Science 9

Let's come to our final four presentations in science, which is the final presentation of a set of four and over forty years of work to be able to present this. This is Science 9 and for 9, 10, 11, 12, we'll take a look at a pair of individuals as usual, except that I'm pairing one of the pair. We're going to take Roger Penrose and Stephen Hawking together as an ensemble and Richard Feynman to pair with them, so that we have three persons in a pair to present the last of four, a square, of presentations, of the last of eight phase of the ecology of conscious nature by which we are able to give ourselves a coordination integrally and an ordination differentially. It is the most difficult thing to present something that is so new that it has not been seen before. The forerunners of this were esoteric wisdom traditions, usually only passed on to one person at a time in a lifetime. That is called a lineage. Or when there were magisterial presences, there would sometimes be a community, always quite small, and everlasting much more in its brightest effervescence than the life of the longest-lived member to the youngest personal inheritor, usually about three generations. This is a presentation to recalibrate our capacities as a species, because it is necessary to do so. We cannot go back to tribes, we cannot go back to nationalities, we cannot go back to empires of any kind, and systematics which sounds good to the abstract mind, are an iodine that you would not put on your food. And so this is a nutrition for a recalibration of ourselves at this particular juncture, the membrane of which we began to enter in 1991/1992, and the exit from the membrane will be about 2015, by which time most of the functions on the planet will be inoperative in terms of holding any kind of order. This is way not out, but a way up and out, down and through, penetratively, to give us a maturity, an opportunity.
One of the most interesting figures that we're taking is Richard Feynman, and Feynman was a character by all accounts. The very last film of his life, Feynman's last months, just two months before he died of cancer, begins by him with his young buddy Ralph, playing bongo drums together and singing about orange juice. 'Gotta have, gotta have my orange, orange, orange juice. Gotta have my orange juice.' Great professor at Caltech playing bongos with the son of one of his fellow professors at Caltech. And the theme was they were getting set, planning to make an esoteric trip to a lost kingdom of Tannu Tuva in Central Siberian Asia, that had been ignored all through history and that Feynman had found by placing a finger randomly on a world map, and where it came down 'we want to go there.' Where's there? It's a place called Tuva, Tannu Tuva, a huge valley kingdom dwarfed by the expanses of Central Asia, Siberia, and Ralph was all ready to go with Feynman, 'Wherever you want to go, we'll go. As long as you're able to live, let's go and use our lives to explore something new.' The best biography of Feynman is by Jagdish Mehra, it's called The Beat of a Different Drum: The Life of Richard Feynman, and of course the phrase, the beat of a different drum is from Theroux, from his journals. That there are sometimes persons who marched to the beat of a different drum, who live in an energy frequency that is not of the normal, not of the regular, not of the average, not even of this or that extreme of average normal, regular, but people who are outside of the entire calibration.
We began science with such an individual. His name was Albert Einstein. And the best way to characterise someone like Einstein or Richard Feynman is that they are artist outlaws of the cosmos. In a way Einstein and Feynman are like a Butch Cassidy and the Sundance Kid. They're looking for a way to rob the bank of the regulars, of the normal, of the averages, and steal their value so as to put it to use in extraordinary ways. In Mehra's, chapter 10, beginning, and this is a very long book, it's over 650 pages, he writes: 'Feynman began his 1948 paper in the Review of Modern Physics entitled Space-Time Approach to Non-Relativisitic Quantum Mechanics.' Space-time, like a four-dimensional continuum, that Einstein used as the field of vision for putting forth first of all his specific theory of relativity and finally a decade or so later his general theory of relativity, that took everyone by surprise and at one time it was said that there were not enough people to understand it to fill a poker table. That it was not only esoteric, it was unhearable. It was not imaginable. Because Einstein had taken all of the fundamental fulcrum terms of cosmology, of physics, of mathematics, and had revisioned, had prismed them, so that they lost their ability to be defined clearly by a mentality as some-thing. Einstien turned them all into prismatic jewels so that one had to be able to appreciate the scintillating glitter of all of them in a whole new light and only then would it occur to you what he was talking about, and that what he was talking about was most extraordinary because it could be said in a very highfaluting, poetic language called higher mathematics. That one could express one's spiritual jewel prismatic person in a very high mathematical, poetic and have it say something that was more real than had ever been said before. Feynmen was one of those individuals who came along right after Einstein and found that the mathematical language, even at its highest, could not speak poetic truth about the full array outside the lines at outlaw artists