More on the Factor of Potential

The factor of potential is a primary element within a complete vacuum. However, if the cosmic breeze and cosmic sound are also present, the three factors may interact and form the kind of music one senses when watching seagulls managing the thermals and seeing leaves in a hedge as they blend with the breeze in unison.  This is a sort of resonance and all three factors,  as elements of change and movement,  also perhaps enable reality, circumstances,  occasions and physicality to develop.

Such elements resonate with the human spirit and one realises there is a supreme spirit governing the universe and all there is,  and that this spirit is very much alive.

It is also a spirit which informs and is possibly related to numerals and therefore colours, both being possibly the building blocks of reality as they dance and play with potential teasing it to reduce nothing into something. As stated this resonates with the human spirit, making her an integral part of all creation, both in the passive and active sense.

The above is possibly linked to my work on subjective and objective perception mechanisms and the urgent need to only expose ourselves to things which encourage beautiful,  loving and positive thoughts and thus enabling our functiom as co-creators to thrive.

Position, Change and Colour Frequencies

One can change position and possibly shape using interpreted colour-energy. All aspects of the change relate to the surrounding external objects which, of course, each relate in Time and position to other objects and so on as the relationship spreads. However, it can be used selectively.

The function of Change can possibly help us view distance differently, ie as a Time and position related field which can be drawn in or extended selectively.

If it is extended, however, it follows a curved movement. Drawing it towards us can possibly be effected using visual scope (see blog)and the use of the reaction in the brain to shock or to definite imminent death, ie a sense of being pre-told within a minute Time anomaly or ratio.

The spread of the one to thirty-six differing characters of my 36er system can possibly enable the scope of the above to be effectively calculated.

Photons and Reality

If photons can be likened to/identified as my numbers and thus associated to colour then such a reality base could be utilised to change physical objects and could also illustrate how feelings can influence material and feinstofflichen reality, (see work on feelings and colour).

More on Light and the Entropy Factor

The Light mentioned in the first paragraph of the post: The use of the Entropy Factor when Designing Spaceflight,  of October 2016, is subject to the Light Grades mentioned in my work.

It is important when defining these grades of Light to have colour definitions integrated into them, similar to the definitions within the electro magnetic scale.

The Expansion Rate of the Universe, Volume and Time Management

When trying to understand the Universe better with regard to developing spacetravel in the manner depicted in my work, the expansion rate of the universe is one of the first parameters to be taken into consideration.

Volume is a malleable medium (see blog), which reacts to the incoming area and it's selective areas are directly proportional to the expansion rate of the universe.

In this respect the information contained in the colours which represent and initiate  abundance could be used to swell volume when one is trying to discard Time

The Potential, Density, Colour and Inflation Relation

Potential is the primal factor. It acts by working with density as it flows into the creative Word-sound facility which proceeds to develop circumstances. It does so by the use of colour interacting with the instructing and regulating presence of the Inflation Factor.

The co-operation of colour is needed here. Colour, with its soft hues moderates and placates the directness of the Potential and Inflation factors.  It is married and intertwined to the circumstances as they form.

One can see here the potential of things like my ideas on Omnipresence (see blog), when one considers that colour is thought of by some to be purely a phenomenon of human perception or descriptiveness.

Hydrogen Molecules and Beaming

Hydrogen Molecules and Beaming

Hydrogen molecules play a big role in co-ordinating gravity during beaming. As mentioned energy fields through which an object is being beamed and which are created by emotions either collective or in one or two individuals and also in different national mentalities, have a weight conveyed basically on, through and with colour (see blog).

These energy fields with their gravity count can be counteracted during beaming by the use of hydrogen molecules and single hydrogen atoms. The addition of one hydrogen atom within a six metre arch between any group of bcc´s would reduce gravity to 6m per second.

The gravity would be a controlled height reduction rate of 6 meters each second. This would only occur within the six inch cushion surrounding the earth and would be relativised to it. The gathering impetus of the falling (beamed) subject would be lined up with the minute gravity counts involved in adding and deducting hydrogen atoms to the bcc´s (see work). These would interplay in order to keep emotional weight under control and for acceleration during beaming. This is because of the inherent use of gravity counts in respect of acceleration and further to sound and distance and therefore to Raum.

