The Space Fabric: Its Effects on Color, Fetus Development, Spinning Subatomic Particles and the Fibonacci Sequence

Transcription

1 The Space Fabric: Its Effects on Color, Fetus Development, Spinning Subatomic Particles and the Fibonacci Sequence By Mokbel Shukri

2 Copyright 2014 by Mokbel K. Shukri All rights reserved under International Conventions. HKJ National Library Deposit No. (2014/12/5491) No parts of this work may be used or reproduced in any manner Whatsoever without the written permission of the author.

3 Introduction In my book The Space Fabric: a lifetime journey (SF) I explained to the reader how through my experience with yoga during the past forty years I came to know about SF. My skepticism for the existence of the chakras (seven major vortices or wheels through which prana vital energy or vital air - is supposed to flow into the body see figure (1) below) led me to experiment with my senses for such a long time before I was able to detect the chakras and to accept them as an ordinary part of our bodies. At the same time, I was able to discover through direct inspection that the crown chakra and the third eye chakra are not a thousand petals and two petals each as portrayed by yoga belief but rather fourteen and eight petals each respectively (see figure 2). In yoga tradition the chakras were represented in the form of the lotus flower with a fixed number of petals for each. In reality they are lines-like, strings-like, radii that can be touched and counted that extend from the middle of each chakra outwards as far as one can imagine (see figure 2). Figure 1 In spite of their subtle nature, using my sense of touch and later my vision and hearing I was able to identify each chakra s very structure as being not only a part of our reality

4 but also of an essential part of a universal fabric that can be felt by anyone with just a little training. I say this with confidence since for the past two years I was able to train several people on how to detect the chakras and their fabric altogether. During the training sessions, I was able to experiment and develop a simple way whereby any trainee would be able to touch and count the lines, strings, radii that radiate from the chakras or from any living or non-living object. Also to make those trainees aware of the persistent nature of these lines, how far they extend and realize that they are part and parcel of a ubiquitous fabric. In my book I tried to prove how the fabric is the base structure (the design) for anything that exists on a planetary and cosmic level. It is as much fundamental as any of the forces of nature and therefore forms an essential but ignored part of our very existence. Figure 2

5 The scientific method adopted so far does not allow any room for the investigation of such a basic phenomenon. Moreover, ignoring it is compared to someone who has the capacity to see only the upper part of a horse that is galloping behind a wall. Without seeing its moving legs the horse would simply look like a caterpillar using the weight of its head to pull it forward. All calculations and resultant theories pertaining to such observation would be anomalous and incomplete without the inclusion of the legs of the horse. After one becomes physically in contact with the said fabric; being able to count its emanating lines and to have first hand feeling for its very existence, I believe ones perception of ones reality, the world, its constituents and the universe at large would significantly change. The simple acknowledgement of such a phenomenon would unfold a totally new paradigm that would alter humanity s approach to literally everything; the way we look at life in general, the rationale behind supersymmetry in the universe, the existing forces of nature, everything ; thus opening the door for a breakthrough in scientific discovery, space travel, technology, medicine and a lot more. In this paper, I am documenting my findings and observations on the effects of the Space Fabric structure on the following topics: a. The unique arrangement of the chakras on top of each other and their possible effect on the attributes of light, color and the spin of photons.. b. The effect of SF structure on the development of the fetus. c. The Expanding Universe, the Spin of Subatomic Particles and Light d. The Fibonacci sequence (the Golden Number) and its relationship to the expansion of space and the formation of matter.

6 The Unique Arrangement of the Chakras By examining the table below and cross checking its contents with figures 1 and 2 above the reader should be able to notice uniqueness in such an array. Chakras Field Frequency Number of Radii (Petals / Strings) Chakras Profiles Color Third Eye FF3 8 Violet Crown FF6 14 Indigo Throat FF7 16 Blue Heart FF5 12 Green Navel FF4 10 Yellow Groin FF2 6 Orange Base FF1 4 Red Figure 3 Chakras and the number of their radii as arranged on the human body.