had robbed all of the value and had invested it in places that no one had ever seen before. Truly unknown countries. And so Feynman devised his own diagrams to transform the expressability of the art, of the language of mathematics, and Feynman's diagrams now are one of the hieroglyphics by the early 21st century of expressing something that is very rare to be ever expressed, and the only competition to Feynman diagrams are the twister diagrams of Roger Penrose, and we'll get to them in the next four presentations in more detail. So that it is Feynman and Penrose who are inheritors of the outlaw artistry of Einstein. They are philosophic rogues who do not limit themselves to people with stinking badges. We don't need to follow their directives, their directives lead to dead ends and boring lives and mental imprisonment and we refuse to go to gaol. We're going to be free and in fact we are free. The fly in the ointment is a beautiful fly in the ointment; it's Stephen Hawking. Hawking is the student of Penrose, except that they have a completely different outlook and their book together, published in 1996, The Nature of Space and Time and this was a colloquium held at Cambridge University in England in 1994, in the Isaac Newton Institute, and that Institute was able to host these two men by that time titanic in their field, in a series that took six months to deliver, one presentation pair in each of six months, so that you had a set of six pairs put into a presentation and then it's rebuttal or its alternate the next month. The third month would be another presentation, then the other would have a second presentation, the fifth month the first, giving a third presentation trying to sum up and the sixth being the second, giving his summation. And then there was a seventh chapter in the book about the debate, about that set of six. And Hawking had this to say immediately: These lectures have shown very clearly the difference between Roger and me. He is a Platonist. I'm a Positivist. He is worried that Schrödinger's cat is in a quantum state where it is half-alive and half-dead.' This is a reference to Erwin Schrödinger, one of the great geniuses of quantum theory, who in the latter part of the 1920s devised a way to take energy as a wave and to put it into an application mathematically of the Newton mechanical universe, and so Schrödinger's work was called wave mechanics and was one of the first pivots. Not a fulcrum but an axial pivot that gave a new spin on the way in which a mathematical langue is applicable to a universe that we're familiar with every day, and yet the ever-day universe, the earthly practicality of it, needs to have an interface with the celestial wondrousness of it and Schrödinger's wave mechanics came out, but it had one glaring quality that was unacceptable to most people. It was statistical in its equanimity that a cat being transposed from the practical earth to the celestial array of possibilities, the cat would be half-alive and half-dead and one couldn't decide between them. So 'he's worried that Schrödinger's cat is in a quantum state, where it is half-alive and half dead. He feels that a cat can't correspond to reality.' In other words there is something deeply, radically at the root, wrong here with how we're getting at this, how we're able to express or not express this, and this is an issue. And of course the great champion of that originally was Einstein. He said it is not that reality is a crapshoot. God does not play dice. He doesn't throw a mark and then throw and throw to hit that mark and win. That it is a continuum of winning that does not ever end and it doesn't take dice. It is simply real. So Hawking finishes this paragraph, short paragraph. 'He [Penrose] feels it can't correspond to reality, but that doesn't bother me. I don't demand that a theory correspond to reality because I don't know what it is.' So a Positivist will look at the way in which a mentality confirms its integral referentiality to things and the way that they behave in the sequences of what they do, of what they are coded to be, of what they are programmed to achieve, and that that identification of a symbolic mentality with an existential, ritual comportment, sandwiches all of the experience that we are capable of, and there is really no experience outside of that, and the theoreticalness of it is positively something that is in the mind, in the symbols. Whereas the whole objection, not simply from Plato, in all of the Platonist sense, but from Plato's teacher Socrates, and from Socrates' teacher Diotima of Mantinea, and from Diotima's teacher who was Pythagoras, who was the very first to remind everyone that a thousand years before him was a sage called Orpheus and he had disclosed already that the world is not come to a limited order and fruition in our minds, but continues to resonate beyond into another world, into a celestial overworld, into invisible worlds without number that penetrate us, and that this entire array then is a cosmos and not a uni-verse. Here is the last of Hawking's. 'I don't demand that a theory correspond to reality because I don't know what it is. Reality is not a quality you can test with litmus paper. All I'm concerned with is that the theory should predict the results of measurements.' Predictability, measurements. 'Quantum theory does this very successfully. It predicts that the result of an observation is either that the cat is alive or that it is dead. It is like you can't be slightly pregnant: you either are or aren't.' And goes on in this way.
