Brighter than the Sun (A photographic record of human transfiguration)
5th February 2010
In 1988, three reputable laboratories in Oxford, Zurich and Tucson carried out radiocarbon tests on the Shroud of Turin and declared it a brilliant, medieval fake produced between 1260 and 1390. Since then startling new evidence has led Professor Christopher Ramsey of the University of Oxford and Head of the Oxford Radiocarbon Accelerator Unit which participated in the original 1988 carbon-14 dating of the Shroud to say, in May 2008:
"There is a lot of other evidence that suggests to many that the shroud is older than the radiocarbon dates allow, and so further research is certainly needed. Only by doing this will people be able to arrive at a coherent history of the shroud which takes into account and explains all of the available scientific and historical information." 1
The evidence to which Professor Ramsey refers includes:
1. Contamination by a fire in 1532 that could have skewed the results by thousands of years.
2. A difference detected in the dates of the different samples given to the three laboratories (in some cases as much as several hundred years).
3. The fact that some parts of the sample appear to come from a fabric that was used to repair the cloth at a later date.
If the Shroud of Turin was indeed created by the same phenomenon that allowed Jesus to 'glow brighter than the sun' in front of James, Peter and John, known as the 'Transfiguration' then the remarkable features that this cloth has been found to possess could have a clear explanation.
Could a momentary burst of radiant energy, a transfiguration account for these properties? In 2008 an Italian group of scientists researching this possibility presented their conclusions at the Ohio Shroud Conference:
"In summary, our results do not rule out the possibility that a short and intense burst of directional UV radiation, having a very narrow set of duration/intensity/wavelength values, may have played a role in the formation of the body image on the Turin Shroud. However more investigations and characterization work are still necessary to gain a deeper insight into the UV radiation effects on linen aging and image formation Finally, let us point out that the total UV radiation power required to color a linen surface corresponding to a human body, of the order of 16 × 106 W/cm2 × 17.000 cm2 = 2.7 × 1011 W, is impressive, and cannot be delivered by any UV laser built to date. The enigma of the origin of the body image of the Turin Shroud still "is a challenge to our intelligence" 2
Could this burst of laser-like radiation have been produced by the conversion of the very atoms of Christ's body into light? If this was indeed the case it is no surprise that there is no laser powerful enough to deliver such a blast of radiation! Einstein's famous equation describing the fact that mass is really an expression of energy E=MC² describes the fact that mass or matter is 'condensed' energy. Energy is an expression of force and force is a product of the state of separation of points. Levels of separation and therefore force are increasing in time due to the entropic momentums of a physical Universe. Based on this fact I am going to put before you a remarkable proposition:
Is it possible that through thought and behavior that binds and unites, in other words through that much misused word 'love,' Jesus Christ lessened the force of his own atoms such that their condensed energy was liberated in a blaze of transfiguration?
I propose that E=MC² suggests that matter is in fact no more than energy in a frozen state and energy is no more than thought in a frozen state. If the God state is infinite in extent then it is a state of timelessness without beginning or end. All finite states must therefore have their beginning in this infinite state. If the fabric of that infinite state is thought then all finite states are therefore fashioned from thought. With this in mind let's take another look at how the image on the Shroud might have been formed.
The holographic properties of the Shroud are very important. A hologram is a pattern of interacting microscopic rings, or interference fringes, not unlike the pattern created when a handful of pebbles are tossed into a pond. Every area of the hologram sees and stores information about the whole image. If you break a hologram into multiple pieces, you have multiple holograms, each of which bears information about the whole image.
Dr. Petrus Soons has confirmed that it is indeed possible to glean holographic information from photographs of the shroud at the Eindhoven holographic lab in Holland. This he found quite remarkable, as photographs do not usually contain holographic information. In addition, Dr. Soons made the surprising discovery that this three-dimensional holographic information could only be found in the actual image of the body. The images of plants and flowers and the bloodstains also imprinted on the shroud did not contain this information. Thus the process by which the image of the body itself was formed allowed somehow for the record of information in holographic form. Holograms are produced two beams of coherent laser light at right angles to eachother. I propose that the laser light that created this particular hologram was of the utmost coherence possible and that the two beams at right angles define the two dimensional extent of that which I refer to as the Godverse. In two dimensions limitless extent is possible, it is only once three dimensions occur that limit and fixture can begin.
To return to Dr. Soons research, he is also trying to establish if each fiber of the shroud might contain holographic information of the whole image. In his preliminary research he has seen rings on the shroud to suggest that it could indeed be holographic at microscopic level.
