Implications of Dirac's Formula

Once for every Planck's constant of time hbar equals h over 2 pi the entire universe undergoes the big bang. This is the implication of Dirac's theory. That is 9.1 x 10 ^ 35 times per second (roughly) the entire universe undergoes an oscillation phase between matter and non-matter. (More correctly, it is a two-pole oscillation that goes: matter, non-matter, anti-matter, non-anti-matter. And even more correctly it is a 3-pole oscillation.......) Every quanta disappears virtually and then randomly appears simultaneously, or at least to the perspective of a (human, 3D) conscious observer.
Does this mean I can walk through a wall? Why yes, but it is extremely unlikely. A body of matter, or specifically in this case a human body is composed of a vast and unthinkable quantity of quanta. The probability is relative to this quantity that a spontaneous Kt-event may occur (like passing through a wall) for a large body object as described.
Yet it is still a matter of fact that a particular quantum within the body will randomly reappear perhaps a half-universe away, the probability that another random quantum will replace it increases with the mass of the object being observed. That is to say as we "zoom-out" to a larger frame of reference the probability that entirety of the object will "wink" out of existence decreases proportionally. Every particle in the universe experiences this oscillation of coming into being and destruction, it is simply the average of this activity which we experience as a conscious reality. What is important about this phenomenon as conscious observers is not the how or the why but rather the fact that it happens at all. What exists from a certain perspective is not "to be or not to be" but a collection of probabilities of existence in a large enough sample as to outweigh the odds of non-existence.


Helmet of Agris

Zakri M. Kneebone
Section 1
Object: Helmet of Agris
Origin: Discovered in Agris, Charente, France.
Culture, Period: Celtic, Late Bronze or Early Iron.
Dates: ca. 375-350 BCE.
Museum: Museum of Angouleme (Angouleme, France)

The Helmet of Agris is a full sized helmet fitting to the forehead with a small neck guard. Also attached is a paragnithides, or cheek-guard: its mate is unfortunately undiscovered since the pieces were scattered about by animals. Despite the aesthetic pleasantness the lost piece would contribute, it is considered one of, if not the best Celtic object of art ever recovered in France.
There are three main parts: the timbre1 or stamp made of iron, the panels of bronze with gold leaf and the attachments. The stamp is a very plain kettle of iron, designed to be invisible except for a set of lock-rivets about the great arch to hold the panels in place. Each of the lock-rivets is shaped like a modern thumbscrew and secures one end of each of a pair of semicircular panels. The stamp is quite thin so that it is highly unlikely that the helmet was intended for military duty. At the very top is a rounded, ringed crest reminiscent of the capitol of the queen in a modern chess set. Set into the crest is a broken black wood dowel which probably held some kind of pennant.
The panels are seven in number composing four concentric bands: a top panel and three longer bands made of two panels each, riveted on the sides. The panels are bronze sheet, covered in gold leaf mined from the Central Massif of France which is refined to 99%, an exceptional purity for the time. The sheets are stamped out in low-relief and embossed with linear plant patterns.
The top panel is thematically the most disparate of the four bands, the theme here is comprised of a coral inlay depicting a writhing serpent with the head of a carnivore, perhaps a canine, with horns on the head. This is the only subject which is considered uniquely Celtic.
The remaining three panels form a rhythm of complex alternations. An external alternation is created by the second and fourth (bottom) bands and an internal alternation by the third. The eye is
Helmet of Agris by Zakri Kneebone 2
first drawn to the third panel because it is the only one that is not encrusted with coral and is consequently brighter and lighter in tint and is the finest and most intricately stamped of the bands. Also, it is the tallest of the bands and occupies approximately 30% of the height of the helmet and is centered on the great circumference. The design consists of pairs of symmetrically opposed esses, these pairs forming a sinusoid. There the negative space resembles a rain drop, alternating in vertical inversion and inside this space is a lotus leaf oriented upward or downward likewise tessellating the circumference of the band. Each lotus leaf matches the palmette motif as a pair of palmettes on their sides in a vertical symmetry. A triangular shape is made by the interstitial (a minor, “left-over” section of the plane in a tesselation) with the border and in this space is a small vine, curled about itself in a triskele (a threefold spiral). The borders contain tiny half-oval florets with three points pointing upward on top and downward on bottom.
The second and fourth bands have a reflective resemblance, forming a second rhythm surrounding that of the third band and augmenting it. Palmettes, inverted in the second (upper) band, occupy a corresponding space on those panels. A palmette is a small lotus which most likely is the influence of Greek Classical architecture and also very likely via the Etruscans. Of the bands the second is shorter and likewise the palmettes are inverted and structurally smaller having only five leaves. The palmettes were originally accentuated with a piece of corral fitted to each and every shaped outlined in the panels and each corral is likewise fastened by a rivet adorned with a gilded bronze rivet head conforming to contour. Due to wear about one quarter of the corral remains intact.
The fourth band is thematically identical to the second and is nearly so identical except for vertical orientation a proportionally higher degree of complexity relative to its larger dimensions. The palmettes are seven-leaved and the interstitials are also spiral curly vines centered by triskeles. Likewise, the palmettes are accented with corral and rivets.
Finally, below the panels is a band of colored corral which meets a neck guard at the rear. The
Helmet of Agris by Zakri Kneebone 3
neck-guard is iron, covered in corral and riveted to the kettle. Hanging from the right side of the kettle is a lonesome paranthides, or cheek-guard, made of thin iron rods which are bronzed and gilded. It is an inverted palmette, the largest of all, with elaborately scrolled esses and fine gold wire curls between the larger curls.