Penrose though is an extraordinary critter. He has a background that developed him in such a way that he was able to open himself up to a very wide realm and his last, latest book, it's over 1,000 pages, in fact it's over 1,100 pages, and it is called The Road to Reality. And The Road to Reality is subtitled A Complete Guide to the Laws of the Universe and right away chapter 2 page 25 begins with Pythagoras. But the book is dedicated to his great teacher, Dennis Sciama, and Sciama is an interesting character. His teacher, and you have to understand that a lineage works in this way, it usually is someone who is prized, conveys that prize to someone younger who is prized in such a way that they can convey it to someone younger when their time comes to hand this lineage down, and the lineage from Penrose comes from Dennis Sciama. Sciama's first book is The Unity of the Universe. He was a fellow at Trinity College, Cambridge, and was published in 1959, and dedicated to his teacher, and Sciama's teacher was the great astronomer Fred Hoyle. This is a first edition of the little Mentor paperback that came out on January 1st 1950, and I remember as a young nine-year-old, getting a copy of this, (my copy has long since disappeared. This is another copy of that edition) and struggling through to read it, because I had begun reading Science Fiction and I thought 'Of course, this will be great to have with Science Fiction. It was a prize-winning book and one of the interesting things, this is January 1st 1950, so it was written in 1949, there's a photograph of the earth from a rocket over 100 miles up that had already gone that far by the late 1940s, taking a perfect view showing the American southwest and the Gulf of California off in the distance, and we have mentioned before the United States had the capacity to put a satellite in orbit by 1948. That whole programme was coded MX, and as we delivered a couple of sessions ago, the MX programme from White Sands, New Mexico, was terminated by Secretary of Defence James Forrestal, because of a direct interference by the Majestic 12 Committee who recovered the Roswell New Mexico UFOs and were busy making their own plans for an interface with aliens who technology would have dwarfed things like the rockets, and sabotaged and stole our ability to become interstellar in our own right. And as Hermetic Thief today I can assure you this has been stolen back from them and we're free to go ahead and make our own maturity and the aliens will have to catch up with that. Freedom is quite real.
Sciama's book on the unity of the universe was transformed from 1949 to 1971 when he instead of calling it a universe he called it a cosmos, modern cosmology. This time Sciama was at All Souls' College, Oxford, and his dedication, instead of being to professors, was To Lydia. He had learned that pairing in life is a deep harmonic and the third book I want to show you is Modern Cosmology of 1971, being brought up to date in 1993 was the first edition, and this time Modern Cosmology and the Dark Matter Problem, dedicated not only to Lydia but to Susan and Sonya, his daughters. So he moved from his mentor to his life companion to the family that had developed, and the dark matter problem by 1993, as we talked about for four presentations, with Vera Cooper Rubin and Barbara McClintock, that the way in which jumping genes and dark matter, by two great women scientists, leapt at the same time into a presentation that we can no longer have a focus, we need to have an array and that the array is so expansive and harmonically large that it vibrates outside all the lines that we can draw. All of the calibrations that we can draw, and this means that the furthest reaches of this calibration are zero and infinity, and one of the great difficulties with modern mathematics, if you use the standard techniques of the best of mathematics including quantum mechanics, you have a problem with universals that have to be handled by a renormalisation, where you filter the infinities out because you don't know how to calculate. You don't know how to express, because there has never been a language in math to be able to express endless infinities, real zeros, and that's why Feynman in his diagrams and Penrose in his twister diagrams is so important. They are the earliest hieroglyphics to try to reach for an expressive artful language to consciously be able to express this, and what this programme does is take those early hieroglyphics an to put it into a high poetic expressiveness in a recalibration of the English language, just as Chaucer recalibrated old English and Shakespeare recalibrated Middle English, and poets like Shelley and Coleridge recalibrated the language then and poets like Yates and Stephens and Joyce recalibrated it then, I'm recalibrating the English language yet again so that it can express infinities and zeros with elegance and with the ability for the hearing and the thinking to come into a play where what you hear is music and what you're thinking is transparently something that you're able to look through. If you try to read a book by looking at the