According to Dr. Soons another unusual feature of the Shroud image is that no external light source was involved in producing the image: When we look at the Shroud we see what looks like a picture. What to our eyes seems like the highlights, lowlights, and cast shadows of reflected light on a human form is not light at all. It is certainly not light as a camera would detect it, or an artist would see it and translate it to canvas. Technical image analysis reveals no directionality to the implied light of the highlights and shadows. The brightness does not come from any angle. It is not from above or below, nor from the right or the left, nor from the front. The light emerges from within all of the body evenly everywhere at the same time. Thus he concludes that the most probable cause of the image would have been a flash of very short duration, which in some way allowed for distance information to be encoded in the image.3
Giles Carter, an eminent scientist, believes that the image, which is confined to the top-most fibers of the cloth, was caused by an "auto-radiation" effect emanating from inside the cloth.4 Several physicists, including Dr. John Jackson of the Colorado Shroud Center, point to a form of possible columnated radiation as the best explanation for how the image was formed, representing a scorch like appearance (the scorch caused by light versus heat, as the image does not fluoresce). Dr. Thomas Phillips (nuclear physicist at Duke University and formerly with the High Energy Laboratories at Harvard) points to a potential miliburst of radiation (a neutron flux) that could be consistent with the moment of resurrection. Such a miliburst could have caused the purely surface phenomenon of the scorch-like (scorch by light) images and a possible key to the addition of carbon-14 to the cloth. As Dr. Phillips points out: "We never had a Resurrection to study," and more testing can be done to ascertain whether a neutron flux occurred.5
Distinguished particle physicist, Dame Isabel Piczek, has identified the remarkable fact that there seems to be no distortion in the image on the cloth, a distortion that should have resulted from the pressure of the body on the stone floor of the tomb and the inevitable irregularities that would have occurred due to the folds and wrinkles of the wrapping:
"There is a strange dividing element, an interface from which the image is projected up and the image is projected down. The muscles of the body are absolutely not crushed against the stone of the tomb. They are perfect. It means that the body is hovering between the two sides of the shroud. What does that mean? It means that there is absolutely no gravity. The image is absolutely undistorted. Now if you imagine that the cloth was wrinkled, tied, wrapped around the body and all of a sudden you see a perfect image, which is impossible unless the shroud was made absolutely taut, rigidly taut. A heretofore unknown interface acted as an event horizon. The straight, taut linen of the shroud simply was forced to parallel the shape of this powerful interface. The projection, an action at a distance, happens from the surface and limit of this, taking with itself the bas-relief image of the upper and, separately, the underside of the body."
This, "heretofore unknown interface" she says, would have been the result of a "collapsed event horizon," in the center of which, "there is something which science knows as a singularity. This is exactly what started the universe in the Big Bang." Thus, she goes on to say: "We have nothing less in the tomb of Christ than the beginning of a new universe." 6
A second ghostly image of a man's face has been discovered on the back of the linen, according to a report published by London's Institute of Physics. The back of the shroud has rarely been seen, as it was hidden beneath a piece of cloth sewn on by nuns in 1534, after it had been damaged by fire. But the back surface was exposed during a restoration project in 2002. A professor at Italy's Padua University, Giulio Fanti, thought he saw a "faint image" in the photographs from this project and decided to investigate it further. Professor Fanti has dismissed claims that the image on the back confirms that the shroud is a fake, with paint soaking from the front to the back: "This is not the case of the Shroud. On both sides, the face image is superficial, involving only the outermost linen fibers," he said. "It is extremely difficult to make a fake with these features." 7
Could the fact that the image is formed on the surface fibers of both sides of the cloth without penetrating through the intervening layers suggest that Christ was able to be in two places at once from that interface? In other words the separation of points and therefore force and energy were no longer relevant for him. He had converted the atoms of his body to a form of 'educated light,' a light that had no component of force or energy to it. A light that held all the information about what and who he was with such purity and power it could create the living semblance of himself. In other words the form of himself that could account for the phenomenon we call the Resurrection. Could this form of educated light be what we call a soul? A mechanism we cannot yet quantify and qualify through science but nevertheless exists and accounts for the continuation of a personal living individuality past death.
2 A Physical Hypothesis on the Origin of the Body Image Embedded into the Turin Shroud
Paolo Di Lazzaro*, et al 2008
3 The Fabric of Time, Grizzly Adams Productions DVD (April 24, 2007).
4 Giles F. Carter, "Formation of Images on the Shroud by X-rays: A New Hypothesis", ACS Advances in Chemistry No. 205: Archaeological Chemistry, (1984) 425-446.
5 The Fabric of Time, Grizzly Adams Productions DVD (April 24, 2007).
7 Giulio Fanti, Francesco Lattarulo, Oswald Scheuermann, Body Image Formation Hypotheses Based on Corona Discharge