Image 3.1: Artists renition of a geometric point
This is an artists rendition of a geometric point. Geometrically the point has no dimension. This is referred to as 0D, meanin it has no length, width, depth, or duration. Here it is envisioned as a pont of light, shining against a black background.
The mathematics to prove aftelife is geometry. This image is an artists rendition of a point. A geometric point is an important concept in proving afterlife. It is referred to as a (0D) point, so small that it has no length, width, or depth. It only has position.
Image 3.2: Artists rendition of a perfect geometic line
This is an artists rendition of a geometric line. A geometric line is referred to as 1D. That means it has length, but no width or depth.
This diagram is an artists rendention of a line. A geometric line has only one dimension, length. Hence a line is called (1D). It is so thin that it has no width or depth.
Image 3.3: A diagram showing a perfect zero-thickness geometric plane
This image is an artists rendition of a geometric planel. A geometric plane is referred to as 2D. That means it has length and width, but no thickness (depth).
This is an artists rendition of a plane. A plane has length and widthk, but no depth. Hence a plane is called (2D) or two dimensional.
Image 3.4: An artists concept of space - unlimited x, y, and z
This is an artists rendition of geometric space. Here it is shown as a sphere. Space is referred to as 3D. That means it has length, width, and depth.
This illustration is an artist's rendition of space. Here we show a sphere to show (3D) space. In geometric terms, space is unlimited length, width, and depth.
Image 3.5: A geometric 3D model showing the highlighted corner of a perfect cube - a (0D) geometric point
This is a picture of a geometric point, modeled in 3D software. The point is the upper, left corner of the cube, shown in white. The point itself is 0D.
Continuing with our geometric definitions, we turn to 3D software. In this view, we show a cube with its corner highlighted in white. The white (dot) corner is a geometric point. It is the intersection of three planes. It is a (0D) point, with no length, width, or depth.
Image 3.6: A geometric 3D model showing the highlighted face of a perfect cube - indicating a (2D) plane
This is an image of a geometric plane, modeled in 3D software. The plane is shown as the top of the cube, shown in orange. The plane has length and width, but no thickness.
In the view, we show the same cube in 3D software. The cube has its top surface highlighted in orange. This top face is a geometric plane, It has length, and width, but no thickness. A plane is two dimensional.
Image 3.7: A geometric model of a cube with each face highlighted - indicating (3D) geometric space
This is an image of 3 dimensional space, as modeled in 3D software. It is shown as the six sides of a cube, shown in orange. The cube is 3D meaning it has length, width, and depth.
Here we indicate space by showing all surfaces of the cube highlighted. In geometric terms, space has length, width, and depth. It is three dimensional.
Image 3.8: A model within 3D software showing a cube and its position on a time-line - indicating (4D) space and time
This is an image of 4 dimensional space-time, as modeled in 3d software. Here we have a 3 dimensional cube, shown with a timeline the shows its location in time. Time is the fourth dimension.
Here we introduce the dimension of time into our 3D model. We show the cube in the viewport. We also show the timeline. On the timeline, there is a pointer. The pointer currently sits at frame 30. That means we are located at frame 30 in time. If we move the pointer, we change our position in time. This concludes our overview of geometric elements - point, line, plane, space, and time. We have shown each, in an artist rendition and in 3D software.
Image 3.9: An analogy of memory and conscious awareness on a balance beam
In this diagram, we have two boxes on a balance beam. They are the same size, and the same distance to the fulcrum. Therefore, the system is in balance.
Metaphorically, the box on the left is memory and the box on the right is consicousess. We will see what happens when we move the fulcrum.
Image 3.10: Moving the fulcrum causes memory to increase and consciousness to decrease
As we move the fulcrum toward the memory box, it gets larger. Consequently for the system to remain in balance, conscious awareness must get smaller.
This balance beam explores the relationship between conscious awareness and memory. As memory increases in size, conscious awareness decreases in size.
Image 3.11: A geometric model of two concentric boxes, the same size and position, showing the control panel for each
In this illustration, we show two concentric cubes. The cubes are the same size, located at the same place. The control panel for each cube is shown here too.