7 First, why the chakras, with such different radii count, are arranged in such a unique manner? That is, if we look at the table above we notice that the radii count of each chakra, as observed on the body, starts from the base chakra at the bottom with 4 radii (FF1). The radii count ascends to 6 at the groin (FF2), skips 8, and jumps to 10 radii at the navel (FF4). It then continues to 12 radii at the heart (FF5) then skips 14 radii and jumps to 16 radii at the throat chakra (FF7). The skipped 14 radii (FF6) are then recovered as we ascend to the crown chakra. Similarly, the skipped 8 radii are recovered as we descend to the third eye (FF3). Why did the crown chakra come ahead of the third eye chakra although it is located below the crown area in a whole body ascending order? The answer comes from colors of each chakra as located on the color wheel as explained below. Second, in figure 3 above the number of radii and the color of each chakra follow the normal arrangement of colors on the color wheel ( see Figure 4-A below). The colors of the color wheel are composed of three primary colors: yellow, blue and red (Figure 4-B) which when mixed with each other produce the secondary colors of green, indigo and orange (figure 4-C) along with their different shades. In other words, when yellow and blue are mixed they make green; when yellow and red are mixed they make orange and when red and blue are mixed they make indigo or violet; depending on the ratio of the mix where different shades are produced. A - The Color Wheel B - Primary Colors C - Secondary Colors Figure 4 Although the colors of the chakras follow the arrangement of colors of the rainbow R O Y G B I V (Red, Orange, Yellow, Green, Blue, Indigo and Violet) along the human upright body we find that the third eye comes last compared with the crown chakra which lies on the top of the human body. Namely, that the route the colors are taking change when they reach the throat going for the crown first then to the third eye.

8 If we look at figure 4-B we notice that the violet color is closer to red than the indigo and the indigo is closer to the color blue. That is why the crown chakra (indigo) comes after the throat chakra (blue) then the third eye chakra (violet) which is closer to the base chakra (red). This point shall be examined again under the development of the fetus below. On the other hand, it is only commonsense to see that the color mix takes place according to the color wheel as we ascend through the chakras along the human body (figures 2 & 3). In other words, as we go up from the base chakra which is red (primary) towards the navel chakra which is yellow (primary) via the groin chakra we get the orange color (secondary) of the groin chakra. Moreover, when we go up from the navel chakra which is yellow (primary) towards the throat chakra which is blue (primary) via the heart chakra we get the green color (secondary) of the heart chakra. Yet, to get the proper color mix of the crown and third eye chakras which are indigo and violet respectively and which are both secondary colors, we have to place the throat chakra (primary blue) in close proximity of the base chakra (primary red) to be able to obtain both indigo and violet colors with the crown chakra (indigo) coming first then third eye chakra (violet) coming second. The Fabric s Effects on the Development of the Fetus In the development of the cells of the fetus it has always been perplexing on how stem cells know what organ they need to develop into. Stem cells are the same at the beginning of development of any fetus. What is the mechanism that allows them to develop into different body parts; to become an eye or an ear or a heart or a brain; be it in a human, a dog, a bird, or even a fish? From my point of view, it is all in the fabric where the blueprint of the organism is already available. Figure 5 below shows the development of a fetus from the age of +/- 1 day to 56 days plotted against the color wheel exactly in the position where the back and front chakras are located in accordance to their colors. One can notice how in its early days of development the fetus tends to bend and push its head forward towards a growing tail that closes the gap in the color wheel. Within 50 days of conception and after this is accomplished the head retracts and the tail becomes shorter in length. On day +/- 1, the fetus has its tail touching the red color of the color wheel, its groin area the orange color, the abdominal area (navel) the yellow color, the heart area the green color and the throat area touching the blue color. In days 26 to 28 the fetus starts bending forward to reach the indigo and violet colors with its crown and forehead. Its tail is extending from the red color towards the violet color. Up to day 39 the crown and

9 the forehead develop a bulge signifying that the stem cells in those areas have received their blueprint/functions from the fabric available in the indigo and violet colors. In days 49 to 56 the fetus has already straightened its posture and its tail withdrawn. +/- 1 Day 26 Days 28 Days 39 Days 49 Days 56 Days Figure 5 The different stages of human fetus development against the color wheel

10 Effect of FF6 on the formation of the top of brain /crown chakra Effect of FF7 on the formation of the back of neck/throat chakra Effect of FF3 on the formation of the front brain lobes /third eye chakra Effect of FF1 on the elongation of the spinal column/ /base chakra Figure 6 Partly dissected human fetus Figure 6 above shows the photo of a human fetus dissected at the abdominal area; notice the elongated tail which extends to the front of the throat chakra which is already bulging in the back of the neck indicating that the stem cells in that location already received their developmental information. Also observe the bulge on both the crown and third eye (forehead) in the region of the indigo and violet colors of the color wheel. This indicates that the fetus is following the sequence of the different membranes of the space fabric to have its design embossed on its material structure.