The acceleration resulting as above would make actual graded gravity inactive. However as there is an element of staticity involved, especially in the condensing of time, the object does have a semi fictional aspect. This semi fictional aspect has already been explained. However it is also partially created by the angular visual scope energy direction and as mentioned in earlier posts by the electrical perceptual and sense energy involved in the word relinqurishment.

Referring back to the six metre arc, this would contain time-volume. The time-volume could create an enlargement of time but also diminish time within the arch to an average of the new gravity count divided against any amount of my smallest time units up to and including 6. Here we have the O i.e. six infinity Nothing (see my 36er System) which relate to the weight of one hydrogen atom, thus to the origin of the universe and the One Time potential of all past time.

The above is an exercise in employing time-volume. The six metre arch of Raum involved remains but its time of involvement in any transition can be almost non- existent.

Also this minimal time involvement when encountering spaces is partially due to viewing reality as successive flat two dimensional planes at a 2° angle behind each other. One is not involved here in Raum, but in paper thin 'pictures' which are permanently being permeated.

 

The Picture and its Analyisis

The picture should be sectioned into about 1.5 “ (inch) squares and these, i.e. the square value and its contents should be given equivalents in my 36er System.

I now have initial quantities as guidelines, see recent post referring to drawn shapes.

The lines of the squares should be broken and in a way symbolise information tokens of a fiver system computer (program), (see blog), and also illustrate flexible `pixels`.

The equivalents in the 36er system can then be given Time sequels referring to my clock and thus the word, letter and colour energies and positions related to my parallelograms and from there the related information squares and referred areas within the universe with their associated basic chemical content counts and vacuum related gravity counts.

Vision Voltage and Beaming

The vision voltage aspect mentioned in work can be used for beaming and controlling ships in space as this transmuted energy can desynchronise gravity and mass, which is a factor necessary if we are going to establish beaming in conventional physics.  I am sure vision voltage which is a transcribed sun energy can be harnessed and applied to our mobiles to facilitate beaming.

Time can be partially manipulated which is also necessary for beaming, by understanding the musical quality in light, (see blog) especially using my information on Light and my scale for measuring light.  When desynchronising mass and gravity I would recommend a one to three ratio continually exchanging between both factors and the time and other factors allowed for beaming as mentioned in work  regulated to match this.

The Advantages of the 36er System

It is difficult to get a relationship to things/everything with present day mathematics, especially as people claim that the amount of natural numbers is infinite.  As nothing, including Nothing is infinite, then the digits describing things can't be infinite.  They might be infinite in nature but this makes them merely hypothetical and even more estranged from substance and reality.

The fact that Nothing becomes something means that it isn't infinite.  Even God is contained.

However, my 36er system behaves differently.  Every singe item has a solid quality of One cm (i.e. the initial one cm, see blog).  Characteristics of the initial One cm, ie.of the item concerned are described by programming them basically in decimal form into the One cm.  Amounts of the thing are delineated by the succeeding digits of the 36er system, (see blog).  The fact that everything is transient and changes over Time and that each 36 is a conclusion in Time and delineation of semi-physicallity makes mathematics real, materially related on-going and not having an infinite nature.

The 36er system also facilitates Time manouverability. (see blog)

The World Time-Word and the Parallelograms

The semi-fictional centre of Earth (see blog) is defined and controlled by the world Time-Word response outlined in my work.

Each parallelogram of the world map and hence its relevant area is given a number.  The numbers may be repeated.  The numbers change the angles of the slanted lines in the parallelograms very slightly.  This indicates a slight change in its governing shade, which then blends differently with any other parallelogram area in the world.  Once the shade has slightly altered,  the sound moderated by the shade is known and variations of the word apple with  its electronic gaps between  the letters helps spread mutual understanding and enables beaming.

The slightly altered angle,  shade and moderated sound within and coming from the parallelogram adopt a variation of five of my smallest time units and each of these five units are linked to the spoken utterances in apple.  A beamed object beams within the time taken to utter the word and the information regarding the actual distance travelled,  including that of the encoded C planes  (see blog) is obtained by understanding and using the gaps between the letters.

The gaps instrument  the change in angle of the parallelograms (see above) and absorb the material reality organising power within the numbers on the parallelograms.  This alone can 'create' physical distance.