to be his secretary, read his manuscripts, read his equations. And here's a photo in Walter Isaacson's Einstein, published just a year or so ago. Helen Dukas is next to Einstein, one of his adopted daughters, Margot, is on the other side and they're being sworn in as American citizens. October 14th 1940, which is the day I was born. Helen Dukas, for the rest of Einstein's life was like the trustworthy companion, not a lover, not a wife, not just a friend, not a girlfriend, a fellow spirit, almost like the outrigger on a Polynesian canoe, navigating across the enormous ocean of universal space time. And she was able to follow and be with him on every single perambulation of that navigation. She mastered every aspect of it and yet was never invited to a single conference by herself, was never consulted as a world expert on relativity, on both specific and general relativity, never tapped as perhaps the greatest expert in the world on Einstein. She understood him as if she were like a companion spirit, particle partner and was always there for him. Increasingly, as he began shedding more and more social skins, he would show up for hearings of his citizenship without socks. He would start to wear slouchy clothes and smoke his pipe and never learn to drive and just walk from his little house to the Institute of Advanced Studies alone, every day, not only for years, but for a couple of decades. And in this, Einstein's resonance throughout the world grew and grew and grew. It's a principle of High Dharma yogas that they produce topos. 'Topos' is the supernatural complement to karma and as karma entraps, topos frees. A karma will take place automatically by any kind of existential polarity, it's a concomitant of polarising, it's an aspect of unifying. The unity of actuality, the polarity of iterative occurrence, always produce a karma. It isn't that someone is just bad, whatever you do it's a karma. And it really isn't that there's a good and bad karma, the karma distributes itself throughout the entire field of nature in terms of its flow. The stream of experience must be generated by existence and by actuality of limited action and so karma occurs naturally out of that. But just as naturally, but in a supernatural order, topos occurs whenever there is an artist of spirit person, who continues to generate history and it is the real generation of history that balances karma. One real spiritual yogi can balance all of the karma of the world. Einstein was that for increasingly the length of his life and has since become the outrageous legacy of a planet. And we're gonna take Kip Thorne's great Black Holes and Time Warps. Kip Thorne's at Caltech, he's been there for decades. He's a bit of a vibrant, outlaw lecturer. In order to explain orbits one time on the stage of the Beckman Auditorium, he leapt onto a chair and held up a grapefruit and then leapt off the chair and said 'For a split second here I'm weightless and even though I press the grapefruit forward, it falls because I fall and that's why in orbit you keep falling around the earth and you're weightless.' It is a peculiarity about Einstein, which Niels Bohr understood but did not share it because he had the other side of it. Bohr's peculiarity was that he was able to collect around him a number of individuals who by themselves would have been prima donnas and when they went off by themselves they were prima donnas, but when they were around Papa Bohr they were the Institute in Copenhagen of Advanced Theoretical Physics. And it's out of that kind of a family situation that Bohr, raising five sons, raising about a dozen adopted sons in physics, created a different kind of a world topos that is that the most incredible, powerful prima donnas possible in the world, if they are brought into play in the Niels Bohr family way, they will work together as a community and that topos will bless the world. The great exemplar is that one of the Bohr adopted boys who went off on his own tangent was Werner Heisenberg, who was trying to help the Nazis build the atomic bomb. And after the realisation of what he had done, was brought back by Bohr into the Bohr community and the Bohr family. Niels Bohr had this incredible capacity to not only generate the rescue, but to bring the rescue back to its fruition, so that they participated again in the community. Einstein was the genius of the lone artist topos, a kind of a raja yoga. Niels Bohr was the founder of a planet which is resonant to ashrams all over the planet, where people work together and the community of science owes a great deal to this quality of Niels Bohr, because he initiated how this really works, out of the laboratory of Rutherford, who took it out of the laboratory of J.J. Thomson, who developed it because he had to trust others. J.J. Thomson was a genius in math and theoretical physics. He was clumsy with his hands, he broke things all the time, so he had to have other people handle equipment for him, so it wouldn't break. And because of this, the grandson generation of Niels Bohr developed the planet family of scientists everywhere working together, regardless of nationality, regardless of gender, regardless of creed. That they work as a family of man. Next week we'll take a deeper look at the way in which Bohr, when he was coming out of himself, found in Rutherford the kind of spiritual father that did not have to constantly look over him to give him guidance, but set the exemplar so that Bohr himself, every time he moved through it, he discovered that 'It works well this way, so let's continue.' More next week.