11 The Expanding Universe, the Spin of Subatomic Particles and Light Edwin Hubble, an American Astronomer, discovered in the early twentieth century that the universe was expanding. This was a consequence to what is known as the red shift in light coming from far away galaxies. This light exhibited longer wavelengths than the usual light coming from the sun indicating that expansion is taking place. Since the space fabric is part and parcel of our universe then it would only be logical to say that the space fabric itself is the one thing that is expanding. Matter, according to today s theories, is formed by the forces of nature (electromagnetic, nuclear, weak and gravity) that struggle against such expansion forming the galaxies, stars and planetary systems that we observe. From my point of view, matter is the evident firm force that results from the interaction between an expanding seven fielded fabric ( possibly what is called dark energy) and its companion (possibly what is called dark matter) that tries hard to catch up with such expansion in order to go back to the zero point or starting point of the universe where only the Void existed. (See my book The Space Fabric: A Lifetime Story pages 122, 123). Quote, Unquote I believe that primordial Consciousness emerged from a timeless blankness that existed in a neutral zero state. That Consciousness was able to split zero into +1 (matter) and -1 (antimatter); with -1 expanding with an enormous speed creating space and +1 rushing uselessly to catch up with it in order to go back to its original resting zero state. While keeping both sides of the energy formula equal, +1 (matter), which was in a radiation state, cooled with expansion and formed subatomic particles that had a total spinning energy equal to that energy formed by the ever-expanding -1 (antimatter). Primordial Consciousness which was the basic consciousness that existed at such an early stage had the ability to force -1 and +1 to act according to His wishes. This process, from my point of view, resembles the sudden separation of two plastic sheets. At first the two sheets have a potential energy that as long as they are attached

12 to each other they are at rest. However, when separated one side would carry a negative charge and the other a positive charge. Both sheets through their different charges are attracted to each other. If you allow them to do so they would stick to each other and return to their original neutral state. In the case of the accelerating expansion of the universe the same principle applies; however, matter (whether in energy form or not) shall always continue chasing after the ever expanding fabric of space in order to go back to its original resting state. If the fabric of space stops its expansion the whole universe that we see today would collapse, it would return to its origin, the void, with a wide variety and up-to-date state of compounded Consciousness way more advanced than the primordial one with which it started. Nevertheless, and at the level of light, which is our concern in this paper, I believe that photons travelling through the expanding medium of space interact at right angles with the expanding two dimensional seven field frequencies (membranes) of the space fabric forming their particular colors. Since those membranes are arranged with radii 4, 6, 10, 12, 16, 14 and 8 in a repetitive manner light particles (photons) spin through each one of them at different rotational speeds and spins. The rotational motion is a result of the rapid expansion of the membrane as the photons try to reach the center of the expanding fabric. The spin, on the other hand, comes from the friction that takes place between the photons and each line, radius, or string as they rotate around the center of the expanding membrane/fabric. With a low radii number the photons face little resistance and therefore have a high rotational speed and low spin. However, with a higher radii number photons face higher resistance and therefore lower rotational speed and faster spin. In other words, the ascending array in the number of radii of FF1, FF2, FF4, FF5, and FF7 have 4, 6, 10, 12 and 16 radii respectively; allow the photons to increase their spin because of friction with the increasing number of radii yet at the same time reducing their rotational speed. This process is reversed when the photons reach FF6 and FF3 with 14 and 8 radii each respectively and where rotational speed increases and spin slows down in this order repeating the process again as it proceeds towards FF1 with its 4 radii and so on Figure 7 below shows the trajectory of a photon as it passes repetitively through the seven membranes. From my point of view, this process is continuously seen in relatively light particles which have perpendicular trajectories that are riding the radii of the expanding space fabric and interacting at the same time with the fabric that is expanding at right angles to their path giving them spin and angular velocity.

