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Holographic links between
Poirino CC
in Italy and Chirton Bottom CC Wiltshire UK
Firstly thanks a lot to “Strob”
for cracking the first code in the Poirino CC Italy.
E=MC ^ 2
Thanks also to d’immagine
di space freedom (a rather serendipitous name in regards to the
following interpretation) and also thanks to Steve Alexander’s great
aerial photo.
This was quite a task to try and
find a genuine solution to both these crop circles, within plausible
realities. What is a plausible reality?
The Poirino CC came up with
Albert Einstein’s equation E = m c ^ 2
Commonly known,
Albert Einstein had two theories, one was a “general” theory of
relativity, the other a “special” theory of relativity, I also mention
his “entanglement” theory due to the interconnection of two CC’s with
multiple codes and message. These two CC’s also exhibit “special
relativity” in regards to “other” dimensions in time and space of which
is only “theoretical” in physics at this stage, but have existed for
millennia in the realms of mystical thought and philosophical
pondering.
The two CC’s
overlap not in a literal sense but in an entangled, holographic quantum
reality as the Circle makers have made, multiple “keys” in both, and,
also for “one another”, and then played a little puzzle in the
conclusion. Unlike the Wilton Windmill CC which had both codes hidden
within The same CC this time two CC’s interplayed for not just one
“answer”, but multiple answers, and outcomes, which hints at the process
of quantum entanglement.
Maybe entanglement theory at
it’s best?
I’m surprised Mensa hasn’t
approached Doug and Dave yet?
I can see “Doug and Dave’s
shingle”
…Two planks shy of a full
fence school of telepathic planking
I’m ashamed to be an Aussie.
Looking for clues
I initially
created a central spinning section with the central circle of the
Poirino CC to create a “rotating central key” as I felt it may hide more
codes within this one CC, this failed to turn up anything, however, I
did discover via this “spin” or rotation technique, an unusual visual
“similarity” with the Chirton bottom CC. Here was the key for unlocking
the second code. By rotating 1/12th Clockwise and aligning
the diagrams symmetry again with the next petal, an interesting pattern
manifested in the CC.
Below I have highlighted the
pattern that seemed familiar with the Chirton Bottom CC
.
 
This pattern reminded me of
David Bohms’ implicate and explicate order of the universe in visual
symmetry. Beautiful.
I started to do a number count
of all circles in the Chirton bottom CC, small, medium and large (2) and
something interesting arose.
 
I also counted two large circles
within the overall “infinity” design.
Now we can go
further with the second ASCII hidden code using the numbers that
surfaced within the Chirton Bottom Cc. I also inverted the
numbers to give a second set of numbers, the reason I did this, was due
to the inverted pattern in the infinity symbol. I mentioned
this pattern earlier highlighted in Red, so I utilized this Implicate
and explicate pattern with the new numbers below
New number count in the
Chirton bottom Cc.
27
(invert) 72, 28 (invert) 82 and 2 This
then gave me four ASCII corresponding letters.
72 =
H 27 = ESC 82 =
R 28 = FS (femtosecond)
2 = STX (start of text)
This then gave
me a second set of code numbers to complete the further encoded pattern,
which is startling in conclusion. Not just from the complexity of the CC
encoding process but the philosophical inferences to deeper quantum
knowledge. By mixing the two codes together I found this new code in
Red. I used the infinity symbol in the final equation, as it seemed
relevant taking in all overall holographic message.
My interpretation of this code?
To MC
Escher a femtosecond can be equivalent to infinity.
The reason I
placed the “2” from the end of Einstein’s equation, and placed it at the
beginning of the second Escher equation was for a few reasons.
Einstein’s code was found first in Italy Poirino, the Chirton bottom CC
came later and seems to imply philosophically that quantum realities of
time expansion and contraction supercede Einstein’s general laws of
physics at least in terms of constants and light mechanics. In the
Chirton Cc it showed an open two circles in the center, which
translates in ASCII to “STX”, or, (start of
text) so start of text means, start of text, this gave me a
starting point to finish off Escher’s new code.
Also Einstein’s
equation ends with the number “2” so this was the second reason
for placing it first. The MC is
taken from the first Einstein code completing Escher’s first two
initials, the squared symbol I’ve placed next the
femtosecond symbol mainly as you can’t
square infinity. Maybe one can square a femtosecond but that’s for
chemists or mathematicians to figure out. I feel this about time and
known “realities” of time. In higher realities time doesn’t exist, it
is completely relative in terms of who experiences what or when at any
given time.
This new code
reminds me of Blake’s famous quote,
“to hold the
world in a grain of sand”.
