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Volume 11 Number 3

2013 Intellect Ltd Article. English language. doi: 10.1386/tear.11.3.319_1

Renate Quehenberger

Independent researcher

back to ancient Egyptian

mysteries

Abstract

Keywords

There are strong indications that ancient Egyptian mythology contains knowledge of

the nature of space up to higher dimensions and provides ontologic answers to the

question about the creation of matter. This article examines the pentagonal interpretation of the myth of Isis and Osiris by comparing the iconographic details with

recent findings from the art research project Quantum Cinema, where an interdisciplinary group of digital artists and scientists established a virtual space model for

visualizing the usually non-perceivable processes in the microcosm on a Planck scale.

At this scale, quantum mechanics applied to space itself leads to a discrete amount

of quantum states. For this research, a new geometrical tool proved invaluable: the

epitahedron. The double heptahedron named epitahedron (E), a 3D Penrose kites

and darts representation, confines the dodecahedron in many ways and seems to be

Platos fifth element. It is a 5D space cell, decorated with fragments of circles, which

allows to visualize the permutations of symmetry elements within a discrete lattice

(Z5). This higher-dimensional configuration is also the appropriate space to create

a quantum-mechanical depiction of particles with inherent wave-like character by

means of 3D animated geometry. Disguised in a mythological language the same

subscendent space structure with the same golden polytope (E) can be revealed: is

this the origin of the concept of aether, the quintessence model which was a basic

scientific task for the last 2500 years?

art and science

geometry

ancient Egyptian

knowledge

higher-dimensional

space concepts

ontology

quantum information

319

Renate Quehenberger

Introduction

Logos and mythos each determine the other. The myth of Isis and Osiris

raises the topic of the connection with the divine, and structures it into argument (logos) and narrative (mythos). The argumentative logos assume arguments axiomatically, and tries to make them plausible without proof. In this

way, the myth turns out to be the completion of the logos, the Greek historian

and philosopher Plutarch states (1936).

In recent research for my thesis and within the Quantum Cinema project

for the development of 3D animated geometry to visualize higher mathematical descriptions, certain equivalencies to ancient Egyptian concepts

were revealed. Here the variontological method is applied to reflect distinct

concepts of reality that emerge from human consciousness influenced by the

different media people used to communicate scientific concepts now and in

ancient times (Zielinski 2008). In this case the myth is the medium.

Plutarch who was also for many years one of the highest priests in Delphi,

tells us de Iside et Osiris about 2500 years after the first appearance of this

myth: Osiris, Haroeris, Seth, Isis and Nephthys are children of Nut, the

personification of the sky and the heavens and brother-husband Geb, god

of earth, which were successively born on the epagomenal days. Each represents a symbol of the natural order. These additional days, birthdays of the

gods in the end of the year after 360 days although not in July, as in ancient

Egypt, but in december are still celebrated in another form by Christianity

nowadays.

The pair of siblings Isis and Osiris reigned Egypt as first pharaohs. Once,

when Osiris returned from the south where he was teaching agriculture and

the laws of harmony, and the ways of worshipping the divine powers, his

brother Seth, god of the wind and master of the desert, and his 72 accomplices trapped him into an ambush. They locked Osiris into a coffin made to

fit his dimensions and threw it into one of the arms of the Nile. Near Byblos,

the coffin washed ashore and a magnificent tamarisk tree growing out of it.

Isis was searching for him transformed into a swallow. She flew around the

column that stood there instead of the tree where he was caught. Then she

hid him in the Nile delta, where Seth found him again and tore him into fourteen pieces scattering all over Egypt. Isis found them and built sanctuaries on

the places of discovery. Only one piece, Osiris penis, remained lost.

Finally Isis reassembled the pieces of her husband with the help of her

sister Nephtis, she resurrected him and conceived their son Horus.

In ancient Greece, in pre-Platonic times the aether is not only the clear, bright

air, the space of the superior heaven and seat of the gods, but was sometimes also still connected with the god himself, when Sophocles in Oedipus

Coloneus let exclaim the choir, O mighty aether, o Zeus the choir is fearful

exclaiming (Frlinger 1948: 86). Plato still knew about the moving aether

and for Anaxagoras the flash is illumination of the aethereous fire (Frlinger

1948:74).