In this 3D view, we show two concentric boxes. The boxes are the same size at the same locaiton. The paramters of the two boxes are shown in the panels. Here we refer to one as the inner box, and the other as the outer box.
Image 3.12: A geometric model of two concentric boxes. One has been made smaller, the other has been made larger.
In this image we have made one box slightly smaller. Then we made the other boxes correspondingly larger. You can see how the boxes were operated upon by the readings in the control panels.
We can modify the size of each box by entering new values into the software. In this view, we have made the innter box 83% of its original size. We have made the outer box 120% of its origninal size. The boxes have in inverse relationship. The outer box was multipled by 1.2. The iner box was multiplied by 1/1.2.
Image 3.13: A geometric 3D model showing two concentric boxes. One has been halved in size and the other has doubled in size.
Here again we show the two concentric boxes. We have made one smaller, and the other corresponding larger, as you can see by the readings in the control panel
In this view, we further modify the boxes. In this image, the outer box was multipled by 1.44. The iner box was multiplied by 1/1.44. The inverse relationship between the inner and outer boxes holds. When the two boxes are multiplied together, the result is always one.
Image 3.14: A geometric 3D model of two concentric boxes. One has been reduced to one quarter of its size. The other has expanded four fold.
In this image, we act on the boxes once again. We make the inner box smaller. As a consequence of making it smaller, the outer box becomes correspondingly larger. Thus, the two boxes are inverses.
In this view, we modify the boxes further. As we push the inner box smailler, now at .578% of its original size, the outer box becomes larger, now at 1.728% of its original size. When the boxes are multiplied together, they still equal one. This relationship holds no matter how small or large the boxes get. They are always inverses of each other. This concludes the discussion about the inverse relationship of the boxes. We are now going to place the boxes on the pyramid.
Image 3.15: A rendition of a perfect geometric pyramid.
This is an artist concept of a perfect pyramid. It is infinitely large, with its base reach out to the limits of the environment. its apex as at the center of the environment.
A pyramid is a unique geometric shape in that its base represents (3D) three-dimensional space, and its apex represnts a (0D) zero-dimensional point. This is the only shape to successfully demonstrate the relationship between consciousness and memory.
Image 3.16: An artists rendition of a pyramid. The pyramid has been sliced with a horizontal plane, thereby cutting the pyramid.
This image is an artist's rendition of a pyramid. We are above the pyramid looking down slightly. There is a yellow plane that slices the pyramid. A side view of the plane slicing the pyramid is shown on the upper right.
The pyramid forms the mathematic foundation for aftelife. Here we show a (3D) pyramid, sliced by a (2D) plane. The arrows, at the base of the pyramid, indicate that it extends down to the limit of the environment. The yellow are is the intersection of the pyramid and the plane. This will forms the base for our inverse box set above.
Image 3.17: An artistss rendition of a pyramid sliced with a plane. On the plane, we have place two concentric boxes.
In this image, we take our two concentric boxes and place them onto the pyramid. The boxes are situated so the base of the boxes sits precisely where the plane cuts the pyramid.
In this view, we place our two concentric boxes onto the pyramid, bisected by the plane. It looks like one box, however there are two boxes. Both boxes are the same size and in the same location.
Image 3.18: An artists rendition of a pyramid and two boxes. The inner box has been reduced by half. The outer box has been expanded by two.
In this image, we take the slicing plane and move it up slgithly toward the apex. You can see how the plane has moved up in the small image on the upper right. As we move the plane, the base of the smaller inner box stays on the plane. This makes the inner box get smaller. As it does, the outer box get correspondingly larger. The boxes moves in inverse proportion.
In this view, we begin to move the intersecting plane up, toward the apex of the pyramid. As we do this, the inner box base stays on the plane. For the inner box to maintain its contact to the faces pyramid, it is forced to become smaller. Because the boxes are inverses, the outer box becomes larger. The vertical position of the plane, influences the size of the inner box. We can change the size of the inner box by moving the plane toward the apex.
Image 3.19: An artists rendition of a pyramd with two concentric boxes. The inner box has been reduced to one tenth. The outer box has expanded ten foild.
