Is consciousness and energy eternal
Artists and scientists get up and start a new tour around the lake.
"You have," says the painter after a while, "kept talking about the plan to mature and the compulsion to mature. What do you mean by that?"
When the physicist does not answer, the painter asks: "Are these manifestations of the power of your God?"
The physicist is silent.
"What is the core of God's power?"
The physicist looks around as if he were looking for something. The look on his face suggests that he is returning out of deep thought. He clears his throat. "Two things", he now says in a firm voice: "The laws according to which the universe unfolds and collapses - predetermined as a whole but always redesigned in detail. And time, the infinite, irrevocably quiet time in which Creation matures, becomes complete and passes away - in perpetual change. "
"What exactly does mature mean?"
"I can't tell you exactly. But I have my own ideas."
"I'm excited! Like a flashing bow!"
"This is a complicated subject. Do you have the time and patience?"
"Go ahead! I always have time for that kind of thing. Patience is more of a problem." A shrewd, inquisitive grin spreads the bulging lips. "But I'll do my best."
The two sit on a bench on the east bank of the lake. On this bench, the physicist repeatedly had special ideas. And here some of them, he says, only received a fascinating confirmation last night - in the form of extraordinary phenomena. The bench has been set back a little way from the roadside, further than the others. On the right, on the left and in her back she is surrounded by thick bushes. You sit here like in a bay window. Here you can completely sink into yourself, look deeply into yourself. A deep look calls for deep remoteness. Only in a solitude that opens up completely to the innermost being of the universe can one be given the grace of special insights.
The physicist takes off the glasses, cleans them, holds them up to the sky, checks that everything is clean. Brush it again and put it back on your nose. Absently, he pushes them up, exactly where they are. "Create space in your head," he says, "prepare for something new."
The painter nods impatiently.
"At your request, I drew up a picture of how science sees the universe. I am building on that now. But what I am presenting to you today is not the result of scientific research, but an attempt at a synthesis of scientific knowledge and intuitive guessing. "
"Does that go together?"
"That is the only way to peer over the fence that creation draws around us - at least a tiny bit."
This shift in emphasis in the discussion surprises the painter. "You're confusing me," he whispers. Without his being aware of it, the hand adjusts the hat. 'This scientist!' He thinks, 'he puzzles me more and more. He uproots me more and more. 'The back of the hand runs lost over the mouth. Like the first gesture, the second does not belong to the repertoire of his unconscious movements. Dark memories flit around in the painter. The echo of nocturnal friendships echoes through the body.
"My very first assertion will surprise you: All matter, nothing but frozen energy, is potentially alive and potentially intelligent. Energy and matter, two manifestations of one and the same thing, have unimaginably great possibilities of organization and maturation. The phenomena that lead to maturation Steering these possibilities over billions of years, which I summarize in the term 'design process'. "
"You mentioned that term before. What is it?"
"An eternal original principle."
"How did you get this knowledge?"
"That is not knowledge. That is a hypothesis. The design process postulated by me is universally effective."
"What does this happen to me?"
"At the beginning, the design process gives the universe - just like a person - only the initial equipment, only the basic construction plan, the basic functions. The equipment with special features only takes place in the course of maturation."
"Through key events. Their effectiveness reaches its maximum during certain development stages. There are windows, like when a space rocket is launched."
"I grew up without such windows."
"As with other people, certain properties and abilities in your body and in your brain were determined primarily in time frames."
"Please explain that to me."
"In early individual development, stimuli - images, language, music, learning, interpersonal relationships - shape a person's behavior, knowledge and ability."
"The stimuli stimulate nerve cells. They then produce transmitter substances. And these in turn induce connections and switching points between nerve cells. In other words: They build up the fine networking of the nervous system. In this way, the peculiarities of an individuality mature on the basis of the basic equipment and inheritance. Activate and direct stimuli, lure and relocate chemical substances, nerve growth connects and interconnects. In its essence, the result of such shaping processes can be preserved over a human life. "
The physicist thinks. Then he says: "The creative process is indestructible. From it a new universe is programmed after every explosion of creation. The creative process gives birth, evolves, controls and liquidates everything."
"Slowly," the painter calls out, "slowly! I'm not going with you! How does that fit into our world?"
"We only see a small part of the world! Everything we see, what we experience, everything dead and living, these are only the materialized needle points of creation that we can perceive. And even of this we only see the reflection."