So from early Greek nature philosophy, Orphism and Pythagorean philosophy, the aether, also known in the Aristotelian notion as quintessence, was

320

the basic spatial element and the medium of light. For Maxwell and Faraday,

the luminiferous aether with the lines of forces was still the right concept to

describe electro-magnetism (1861). Light may be visualized as turbulence of

the five-dimensional (5D) space (Quehenberger 2012b).

Isis was her Greek name, but she was known to the ancient Egyptians as

Aset (or Ast, Iset, Uset). The goddess Isis, she of many names, is sometimes

called Athyri or Methyer, which sounds similar to aether.

Mut (mother) also is the name of the goddess Isis, who attends the pure

and the orderly and stands for the house of Horus. She is the female principle of Nature in accord with Platos gentle nurse and all-receptive who is

cradling the triangles in order to arrange them in a way that matter comes

into existence.

Plutarch points out that the myth of Isis and Osiris explains the principle of

Isis: the division into the visible and the transient. This division is not unlike

the common distinction between matter and spirit or, nowadays, wave and

particle duality. The robes of Isis are variegated in colour, for her essential

power concerns the material, which becomes everything and receives everything light and darkness, day and night, fire and water, life and death, beginning and end; but the robe of Osiris [] is of one simple color, the colour of

light (respectively, of the aether); for the origin of things is unadulterated and

the primal element which is spiritually intelligible (Plutarch 1936: 129).

They write the name of the King and Lord Osiris by means of an eye and a

scepter; some explain the name as meaning many-eyed, since os in Egyptian

means, many and iri eye (Plutarch 1936: 133).

Both are connected to the star-cult: the celestial counterpart of the

Goddess Isis is Sirius and Osiris to the constellation of Orion. The correlation

theory compares the arangement of stars in the belt of Orion to the layout of

the three main pyramids in the Giza.Thus Osiris is as God of the death and

resurection connected with the kings of Egypt.

For the pentagonal interpretation by Lima de Freitas (de Freitas in Hargittai

1992), Plutarchs description of Osiris as the primordial teacher of the laws of

harmony provides the hint to the golden order, which may be connected with

the properties of the 5D space.

Sethos, stands for the chaotic element. He is the originator of confusion; he

is not only the murderer but assisting Osiris for his resurrection, the demonic

initiator who delivers his brother to the eternal life through death. Together

the two counterparts are confining a complex system of stability and chaos.

Seth is the dismemberer who dissects Osiris sarcophagus and scatters its

triangles irregularly over the whole land. This means over the whole plane

in a geometric sense, where the pattern of the golden ratio emerges in its

aperiodic order. This irregular fivefold tiling of the plane in the Golden ratio is

known nowadays as Penrose Pattern (Figure 1), since its discovery by British

mathematician and physicist Roger Penrose in 1974 (Penrose 1974). It is a

two-dimensional slice of the five-dimensional space.

The one-dimensional representation of the golden ratio, the Ammann

Bars, are straight lines that run parallel into five directions of space as part of

the 5D cubic lattice (Grnbaum and Shephard 1987). Figure 1 shows the five

directions indicated in different colours as layers of planes running over the

Penrose tiles in 72 degrees.

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Renate Quehenberger

Figure 1: Kites and Darts Penrose Pattern with Ammann Bars. Image: Shawcross

space. In the myth it is the realm of the god of the empty, deserted space. So

as god of the desert and the bier, which refers to alcohol, his names are metaphors for the luminiferous aether which was supposed to carry the electromagnetic field.

The ideogram ot the Seth-animal ( ) also exposes the straight lines into

five directions.

The earliest evidence for the worshipping of Sethos in this form is based

on a drawing dating from 3790 bc.

This interpretation leads to the assumption that the notion of aether was

disguised in the Isis and Osiris myth. It provides insight into an ontologic

concept of space as it is understood by quantum physicists nowadays. All

emanations of matter and forces are connected to the properties of space itself.

