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Cosmogenesis and a Universe in Parallel Time-Space
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Definiton to Inflaton to Instanton to Continuon - Four Pillars of Creation
The creation of self emergence of the universe in energy E=mc2 can be described in four epochs or time intervals.
The Definiton would encompass a potential for information to manifest any data required for the birth of a universe from a prior premise of the information potential existing in a spaceless and timeless state of selfness, beingness or eigenstate.
It is from the Definiton, the fundamental constants, parameters and numbers, such as lightspeed 'c' and Planck's quantum constant 'h' derive from.
The mathematical nature of the cosmogenesis so finds its 'fire in the equations'; as Stephen Hawking famously said in the 'A Brief History of Time' {Chapter 12; 1988}; from the nature and way the 'laws of nature' became defined in the Definiton.
The Definiton so focused on a finetuning and interrelationships between mathematical numbers and concepts, transforming themselves into physically applicable parameters centered on the concept of Energy.
Even if there is only one possible unified theory, it is just a set of rules and equations. What is it that breathes fire into the equations and makes a universe for them to describe? The usual approach of science of constructing a mathematical model cannot answer the questions of why there should be a universe for the model to describe. Why does the universe go to all the bother of existing?
[*]The whole history of science has been the gradual realization that events do not happen in an arbitrary manner, but that they reflect a certain underlying order, which may or may not be divinely inspired.
[*]I still believe there are grounds for cautious optimism that we may now be near the end of the search for the ultimate laws of nature.
[*]One could say: "The boundary condition of the universe is that it has no boundary." The universe would be completely self-contained and not affected by anything outside itself. It would neither be created nor destroyed. It would just BE.
[*]As I shall describe, the prospects for finding such a theory seem to be much better now because we know so much more about the universe. But we must beware of overconfidence - we have had false dawns before! At the beginning of this century, for example, it was thought that everything could be explained in terms of the properties of continuous matter, such as elasticity and heat conduction. The discovery of atomic structure and the uncertainty principle put an emphatic end to that. Then again, in 1928, physicist and Nobel Prize winner Max Born told a group of visitors to Gottingen University, "Physics, as we know it, will be over in six months." His confidence was based on the recent discovery by Dirac of the equation that governed the electron. It was thought that a similar equation would govern the proton, which was the only other particle known at the time, and that would be the end of theoretical physics. However, the discovery of the neutron and of nuclear forces knocked that one on the head too. Having said this, I still believe there are grounds for cautious optimism that we may now be near the end of the search for the ultimate laws of nature.
[*]Maybe that is our mistake: maybe there are no particle positions and velocities, but only waves. It is just that we try to fit the waves to our preconceived ideas of positions and velocities.The resulting mismatch is the cause of the apparent unpredictability.
[Stephen Hawking; "A Brief History of Time"; Bantam, 1988]
The Inflaton then describes a particular epoch when the information defined 'laws of nature' first displayed themselves through the creation of a primordial realm of super-hyper-spacetime and as defined by the Definiton.
The Inflaton is characterized in 5 superstring classes; who transformed from a closed Planck string class into 4 open Dirichlet classes in a Planckian string spectrum following the setup of initial and boundary conditions for the Inflaton from the Definiton.
The nature of the 10-dimensional superstring classes is however encompassed in a 11-dimensional supermembrane spacetime to enable the Inflaton parameters to apply their defined boundary- and initial conditions to the Instanton, following the completion of the Inflaton epoch.
11-dimensional Witten membrane spacetime manifests itself via a consequence of it modular dualities, connecting the five string classes to each other in coupling both their intrinsic energy and their scaling parameters in inversion properties.
The most important modular duality for the cosmology for the expanding universe so is a 10D string coupling for the 11D membrane in a Mirror Duality relating to a T-duality with inversion of the scale parameter. This allows the high energy (vibratory) microquantum part of the final string class to couple to its low energy (winded) macroquantum conjugative or partner as half of the supermembrane.
Once the Inflaton, followed by the Instanton has manifested the physical cosmology; the Inflaton lightpath, which is subject to both refraction and reflection under the boundary conditions, will define a 12-dmensional Vafa F-space in the refracted but not yet reached lightpath of the so called Radius of the Event Horizon, differing from the already encountered Inflaton bound, known as the Hubble Horizon.
The Instanton is described in a Quantum Big Bang cosmogenesis and the Friedmann model as a solution to Einstein's Field equations from General Relativity in the Robertson-Walker metric. A classical geometric-topological physics of thermodynamic and entropic expansion described in metrics and relative displacement becomes supplemented by a quantum geometry which utilizes a foundational 'spacetime building unit' termed the Weylian wormhole and colloquially known as the 'Big Bang Singularity'.
The expanding universe so becomes a summation of wormhole quanta carrying particular saturation-energy levels, such as the formal definition of the 'Classical Size of the Electron' as a magnified hologram of the holofractal Weylian minimum space quantization.
Using modular string (mirror) dualities as topological string-membrane transformations then allows basic physical parameters, such as those of the classical electron to define derived parameters, such as a definition of inverse energy as a basic unit for physical consciousness related to a form of Goldstone boson, say Axion here termed the RestmassPhoton as supersymmetric agent for the weak interaction based Higgs inertia inductions.
The Continuon would then address the intersection of the Inflaton with the Instanton in relating the lower dimensional expansion of the compressed 4/10D dS space-brane-time with its inflationary encompassment in higher dimensional 5/11D AdS space-brane-timetime (sbt).