ink shapes on the paper, you will not see the words. You have to look through the words to have the creative imagination run for you the new vision of what is being written here. Just as you learn to hear the aural language in a fluid dynamic mythic way, you have to be able to read the written language in a fluid field of visionary consciousness which is differential, not integral. You don't look at each word in terms of what its dictionary meaning is. You look at each word in its dynamic ratioability of an open field that has an infinite capacity for expansion and has, as its pivot, a non-interfering zero point pivot that is able to take your visionary and throw it into the imagination of the mind so that the mythic and the visionary balance each other out on a transparent symbolic order. Now you have something that not only has a symbolic referent to a cardinality of sequence, a definite boundedness of existential objects, but equally one has a referent future forward so that you're not limited to the integral, but you have a differential, and out of this comes a whole new geometry. It's called differential geometry. And one of the generative dynamos of that was a teacher of Einstein named Minkowski, Hermann Minkowski, who was very, very close to some of the great mathematicians of his day. Einstein, when he was a student, unfortunately really didn't attend classes, didn't pay much attention, but it's important for us to understand that Minkowski's modulating of time and space into a four-dimensional space-time continuum was one of the insights that outlaw artist Einstein never forgot and constantly reminded himself and it began to blossom for him. 1948 is a crucial year in the history of this planet and was the first breaking point of the United States in its great Hermetic History. In this year, Feynman began his 1948 paper, Reviews of Modern Physics, entitled Space-Time Approach to Non-relativistic Quantum Mechanics, and his first sentence stated: 'It is a curious historical fact that modern quantum mechanics began with two quite different mathematical formulations: the differential equation of Schrödinger and the matrix algebra of Heisenberg.' Werner Heisenberg. Heisenberg's matrix algebra was a very high integral attempt. Schrödinger's wave mechanics was an early differential presentation and they were in the same parenthesis of the Copenhagen School of Niels Bohr, the real father and pivotal founder of quantum mechanics, because Heisenberg and Schrodinger were both universal geniuses in math, because they had two completely different formulation, it took almost supersonic geniuses to come and fold those two parts of the deck of cards together, except that Schrödinger's mechanics are all the cards and Schrödinger's wave mechanics are all the spaces between the cards. So you don't shuffle two halves of a deck together. You shuffle a deck into pure space to give it articulate aeration so that now you can deal those one at a time and find out how the set not only is integrally put together in its order, but how that order plays out when you engage it in games. And not only engage it in games of the deck, but engage it in the beautiful Las Vegas dealer manipulations of a professional dealer who will make it come out exactly as they want.
When we come back from the break we'll take a look at three individuals who in a very esoteric lineage put Schrödinger's wave mechanics and Heisenberg's matrix algebra together. The first was a man named Dirac, a very tall Englishman, Paul Dirac, usually goes by his initials, PAM, so if you pronounce it's p-a-m or Pam Dirac. He was one of the geniuses, to be able to put them together for the first time. The second was a little Swiss Peter Laurie type character, one of the most loveable and mysterious figures in world history, Wolfgang Pauli. And the third was Richard Feynman. And between Dirac and Pauli, Pauli wrote a great book with Carl Jung on synchronicity, was the development of that whole differential card game that is not played by necessary limitations, but is a dynamic growing game where all of the cards can be turned into jokers and one can still have a very interesting thing going on and of course the third, we'll come back to immediately after the break, is Feynman.
Next week I'll bring a photograph of the tall, lanky Dirac leaning against a big urn in Europe, talking with the energetic young Feynman, and you see in this almost like a Mutt and Jeff Show of incredible genius sidestepping all of the issues that would have stopped them from expressing something that they had no idea what they wanted to express, but they wanted to have the freedom to develop an expressive, infinite array of their own language to maybe sing unheard tunes about unknown countries and have it come out beautiful.
Let's take a break.
<Part 2 starts>
This is the cover of the centenary volume on Einstein, published 1979, Cambridge University Press, and it's edited by Stephen Hawking and a friend of his, W. Israel, who taught at the University of Alberta in Canada, about the same time I was teaching in Alberta, in Calgary though, not in Edmonton.