In this view, we move the plane up, toward the apex. You can see this in the side view image on the upper right. As we move the plane up, the inner box gets smaller. As the inner box gets smaller, the outer box gets correspondingly larger.
In this view, we have moved the plane up toward the apex. As a result of this action, the inner box has become 1/4 of its orignal size. As a consequence, the outer box has becomes 4 times its original size. It is important to feel the inner box getting smaller, and the outer box getting correspondingly bigger.
Image 3.20: An artists rendition of when the inner box reaches the apex. Now the inner box has been reduced to a (0D) geometric point.
As we continue to move the plane up, eventually it will reach the apex. We it does reach the apex, it has now become so small it is a single point. Correspondly, the larger box has continued to get larger. When the inner box beomes a (0D) point, the outer box becomes (3D) space. The two boxes, one point, one space, are inverse.
In this view, we have continued to move the plane up, toward the apex. Finally the plane has reached the apex, as shown in the side view. The result of the plane reaching the apex is the inner box is now a (0D) point, no dimension, only position. As a result of this, the outer box has now reached out to become the surrounding environment. It is now 3D, unlimited in length, width, and depth. The glow, at the apex, signifies the inner box has become a single, geometric point.
Image 3.21: An artists rendition of the inner box becoming the apex of the pyramid in closeup. The apex of the pyramid and the inner box have been reduced to a (0D) point.
This image is an artists rendition of the moment the place reaches the apex of the pyramid. To signify the inner box becoming a point, the artist shows it glowing light. To conceptualize the moment, we have to consider its inverse, which is the entire surrounding space.
In this view, we show a close up view of the apex of the pyramid - the inner box. We show a glow, like a star. This indicates that the inner box has become the smallest possible thing, position only with no length, width, or depth.
Image 3.22: This is an artists rendition of the point-of-view from the outer box out in space, looking down at the inner box apex of the pyramid. You would see this view during an OBE.
This is the smail model shown in image 18, however here it is shown from the point of view of the outer box. This is what the outer box sees. It shows a pyramid, far away and down below, with its single point apex shining. In this model, the (0D) point apex represents conscious awareness, and the (3D) outer space represents memory.
This is a view of the same pyramid, except that now we are looking at it from the perspective of the outer box. We are located out in space, looking down at the pyramid. The glow at the apex of the pyramid indicates it is the same pyramid as shown in the previous image. At this moment, the inner box is a point, and the outer box is space.
Image 3.23: An equation in artists view of pyramid geometry. It shows awareness as the apex on the left, and memory as space on the right.
This is the same mathematical, geometric model expressed as an equation. On the left, we have the inner box. Its size has been reduced to a (0D) point, with no width, height, or depth. This is conscious awareness. On the right is the outer box. It has expanded to (3D) surrounding space, with unlimited width, height, and depth. This is memory.
Here we take our pyramid concept and restate it as an equation. On the left side of the equation, we have the inner box. It is now a point and it sits at the apex of the pyramid. This is conscious awareness. The right side of the equation represents the outer box. It has expanded to become the surrounding environment. This is memory. Thus, conscious awareness is location at the center of space, and its inverse is memory, the three dimensional surrounding space.
Image 3.24: An artists rendition of a comprehensive equation of pyramid geometry including time. It shows (0D) point awareness on the left, and (4D) space-time memory on the right.
This is an equation, expressing the same geometric model. Only this time we introduce the dimension of time. On the right, we have a point, with no duration. The repesents conscioius awareness durigh life where awareness always dwells in the present. The right side is (4D) space-time. This is memory, which is the accumulation of life's experiences. The right side represent afterlife.
In this view, we take the same equation is the previous image and add in the dimension of time. On the right side, we have conscious awareness. It has a single location in time - the present moment. On the right side of the equation, we have memory. With the addition of time, it is now an eternity. This is afterlife. On the right side we have (0D) - no length, width, depth, and time. On the right side we have memory. It is unlimited length, width, depth and durantion. Death is the transition from the left side (inner box), to the right side (outer box). It is the transition of consciousness from a (0D) point, to (4D) space-time.