"What is that supposed to mean again?"
"It's a bit like light. We can't see light either. Only its reflection of objects it encounters. What really defines the world, its essence, its being - cannot be grasped with our sense organs and not measurable with our apparatus."
"What is the essence?"
"The creative process. It allows everything material to emerge from nothing, out of energy, and then disappear again. In an unimaginably huge cosmic drama, it forces everything to mature over billions of years. Inexorably it presses forwards, always only forwards. And finally leaves. " everything that has arisen in this way passes away again, becomes energy again - in perpetual change an eternal circle. "
"Always there, but never become?
The physicist nods.
"What the hell does that mean?"
"That is the story of being and not being."
"What is non-being, what being? And how does creation fit in?"
"Nonbeing is the core of the creative process. Its effect is becoming. This is how the creative process forms the maturing being. Forming is the act of creation, its result, creation."
"Then the creation process is God?"
"It is his will."
The painter swallows. "Creation," he asks excitedly, "is it eternal?"
"No. The creation process is eternal. Creation is something that is constantly renewed."
"Explain!" Shouts the painter, beside himself. "Explain !! Where is the engine? What force drives the maturation?"
"A special form of energy. Physics only knows 'work energies': potential energy, kinetic energy, thermal energy, gravitational energy. In my opinion, the motor is a primal energy, a force that is the orderly becoming, maturing, passing away and coming back of the universe in the first place makes possible. A cosmic energy. The energy of the immeasurable realm of immaterial appearances. "
"Hell too, what kind of energy is that?"
"I call it organizational energy."
"You kill me with your concepts! And you confuse me with your ideas! What is that, organizational energy?"
"Organizational energy contains the original idea, the original program of the universe. It is there before matter. It is the mother of all structures and all functions. It fulfills and flows through the entire cosmos, with locally different strengths and effectiveness."
"What does that mean for me?"
"Organizational energy is everywhere. It provides the drive and plan for everything. That ranges from the galaxies to the individual celestial bodies, from the life systems to the individual forms of life - including you, your spiritual and physical uniqueness."
"Too much 'everywhere'! Too much 'everything'!"
"The same forces rule everywhere, everything is subject to the same laws." The physicist is silent for a moment. Then he says: "Without organizational energy, no order can arise, maintain and develop. In order to realize the possibilities dormant in it, it requires an unimaginably long time and physical and chemical conditions that can be calculated over long periods of time."
"They pretend everything is in good order. But other physicists see disorder, chaos."
"What do they mean by that?"
"Unpredictability, chance, unpredictability - basically lawless behavior."
"Lawlessness can only be recognized by someone who knows about the law."
"People don't know enough about the law."
The painter rocks his head. He considered. Then he says: "Are there transitions between order and disorder?"
"In the universe, order is constantly changing from disorder and disorder from order."
"Your colleagues give the impression that they have just discovered the phenomenon of chaos."
"So far, physicists have mainly thought and calculated in terms of order. For them, the encounter with chaos is therefore an exciting thing. Biologists have lived with chaos for a long time. For them, order and disorder belong together like life and death . "
"What is chaos to you?"
"Part of order. So to speak, programmed disorder. For me, chaos is a motor for the maturation of matter, both dead and living."
"Where is clutter part of order?"
"For example in the emergence of the living."
"Then life is order and death is disorder?"
"That would be too vague and only partially correct. There is disorder in the living, for example in evolution. And there is order in the dead, for example in the laws of the structure of matter."
"Is it possible to differentiate between order and disorder in the spiritual realm?"
"There are transitions there too."
"What do you mean?"
"Every sentence I just uttered was the result of a transition from disorder to order. Fog of ideas and splinters of thoughts were ordered into words and statements."
"Of course! It is no coincidence that we say: 'I have to put my thoughts in order first.'"
"That's the way it is."
"And what do you conclude from that?"
"The question is not what is order, not what is disorder."
"What force is at work here? How does it create order, how disorder?"
"And what force is at work there?"
"The power that I call organizational energy."
"And there we would be back at the starting point."
"Yes. I suspect that there is a materialless basic force. A primal event that produces everything and anything, including everything that we can experience. A primal event that develops, controls and lets everything go away."
"And what could be the significance of the chaos in this?"