Somehow all three protagonists are representing different aspects of the characteristics of higher dimensional space from the empty space (Sethos) over

the golden order (Osiris) up to the creation of matter for which Isis stands. As

per Plutarch, Osiris stands for the beginning, Isis for the perception and Horus

for the completion. All three are symbolized by the 3, 4, 5 triangle three the

right angle, and four the base, and five the hypothenuse. And he adds,

One might conjecture that the Egyptians hold in high honour the most

beautiful of the triangles, since they liken the nature of the Universe

most closely to it, as Plato in the Republic seems to have made use of it

in formulating his figure of marriage.

(Plutarch 1936)

Isis attributes

During my research on the Penrose Pattern, I found the three-dimensional

(3D) equivalent of the kites and darts, a golden double heptahedron,

322

Figure 2: (a) The concave epitahedron E-; (b) convex epitahedron E+. CAD Images: Christian Magnes,

Quantum Cinema.

named epitahedron (E) (Figure 2a, b). Both their volumes are related in

the Golden ratio (EE: E+=E+: E-), which means these polytopes are tiling

space in the Golden mean (Quehenberger 2014). Roger Penrose confirmed

it to be the 3D representation of his kites and darts tiling (2013) which

confines the dodecahedron in many ways and seems to be Platos fifth

element.

It is a 5D space cell, decorated with fragments of circles, which allows

to visualize the permutations of symmetry elements within the icosahedron

(Quehenberger et al 2012). In this way different compositions of this polytope

may serve as appropriate higher-dimensional space configurations to depict

particles with inherent wave-like character conform to quantum mechanical

descriptions.

The knot in Isis dress seems to help not forgetting the pentagon enfolded

into the 5D space cell, which I only rediscovered all credits belong to the

Goddess herself:

Here is the geometrical experiment that can be solved with a piece of

paper: fold a knot in a stripe of paper and flatten the knot. You get a pentagon

with interior angles of 108, exterior angles of 72 and an area of approximately 1.7204774s2 (where s=side length). Thus play Seth and unfold the

so accomplished paper pentagon into triangles and dissipate them. Then fly

to the north (turn the triangles around the apices of three acute triangles)

and a irregular fivefold pyramid evolves into space. From both sides of the

complex layers of the pentagon evolve a convex (E+) and a concave heptahedron (E-) with seven faces that makes the fourteen pieces of Osiris each

with one triangle (his penis?) missing. In this dual shape the five reminds on

Plutarch s description, partly resembles the father, partly the mother, being

made up of the three and the two. We did this experiment in 3D animation,

but ancient Egyptians could have played it as paper enfolding with their

children in the grass.

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Renate Quehenberger

Figure 3: (a) Pentagon with kite as flying Isis; (b) pentagon with evolving into the third dimension with

traces. CAD Image (3a) and animation still-frame (3b): Christian Magnes, Quantum Cinema.

The fibonaccization

As A. P. Stakhov puts it, the transgressive character of the golden number is

a process of fibonaccization and the myth describes its geometry disguised

in a story about love and murder including a transformation into a bird: the

pentagon has to be dismembered into triangles and the resulting kite for

the faces of the epitahedron seems to be just another name for swallow (Figure 3a) since the triangle configuration looks alike and the movement for its composition is comparable with a flight around the column.

The above still-frame shows the evolving polytope with traced points of

the triangles in a circular movement in a 3D animated geometry movie

(Figure 3b).

In this way, the triangles take off the plane and form the above described

3D space cell of grid Z5 which are constituting its edges. There Sethos represents the disorder, the dynamic underlying principle is applied on his body

and the creational force which leads to the emergence of matter symbolized

by Isis. The myth describes Osiris resurrection in the higher fractal order of

living matter, nourished by Isis. Mathematically, it contains the transformation of the golden mean into the Fibonnacci series. Their sequence replicates

itself at each level and again reveals the fractal nature of the golden mean.