In here are the best papers in the world to celebrate the centenary of Einstein. The sixteenth paper is by Steven Weinberg, who is at the University of Texas in Austin, in the hill country of Texas, whose very popular book, The First Three Minutes, has sold hundreds of thousands of copies, and whose three volumes on quantum mechanics constitute the high watermarks of technical exposition. His Einstein centenary paper is entitled Ultraviolet Divergences in Quantum Theories of Gravitation. Don't let that put you off. It's the paragraph which is the beginning of the fifth division of the sixteenth paper, so its number 16.5 as mathematical treatises will always have little cedillas and then it will have its numeration. 16.5 is entitled Dimensional Continuation. For those of you who've been following this work, you'll be able to hear this. For the rest of you, keep doing the programme. It reads:
It was emphasised in 16.3 that the existence of a fixed point and the dimensionality of its ultraviolet critical surface do not depend on whether we define the coupling parameters by ordinary renormalisation or by dimensional regularisation, or by a 'floating' ultraviolet cut-off. However, experience has shown that the method of dimensional regularisation is by far the most convenient for actual calculation. Somewhat surprisingly, dimensional regularisation also turns out to provide a very convenient basis for the study of fixed points at arbitrary non-integrabal dimensionality. We remarked in section 16.3 that such dimensional continuation provides one method by which perturbation theory can be used in the study of fixed points. Dimensional regularisation allows us to calculate all Feynman integrals in finite form for non-rational space time dimensionality D, but the integrals we have poles as D approaches various rational values.
One of the deepest reaching penetrations of this programme is to bring us out of the mentality that is by now like a medieval villager's predilections to a dead end traditional stuffiness. The normal integral dimensions are four, they are not enough. They, when they are fully integrated to completeness, seal the mind so that it becomes a mirror. And its reflection is no longer a reflection of [5:29 mm] but is a reflection of that. That sense of identification, of identity, of referentiality, is dead. And deadening. The whole second year of our learning is to open up the rest of the hourglass so that it doesn't just run down, but goes through the passage and communicates a running back up. So that you have in this hourglass an interesting quality that if you extend its field into infinity the parabolas of the hourglass on both sides will begin to come back together in the mind and make, instead of parabolas, they will make ellipses, a pair of ellipses that touch at a communicable interface, so that one gets an infinity sign that is truly at home, expressing dimensions without end. For this we use a selection of four dimension of integral completeness and four dimensions of a differential perfection in that the completeness begins with zero and achieves unity. The ecology of the four dimensions of differential consciousness likewise begin at that zero and achieve infinity. And that all of this together, those four together make a complementarity that is like a ninth of four dimensions that one could point to, time and the three dimensions of space, and four dimensions that you cannot point to because their interstices of the other four and allow for articulation and transforms in play and creativity to occur. And that the ninth then constitutes a set which is able to be put into an expression by a tenth sense of a perfected completeness that is harmonically extendable. The first person in the Western tradition to understand this was Pythagoras, reaching all the way back a millennium to Orpheus, but in the meantime the expression of that came out in terms that were beautifully expressed by about 700 BC, by a Greek epic poet named Hesiod in his Theogneus [Theogony ?], and it was that there are nine muses, and these nine muses constitute set of the wisdom feminine inspiration for conscious expressivity. The first muse is Calliope, the muse of epic poetry. And one goes on, there's Urania who is the muse for astronomy, Terpsichore, who is the muse for dance, Erato who is the muse for lyric poetry, Polyhymnia who is the muse for hymning, Thalia and Melpomene, who are the muses for comedy and tragedy, Euterpe who is the muse of flute playing, and Clio who is the muse of history. And these nine muses together make a set which is put into its parentheses as a set by the tenth, being Apollo. When you have the nine muses put into a set by a tenth, now you have, and the phrase still is recognisable, you have a perfect ten. Expressible by a series of dots, a dot for unity, below that two dots for pairedness, below that three dots for traidedness, below that four dots for quaternary, and those ten dots together in that triangle, constitute a perfect complete set that is applicable to the limitations of an integral and is at the same time expandable into the differentials of a harmonic infinitely. Out of this came the very first expression in the world, of what we call a rational, a ratioable, a proportional, a rational music that one can learn, that if you have eight notes in an octave, the eighth note will be of a higher order than the previous seven, so that they will be doh, ray, me, far, so, la, te, doh. So that the eighty is the beginning of the next set so that they overlap, so that what is built into the cardinality of it is an ordinal transform then is a part of the cardinality. So that your last step is a step up that includes the motion and the order of all the seven steps that you took before, and now you have the consciousness that all of this together constitutes a ninth, a vision put into a jewelled prism, and that that ninth is able