"In the world on a small scale as well as in the world on a large scale, tiny causes can produce huge effects, unpredictable in detail, but predetermined as a whole. Here 'planned' disorder could develop an innovative dynamic effect. But I assume that there is chaos outside who does not give, cannot give, laws of nature. In chaos, order throws the dice for new opportunities to manifest itself. "
"What role does time play in this?"
"In infinitely small and in infinitely large periods of time, the terms become blurred. Even so, order can become disorder and disorder can become order."
"Where is the balance in your understanding of the world, where is calm, where is relaxation?"
"There is nothing balanced, nothing resting, nothing tension-free. The first basic law of the universe is called eternal movement, eternal creation and reduction of imbalances, eternal tension. Here is the cradle of everything."
"Build-up of negative gravitational energy as a result of the Big Bang, its reduction when the universe collapses and its repeated build-up during the subsequent bang. Creation of matter from energy and its reconversion into energy. Universe-wide repulsion and attraction . Vibration mountain and vibration valley. Creation and destruction of complexes. Trillion fold Borrowing and paying back energy. One thing determines the other. In constant change. Therefore there is no beginning and no end. Everything is in constant flux. In an eternal circle , an eternal ring. "
"Your creative activity, your organizational energy", the painter gushes out, "do they also contain human creations? When I paint, do you think that forces that go back to the organizational energy flow to me?"
"In my opinion, yes."
"How is that supposed to work?"
"As I said, we are ultimately nothing more than tiny sparks of the enormous fire that ignited billions of years ago. Nothing more than temporally and spatially limited eddies of particles arranged in a certain way."
"How can wholeness, such as a new quality, emerge from this?"
"The individual particles influence each other. And they develop collective behaviors, which in turn change the properties of the individual particles. In this way, the composite can gain inner identity and cohesion. And so it is able to develop new properties, new qualities again and again. "
"What does that have to do with me?"
"As with other people, part of the circling and whirling is transformed into thoughts, into feelings, ideas, desires, urges, and fears."
The painter is extremely excited. His whole being rebels: 'This is going too far!' Shouts a voice within him. And then he thinks: 'My feelings are too narrow for this scientist's world. I cannot understand its visionary intrusion into universal contexts. I'm too emotional to think life and death together to see the same thing in stone and flesh. '
Only last night he had been crouched lost in front of a blank canvas. Again he wanted to capture the essence of what the angel is for him in oil paints. Vain! Then he lowered his head and finally painted it on the canvas as if in a dream:
I go and go
I do not know where to go
I search and search
I do not know why
Light on the way, height, fulfillment
Dark in search, depth, despair
Where am I?
I do not know where
Wer bin ich?
I do not know who
And yet: I am
And further: I have to
Now thin fingers are tugging at the white hat. The artist turns to the scientist indistinctly: "You are leaving the path of reality. I see these things differently! Completely differently!"
But the physicist rides away: "The swinging, whirling and circling, from which our thoughts and sensations are formed, has an inside and an outside, so to speak. Inside live the special forces that make our uniqueness as part of the whole, outside the general ones strictly speaking, of course, there is no separate inside and outside, but this idea makes it easier to understand what I want to express. Inside are our individual peculiarities, abilities and experiences, our memory and our ability to selectively activate and temporarily activate what is stored and experienced to call the stage of consciousness, so to experience it bit by bit and to think about it. Outside is the life system that supports us, nature, the universe. The theater of our thoughts and feelings receives stimuli from inside and outside. "
In helpless confusion, the painter exclaims: "And should something sensible emerge from this stimulating salad?"
"I don't see this as a salad."
"How can one find the other?"
"By tuning the wavelengths."
"What do you mean?"
"A certain person can only receive and experience what is appropriate to his reception equipment."
"But that is a strange play for me! - What is my role there?"
"That of a sugar."
"A ... but", stutters the painter, "a ... but ..."
"Aren't we all sugars?"
"W ... how ...?"
"And actor. And sometimes director too."
"Director? I think we're part."
"Part of world events. Director in the theater of our thoughts. Like no other being on earth, humans can try to intervene in the theater of their thoughts and ideas and thus set accents. Like no other being, he can mentally play through various conditions and possibilities on the stage of his consciousness. And he can strive to assess the resulting consequences and take them into account. "
"A theater of thought!"
"Yes. And in the middle of the stage of this theater of thought stands the cradle of humanity. This is where the human world was born."
Again the artist is extremely excited. Again he is completely under the spell of the scientist's ideas: "You spoke of external messages that influence our theater of thought."