The equation +^2=^3 shows how the quadratic form transgresses into

the next higher order of the cubic form. The mathematical proof for this was

achieved by French mathematician Jacques P. M. Binet in the nineteenth

century. Thus the golden mean the worlds oldest scientific paradigm of

harmony and beauty as it seems to be discovered in ancient Egypt, leads

to the appearance of a new class of hyperbolic functions, the hyperbolic

Fibonacci and Lucas functions and gives a new approach to Lorentz transformations as used in Relativity Theory (Stakhov and Aranson 2008). The

cubic form is of course the 3D representation of the golden mean, which is

the epitahedron. It can also be considered as space element composing the

fourth dimension where the fifth dimension is evolving in the next higher

level of intersection.

324

uses the throne in the properties of the

sacred 3 4 5 triangle and the cloud-like hyperbolic sign, as we used it for

the upper half plane in the complex depiction of the Lorentz Transformation.

It is noteworthy that it is one of the geometric series which is also a

Fibonacci sequence and therefore may be resolved into the precise geometrical pattern of the golden ratio which is the Penrose Pattern. In antiquity it

was known as Egyptian triangle or 3 4 5 triangle which was also used

for the musical scale and had great importance in cosmology. The american

mathematician and author Jay Kappraff showed a geometric solution for how

a golden rectangle :1 can be divided by two diagonals 5/2 in a way that

the triangles are upraising into an inclined surface with five steps (1992). The

steps of the throne in the Isis-icon seem to refer to this mathematical solution

(Quehenberger, 2012a).

who did the first

drawing of the pentacube adviced me that

the air (octahedron)

and the earth (cube)

do not have the

same number of

triangles and we were

wondering about

Platos purpose.

Plato speaks about the problems of perception in the mode of eidos logos,

conscious about not telling a certified truth he refers to what he has heard

from old men and ancient knowledge from Atlantis and Egypt. His travel to

Egypt is conveyed for the year 399 bc (Erler 2007). The same time when he

started the work in his book Timaios. Discussing the ontologic principles of

subscendent forms he describes all possible compositions of triangles, known

as the five Platonic solids. The most beautiful triangles are integral parts of

the platonic solids: the semi-equilateral triangle and the semi-square. Only

the compounds of the elementary triangles assemble into an equilibrium

of forms. The triangles achieve balance at the barycentre of the boundary

surfaces (Bhme and Bhme 1986).

Thus the Platonic model of the four elements is comprised of forms

of stability. Plato explicitly does not compare his model with the atomic

theory of Democritus, because the Platonic forms constitute ontogenesis

on the level-1, as British physicist David Bohm calls the implicate order,

the unitary deep structure which subcends or underlies the explicate surface

structures of elementary particles and waves (1982) which corresponds to

Platos world of ideas. Even though, as the great Chinese-born American

mathematician S.-T. Yau mentions, the particulars of Platos theory of

everything, as outlined in Timaios, strike the modern sensibility as absurd

(if not borderline psychotic), there are many parallels between his picture

of the universe and that embodied in string theory. Geometrization the

idea that the physics we observe springs directly from geometry stands

at the core of both approaches (Yau and Nadis 2010). And as I may add, it

seems to stand on the beginning of human thoughts and research as it can

be observed in ancient Egypt.

In his framework of subdivided triangles, the number of Platonic triangles for each element of fire, air, water and earth correlates except one

mistake1 with modern group theory used for the description of particles

in modern quantum physics: The tetrahedral group contains 24 elements, the

hexagonal group and the octahedral group each contain 48 elements and the

icosahedral group contains 120 elements.

The dodecahedron is not mentioned by Plato, because it does not fit

into his concept of triangles and its discovery is ascribed only to his student

Theatetos, who proved that there are only five such regular convex polyhedra,

the platonic solids.

325

Renate Quehenberger

confining the dodecahedron.

CAD Image: Christian Magnes, Quantum Cinema.

since there is another fifth configuration, the god used it for the ornamentation of the whole universe (2003).

Did Plato know about the shape of this fifth composition and just did not

want to explain it it detail because he wanted to keep it a secret or was it

already forgotten? Infact the epitahedron reveals one of his most beautiful

triangle in projection and the dodecahedron appears as a result of the intersecting faces of two epitahedra (Figure 4).

