The Existence Display & Projected Motion on the Space-Time Screen — The Physics of Spirit — Chapter Six — Section 15
By Matthew Mossotti
Although Newton was himself without explanation for the causal phenomena which underly his descriptive gravity equations, in the Preface to his Principia, he certainly offered a keen anticipation that the fundamental forces which govern the phenomenology of the observed universe act at the point of the particle: “Nam multa me movent, ut nonnihil supicer ea omnia ex viribus quibusdam pendere posse, quibus corporum particulae per causas nondum cognitas vel in se mutuo impelluntur & secondum figuras cohaerent, vel ab innvicem fugantur & recedunt…“(for I am induced by many reasons to suspect that [the phenomena of nature] all depend upon certain forces by which the particles of bodies, by some causes hitherto unknown, are either mutually impelled towards each other, and cohere in regular figures, or are repelled and recede from each other;”).” Of this scientifically prophetic expectation of Sir Isaac Newton, the scientific efforts in the terrestrial sphere have since discovered the subatomic force-carrier particles outlined in three of the four fundamental forces. Photoelectricity, the Strong Nuclear Force and the Weak Nuclear Forces have all three had their subatomic force-carrier particles identified. However, the force-carrier for gravity (the graviton) has yet to be identified (the informed reader will have noted that the author of this work has been referring to the force of light and electricity as the “Photoelectric Force” rather than the customary “Electromagnetic” Force. In the next Chapter, this work challenges that the “magnetic half” of the so-called electromagnetic force pertains to the electrical nature of matter and instead shows how the electrical field interfaces with gravitons to carry the motive force inside the magnetic currents of magnetic fields — this previously unidentified substance of magnetic currents which carries motive force to magnetic matter will be shown to be one and the same fluidic space-time medium that carries motive force to matter in gravity fields). The force-carrier particle for gravity demanded for the display of projected material energy to behaviorally adhere to the gravitational force had yet to be formally modeled prior this work. The “graviton,” as pre-named prior to its discovery, is rationally theorized to interact with the mass-bearing, or more properly, “mass-receiving” subatomic particles (the proton and the neutron). To briefly articulate the concept of how force-carrier particles translate the force of the field they represent (for the thinkers who do not represent the scientific disciplines), the American game of baseball furnishes a useful model for analogy. Metaphorically conceptualizing a force-carrier particle as a baseball which “carries” the force of the pitcher’s throw from the field, analogously, the subatomic reaction to force-carrier particle is like the catcher’s mitt reacting to the baseball as it receives the force of the pitch. Like the baseball can be seen hurtling through the air to then transmit its velocity into the catcher’s mitt, the force-carrier particles have been identified by the scientists of the planet for the photoelectrical force (photons), strong nuclear force (gluons), and weak nuclear force (w and z bosons).
However, at the time of this writing, the force-carrier particle for gravity (the graviton) had not yet been identified by physicists on this planet, leaving the physics community without any formalized model of gravity transfer and mass-reception until this Chapter of this work. Whereas, in the other three fundamental forces, the analogous baseball can be “seen” flying from the pitcher’s hand through the air and into the catcher’s mitt, for gravity, by analogy, the only phenomenon which can be seen by the present day scientific instruments is the catcher’s mitt jolting backward, leaving both the source (the pitcher throwing from the “field”) and the carrier of the force (the baseball) undetected. Although gravitons should literally be everywhere in the composition of the space-time waters, the problem physicists were facing in their effort to locate the graviton had been the undetectability of the energetic substance of the fluidic fabric. The scientific instrumentation modern to the time of this writing could only detect the space-time field through the expression of gravitational effects. The effort for the human creature to think about noticing the being of the waters of space-time is tantamount to the conceptualization difficulty of a fish pondering its wetness. The humans have no empirical reference of any alternative frame of being. Because the terrestrial humans find themselves always immersed within the space-time waters in the material exhibitions of their bodies, the designs of their sensory apparatuses recognize the material energies at work within the non-material substance that displays all detectable being within the middle physics architecture. The great extension of the five senses through scientific instrumentation has been designed to detect the subtlest material energies within the waters of space-time. However, the undertaking to utilize material energies to detect the non-material energy of the celestial waters themselves will perhaps be always relegated to rationally detailing the observable effects of the waters of space-time upon material energy. The entire enterprise of scientific discovery operates within the paradigmatic construct of the space-time waters which give display and motivate the sensible material projections within the universe. Although directly undetectable by scientific instrumentation, the spirit which courses throughout the cosmos to bring the ordered motions of the celestials and life to animated creatures betrays the reality of the non-material force-function carried within the invisible waters. As per the spirit in the space-time waters, Jesus Himself likened the sensation of the cosmological life-force to the terrestrial wind, saying that it “blows wherever it wills; one hears its sound, but cannot perceive its place of origin or where it goes. Thus, it is with all which is born of the spirit (John3:8).” The Greek word John used for “wind” and “spirit” is one and the same πνεῦμα/pneuma, allowing the etymological origins of the ancient language to accentuate the physical likeness of wind and spirit as the revealed movements of the invisible physical workings through perceptible effects upon the visible.