Museum of Angouleme online

Encyclopédie de l'Arbre Celtique online

Numbered and untitled article, Gomez De Soto, José and Verger, Stephane, originally published in "L'archéologue, 106 (2010) 56-59" halshs-00455391, version 1 - 10 Feb 2010; retrieved from

Notes: All of the sources are in French with which I am familiar but am not an expert; I use Google Translate profusely. Since it would be improper and detrimental to translate the proper French names of my resources, I feel the apostrophes therein are absolutely necessary. Precise measurements and weights are not available anywhere, but the nice folks at the Museum of Angouleme are sending me a pamphlet which has not arrived.

1 Can be translated as stamp or kettle: Google translate. Since kettle is more visual I relate the terms together.


Correspondance Francais


Merci pour votre message. Nous pouvons vous envoyer la publication sur le casque, mais seulement par la poste, nous n'avons pas de version numérique. Pouvez-vous me donner votre adresse et nous vous l'enverrons cette semaine. Si jamais vous aviez besoin d'informations rapidement sur le casque, vous pouvez contacter notre archéologue au musée : Jean-François Tournepiche :

Merci et bonnes recherches.

Lionel Markus
Responsable du service des publics
Le Musée d'Angoulême
1, rue Friedland
16000 Angoulême

"Pour réduire notre empreinte écologique, merci de n'imprimer que l'indispensable, et d'utiliser le recto-verso autant que possible"

>>> my email removed 01/02/2011 05:57 >>>

Bonjour Monsieur,
S'il vous plaît pardonnez-moi si mon français est terne, mais je sais
seulement un peu. J'espère que cette lettre vous trouvera en bonne
Mon nom est Zakri Kneebone et je suis étudiant à l'Université de
Wisconsin-Whitewater et je suis avec vous concernant le casque d'Agris
parce que j'écris un texte formel descriptif. J'espérais que vous
pourriez me dire des propos de la pièce. Je sais que certains
renseignements de base sur ça où il a été exhumé et les matériaux
utilisés pour rendre le casque.
Il ya quelques faits dont je suis curieux, mais ne peut pas trouver pour
moi-même. Plus précisément, la mesure et la masse de l'objet et quelles
que soient les données statistiques, vous pouvez trouver des notables.
Peut-être vous avez une feuille de la brochure ou des données qui vous
pouvez me l'envoyer par voie électronique, s'il vous plaît.
Je suis très reconnaissant de votre temps et d'énergie, monsieur.
Cordialement, votre ami à travers l'étang,
Zakri Kneebone.


I'm so weird.

Forgive me but I must have touch to fall in love.
The love, a gorge, while I zumba by its precipice.
But to see it is a chat, a virtue gain to love.
I wrote you a thousand times. Mon petite dulce.
La danse sacrée des sucrés dix-sept douce.

A secret night mass in the misty heart of a black forest
Under the prismatic diffusion of the light of the Moon
With a bucket full of stolen booze and bisuits and brownies
And a bubble-gum machine black spider ring of recycled polyethylene.
A backpack full of books no one else will ever be allowed to read.

