Image 1 Image of an old School Analog Recording, a phonograph player
In the days before computers, we used to listen to our favorite music on record players, like this one. Now, all music is encoded and stored in memory.
A fundamental difference between an analog (record player) and digital recording, is that analog recordings fade over time. Digital recordings remain pristine.
Image 2 Artists rendition of a closeup of the retina of the eye
This is an artist's rendition of the lining of the eye, called the retina. Light strikes the receptive field, where it is encoded by the rod and cone cells, and sent out the optic nerver to the brain.
An age-old question is whether the human mind is digital or analog. By looking closely at the cells, and encoding process of the retina, we can draw the conclusion that the mind is digital in nature.
Image 3 A diagram showing the surrounding environment being captured onto the retina
This is an artist's view of the environment being encoded in the retina of the eye. The 'pixels' of the retina pick up light, encode it into electrical impulses, and send it out the optic nerve.
The retina of the eye shows a strikely resemblence to the CCD of a digital camera. Here we show someone looking at an element in the environment, and how it is absorbed by the cells of the eye.
Image 4 An artists concept of vision - the eye, optic nerve, and the brain
This is an artists rendition of the eye, retina, optic nerve, and visual cortex. The closer you examine it, the more apparent it becomes that it is digital in nature.
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 5 A comprehensive diagram of how the outside world is captured into the mind.
An artist's diagram of how the outside world gets absorbed thropugh the eye, encoded in the retina, and sent out the optic nerve. Finally, the outside world is created in the visual cortex.
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 6 A simplifeid, closeup diagram of how the outside world is manifested in the mind.
This is a simplified daigram of how the world outside goes through wiring of the brain, to become reality inside memory.
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 7 A geometric model of how people generally regard the environment as being outside the mind
This is a 3D model showing how most people envision the human mind versus the outside world. Most people see inside the mind as the tiny red dot, and outside the mind as the environment at large.
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 8 A newer model within 3D software showing the environment is actually existing inside the mind
This is a 3D model of how 'Proof of Afterlife' envisions the outside world. Here we see that the outside world actually exists inside the mind. Under this concept, the outside world is inside memory.
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 9 A diagram explaining that the outside world is created in the visual cortex
This is a diagram showing how the outside world exists inside the mind. In this view, there are four steps to creating reality. The fourth, and final step, is an internally resident 3D model of reality is presented to the mind.
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 10 A diagram showing the data flow, from the retina, to visual cortex, and finally to the mind
This image is another model of how the outside world gets encoded into the mind, sent to the visual cortex where reality is assembled, then presented to the mind as a virtual reality headset.
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 11 A diagram showing the environment being captured into the mind, then built in the visual cortex.
In the days before computers, we used to listen to our favorite music on record players, like this one. Now, all music is encoded and stored in memory.
A fundamental difference between an analog (record player) and digital recording, is that analog recordings fade over time. Digital recordings remain pristine.
Image 12 An artist's concept showing reality being filed into memory, along the time axis
This is an artist's rendition of the lining of the eye, called the retina. Light strikes the receptive field, where it is encoded by the rod and cone cells, and sent out the optic nerver to the brain.
An age-old question is whether the human mind is digital or analog. By looking closely at the cells, and encoding process of the retina, we can draw the conclusion that the mind is digital in nature.
Image 13 An artists rendition of past moments of reality being filed away in memory. Only the present moment is active (vivid).
This is an artist's view of the environment being encoded in the retina of the eye. The 'pixels' of the retina pick up light, encode it into electrical impulses, and send it out the optic nerve.
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 14 An artistss rendition all the moments in life being assembled into a vast realm called a time-space continuum.
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 15 An artists rendition of the environment, with respect to conscious awareness, using a computer for clarity of concept.
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 16 An illustration of how a computer would absorb reality, one moment at a time, to store all moments of life.
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.
