Wow, no wonder these drugs are illegal... What would our current system do if we realized our potential?

are you serious Jona?
wow, I mean, this sounds real... Must be that we have always had this? Or, are the plants teaching us something new?
I think both.

Humans dont live IN a demension called the third. Humans physically are the 3rd demension (obviously).

We are not humans.

We are an enormous hyper inteligent highley organized aware creature of sorts (you wouldnt be able to tell that based on my spelling!)
that is some how passing near or coming into the third demension.

This creature is so highly organized and teeming with hyper novelty, that as it comes closer to the 3rd demension, the matter in the 3rd demension starts to resonate with that of the creature, matter becomes more highly organized, forming more and more novel bodys, until a critical mass is attained and a hole is opened , this is when the first dream was experienced. Like a dam being opened, or bridge being construct.

As this creature neared closer and matter continued to resonate faster and faster, matter began to become to develope the notion of self, matter caught in the grips of resonance,

Matter/animals\plants are continuing to to transform as this creature draws near, matter looking and acting more and more like the creature it is resonating with.

The next critical mass is coming

omg wait a second... brainsturbator.com/pdf/Neur...heory.pdf
Various patterns of standing waves on fluid surfaces generated by vibrating the
containing vessels with various driving frequencies, producing A: hexagonal, B:
rectangular lattice, C: quasi-crystal patterns, among many more. D: This pattern is
defined more by the shape of the walls of the container rather than by the driving
waveform, showing how interference patterns in the resonating system tend to
subdivide the resonating system into periodic and symmetric sub-patterns in an
essentially Gestalt manner.
7.1 Reaction-Diffusion Systems
The utility of standing wave patterns as a representation of spatial form is demonstrated by the fact that
nature makes use of a resonance representation in another unrelated aspect of biological function, that of
embryological morphogenesis, or the development of spatial structure in the embryo. After the initial cell
divisions following fertilization, the embryo develops into an ellipsoid of essentially undifferentiated
tissue. Then, at some critical point a periodic banded pattern is seen to emerge as revealed by appropriate
Harmonic Resonance Theory
cns-alumni.bu.edu/pub/sleha...1/hr1.html (15 of 37) [3/6/2002 11:58:20 AM]
staining techniques, shown in figure 3 A. This pattern indicates an alternating pattern of concentration of
morphogens, i.e. chemicals that permanently mark the underlying tissue for future development. This
pattern is sustained despite the fact that the morphogens are free to diffuse through the embryo. The
mechanism behind the emergence of this periodic pattern is a chemical harmonic resonance known as
reaction diffusion (Turing 1952, Prigogine & Nicolis 1967, Winfree 1974, Welsh et al. 1983) in which a
continuous chemical reaction involving a morphogen P catalyzes the production of more morphogen P as
well as of a morphogen S, but the concentration of morphogen S in turn inhibits production of
morphogen P (see Gilbert 1988 pp 655-661 for a summary). The result of this circular reaction is
analogous to the periodic patterns of a resonating steel plate. The chemical harmonic resonance in the
embryo can thereby define a spatial addressing scheme that identifies local cells in the embryonic tissue
as belonging to one or another part of the global pattern in the embryo by way of the relative
concentration of certain morphogens. Perhaps the most visible example of the kinds of patterns that can
be defined by reaction diffusion systems are those seen in animal markings, such as the stripes of the
zebra or the spots of the leopard which have also been attributed to reaction diffusion processes (Murray
1981, 1988). Most of the markings on animal skins are for the purpose of camouflage, and therefore
those patterns are generally somewhat irregular for that reason. However there are cases where animal
and plant markings are intended to attract attention, and in those cases the true potential of morphogenic
processes as a representation of geometrical form is demonstrated. This is seen for example in poisonous
animals, like the caterpillar shown in figure 3 B, as well as in a variety of poisonous snakes that show
periodic geometrical patterns of rings, diamonds, or stripes, as well as in animals that display for mating
purposes, like the plumage of a peacock, and of various birds of paradise, and in the plant kingdom it is
seen in the forms of flowers. The symmetry and periodicity observed in these examples can be seen as
both evidence of the properties of morphogenesis, and at the same time, as properties of biological
vision, whose particular sensitivity to periodicity and symmetry are exploited by those morphogenic
markings in order to attract visual attention.
In the case of animal coat markings the chemical patterns only define different patterns of coloration. But
the same spatial addressing scheme is also responsible for defining the pattern of tissue types in the
embryo, for the pattern of concentration of these morphogens during a critical period of development has
been shown to be responsible for permanently marking the tissue for subsequent development into bone
versus muscle tissue etc. This therefore explains some of the geometrical regularities observed in the
shape of the muscles, bones, and internal organs of the body. The periodicity in morphogenesis is
ultimately responsible for the periodic segments observed in the bodies of worms and insects, in the
vertebrae of vertebrates, and similar resonances have been implicated in many other symmetries and
periodicities in plant and animal forms, including the bilateral symmetry of the human body, the
pentalateral symmetry of the starfish, the angular and radial periodicity of the bones in the human hand
and fingers, and the geometrical forms observed in plant and flower structures. Murray (1988) makes the
connection between chemical and vibrational standing waves, showing how a variety of different animal
coat patterns can be produced as standing waves in a steel plate cut in the shape of an animal skin, shown
in figure 3 C