in its own generation to generate the tenth. The eight together is a visionary form differential and comes to play in the ninth, which is an art form of the creative spiritual person, generating, the ninth generates the quality of a historical kaleidoscope that comes into the form of an Apollonian cosmos, the perfect ten. The way in which this Tarot deck from 1465 by the great Andrea [13:14 Nantania], the way it expresses it at the end, in the 48th card, all of the stars, not in the universe but in the cosmos, have an interface with the perfect openness, the zero infinite openness is a part of the array of all the stars that can be extended to any number without limit, without end, and that these then together constitute a primordial triggering of emergence. These five sets of ten making 50 cards was in the high hermetic brilliance of the Florentine renaissance, the translation of the complete Plato was done by 1464; by 1464 Ficino had also translated the complete Hermetica. So it was at that moment when one had a patron named Cosimo de Medici that the cosmos, the hermetic cosmos of 1500 years before, came back into creative pivoting play. We live at a time, 500 years later, where by 1965 it was apparent to those of us who are alert to this scalar and to this penetration, that again a new cycle, a new spiral, a new twist in the ecology not only of space-time but in the ecology of consciousness, that we had re-emerged again. And the point event of that was January 1st 1966, in San Francisco. It was a festival called the Trips Festival, held at Longshoreman's Hall on the waterfront in San Francisco, next to Fisherman's Wharf, because one of the great longshoremen there was the American philosopher dock worker man, Eric Hoffer, whose book The True Believer came out in in 1957, and I wrote a paper on it by already 1958 at the University of Wisconsin. And contacting him and others, Longshoreman's Hall was able to be sequestered for this January 1st 1966 event. There on the basketball sized court floor of the Longshoreman's hall, the perimeter held American Indian tepees because the theme was American needs Indians. We need to go back to a primordiality that is not a part of a politicality. A primordiality of people who have lived conscious integrate, complex lives for at least 25,000 years in this landscape, and who know very well how to live in it so that it appears to those who come for the first time, who did come for the first time, it appeared to them that it was a wilderness. But that wilderness, that unbroken primordial forest from the Atlantic Ocean to the Mississippi River, the entire landscape was tattooed by sacred mounds that had been built over thousands and thousands of years so that the primordiality of the forest was growing on an Indian mound America that went from the Atlantic coast to the Mississippi River. And the great metropolis of primordial America was Cahokia, across the Mississippi from where St Louis is today, and it had 50,000 people 1,000 years ago. Extraordinarily sophisticated.
We are entering into an interstellar wilderness that has been sacredly civilised for billions of years. We need to learn some humility to be able to go with honour and with maturity and find friends. Everywhere we wish to explore. We're taking Stephen Hawking and Roger Penrose and Richard Feynman because those three men, at a crucial juncture, Feynman began his great work in the late 1930s, his mentor was John A Wheeler, who is almost 100 years old and still alive, and from that late thirties all the way until now, 2008 coming up, some 70 years, we have gone through a tremendous membrane historically, which will come to a fruition in a escaping penetration in 2015. The event that will trigger that will be the New Horizons exploratory mission to Pluto and Chiron and the beginning of the exploration of the Kuiper Belt, which will add a dimension to our solar system, to our star system, about ten times the size that it was before. This is like the Louisiana Purchase in space. But the Kuiper Belt is the last of the disc of our star system, and will put us into position for the first time to appreciate. The scalar is usually in terms of astronomical units, from the sun to the earth 1AU. Jupiter is 5 AUs, Saturn is 9.5 AUs, the Kuiper Belt will go out to somewhere around 50 AUs. Surrounding the disk of our star system is the Oort Cloud, which is trillions and trillions of commit-sized bodies, and their membrane apex statistically averages to 44,000 AUs. That's 44,000 times the distance from here to Jupiter. What is being presented as gently as is possible, all of this is an evolutionary squeeze, invitation, distillation, that is going to change our species. Not out of Homo sapiens, but from Homo sapiens sapiens to Homo sapiens stellaris. The wisdom about wisdom, the being wise about wisdom, will now be star-system sized in its array and interstellar in its adventuring resonant exploring conscious space. That conscious space will be the tenth and thee stellar civilisation will be the ninth, and the spirit person differential prismatic forms will be the octave of all of our possibilities brought through several transforms. So when we're looking at Feynman, we're trying to focus on one of his works, QED, quantum electrodynamics, sub-entitled The Strange Theory of Light and Matter. And part of the interesting aspect here is brought out in this chapter of Jagdish Mehra's The Beat of a Different Drum. He writes about the two points of view that we talked about before the break, that were equally capable of being mathematically expressed and applied. Heisenberg's matrix algebra and Schrödinger's wave mechanics, and the first of three people that were looking at it, who managed not to integrate those two but to interfold those two so that what comes out is not an integral but is more correctly described as a manifold, and that that manifold will have more