What might it mean when it is discovered that a weird, grotesque, extinct sea ammonite was able to send evolutionary information through 20 million years of space-time to influence the design of a modern day seashell creature? A clue to answering the question might well be that it appears to have been designed to float upright, suggesting an evolutionary 제주감성민박 process better understood in the days of ancient Greece than by modern science. Nipponites Mirabilis, Stone of Japan, had a primitive, snake-like, twisted shell from which emerged a small squid-like creature that floated along slowly in an ancient sea to ensnare its food. The evidence that the ancient Greek life-science might have been correct, overwhelmingly argues that Darwin’s evolutionary theories appear to be obsolete.
During the 1980s Italy’s leading science journal Il Nuovo Cimento published papers written by the Australian Science-Art Centre’s mathematician, Chris Illert, in which he was able to generate simulations of seashells indistinguishable from colour photographs of the living seashell. By lowering the harmonic structure of the relevant formula that he had constructed, a simulation of the creature’s ancestor fossil was generated. By lowering the formula by a lesser harmonic a strange, compacted, tube-like fossil simulation was obtained.
The grotesque seashell design was identified by the Smithsonian Institute as being an accurate simulation of Nipponites Mirabilis. Illert became the first person to demonstrate that the extinct ammonite had been able to transmit design information across 20 million years of space time to influence the design of a living creature. His optics discovery was reprinted in 1990 by the world’s largest technological research institute as an important discovery from the 20th Century literature.
Illert’s mathematics was associated with Renaissance geometries and considerable controversy was generated at the time. Some scholars, such as the late Dr George Cockburn, Royal Fellow of Medicine, London, proposed that the evolutionary logic belonged to the universal space-time logic of fractal geometry. This was not a popular idea because mainstream science was, and still is, governed by Einstein’s premier law of all of science. Although the infinite logic of fractal geometry is quite acceptable to modern science, all life in the universe must be destroyed, a death sentence demanded by the Einsteinian world view. The Science-Art Centre’s Dr Cockburn, quite familiar with Chris Illert’s research, devoted the rest of his life to linking artistic creative thought to the functioning of universal fractal logic. Cockburn’s optical theories led to a modification to Leonardo’s Theory of all knowledge, which successfully showed Darwinian life-science theories to be based upon false assumptions.
Leonardo da Vinci considered that the eye was the key to gaining all knowledge, a concept that Plato considered belonged to barbaric engineering, because such principles ignored his spiritual optical engineering principles. The engineer, Buckminster Fuller, based his synergistic life-energy discoveries upon Plato’s ethical optics research. Fuller’s work was constructed upon a fractal mathematical logic compatible with Cockburn’s published medical research. Fullerene logic is now upholding a new fractal logic life-science chemistry endorsed by the three 1996 Nobel Laureates in Chemistry.
Leonardo’s theories were modified because, when the sperm makes contact with the liquid crystal membrane of the ovum the eye does not exist and life is instigated though the functioning of liquid crystal fractal logic optics. This discovery linked the human evolutionary process to ancient prehistoric life forms whose fatty acids had sometimes combined with minerals to form liquid crystal soaps which, when influenced by cosmic X-Radiation, grew into crystalline formations exhibiting certain fractal functioning associated with human evolution.
The discovery of a transfer of fractal evolutionary information from a small extinct sea creature across 20 million years of space-time indicated an aspect of fractal life-science intelligence well beyond Darwinian evolutionary theory. It is also well beyond the primitive technology of modern science, however, it is consistent with Platonic spiritual engineering principles now associated with a new life-science chemistry. The human sphenoid bone vibrates the same seashell life-energy forces used by Nipponities Mirabilis to help advance fractal logic evolution. The human vibrations are in contact with the seashell design of the human cochlea, designed not to keep a creature upright in water, but to keep humans upright on land.
Texas Univerity’s Dr Richard Merrick has researched and adequately developed the electromagnetic fractal logic of life found functioning within the human creative cerebral mechanisms. This functioning can be considered to be established by the sphenoid’s liquid crystal programming. Dr Merrick’s work is associated with Pythagoras’ Music of the Spheres fractal life-science world view, which can be considered to be associated with the life-force song sung by Nipponites Mirabilis. In order to develop human survival technology, we can now ask the sphenoid where it wants to go. From the humanoid fossil record, each time the sphenoid changes its shape a new specie emerges. By applying knowledge about the harmonic music sung by a grotesque little sea monster floating along in an ancient sea near the Japanese coast, we can envisage a futuristic supra- technology linking us to a reality 20 million years into the future.
©Professor Robert Pope
Professor Robert Pope is the Director of the Science-Art Research Centre of Australia, Uki, NSW, Australia. The Center’s objective is to initiate a second Renaissance in science and art, so that the current science will be balanced by a more creative and feminine science. More information is available at the Science-Art Centre website: [http://www.science-art.com.au/books.html]
Professor Robert Pope is a recipient of the 2009 Gold Medal Laureate for Philosophy of Science, Telesio Galilei Academy of Science, London. He is an Ambassador for the Florentine New Measurement of Humanity Project, University of Florence, is listed in Marquis Who’s Who of the World as an Artist-philosopher, and has received a Decree of Recognition from the American Council of the United Nations University Millennium Project, Australasian Node.
As a professional artist, he has held numerous university artist-in-residencies, including Adelaide University, University of Sydney, and the Dorothy Knox Fellowship for Distinguished Persons. His artwork has been featured of the front covers of the art encyclopedia, Artists and Galleries of Australia, Scientific Australian and the Australian Foreign Affairs Record. His artwork can be viewed on the Science-Art Centre’s website.