Another well-known symbol, the Star of David appears as a shadow in

the centre of the twelve compound epitahedra forming a four-dimensional

(4D) dodecahedron (Figure 5) which features the symmetries of the Poincar

dodecahedral space (Quantum Cinema, 2012). Was this also known as higher

dimensional object from this context?

Certain descriptions of spaces in the texts of Hermes Trismegistos may

open such speculations: Besides these 4 divisions and 60 spaces, there is

a further ordering into 12 intervallic divisions (Mead 1906). Twelve

epitahedra and their 60 edges transect the dodecahedron. The icosahedral

rotation group I is of order 60. So, there are just 60 rotational symmetries

of the dodecahedron, which could correlated to the fundamental space

Hermes also could have had in mind based on the preceding development

of the simple enfolding of the pentagon as shown above. But after all those

images of intersecting polytopes are only possible in 3D digital geometry.

Although before the invention of digital arts experiments with projections

of the edges of the polyhedron could have been possible as a projection of a

shadow against a wall.

According to Plato and the ancient cosmology in general, the world is a

certain proportional entity subjected to the law of harmonic division, that is

the Golden section, writes A. F. Losey, historian of philosophy and thought

(de Freitas,1992). In modern times, the astronom Johannes Kepler stood in

this tradition by explaining the cosmic order of our solar system with Platonic

326

solids (1619). Meanwhile, the Golden ratio was also discovered experimentally in the quantum world (Coldea et al. 2010).

There is no mystery in this concept if one considers the 5D cubic lattice as

subscendent space of matter, since the Penrose Tilings as a two-dimensional

(2D) slice of the space of the same order reveals the pattern of the golden ratio.

In ancient Greece in the same way, E, the fifth letter in the Greek alphabet,

served for the invocation of the transcendency.

The German mathematician Hermann Weyl emphasized that ancient

Egyptians knew all planar rotations, One can hardly overestimate the geometrical imagination and creativity reflected in these patterns. Their constructions

are far from being mathematically trivial (Weyl 1952).

There is only a finite number of distinct ways to rotate elements to achieve

a 2D rapport. Examples of all seventeen possible symmetries can be found

in decorative patterns in antique ornamental Egyptian wall papers. The

conceptual means and framework for the abstract description of the underlying problem was only invented the nineteenth century, by mathematicians with the notion of group transformations. This proof was achieved by

the Hungarian mathematician George Polya only in 1924. This theory makes

evident that all possible symmetries of the plane were implicitly known by

ancient Egyptian artisans. The art of ornaments is the oldest piece of mathematics known to us, Weyl affirms.

327

Renate Quehenberger

Figure 6: (a) Flower of life, Oseiron in Abydos; Image: Monkman (b) View through the Hypersphere;

(c) Quantum Cinema, N. Tasic. Animation still-frame: Nikola Tasic, Quantum Cinema.

If ancient Egyptian artisans knew about symmetries of the plane, would

it be likely that they were also investigating in spatial permutations with

concepts even up to higher dimensions?

Egypt

The geometry of a hypersphere, as designed during the Quantum Cinema

project for a discrete dynamic digital 6D space model seems to undermine

such a hypothesis: The Egyptian flower of life (Figure 6a) appears from a

view from the centre of the hypersphere (Figure 6b), which is the result of a

328

intersecting hemispheres in which the first symmetry braking, what we call

time, takes place (Quantum Cinema, 2011).

Is it possible, that ancient Egyptians had the same vision of a spacetime

geometry like me?

Isis mother Nut the goddess of the heavens is pictured in many ways.

Here at the sarcophagus in Saqqara (Figure 7) the necropolis of the ancient

egypt capital Memphis (from c. 3000 bc) she makes a bow over the earth

which is depicted as a disk. The three sun disks on her heavenly body might

symbolize time the morning, the noon and the evening. Below Isis with the

world body holds also a sun in her head. The fifth dimension depicted as a

small circle on top of the world disk, another symbol of the sun.

Coincidentally the sun in the disc is depicted at the same place like in the

QC_model the 5D space for the propagation of light. The Nut-picture clearly

displays a four-dimensional earth with presumably god Sethos in the shapeof

the horned figure with a walking stick, in the middle left and right in the

tangent-space framed by a square. In contrast to this early Egyptian science

drawing the picture of antipodes (Figure 8). On a 3D world (still proclaimed

by many physicists) nowadays, may illustrate the decay of perception.