dimensions than an integrality will be able to appreciate. So that the integral mind with four dimensions used to making pictures in the imagination, will not have the ability to have a pictoriality that is settled and firm in the imagination. Instead the phenomenon will become a numinous play and what will be accurate is that you will have no image in your mind but you will have a transparency of mind to be able to see the scintillating play of possibilities of imagery that continually have their scintillation. It's no accident that the way in which atomic physics records its experiments, that the waving curves of the materia used to register the light flashes is called scintillator. This is a deep, poetic insight for us, but it takes a maturation. Out of the old that does not erase the old and that does not leave it as old, but rather recalibrates it so that it is original and is primordial and achieves a transform much like the grapes that grow in the vineyard are able to be harvested and fermented in the casks so that it will become a fine sherry, that one can now serve and appreciate that it came out of the vineyards, and through our vintnering art, we are able to have this fine sherry. And that further from that, we are able to take the sherry out of the casks, those nice oak casks, and ship those nice oak casks from Jerez in southern Spain, 2,000 miles to Northern Scotland, where they will take the sherry-soaked oak cases, barrels, and they will take their barley fermented and put it into those casks and after many years, sometimes as many as 10, hopefully at least 12, how about 15 or 18 or sometimes 21 and occasionally 25 years, you will get the finest Scotch whisky that you can imagine, a Macallan cask-strength Scotch whisky is even labelled in its colour red mahogany, that when you pour it you see the heritage of the sherry in the colouring, in the bouquet, in the carrying penetration of the whisky, and you're able to appreciate that it was barley and grapes somehow in a magical, triple magic interface, that was able to produce this. The solution is to pick those grapes and harvest them. The fermentation is to turn those grapes into the sherry. The distillation is to turn those oak soaked sherry casks into fine Scotch whisky.
These three, one of them is a mythic process that comes to its fruition in symbols, in the symbolic order of the mind. The second process is a fermentation that happens in the visionary theory of differential consciousness as a field and comes to fruition as the artist who is able to make works of art, the spirit person, and the third transform is the process of distillation, which is what history is. The kaleidoscopic consciousness of the distilling of all that went before and extending it so that what comes out of that is the fine Scotch of the actual cosmos that is testable, appreciable, enjoyable, medicinal, reminding us that all of it is a cycle extended into an ecology which allows for the octave of a harmonic of a complementarity to take place. And this is exactly what Niels Bohr was talking about in his complementarity. He took the Taoist Tai Chi complementarity interface and put it on the family crest. It's there today.
His role, 60 years later, was taken over by Stephen Hawking, who's not just a positivist, he's like Niels Bohr only where Niels Bohr's genius went out to having a school which was like a maturing home for largely young men who were such geniuses that they stepped outside the capacities of anyone to teach them, Papa Bohr made a home for all of them to come together. Heisenberg and Schrödinger, Pauli, any number of them, and it was Bohr's great fatherly quality of raising a generation of his boys who despite all of the differences, never polarised themselves but continued to explore and develop. It was this quality that Stephen Hawking took over, when instead of limiting himself to the Copenhagen Institute of Theoretical Physics, Stephen Hawking took on to write popular books to educate the planet. He made the planet his community of his family, and it's paradoxical that the more limited he became, crippled by his disease, limited to his armchair, unable to really speak or write or move, he became the largest communicating scientist in world history. He has reached hundreds of millions of people in a resonant community that is truly not global but planetary. His comment a month ago was he can't wait to be included to go into orbit so that he can experience a little weightlessness so that he won't feel so discomfited. It is Hawking, it is Penrose, it is Feynman, that we're choosing as a triad, like the old tripod stool that used to sit over the chasm of the cliff deep into the earth at Delphi, and instead of there just being the oracle at Delphi, usually a highly psychic, sensitive young woman, we are all sitting together on this planetary tripod that at the culmination of the two years' education, we're going to do four little divination sessions, three after today, how all of this triangulates. And when it triangulates, something triple magic happens. You get disparate messes that beginning to relate outside of the limitations of time and space, and allow for a vectoring to occur, which is a dynamic that is the resultant of disparate forces but relational in a kind of differential geometry, and that when you have at least a pair of such vectors, now the pairedness of those vectors produces a higher distillation form, a tensor, and it is tensors that form the basis of the mathematical innovations of Einstein in the theory of general relativity. Carried on eloquently now by Roger Penrose. We'll look next week at the Penrose transform, which is one of the most miraculous developments in world history. Out of it came the development of what we will see is twister mathematics and physics. This is a collection published by London Mathematical Society Lecture Notes, 1990, by Cambridge University Press.
