THE DYING SWAN MOVEMENTS OF THE CLOCK AND THE CLASSICAL EPIPHANY OF ALBERT EINSTEIN’S TIME DILATION: THERE IS NO MORE FIRMAMENT

 

THE DYING SWAN MOVEMENTS OF THE CLOCK AND THE CLASSICAL EPIPHANY OF ALBERT EINSTEIN’S TIME DILATION: THERE IS NO MORE FIRMAMENT 

The Dying Swan, ballet performed by Anna Pavlova circa 1910

The Dying Swan, ballet performed by Anna Pavlova circa 1910

 

Consciousness-Analogue

Colours are splashed by the sun’s primal meridian

Evoking the silence of silvery nights

Dim light’s ambrosiac reminiscer of the seas

Over a book of Hamlet, recollecting

Ancient coins, stamps, murals and seals

Time’s prolific mistress Ophelia is drowning

Drowning in the indistinguishable ether of memory

At the bottom of the floor the mosaic patterns mirror oblivion

Unoccupied by the birth of a star or a stream that flows by in

Words are radioactive decay of atoms causing collapse

Silence is the superposition

Thinking allows us to master the universe

In the holy Ajna, the sacred fire is the peacock’s wish to dance like the rain

Darker the clouds lighter the burden of the sinuous hills

And as the peaks coiled like serpent’s tail He Fathered the deep symmetry of the race

 

 

Events that become the ground reality of things self-collapsed into one possible nothingness frame

Rest all are mathematical projections of the hyperspace functions

Divine Mother, Mirra Alfassa

Divine Mother, Mirra Alfassa

The candle doesn’t mark the end of time but eternity

As long as we live as ‘one in many’, in the many fields of the Symbolist Movement

Crossing the frontier with Mallarme and Laforgue

Into the dead analogous world of parallel uncertainties

Paris transfigures

As Rome as Venice

The flowers in the garden

Bringing Her glory of the spring

Nestled in the relative harmonics of simultaneity

Sharp like the knife’s edge in the chill delirium

Voices ringing in the far-off shores

Felt the constant stillness of the soul.

The actor suffers to deliverance

The mob cracks; the walls, the fire

‘THERE IS NO MORE FIRMAMENT’

Far and beyond as near to nearness compelling thy light

To manifest itself in the synecdoche of universal bliss.

 

-Joy Roy Choudhury

Ref: ‘There is no more firmament’, one-act surrealist play by French playright Antonin Artaud, 1920s

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James Joyce and the Subatomic Quest for the Chalice: The Final Grail of Quantum Identification

  James Joyce, Monalisa, 2012

James Joyce, Monalisa, 2012

James Joyce, Monalisa, 2012

 “I imagined that I bore my chalice safely through a throng of foes”. – ‘Araby’, James Joyce

The Grail Chalice is the outward symbol of man’s final quest for beauty – the beauty that exists in love, and in life- its that enlightening aspect of self-transformation in things. Without it, life is a sordid cup of sorrow, the artist cannot paint the Madonna of the mind or the Monalisa  of the dream. The Buddha is the Christ in the mediation of the cross on the rose of the eternal coin. That coin is the tree of prosperity,the kiss the final wealth to be accumulated by the outpouring of grace – winter harvests the spring of the early descent of the Lord into the monsoon of green vegetation thereby renewing the cycle of life from birth to birth, and from that birth to the rebirth in immortality. The sacred wish is to attain that liberty- the dzochen is the beauty self-preparation for that stage by acquiring the consciousness to enable the process.

Time was the fragment of the stone, Chintamani

Time was the unconscious element flowing in the stream that gives recognition to objects

The quantum wave is the writing on the stone, the scripture of the artist

God whose sacred poetry is the prose of the Stephen Daedalus in the many moments of the light travelling from the point of origin

Sun gods are young in the nubile river of the diction, words afraid of the meta-entanglement are jumping like seagulls into the sea

They cannot see the heavy rock that takes the shocks of the waves transmuting the pain into the litanies of the full moon joy- birth to birth is rebirth and the end is immortality.