A dress of Hot Topic velvet,
A leather strung pentacle medallion of sterling.
Curly red hair scented freesia,
And green, earth elemental green eyes.
A spirit full of wolf: teeth enlarged that pang for blood.

A kiss to me:
The fat of my neck.
"Oh, the dirty pleasure of thy love bite."
I grasp you passionately.

We settle down and gaze up at the Brigid Oak Moon
Describing all manner of pleasures and pain
Wafting like the scent of cherry pie or smoke
Upon the mana whispering in the trees in tip-tops,
and in the golden sparks of faerie dust
as they whip about the periphery of sight
and dash through inter-dimensional port holes.

A string that binds.
Really, just a visual aid, but
Ye to me it ties forever.
I can still feel you.
My heart still seeks you.
Maybe I will never truly move on.
I will certainly never replace you in my mind.
But I feel guilty.
I can love again, I know it.
But this shadow of yesterday dimmer is cast.
Makes me rush to love.
I may have loved a lifetimes worth already.
But that sounds like a self-fulfilling prophecy:
I simply must not believe it.

Yes I miss that bond.
I will never connect with anyone in quite the same way.
But I will love truly again.
This I believe.
But some very good years are behind me.
Seventeen was almost a lifetime ago.
I honor thee. You want me to move forward.
I can feel this in my bones.
You want me to find a worthy lover,
And while there are scores of candidates
A good fit is very rare indeed for me.


Methods for enumerating dimensional intersections

The 51st crease of the 6th to 9th dimensional vector.
Assuming there are 10 dimensions and we are assuming direct vector connection
between the 6th and 9th dimensions, as an edge of a 10-dimensional
hypercubic manifold, there are 10 minus 2 (the number of components in the
selected vector) factorial (for all permutations of intersection with
other 8 remaining dimensions by iterating through binary selection yeilds
the 51st datum of 8! items) 51 of 40320 with a lower bound of 0. 0 means
no intersections. The 51st binary permutation of the set {1, 2, 3, 4,
5, 7, 8, 10}. By choosing binary modality we get the enumeration 110011
or 32+16+3+1=51. The right-most binary numeral corresponds to the left-most
element of the set in one-to-one correspondance an intersection results in
the Turing subset {1, 2, 5, 7}.
The second method is iterative order, that is, to take all possible
single member sets (8 of them). Then 51-8=43. Then take all possible two
member sets which is 8*7 or 56. Since 43<56 therefore the 43rd member of
the set of two dimensional intersections, a set of sets: {{1, 2}, {1, 3},
..., {8,10}}. So the iterative answer is another Turing method:
1 {1,2}
2 {1,3}
3 {1,4}
4 {1,5}
5 {1,7}
6 {1,8}
7 {1,10}
This gets us to number eight so we can subtract n-1 from 43 until we get
a remainder and a quotient: 43-8=35, 35-7=28, 28-6=22, 22-5=16, 16-4=12,
12-3=9, 9-2=7, 7-1=6. So we result with the two-dimensional where the
members are the number of operations, the 8th, and the remainder, the 6
sixth. The result equals {A(6), A(8)} or {7, 10}. The 51st crease is an
intersection of the 6th, 7th, 8th and 10th dimensions.