More than merely apportioning the gravitational force to matter, the waters of space-time effectively imbue exhibitive mass-properties to material energy by giving three-dimensional display-by-exception to material energy projections as that which is other than the fluidic space-time substance itself. The very word in English, “exist,” derives from the Latin “ex,” “out from,” and “sistere,” to stand, literally signifying “stand out,” signaling the lexicon betrayal of a subconscious awareness that another medium puts the material universe on display. Precisely because the energetic space-time substance itself makes all things that exist within it detectable to subatomic instrumentation, the watery space-time fabric itself remains undetectable to the instrumentation made from material energies. Like the screen on which a film is projected, the space-time “screen” remains invisible in the dark with nothing projected upon its surface and, like a movie screen disappears under the film it displays, the space-time screen becomes itself invisible under its own display of projected material energies. The present-day scientific instruments which detect subatomic phenomena can see “the movie” but not the “screen,” but because there is a “movie” on display, the existence of the “screen” is logically demanded. To carry this analogy along in the interests of designing a profitable conceptualization of the problem of human-made instrumentation sensing the waterish substance of space-time, this section briefly considers a hypothetical a team of scientists who have been sent into a movie theatre to examine the screen with their only instrument being a video camera to record the visual revelations. The scientists capture footage of the footage on the movie screen and return to their laboratory to observe the footage they shot from the screen. They instrumentally record the complete darkness before the film began to play, then record the shapes, colors, and motions of the film. They examine the footage they have captured, but they realize they have returned to the lab without having detected anything of the movie screen fabric on which those images were playing. They acknowledge that with only the video camera designed to capture images, they cannot detect the screen without a movie playing on its surface. The scientists only conceptually garner that those shapes and colors move upon some sort of fabric. It goes the same with the scientific examination of the material energies of the universe as they plays out upon the fluidic fabric of space-time: everything seen is the absence of the unseen and that which is unseen remains unseen because nothing seeable stands in its stead. Pressing the analogy one step further to illustrate the perplexity of examining the physics of spirit with extensions of material senses, if the scientists walked up to the screen and touched it to feel its texture and malleability properties, they could not leave the theatre with any scientifically detected results of that which they could not see but could only feel — so it goes with the physics of spirit.
The hypothetical scientists’ video camera could not detect the tactile feeling of the screen nor could the scientists experimentally carry their tactile feeling of the screen out from the theatre for further scientific examination. Nevertheless, the scientists would know that the screen is real the camera footage verifies the primary subject of their inquiry — i.e. that the screen displays the projection of the movie. Some of the scientists might say that because the substance of the screen could not be detected with their visual instrumentation, that it would be unscientific to speak of the screen in terms of its physical nature, even though each scientist acknowledged that they could sense its tactile feel. Although these scientists would all acknowledge the logical demand for the fabric of the screen for the movie to be projected in visually available sequencing, they might be prone to conceptually treat the fabric of the screen as an assumption that acts as a mystical grid of non-substantial but somehow energetic nature to express the visually available movie. Even though these scientists could sense the tactile feel in the fabric of the screen, because they could not see the screen, nor could their instrumentation detect its energetic presence, they do not conceptualize the fabric’s substantial nature. Hence, these hypothetical scientists settle for acknowledging the logical demand for the screen’s existence from the visually available visual movie that plays out on the screen while dismissing their sense of the tactile feel of the screen as unscientific evidence of its energetic presence. Such it is with the materialists who assume the phenomenology of spirit as an uncaused subject of their own existence which they most-certainly feel and most-certainly cannot see if not only in the effects of everything around them and in them. The scientific instrumentation designed to detect material energies will only ever be capable of detecting the effects of the non-material energetic substance of fluidic space-time on the material energy within it. However, as the remainder of this Chapter elucidates, the observations on the interactivity of the space-time waters’ energy with the photoelectrical energy prove more than sufficient to derive clinical conclusions on the physics of spirit. The celestial movie is playing now on the big screen of the watery fabric of space-time which remains invisible underneath or apart from the display of material energy projections. But both forces of gravity and life can be felt. The non-material nature of the watery fabric of space-time must be scientifically pursued as the energetic substance which carries the spirit that vitalizes the cosmological sequencing, brings electronic breath to magnetically responsive blood in animated creatures, and substantializes the formal constitution of human souls. Although any breathing human must acknowledge that an invisible life force courses an electrical current throughout their own bodies of material energy, this “feeling” alive cannot be detected in the cosmological theatre, nor can it be carried into the laboratory for analysis, yet life’s existence cannot be denied by anyone considering it. Some humans may say that to speak of spirit is to speak of something unscientific or even non-physical. This refusal to scientifically reimagine the workings of the un-seeable and undeniable physical force that ontologically equips any human to have a type of soulish being ignores the very energy which alone capacitates them to study the physical nuances of the natural order. The cosmological movie not only projects onto the displaying physical screen of fluid fabric of space-time, but this celestial movie screen gives motion to every material projection on its surfaces. From the conclusions of General Relativity, equipped with the understanding that the waterish energy of space-time brings life to light in the middle physical architecture, this work now systematically proceeds to scientifically detail the physics of spirit.
Looking for more to read? Check out the previous section The Undetectable and Undeniable Force in the Waters or start at the beginning of this chapter with Mythos & Scientific Inquiry in the Human Experiment, read all of the released sections from Chapter VI: The Physics of Spirit — the Life Force in the Waters of Space-Time sequentially, learn more about Matthew Mossotti’s philosophical masterpiece Physics of Spirit: On The Phenomenology of Heaven & Hell, or explore SpeciMen Trilogy and join The Resilience to receive a digital copy of Episode Zero of SpeciMen Trilogy and access to the secret Resilience Portal — an exclusive collection of letters and previews to Episodes I, II, & III.