The physicist nods.
"How should messages from outside reach us?"
"If I put a thought, an idea, on the stage of my consciousness, if I concentrate on it, if the setting is the right one and if the mood is right, then there is something related. Often something that is not part of my treasure trove of experiences My memory belongs to: actors and messages that come from outside. They act, change and shape. I then sit in a dark corner of my consciousness and see and listen to what is happening, mute, spellbound, fascinated. "
"What do you mean by consciousness?"
"First of all, what we become aware of at a certain moment. Then also what we can cope with in our minds, that is, understand. And finally, what we are able to put into words of what we understand. So there are different levels of consciousness, different focussing, so to speak. In its highest form, consciousness is the final controlling instance of the brain. Here it preserves and evaluates part of its own work. "
"Yes," says the painter after some thought, "yes, that is a fascinating thing."
"What thing do you mean now?"
"I mean this transition from initially very secret thoughts to the spoken or written word. This stepping out of the private from the world of one's own, internal into the world of the foreign, public - into the world of the general public."
"I feel very similar. Suddenly you stand there naked. Can be viewed by everyone. Has become the subject of discussions, judgments, condemnations.What was originally my own lives on somewhere, but detached from me, exposed to misunderstandings, no longer changeable, can no longer be withdrawn, no longer re-privatized. "
The painter nods. "The thought theater suddenly has spectators."
"It is exactly like that."
"Can animals also become conscious?"
"In my opinion, yes."
"What is its function there?"
"It serves to classify the individual in external system-relatedness. Becoming conscious enables a quick change and adaptation of behavioral strategies. This is particularly important in the case of forms of life that have to quickly master new problems and new situations If innate reaction pathways are available, this should lead to overloads and evolutionary stupor. "
"Becoming conscious is not always the result of one's own intellectual achievement?"
"No. A pain, a need that arises from the depths of the body, an urge, can become so strong that they cross the line to become conscious, yes, that they fill the whole consciousness. The spirit does not have to be involved . "
"Do you think that consciousness has a material basis? The dualists claim that mind and matter are something different, independent. But modern neurologists hope to be close to the proof that mind and consciousness have a material basis."
"A material basis, yes, but that doesn't get us any further. At the beginning of everything, including consciousness and the spirit, there is the non-material. Matter is not the starting point, but the consequence of the forces at work here. "
The physicist is silent for a while. Then he says: "Forces that come from outside have an impact on the earth from everywhere. Without them, the earth could not take its position in the universe and carry out its movements in a regulated manner. All life on earth arose in fields of action of forces that come from outside. Under the influence of external forces it has become as we find it today. And even now, every day, life on earth is influenced and shaped by external forces. "
"What kind of powers are these?"
"There are universe-wide forces: Electromagnetic phenomena. Radiation, energy and matter flows, material and immaterial waves, gravitation, magnetic fields. Life on earth needs these forces. They provide energy, messages, directives. They influence life processes, behavior, migration and reproductive rhythms. "
"How can these forces affect us?"
"Our transition zone from the outside to the inside, the skin, can act like an antenna."
"Oops! I've never felt my skin like an antenna!"
"The skin is our largest organ. During individual development, it arises from the same cotyledon from which nerves and sensory organs arise. Skin, brain and sensory organs are related structures. Many simply constructed organisms see and hear with their skin. These abilities are with People withered. But they are there. "
"I see with my eyes! I hear with my ears!"
"Information coming from outside, including the universe, can come into contact with the brain through the skin."
"Hell too! How is that supposed to work?"
"You have just said that you experience the world with your eyes."
"What happens there?"
"And how does it work?"
When the painter does not answer immediately, the physicist says: "Radiation from outside - light from the sun, moon, stars, lamps - hits an object, let's say a pretty blonde girl."
"Fishing rod!" The painter shrugs. 'Fishing rod!!'
"The girl reflects the radiation. Part of the reflected radiation hits the light-perceiving parts of your eye. From there, the received information penetrates into the brain. There an image of the girl is created - an image whose individuality ultimately also depends on your individuality. from your world of experience, yes from your mood. "
'My God!' Thinks the painter. 'My God !!' He's trembling. 'God have mercy on me sinner !!'
"I now suspect that in sensitive people a variety of external messages reach the subconscious via the skin, where they mature and penetrate the conscious mind. That they often come together with seemingly surprising insights, knowledge and fears that give the impression that they were born in us. "
The painter has completely slumped in himself.