Master P's Make Crack Like This: Perspective

Shout out to Master P with his tru ta da gizzame fa rizza splita chedda cheesey frito lay hopped up on government approved vitamin R, I have no blame but my own and I like where I'm at. Last semester I took these classes and I got two C's and two D's, but I swear to you I feel like a brand new man. I mean I think I actually studied so hard on those channels that my research was deep to the point where I was too busy studying hard copy data to work on the actual project. Any teacher will tell you that I did tons of research and developement outside of the classroom. If you read my posts from this blog you know that I have some pretty deep understandings of the universe. I am far better with al-litter-ation than rime, but so long my Soldiers, I've wept for your harder choice, to live closer to the gun. I am sorry but I knew and still feel that I have done far better work here teaching kids of all ages how to use the internet in Wisconsin. I am known as the father to my own style like Flava had flava like Milky Cereal, Baby. I'm all criss-cross and the boss and when the budget gets passed I hope cigarette taxes go down because I down here doing bitch work for football players and politians and everyone can clearly see why I'm different. I'm a buddhist in a christian black neighborhood and I was neither asian nor black. Over the course of ten years or so in the south side of Madison was changed from Namio's and Burr Oaks Bowl into what is now Harambee: even the old Open Pantry which was also a Sinclair and now contains a cellular shop.
I have been a programmer since I was born, I think. I remember setting digital watches for my stepdad Jim and his white truck driver friend Jimbo and my white Afro-crested Zappa freak uncle Art all worked together at the Madison Mushroom Plant on Baldwin Street. I was 4 years old. I think over by Madison Metro but there were a lot more trees and smaller row houses then, where now, after the plant closed in 86?, the nearest job to be found is the business incubator over by those incredible emu sculptures on the bike path.
The one that starts on the Wilson-Williamson spur and goes all the way out to an old haunt of mine. Once upon a time I was so determined to make my own way that I slept under the railroad bridge where it ducks under Aberg Ave, State 20, and pledge to spill my blood for the loss of my friend Malinda and a did indeed perform some kind of magic show with a rose that I had spray painted black as if to say, wherever you are, I shall morn for you, Lady.
Here I stay such a determined young man destined for some info-hack shrine of destiny. Man ever since eight years old I've had a computer keyboard, a music play button and a screen on button. I loved watching A-Team and Knight Rider but the one show that really creeped me out was Fall Guy.
I found my groove when I was 15 years old and I got to program some Chipmunk Basic, and within 6 weeks the instructor, George, came over and asked to see me after class. He invited me to join the AP Programming class, the second semester focused on learning the event-based programming techniques of Visual Basic 4.0. These days I like JSP, Java, PHP, Javascript, YAML, Perl, MS-DOS, Ubuntu, Debian Linux like Knoppix ( I love toying with my Hex-Editor. I remember complex save-game hashing that I decoded for use in the Diablo game. I've studyed 3D model-making and haiku and Nichiren Shoshu and Robert Oppenheimer and Subramanian Chandrasekar (see wikipedia:"neutrino stars", "quasars", "pulsars", "neutrons", "particle density", "dark matter", "event horizon", "heavy water").
I listen to Banghara-hip-hop from London, and pentacle-inverting metal from norway, but I sure wish they could express their sorrows in a more constructive arena. I just want use to pass out the meteor belt already. Cut it up into like 80 microparsecs between Mars and Jupiter, clearance must be prepared if Jupiter goes. Somehow we all seem to be playing a game with the very make up of the Earth, A smattering of souls to inhabit a precise location in the solar system. We must have access to the technology to robotically grab a chunk of iron off the planet Mars, or a chunk of a lake of 99% Ethyl Alcohol from a vent on Ganymede. I wonder how that will taste in 40 years from now. We've got an interplanetary mission to fulfill. Why? Because we can and we all need more guys like me who can think off the wall like this.
So with no further ado is my impression:
make crack like this is the song, but you won't be gettin' no money if yo shit be cooked wrong. overcook yo dope it might come out brown but green ya betta get clean outta town. I'm just tryin' ta put *****z in the game and tell ya howta..(powda) make crack from cocaine...,
Me, a young man. in the next door moved some gun-toting thugs from the R. South 74s ya heard, somethin' like that, and a cousin in St. Louis or 36s but I know the pain of the lost loved ones in the 80s and 90s. Let's all say a prayer and hope we have better days ahead of us. But let us observe the post-modern custom of recycling. Plant what is sowed. We must not forget to make it grow well. Preservation of newly discovered species should be at an incredible care since we all depend on doing more with less on this planet. We all should get along and respect eachother.
Ok, finally,
Make crack like this...X3
for music
i mean dope tapes
i mean this is how we would make it
make crack like this

Ghetto Dope
Thank you dope fiends for your support.
I mean real niggas.
That a make a dolla outta 15 cent
Ain't gotta job but a rock and pay the rent.
But nowdays I be too smart for the feds.
Overcook your dope it might turn out brown.
You get the baking soda, I gots the d.
Now your cocaine powder is crack and I hope you're strapped cause you might get jacked.
I had it all in to powder but it aint no thang
We some true Gs
If ain't about money then it ain't about me.
Seventeen a couple o.z.'s a triple beam.
Make crack like this.
Never let a nigga front you no dizzope
Show muthafuckas you bout it bout it
Never talk on the phone in your house
The next time you meet me you better have 20 ,G

One always deal with the nigga with the whitest snow.
Two don't buy from nobody that you know
Three get you to kitchen where the stove be
You get the baking soda
I gots da D