The Use of the Entropy Factor when Designing Spaceflight

We can use the entropy factor when designing spaceflight as we can pour moments into one moment if we can imitate lack of movement.  To a certain extent this is possible within objects moving at very high speeds as they are accompanied by Light which permanently veers away as It adjusts to the object and makes room for it, ie reorganises Raum, Volume and Time in connection with the high speed object.

Using the function of entropy as it engages with these last factors, one can control the length of the Moment by making it have a depth wise sequence/nature at a north to west angle of 145 degrees, which is my description of the Sixty Dimension involved in earlier work.  One can see here the connection between the human element and the nature of the Universe as according to the depth of a person's nature a circumstance has an associated gravity as it lingers and can dominate their Gefuehlswelt for a longer time than in someone who is light hearted and brushes things off.  The Moment of the circumstance lingers in their feelings, mind and Memory for longer. (Think of the expression 'gathering Momentum').

The object would relate variably to distance therefore there would be a flexi distance available for use. Any moments included would necessarily involve memory.

As mentioned, imitating lack of movement requires volume adjustment and this could be managed in a similar way to the 'swelling' involved in the sense of abundance.

One can realign an object to the paradox of effort and still stand, make it independent of it, then alter its speed of movement within a straight Line concept of connection between the two extremes to relate the spaceship/object to. The two degree reduction in body temperature of the space travellers is relevant here to.

The Death Wish and Entropy

An interesting point regarding the death wish that many people have is that the universe 'desires' entropy.  It makes a permanent effort to reach a static state of death by entropy.

This could explain why humans gear their life to death and also have a certain death wish.

There is also a paradox here as effort is produced and used in an attempt to attain the still stand and effort is the key to movement and works against entropy. This is the basic paradox and contradiction within the universe of which humans are an integral part.

Memory and Music within the Universe

if there is memory registered within water and the human body is composed of something like 72% water, this could interact with the coding in Light  to bring about a primal music through the all encompassing geometrical structure of the body.
I have tried to illustrate this primal music factor in my bio-units (see work).

The strings of numbers and the letters in my bio-units could possibly control the undulations within the universe and overcome the primal sound factor which creates distance.

Reality and Distance

The factors mentioned in my previous article on hydrogen and Light are relevant to my ideas on the doubling back of the arms of a triangle once the ship has reached the peak (according to the laws of Visual scope).The arms are the same in nature as the parallel lines accompanying the ship as it travels through space, ie programmed streams of information which facilitate the journey.

Upon doubling back the arms broaden to form a square, with the square ie the new upper line horizontal to the line containing the point of origin of the ship's passage towards the new peak.
There is now a considerable amount more of measured Reality involved. Reality in terms of Raum and it's related Time - the latter being an almost instantaneous functional calculation when using the concept of visual scope (see blog) and concepts such as angle of approach. (see work).

Using especially the Angle of approach and the different definitions of estimating position in space to those used when estimating position on earth, the two horizontal lines become very close/can be seen as very close, the second line having the active role in this and the square is now seen as an upright square.

I think this is what I have been saying about seeing the ship constantly passing through upright squares.

The reverting arms of the triangle have consumed a greater amount of distance than they did when the triangle was formed and the relationship to the mind when using visual scope with regard to an almost instantaneous assessment of distance, yet retaining the observer/point of origin in an initial position enables Time Taken reassessment in various forms to take place, ie marrying the new amount of distance-reality to area related Time factors and condensing them or viewing the original journey to the peak as being a future which is now in the past.

Remember, as we measure things the second line is only now fractionally behind the first line, but it has consumed vast amounts of reality while gaining that position and the Time parameters related to those amounts/positions of Reality (see work) enable the careful matching of moments needed to overcome great distances.