Beneath the QC_model (Figure 9) that embeds the fourth and the fifth

dimension into a six-dimensional (6D) world to unify relativity theory and

quantum world (so far still considered as riddle) shows clearly relations to the

ancient Egyptian framework where the straight lines of the 5D hyper-grid are

symbolized by Sethos (Quehenberger 2012c).

Some sources tell us that Isis, although she was the Queen of the Gods, she

had once been a mortal woman. This certainly fits with the mythology of the

Ennead, which states that Isis and her husband Osiris had actually ruled Egypt

before the time of the first pharaohs (approx. before 3500 bc) (Hill 2010).

329

Renate Quehenberger

elected to rule the country. So is it allowed to consider Isis and Osiris as art

researchers the Bonnie and Clyde of geometry?

There must have been some extraordinary people developing the geometry

for the transcendency that was thereafter communicated as religious doctrine.

Why not remember them by name? In ancient Egypt primordial teachers

were known by name: Osiris, Thoth, Hermes Trismegistos and Imhotep, the

architect of the Saqqara pyramid, and also the goddess Demeter in Greek

Eleusinian Mysteries (among this list, Isis is usually missing).

A Hebrew myth speaks of Metatrons cube: Enoch, a pious teacher, scribe

and leader of his people, who found a geometrical solid that contained all

Platonic solids in one, embodying somehow the unifying theory of all

symmetry permutations, was transformed into an angel with 36 wings by

God himself. After Platos death, over 900 followers clamoured his apotheosis.

Alas, without success. Deification was not fashionable anymore in Greece in

the fifth century bc.

In this context, it is tempting to believe that there were a few geometers

playing with forms, and inventing these unforgettable stories to preserve their

knowledge. Art research, the curiosity about and creativity to examine the

world we are living in is a primary human necessity. Is there any difference

between 5000 years ago and now besides the use of different technologies

and media?

Why should we not consider them colleagues: geometers and storytellers,

weaving their names into their teaching myths to bring about their own

apotheosis or maybe deified by their descendants for their outrageous challenges and discoveries? Eternal fame and godhood as reward for outstanding

findings is it not just another version of the Nobel Prize?

Implications

We will never know what was written in the more than 700,000 manuscripts stored in the ancient library of Alexandria that were destroyed by

Julius Caesar in the year 47. Only parts of this knowledge were preserved

by ancient Greeks and carved into stone by Muslim architects in medieval

times. Peter J. Lu identified the Penrose Pattern at the Darb-i Imam shrine in

Isfahan made 400 years before their discovery in the west (Lu and Steinhardt

2007). Thus the religious context preserved the transcendent meaning of this

geometry.

The developed QC_geometry shows in agreement with contemporary

physics as recently discussed with Gerard tHooft that all matter can

be visualized by transformations of a 5D cubic lattice. Sethos stands for the

disorder and chaos in the dynamic spaces subscendent structure and is the

counterpart represents for the golden order and Isis with its spacial element

nourishes matter like the Higgs boson.

Could this have been the concept ancient Egyptians were celebrating in

their secret mysteries?

Plutarch emphasizes that yet the name of Isis temple denotes clearly the

message and the knowledge of all being, because it is named Iseion, as if we

would realize all being itself by approaching the sanctuary of the goddess with

reason and reverence (Plutarch).

This could explain why it is said that Egyptians were not interested in

science because they knew all about it already. It can never be proved for

330

certain but it is likely that the mysteries of Sais were established to keeping

the theory of everything a secret.

Finally I like to strike out that ancient Egyptian art research should not

remain underestimated. The above hints to a geometrical concept of transcendent spaces and subscendent structures returns in todays dark matter

physics: the quintessence model which uses a canonical scalar field with

a potential V () that interacts with all the other components only through

standard gravity, regains recognition as the most promising solution for one

of the greatest riddles in cosmology (Amendola and Tsujikawa 2010).

