Gravity

If an object is moving it has a hypothetical staticity because its gravity (gravitational attraction) is relative to a vacuum.

Is this why atoms within an object oscilate slower the higher the speed.

The above could be used when using the gravitational pull of a planet one wishes to visit

Time and Heat

Extraction of 'Time' reduces temperature. See square of time expansion/reduction


Registering the earth in the energy of a past time helps with the potential over heating of the planet.

Speech and Patterning within the Universe

The intricate ‘on’ ‘off’ material-non- material outlines on the edges of the highly detailed patterns bordering the universe and thus permeating the universe, can perhaps be defined in the following way:

The immaterial ‘off’ sections are ‘energy’ and the material ‘on’ sections have evenly positioned colour ‘particles’ within them, which dictate the order in material reality We can call the colour particles ‘reality buds´ and these reality buds are associated to numbers, which in turn are associated to words. Both the immaterial sections and the material sections dictate the procedure within the universe. Both contain the abstract factor potential.

The manifestation of the material out of the immaterial occurs through the medium of colour.

If we are to understand the order shown in this intricate pattern system then understanding the way language functions is essential. We could say the patterns are like one long set of words being spoken. (We already know that a gifted person can speak objects into existence and that words especially combined with musical intonation can influence reality, i.e. the future structure of reality and of events as well as an individual’s fate)

There are often two approaches to language, one that it is an aspect of what is called the Holy Spirit and another practical approach concerning anthropology, migration. and physiology. However, one can say without disparaging either approach that no word is ever said in exactly the same way twice and that this factor alone instigated development, as words stem from feelings and thoughts and also affect other people`s feelings and thoughts, causing the future behaviour to happen.

It is interesting to note here the two German words indicating development, i.e. ‘Fortschritt’ and ‘Entwicklung’. ‘Fortschritt’ has the sense of striding away from a base and ‘Entwicklung’ has the sense of unbinding an enveloped base. The latter is more similar to the English word development.

The use of colour is also a way of evoking word management and can assist in the word effecting procedures.

So we have a link between feelings resulting in speech, colour, and patterning within the universe. We also have a link between energy, the electrical power within thoughts, which travel at the speed of light and the physical aspects of speech and colour.

All of these point to the importance of the synchronization and co-ordination of speech throughout the world and for the potential the human voice has in harmonizing metaphysics with conventional physics and in the conveying of ships in the universe almost instantaneously and, once the power within speech and language has been analysed, the making of computer programmes which will enable us to produce any object we need

After understanding the function of language and its effect on our brains and combining this knowledge with analysis of the careful and intelligent patterning at the edge of the universe, we can deduce the inherent code and guidelines for creating objects with computer programmes, as previously mentioned, and also for creating things like reality frames which would surround ships in space.

Understanding the order contained in the patterns also means we must accommodate chaos and live with it. For like human speech the patterns are only partially logically sequential and they give the orders to circumvent pure logical structure and fulfil mythical, fantastic and illogical behaviour as well. They also fulfil the story outside of human grasp and dictate an interesting universe and potential futures.

ends

Glynis Klein 6. 2. 07

more on world map

Line six on the world map is the starting line for accessing past time (see work)

more on the 36er system

The strokes of measurement within the 36er system are related to the characters of my language, which are related to squared numbers of 1 to 101 and 110 and also to my numbers with their spoken word associations.

The characters are not linked up when writing.

my time system

The time of my clock system is co-ordinated by the varying positions of the planets of our solar system and by the position of the sun

Expansion of the Universe

Thinking locally, i.e. to a volume distance of 200 000 000 km cubed from the earth's surface with uneven limits is one aspect in controlling the speed of the expansion of the universe. And varying the length of the strokes in my sixer system is part of the mathematics involved.

Time, Distance/Area and Gravity

We could divide areas into squares of simultaneous reality, each having the same time validity and relate area to object, i.e. surrounding space to planet especially with regard to age of area and age of planet. Also when equating the maximum gravity value to 70 we could make the passage of time, gravity and area/distance all relative to the 70.

The above is used when working out the depth dimension.

syllables and symbols

world map

Is accessing the past simple?

The first step to gaining access to the past is to direct the information sheet gaining the past time energy field to go in the other 'direction' to that in which the world is revolving. This may sound a bit stupid and that as a reference point, distance times time squared divided by time, may sound even more stupid but I feel it helps here. And we need to gain access to past time in order to start ships in carefully calculated past time episodes.

On line six of my parallelogrammed world map, which denotes a vertical dead centre of America (US), we have the starting point for accessing past time in the above fashion, and this can be defined as most other things in my sixer (36er) system.

However, we also need to harness the emotion-colour information coming from each part of the planet and the relative size of the parallelograms drawn on my world map would provide good units of measurement for indicating the relevant emotion-colour information packets existing throughout the world.

I am not sure how this could be measured at present, but we would have to take into consideration past and present planetary routes (those within the solar system), as they interact/ed with the earth, lent it colours and inspired things to happen.

Also needed is a time-word. This is done by synchronizing the use of language with the angular positioning of the different parts of the world (again my world map would be useful here).

Break down of 'Word'

Going in an undefined direction when navigating recognised space and also the depth dimension permeating space has to do with the rotation of the earth related to the universe generally and to our solar system as the ship takes off.

Varying the gravity field around the ship (reality frame) is done by speech. Perhaps by speaking my reality word number associations (see work) as they are associated to emotional-colour-physical weight and also to degrees. Speaking the words shifts gravity co-ordinations within the reality frames and the ship is directed and manouvered by which ever degree is required.