To Shambhala, the future is the locked secret of the sweet envisioning

The King can see over the cold Gobi desert

that the world is about to change

as destined in the words of the prophetic oracle

Man is the choice for the next experiment in evolution…

– Joy Roy Choudhury

Salvador Dali’s The Burning Giraffe and the Post-Modern Debunking of Orthodox Quantum Theory

The Burning Giraffe, 1937, Salvador Dali,  Kunstmuseum Basel, Basel

Salvador Dali’s The Burning Giraffe and the Post-Modern Debunking of Orthodox Quantum Theory

Consciousness-Analogue

In the dead title the giraffe was an animated being from the world of L’Age d’or

Painting sublimates the Freud in us asking questions that answer the paradox

In every vertical flame the lateral cube of ice is the burning deck of this creation

Man, Monster or God has to face the imagination in consciousness for his next level evolution

Hamlet hears his father’s ghost ; Hamlet ponders on ‘nothing’ in the Yakir Aharonov’s quantum space

The theatre is the golden craft of a triangular time gyrating within the Three Graces

And the cinema is the pastoral setting of a live doorway to the artistic fusion of the dead author with the un-born reader of Egalitarian value

Lightning struck the old eagle of the Wheel; the falcon knew what the spirits exchanged

They are talking about the ‘theta’ migration of sustainability

Prophetic precognition of the Origin ‘p’ in the ‘o’ of the eye worm-hole

Vora-gate opened to transfer ‘the agenda of ananda’ as consciousnesses to the people

Noble men rise to the occasion – on the wings of Shambhala I saw him float

He, may be, the carrier-force of a Greater Revolution in time.

(The Journey of the French-Revolution in the Eye of the Micro-Gravity)

– Joy Roy Choudhury

The Quantum Hydrodynamics of the Cravhux-Moksha as seen through the Unilateral Cross-Domain Functions of Alblackica Time

WAY TO GYAN-GANJ/Samij Datta, 2011

Consciousness-Analogue

Unilateral cross from the vestige of the winter prayers saw the lapis gold time of the creation in the dovhajkakoithanivyatromatin…ia azeza; algorithms of Alblackica are running the machine of quantum intelligence in the box-prime eternals of the bear-fox time…artists are azure artists in the artifacts of bovine numbers that illuminate the script-domain function of the Razder-base; the ratiocination of the akiki, of the habibi are poised on the wingless-poesy in the south of the Meru; there were aquatic species in the lumino-cravax hyperbolic space choosing the Andre Malraux in the rafiehan spindle- fibers; the angular momentum torque of the particle was only a reminder of how the elevation in height was to be regained without the supporting anti-gravity force within the desktop-c-creation-d. Pink-slips are the blue ocean mystic balls in the green article stones of fire recharging the crahvux-moksha iphone of the entire-creation-entire. Terms of time and the conditions of the self change are as explained in the evolutionary ladder products of the Alblackica, to step into the work-chain glass myths of the superstores, one has to design the new program of artificial intelligence not with numbers only but with alpha-beds of the consciousness because the tree is the cross of the feder functions of the black mamba in the ionic vapors of the Mombasa weqatra queen-radiz-queen; the diamond flex of the reverse river currents are falling on the mountain side of the zebra-equilateral triangle with the vertex making temples of the Voutas (qei-eternal particle) in the roaming heights of an Iroton-cube.

The decrax vessel of the bliss per extratet creation is the sign language of an alternate polymath via line 9 on Planck Morse-code and Schrodinger cat-box. The poison of the hydrophis belcheri is the venom of the Heliogram, without light the darkness is the ambrosia of the conscious evolving spirit of the Neanderthal in the pisces of the mid-galactic rift turning lemon clouds of the vesper into the architecture of the navigating cross.

– Joy Roy Choudhury