"The way I see it," continues the physicist, "all great ideas, thoughts and sensations already exist in their essence before us, outside of us - as part of the universe-wide creation process. Their rough forms float like delicate balloons from dark clouds of mist into the Daylight of our consciousness. They come to us like pains - like pains that were there a long time before, but which we only perceive, only become conscious when they exceed an invisible limit of intensity. "The physicist pushes up his glasses and, turning his head, looks far across the lake, as if he were looking for something there. Barely audible, he says: "And our most intense thoughts and feelings, they can also have a strange effect on us."
Seemingly absent, but actually looking deeply into himself, the physicist says: "The idea has matured in me that the archetypes of emotional energies, spiritual forces and ideas were and will be there forever. Everything that humans have ever done great thoughts, compositions, images, written works or inventions have produced, everything significant that they have ever felt and ever thought, yes, everything that they can feel and think at all - all of this is already contained in its essence in the design process and anticipated. "
The painter makes an attempt to protest. But his companion doesn't even notice it.
"Even our greatest philosophers, artists and scientists, they have never felt or thought anything that was really unprecedented. They never invented anything. They only found or imitated something, something that already existed in the creation process, something that has been in the world program for ages Times exists and will exist forever. "
"Look, that's ..." The painter shakes his head in despair. "Where are the individual achievements of great artists, inventors and scientists? They have produced the greatest cultural achievements of mankind! No one has ever had a holistic premonition of the work and will of nature. Otherwise mankind would certainly have developed and behaved differently. "
"I did not speak of large, newly recognized contexts, but of food for thought, of intuitions, of the essence of great feelings, inventions and insights."
"Those who are able to understand themselves as part of the universe, who are able to fully open themselves to the outside world, can receive messages and suggestions that change their understanding of the world. The essence of what is received must be grasped and formulated by the mind. So what has been received can mature into new experiences and insights through reflection and discussion. "
"If it were true that important messages from the creative process float to people, where is the transmission error?"
"What do you mean?"
"Then why do we only see a small part of the world? Why not the whole world?"
"Humans can only perceive a very small part of the external messages and even this part is modified by the specific way in which we evaluate what we receive."
"So here, too, we come across your restriction law again."
"That's the way it is."
"What about a creative genius?"
"A genius is a particularly sensitive, imaginative and intelligent recipient, processor, interpreter and reproducer of what is given in nature. This idea of mine degrades a brilliant person to a kind of reflector, but it also elevates him to a special part of an unheard-of great, one unbelievably wonderful whole. Anyone who is sensitive and who has a spirit can reach many balloons. And who is able to interpret the balloon messages, to translate them into pictures, words or sounds, which echo loudly and powerfully in the human world, is a great one Painter, poet, thinker or composer. The selection, interpretation and classification of what is received is the actual, original achievement of the individual's inner forces. These ideas of mine also include prophets and religious messages . So this is where it comes to completion a circle that includes the divine revelations. "
In his growing indignation, the artist ignored the last two sentences. He jumps up furiously. He crouches and threatens with the stick. Then he yells at the scientist: "That's all my creativity is about? My genius ??"
"Not everything," smiles the physicist, "a good genius also requires a spoonful of vanity, a grain of malice and a pinch of fearfulness."
Unmoved, the physicist completes his train of thought: "The balloons float imperceptibly, seemingly out of nowhere. For me they come from the design process. For me they say that - the little - that we can understand about this event and its messages. "
These ideas of the scientist sink deep into the troubled brain of the artist. He will not forget her until the end of his life. "D ... then all my pictures would basically be plagiarism!" Hey yells. He staggered looking for support. Then suddenly he catches up again. Extremely excited, he paddles up and down in front of the bench.
'Damn it!' He booms in his head, 'this man is damaging my creativity! What the hell is all the knowledge of this scientist good to me if it takes my faith, faith in my God, faith in me, faith in my originality, in my genius?! '
"N ... not my work !!" the hunchback screeches as if out of his mind. "Not my merit. Not my own achievement !!"
"That's the way it is," says the physicist. "At least almost like that."
"A ... everything has already been there! A ... everything is just repetition. This is crazy!"