13 Rotational speed decrease and spin increases Base Red Groin Orange Navel Yellow Chakras Radii Heart Green Throat Blue Crown Indigo Rotational speed increase and spin decreases Third eye Violet Base Red Figure 7 Having said that means that light which is composed of seven different colors must travel in a continuous repetitive medium of the space fabric to be able to obtain its indigo and violet colors (seee Figure 8 below). That is, blue color must remain in close proximity with red in order to be able to produce indigo and violet. This means that space is made out of a ubiquitous fabric composed of those repetitive seven layers that allow the different colors of the rainbow to prevail. On the other hand, the number of radii with which the photons interact gives light its color. This has always been obvious to me from the two dimensional circular motion of my hands during my daily exercise where the color of each chakra with which I interact becomes visible.

14 The Space Fabric Continuum Base Red Groin Orange Navel Yellow Heart Green Throat Blue Crown Indigo Third eye Violet Base Red Groin Orange Navel Yellow Heart Green Throat Blue Crown Indigo Third eye Violet Base Red Groin Orange Navel Yellow Heart Green Throat Blue Crown Indigo Third eye Violet Base Red Groin Orange Navel Yellow Heart Green Throat Blue Crown Indigo Third eye Violet Figure 8 The Subatomic Particles and the Fibonacci sequence (the Golden Number) I believe that subatomic particles that form the base of matter must have a different method of interaction with the space fabric than that of photons. This is due to their relative mass being much heavier than photons. While photons penetrate at right angles the expanding membranes of the fabric, subatomic particles are caught by the two dimensional expanding membranes giving them spin and rotational speed only. Since space expands in all possible directions still within the two dimensional membranes particles amass within common centers of crossing membranes (See my book The Space Fabric: A Lifetime Story pages 52 59). Figure 9 below shows a subatomic particle rotating around a 2D membrane of the space fabric in a hopeless attempt to reach its expanding center/radii. The ratio between the speed at which the 2D membrane expands and the rotational speed at which the subatomic particle try to arrive at the center is the Fibonacci Golden Number of 1.618, from my point of view.

15 Figure 9 Subatomic particles interacting with the expanding Space Fabric to form matter The Fibonacci sequence starts from number 1 in an ever ascending order. That is, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89 etc; where each number is the addition of the two previous ones. By dividing any number of the sequence by its previous number we get the Golden number. In space, from my point of view, the sequence can start with any number yet instead of ascending it follows a descending order. The reason being that particles that are blasted by super novae (exploding stars) start their rotational speed and spin from the outside of the expanding membrane and moving towards the center as shown in figure 9. Henceforth, by dividing the instantaneous radius of any moving particle from the center of the membrane by we obtain the number of the next radius of its rotational motion and so on to infinity due to the constant expansion of the 2D membrane. Golden Cms / / / / / / / / / / Number = = = = = = = = = = Cms

16 The table above shows a starting point for a Fibonacci sequence with a radius of 15 centimeters. From such sequence a typical shape is drawn to reflect the effect of such a sequence on many aspects of life in nature. Figure 10 below is such a shape. Figure 10 The Fibonacci sequence as drawn from the given table This configuration is seen in the development of the nautilus; a marine octopus-like animal that lives in a shell that adheres to such a configuration. The tiny creature inside builds its shell for protection against predators as it grows in accordance to the sequence. More examples for the persistence of the golden number are found in both plant and animal life. It is seen in the ratios between different parts of the human body as well as in other animals. Artist use such a sequence in balancing their works of art. It seems that the observer s eyes and brain perceive this harmonious balance as being part of their physique and of their orchestrated surrounding. I believe that accretion of particles that form the framework of both living and nonis a result of living matter; from objects as tiny as a DNA strand to plants and animals; designs in the Space Fabric with the Golden Number as the ratio that commandeers their composition.

17 Conclusion Although color has been a deciphering factor for the space fabric continuum in this paper yet I believe that the fabric is the instrument that allows color to appear. Just like the plucking of a guitar string of a certain tension produces a specific musical note the interaction of a photon or prana or a rotating hand within any of the fabric membranes produces a specific color. Such a fabric is definitely a continuum with specific unmistakable and ubiquitous structure that has the design for everything that exists. Evolution takes place within its fabric and its evolving mechanism pushes matter to abide with its developing forms and complexities.