A femtosecond
is a unit of time equal to 10-15 of a second. That is
one quadrillionth, or one millionth of one billionth of a second. For
context, a femtosecond is to a second, what a second is to about 31.7
million years.
I would say
that the CC might be inferring that inner multiple quantum realities
pulverise Einstein’s equation within it’s known boundaries of “a
constant”, or they are showing us how it works, beyond known logical
constructs. Light is not a constant it is relative according to
special relative theory, so is time. Time is relative, so
time-space-light are bound together but also relative, much like
entanglement theory. Infinity speaks for
itself, it is incomprehensible, and it can’t be labeled.
These two CC’s
really intrigued me, as Escher is famous for his precise mathematical
and non Euclidean multiple dimensional artwork, much like holographic
quantum theory or “multiverse realities”. Dali was similar with his work
of surrealism, true pioneers in physics. In fact an artist’s job is
exactly the same as a quantum physicist! It’s merely the language
constructs are different, always looking for subtler light and
understanding of the known universe. Dark light being the next
frontier, how timely?
Here is one of
my personal favorite sketches from Escher. .
It’s called “Reptiles”
how quaint. I thought it poignant to place a small interpretation of
the profound knowledge that Escher himself showed in regards to personal
alchemical transformation and other realities. Seeing as the CC
formation placed his name next to Albert Einstein’s famous equation.
This particular
work is famous and I found it not only technically interesting, but also
the subject matter riveting. A really “great work” and apart
from the mathematical sacred geometrical aspects, his knowledge of
alchemical symbolism is evident here. Let's look at some of the
symbols.
I will work from
larger observations to smaller.
In Alchemy the
ancient art of changing Lead to Gold was portrayed as a secret and known
only by a few. The roots of Alchemy go back possibly millennia, perhaps
as far back as Ancient Egypt. The goal of alchemical transmutation is
that of changing base metals into Gold, the prime objective of any
alchemist
The true
transmutation process was treacherous and difficult, and it took time.
History is pregnant with alchemical stories, even Pinocchio
eventually got his wish in the end, but only after he stopped lying
himself stupid. Wood being even denser than lead, he
eventually got it right. The Gold in this work is minimal, as lead
seems to be the order of the day…
Lead being one
of the base metals and Gold one of the purest.
Ironic how
bullets are made of lead?
Lead is used in
the medium of most of Escher’s works.
Most of the 3d
symbols in this work are not on the square, which is interesting.
They do however move from the dark square eventually, after a lot of
time in the desert. The cacti indicating a nice metaphor for time
spent in the wilderness. Only then can our reptile friend perhaps change
once he reaches the “white” square section of the two dimensional
plane, breaking free from his own vices.
Purification
must take place via a very, very, slow, progressive journey through
time, and if he succeeds then onto higher planes of reality; perhaps
this is why Escher used a reptile and not an ape?
The little
reptile seems to be a skink of sorts, although skinks don't snort fire
or steam from their nose, perhaps a metaphor for a created reptile, a
funny genetic joke from Escher, I’m not sure?
The "reptile" is
actually walking in a cyclical manner constantly passing from
two-dimensional reality, which is a complex web or “matrix” almost like
a self replicating, patterned prison cell?
The reference to
the book of “Job” next to the cacti is very informative; Job
being one of the most righteous men in the Old Testament was
tested to the fullest by “his” Lord without Job understanding
the logic or reason?
In the end he
had to concede he didn’t understand the full reasoning taken by the
architect behind the decision.
The “O”
is Job is a stylised double tetrahedron (fire) in this case, so the heat
of alchemical purification is amplified during this period in the
Desert. This tetrahedron symbol in this shape, when properly
manifested becomes a star tetrahedron or “star of David”.
Reptile has left some of his vices behind in the bucket, but encounters
an arduous journey until he reaches a book of Alchemy, indicated also by
the “bottle” of spirit next to the book (lower right).
The overall
anticlockwise journey of the reptile is interesting, he only conquers
the higher heights when confronting the “bridge” or Yod (finger of god),
Isosceles triangle, a small hole symbolic not of an “eye” but of the
difficulty at this phase of entering higher planes of existence.
Escher's understanding of platonic solids is demonstrated in using the
Dodecahedron solid shape symbolic of “spirit” of which the reptile
eventually mounts and snorts. Is he controlling the “spirit” or has he
conquered it? A bible seems to lie at the top right next to the Yod,
“open” and inviting, but always with choice.
These CC’s are
getting very interesting and I’m sure there are many other valuable
interpretations.
John Scott
www.johnscottartist.com |