"Everything has not already been there. We have to differentiate. The great forces, the great thoughts, the great ideas have always been there. The organizational energy, the explosion of creation, the process of maturation that takes billions of years to complete, and everything material have always been there. " And all of this will be there forever. The details have not yet been there, the individualized nature, the continually seeking new paths, never repeating, the game that continually creates new possibilities, in which the basic forces of the realize and renew creation. "
"E ... explain!" The trembling painter gurgles. "To explain !!"
"Every great thought, every great creative achievement, every great religious message, they all consist of what has always been there and of new - from outside suggestions floating towards us and from what our individual spirit lets arise from them."
The painter raises his hand in defense.
“Everything we are,” continues the physicist, “everything that we have experienced and learned, our entire irretrievable uniqueness as an individual - that is the place where the balloons release thoughts and messages, that is the stage, on which the drifting actors perform their ghostly dances in which they play their roles. "
The two are silent for a long time.
Finally the painter asks: "And where is your science?"
"It only works within the limits of human possibilities. Only here can it build structures of thought that are coherent in themselves and are accordingly perceived as logical or true. Science is at home in the human world."
"So here we are again with the restriction law."
"Yes. Science is a construction of the human mind. Therefore it cannot cross its limits. But our humanity as a whole can receive messages from outside the limits and feed them to the brain. So we can think about them. And so we can see the result of reflection by relating it to scientifically obtained knowledge. Only those who succeed in enriching the explorable with the tangible, only the creation allows a glimpse through the keyhole. But even such a glimpse can live a person forever change. "
The painter tears off his hat. He swayed back to the bank. There he crouches on the edge of the seat.
"Of course," says the physicist, "everything requires great sensitivity and intellect. A dull person cannot feel great feelings, a stupid person cannot give birth to great ideas. The dull and the stupid remain on the plain. Mountains are as foreign to them as valleys. "
Relieved of tension, the painter slips into a normal sitting position. And then, all of a sudden, he regains inner balance. He begins to think. After a while he says: "Of course, these are great thoughts." He puts his hat and stick next to him. "There I recognize two sides of human existence: the great universe-wide and the small individual-bound. The endless aspect of supra-personal world events and the finite aspect of our ephemeral individuality. The invisible timeless and the visible temporal."
The physicist nods.
"Within the framework of the endless," the painter continues, "we find our hope for eternity fulfilled, an inkling of the perfection of the universe, of the commonality with all living things, yes with all forces and manifestations of creation in general. Within the limits of the finite grow, dance and disappear our egos. "He takes hold of the brim of his hat. "Here a thread of thought lines up different things from pearls on a chain."
"Yes," says the physicist. "And this chain leads to the core of our being. It helps us to recognize and bear the limitations and impermanence of our individuality, and it gives us the opportunity to find ourselves again as a unique litter of creation in the great, eternal world events . "
The physicist thinks. Slowly and firmly he then says: "Everything in the universe is a process. Nothing is simply there, everything happens. Time has two sides: a unique, irreversible, forward-looking and a recurring, reversible, cyclical side. The irreversible side gives the whole thing eternal existence that is reversible gives it renewable creativity. "
Sinking in himself, the painter takes his walking stick in his hand and looks at its silver handle. He nods silently to himself.
Then the scientist sums up his thoughts again. "So when the stimuli for our deepest insights and greatest creative achievements come from the creative process, float to us from the great world of the universe - then who are we? What are we?" He looks into the wandering eyes of the artist, whose black has become very small and whose white flashes brightly with every eye movement. "Who or what are we really, if not first and foremost part of the universe? Part of organizational energy, of creation, part of time?"
The scientist sees and lists very deeply to himself. With eyes tightly closed. He slowly raises his arm. As in a dream, his reaching out hand paints a semicircle in the mild evening air. At the same time he says quietly, barely audibly: "Everything is interrelated. Everything is interwoven with one another." Moved, he nods to himself. "Everything is on the way. Everything flows. Everything matures and is perfected in inner balance."
"I believe," whispers the painter, "in an eternal workings of ultimate forces, purposes and goals."
"I believe that too," says the physicist. "But I also believe that we can never see this."
After a short silence the physicist continues: "Nevertheless: I am certain - and this certainty gives my life content and meaning - that I am part of the universe-wide creation process, the cosmic ocean of electromagnetic phenomena. And this certainty also makes me believe that the messages received in my loneliness and in my outwardly open consciousness and my insights and knowledge based on them have a certain objective truth content. "
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