In quantum physics, Klyachko and coworkers proofed the non-classical

state by introducing the pentagon inequality for the most simple quantum

systems (spin-1 systems) where a neutrally polarized spin state is represented

by a real vector directed along fivefold symmetry axis of a regular pentagram (Klyachko et al. 2008).

Furthermore quantum information is investigating solutions for Kochen

Specker proofs whereat the french scientist Michel Planat et al. found that

the generalized three-qubit Pauli group contains 12,096 distinct copies of a

quantum mechanically possible structure, called Mermins magic pentagram

(Planat et al. 2012).

These facts demonstrate an accordance with ancient Egyptian knowledge

that should neither provoke fear against the beauty of fivefold symmetries nor

accusations for golden mean worshipping.

Maybe one day we might know quite the same again like the ancients.

This time, proven by high energy particle physics experiments and with a

precision of about 27 digits behind the comma.

Alas, it is not only about the details alone. A more complete knowledge

includes a mind that enables us to perceive the complex and higher dimensional

reality which we might comprehend again from ancient societies. In times of

stereo 3D digital cinema the imagination of the individuals itself became flat.

Recall the Austrian physicist Wolfgang Pauli who stated that he did not

believe in the possible future of mysticism in the old form, but that, the natural

sciences will out of themselves bring forth a counter pole in their adherents,

which connects with the old mystic elements (Miller 2010).

We should not forget that Isaac Newton and contemporaries were still

alchemists and that in many respects modern physics is build on the Hermetic

tradition with its foundations in ancient Egypt. The knowledge captured in

ancient myths may once more reveal the coherency for a full picture of the

transcendency nowadays.

And how else could the notion of the aether hold for more than 2500

years, if there would not have been a complete concept about it in the

beginning?

Acknowledgements

I would like to acknowledge the Quantum Cinema art research group for

support: head Prof. Peter Weibel and the scientific board with Em. Prof.

Helmut Rauch (ATI), Prof. Elisabeth von Samsonow, Em. Prof. Helmuth

Stachel and Prof. Martin Blmlinger. All CAD graphics above derive from the

project Quantum Cinema a digital Vision (AR 35-G21) facilitated by the

Austrian Science Fund FWF in the framework of the PEEK program. I would

like to thank the digital artists: N. Tasic, R. Friemel, C. Magnes, K. Stumreich

and H. Katzgraber for calculations and programming.

331

Renate Quehenberger

Austrian Federal Ministry for Education, the Arts and Culture bm:ukk.

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333

Renate Quehenberger

Walther Knig.

Note

The participation of the author at the International Conference on Digital Arts

within the International Research Conference in the Series Consciousness

Reframed: Art and Consciousness in the Post-Biological Era in the framework

of the Di-Egy 01. Fest in Cairo (from March 31 to April 2, 2013), with a talk on

same task as the above article, was funded by the Austrian Federal Ministry

for Education, Arts & Culture (bm:ukk).

SUGGESTED citation

Quehenberger, R. (2013), Quantum information traced back to ancient

Egyptian mysteries, Technoetic Arts: AJournal of Speculative Research 11: 3,

pp. 319334, doi:10.1386/tear.11.3.319_1

Contributor details

Renate C.-Z. Quehenberger, is a scientific researcher working in digital arts,

based in Vienna, Austria, investigating higher dimensional space. Currently

she is working on her thesis in philosophy On the hermeneutics of the

Penrose Pattern andediting a book about her Quantum Cinema a digital

vision project funded by the Austrian Science Fund, FWF (20102013).

Quantum Cinema 3D animated geometry films and prints were presented at

digital art and mathematics festivals as well as exhibited in universities and

museums on four continents. She occasionally writes art reviews for www.

artmagazine.cc.

Finding: The 3D representation of the Penrose Kites and Darts (2006),

named epitahedron, has all the properties required for it to be Platos obscurely

remarked fifth element, the quintessence. See http://quantumcinema.uni-ak.

ac.at/site/.

E-mail: reniquehenberg@yahoo.com; renate.quehenberger@gmx.at

Renate Quehenberger has asserted her right under the Copyright, Designs

and Patents Act, 1988, to be identified as the author of this work in the format

that was submitted to Intellect Ltd.

334

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