My system is also valuable in healing in that all parts are interlinked and when used can have a healing effect. The following is also a stroke of inspiration, i.e. that the angle of take off is 14.5° to 15° or 23.5° depending on the time of day and that this in turn is linked to 45.5°, which is just above the maximum of the allowed degree of manouver of 45°. The relevance of this is revealed by my 6er system.

The preceeding degree measurements relate to my number 26, which itself relates to Afghanistan. I hope this doesn't sound strange. But planet earth values have to be included when creating successful space flight.

Time and Gravity

Time is connected to gravity.

The centre of gravity is where the new individual time gauging starts. This gauge is aligned to my gravity count of one to 70.

My centre of gravity is the centre of a planet or object and is 0'0 clock new time and one to 11 on the gravity scale. All three values are connected to my language and their point of referrence is my number 45, with all three sets of associations.

The centre of an object is found by relating angles and angle arms until it is established where an object's point of balance is, i.e., where, if this point were not there the object would tilt or fall over, or be dangerously unstable. The 'centre' can usually be felt and can then be ascertained exactly. This sounds very architectural and most probably is. The new factor is that it equals the above mentioned values and that is is determined by using angles and various angle arms giving the calculation a three dimensional or depth reality.

This last aspect may be useful when developing computer programmes enabling people to 'configure' the goods they want and producing them on the spot (see my work for code).

Time and Gravity

The depth dimension and colour

In the depth dimension there is a different colour scale. To every shade there is the appropriate sound-colour. This sound-colour is next to the 'normal' colour on the user scale, but the sound-colour is interchangeable. The sound-colour and the 'normal' shade are otherwise the same.

exceeding the speed of light

Apparently atoms within an object oscilate more slowly at high speeds and perhaps they are completely or nearly completely still at C. This would mean the object at C would be in a static, almost photographed state with its inherrent nature held and with just the inclusion of light and possibly a faint very slight breeze or wind present. I am trying to find out if this faint breeze or wind permeates the universe and whether it it always present or just when travelling at C and beyond.

This would mean that an object does not become massless at C but becomes somewhat fictional. This state could also be reached, I believe (and I have experience of this) through activating the factor of the psychological state of relinquishment, i.e. giving up all claim on any state or thing.

Thoughts, I understand, travel at the speed of light and there is electrical involvement and gravitational involvement in the process of thinking, so we could actualize travelling at C and faster by using thought energy and the relinquishment factor combined, if this could be harnessed.

This state, i.e. an immobile somewhat held fictional state would become a fixed state, especially with the withdrawal of colour. The conjecture would then be propelled, possibly on sound energy in sound stages, perhaps using the human voice, through speed of light barriers in plane form (see work), with essential guages concerning the universe coded in to them and the size of the conjecture made relative to the ever changing guages of infinity (i.e. the size of the universe). The planes would be electrically animated.

We remember again here that when using sound stages, perhaps instigated and governed by speech, that thoughts travel at the speed of light and that speech emanates from the brain (thoughts).

The C barriers in plane form would, as mentioned, have the essential guages of the universe and possibly universal position, i.e. permanently changing infinite area at C and local 'geographical' position coded into them in related parallelogram descriptive perimeters. The planes would perhaps occur at three second intervals, as the conjecture is flashed through them using voice impulses as mentioned.

The said gauges could be derived from studying fractals, the coding of which I have detailed, as these I believe appear sometimes chaotic and sometimes not and imply universal perimeters.

Rematerialisation and slowing down could perhaps occur by using the energy in the verb 'to be' and then normalisation would follow by using the psychological concept of 'to have'. The re-manifestation and normalisation would possibly need to have colour energies added to it.

glynworld

If there is an aspect of sound emanating from the big bang, as I have heard there is and it is universal then this medium could be used for travel (both space travel and beaming) and be combined with the factor of omnipresence or universiality of travelling at C. Also if time-space is curved then we could define these guages closer analyse their behaviour, engage other gravitational factors and bend time so that no time discrepancy in travelling at C and beyond would take place.

We would need to have an individually progressive time measurement unit and do things like start ships from a past time energy field. This, of course, would need careful and precise calculation involving heat, time sound and gravity guage. I recommend a gravity guage of between one and 70.



Being infinite cannot be defined, as what is infinite must change with the continuing accommodation of more space and time and what was infinite two hours ago is no longer infinite. However, the factor infinite follows the expansion of the universe constantly but changes it guages phenomenally quickly (see work)

The chanaging 'infinite' factzor is reprresented by my number 7 (see work) and all its associations.

glynworld

The element of sound throughout the universe can be enhanced along the gravitational sound tracks, so that the fed in music/sound (possibly human sounds or spoken sound) can convey a ship. The fed in sound helps navigate within the as yet hidden depth dimension, and so overcome the enormous difficulties involved in travelling in the universe. The effects of gravity around the ship (reality frame) helps guide the sound.

The probability aspects involved in sound is the random reality factors manifesting from things like the spoken word (see my language).

Possibly the sound energy conveying the ship could be obtained from mere human presence within the ship.

Gravity, Colour, Substance,

Do you think colour has a gravity property? I think it has and I need to be able to use it in order to extract 'substance' out of an object to be beamed in order to be able to establish a 'photographed' condition and then to transfer the object in this condition through coded planes which I have put into position throughout the universe.

In order to establish the 'photographed' condition we need to understand the effect the word relinquishment can have, i.e. the electrical employment of its vision voltage count.

Glynworld

The five alternatives, i.e. yes, no, more, less, maybe create the wider possibilities needed when coping with a broadened understanding of the universe, especially with regard to a hidden depth Dimension.