Our aim in editing Twisters in Mathematics and Physics has been to collect together review articles which reflect the wide diversity of ideas and techniques which constitute modern Twister Theory. Whilst the origins and much continuing work in Twister Theory are in the area of fundamental physics, there is an ever-growing body of Twister Mathematics, which has now taken on a life of its own. This is reflected by the articles on Representation Theory and Differential Geometry among other subjects. The main objective in the Twister Programme for fundamental physics is a theory which unites Einstein's General Relativity and the world of quantum physics, a theory in which the role of complex holomorphic geometry is fundamental. Penrose's article in this volume, reviews its current status. Other contributors have covered the advances which have occurred since the major successes of Penrose's non-linear graviton and Ward's construction [That's R S Ward] of the Yangs Mills instantons. The most notable of these is probably Penrose's definition of quasi-local mass in general relativity and topics such as the twister description of vacuum space-time with symmetries and twister particle theories are also covered.
One of the most profound qualities that's in this is the development of Quantum Field Theory. We're not going to get into it. You can get into it really deeply. There's a thousand pages on Quantum Field Theory and Critical Phenomena. Here's a famous study, collection, Quantum Field Theory of Point Particles and Strings. This little philosophic inquiry, Philosophic Foundations of Quantum Field Theory. We're looking at something that is more complex and delivering it such that all of this is a concluding wedge of four personations in what is a whole infinity sign presentation of a 104 presentations , so this is about 3.7% of what is being developed here. We're going to look next week at a little book published in 1926 in New York, Three Men Discuss Relativity, because we're going to look at three men discussing relativity from an immense complication, some 70 years later. The author of this Three Men Discuss Relativity was J W N Sullivan, and Sullivan was a very great writer, scientist, he did some books that were quite best sellers, like Aspects of Science or Aspects of Science, Second Series but after he did Three Men Discuss Relativity, the creative aspect of this led him to write a great book called Beethoven: His Spiritual Development, published in New York in 1927, the very next year. It's exactly at this time, 1926/27, that Schrödinger's wave mechanics and Heisenberg's matrix algebra came out and so you had exactly at that time of the middle/late twenties, the emergence of a current of deep creative actuality that took all of the 1930s, that whole decade, to tussle with. And the tussle came out with a nightmare realisation by 1939, the tyrannical empire-building political Rome had turned fascist and imperial in some of the major populations of the planet, exactly at the time when it was possible for the first time to understand that one could build an atomic bomb. The 1940s were a decade where all of that came to pass in spades and then was thrown into an almost infinite scalar when we realised that there are aliens without number, more sophisticated than we might be able to achieve in the next millions of years, and the 1950s were a haunted decade until the traction finally began to come back in the 1960s for a little while, that we have every capacity and every right, not a political right, but a reality, actuality, to develop ourselves to those capacities which we can do. But just as the 1930s were terrorised, and at the end of the 1940s our whole development of a space programme was sabotaged and taken away from us, so too at the end of the 1960s, the space programme that was sending regularly pairs to the moon and an astronaut third orbiting the moon, all of that programme was cancelled. Everyone who was participant in it was let go. And now by 2008, there's only one person who still has mastered the math of how to get to the moon. My old friend and student, who I will not name because he's still under the egis of NASA, a militarised NASA, but he was the last one to be able to interview all of the old mathematicians and able to understand what they were conveying. One cannot simply go to the moon. You have to have an almost infinite phase-form trajectory that self-corrects almost all the time, in order to be able to need it, because celestial mechanics is not just that the moon is moving and the earth is moving and you're moving, but the whole star system is moving, the whole galaxy is moving, the whole cluster of galaxies is moving. It would be an infinite problem if you didn't have a differential geometry and a way of navigating instantly, creatively, so that one can touch down. The Eagle has landed. That was almost 40 years ago.
More next week.