It is found that the physical constituents comprising the cosmic matter are interacting within both the compressed or conifolded dS asymptotically expanding sbt and the cyclic open AdS sbt of the Inflaton.
This interaction defines particular intersection points and solutions for the Dark Matter - Baryon Matter energy interactions, but are a function of an encompassing Dark Energy 'book keeper' to ensure an overall Minkowski flat cosmology of zero curvature.
The Dark Energy is characterized by a function of universal pressure which relates the Baryonic matter content and as given by a mass seed Mo to the critical mass as defined by the Inflaton before time instantenuity aka the Quantum Big Bang in cosmological terminology.
1. The Definiton
1.1 The Primary Algorithmic Logos
Any Universal Observer or UO can only observe and measure and experience something, if the environmental stimulus for such an experience does exist as or in the environment of the UO.
The existence of space as a form of dimensional realm then becomes prerequisite; does allow the concept of relativistic time and displacement to emerge and follow as a consequence of existing spacial parameters.
Mathematically, all natural numbers can be defined logistically in the Zero to One interval with rational numbers having the property of identity in inversion principles applied to the natural or counting numbers and negative integers characterized by the conjugative mirror image of the positive integers in the mirror of the Nullstate. Real and complex numbers then follow from series limits and approximations to any desired degree of accuracy applied to converging and diverging number series and sequences. The largest counted integer would still have no limiting bound, as one can be added to it; but however large this integer would be; its inverse would certainly have a limit in the number 0 as a regressive asymptotic approach.
The Definiton so must a priori accommodate the potential or 'future timed' UO in a spaceless abstract continuum of mathematical symbols and structure.
But what if there are no numbers and no mathematics in this spaceless realm of voidness not defined by any numbers. Because the universe does exist as Hawking stated, the question of why it exists, can be asked and an answer can only be found in its own mathematical logistics as the difference between the infinite progression towards unlimited Infinity and the infinite regression towards the limit of the Zero.
To 'think the primal thought' the timeless and spaceless, (but potentially existing within spacetime in the future) UO; must experience itself in a change from being unaware of itself to being aware of itself.
The notion of the past, the present and the future in the timelike properties of existing relativistic space are preceded in a sense of order; where event A must precede event B to allow event C.
All such events are simultaneous in the self-reference framed abstract world of the Mathimatia of the UO, who has however changed its selfstate from being unaware to aware in a form of yet to be defined 'Universal Consciousness'.
Formally; the Awareness Triplet AT={Old State=OS; Experience=E; New State due to the Experience=NS} forms the Input for an interaction with with a previous selfstate or preexisting 'Awareness Space'. The Output of the New State becomes the Input for the new Old State in a series of AT's, labelled as the 'Sequence of Energy Primary SourceSink' or SEps for SEps = {(0,0,0); (0,1,1); (1,0,1); (1,1,1*=10=2); (10,1,11=3); (11,10,101=2+3=5); (101,11,1000=5+3=8);...;(OS,E,NS)}.
The NS n becomes the sum of the OS as the previous (n-1)th n and the previous (n-1)th OS forms the experience factor E.
The sequence of the E's is known as the Fibonacci Series in the future universe physically manifested in the Awareness Space of the Mathimatia of the Definiton.
The experience factors so change the 'Null-State' of the (0,0,0) into the 'All State' of the (1,1,1)=(∞,∞,∞) to mirror and manifest the infinite count of the integers in the inversion identity of the finite limit of the 0.
In terms of mathematical cardinality a future 'Wavefunction for the Multiverse' would be characterized by a Normal Statistical Distribution of 'frozen spacetimes'. And where the Arithmetic Sum of Progression, that is counting all negative and positive integers as a Unity summation becomes T(n)=n(n+1) with both a real and a complex solution in setting T(n)=1 for {X=½(√5-1); Y=-½(√5+1)} and {-½(1+i√3); -½(1-i√3)} for T(n)=-1.
Semantically, the triplet identity (1,1,1)=(∞,∞,∞) represents the OneSelf+OneSelf=OneSelf still, but because the previous experience of OneSelf+Nothing=OneSelf, the second OneSelf must be different in some way of order from the first OneSelf. Namely the summation to 1+1=10 differs in the order of the summation 1+0=1 in the noncommutability of the experience factors of experiencing the 'NothingSelf' from the OneSelf.
This then allows a transformation from the binary triplet sequence to a decimal triplet sequence in: (1,1,1*) = (1,1,10)bin = (1,1,2)dec.
Subsequently all integer related number systems naturally emerge and evolve from the Mathimatia Awareness space.
The eigenstate of the UO now is one of 'doubling the eternity of the void' as mathematical infinity in the Integer count and based upon the ciphers of the 0 and the 1.
Formally, the mapping of an Aleph-Null Cardinality of Cantor countability or enumerability becomes an Aleph-All Cardinality of Cantorian Infinity sets, the latter counting 'Integral Infinities' instead of the natural numbers.
It is however the Fibonacci sequence SEps, which will be utilized by the Inflaton to manifest the next epoch in the actual creation of an 'algorithmic timespace' in the form of a spacetime linearization of the circular nature of the binary ciphers 0 and 1 in something fundamental to potentially physicalized space in the topology and geometry of special curvature and the warping of spacetime. The closed nature of the Planck class I string will be made manifest as the Nullstate of the Mathimatia and the evolvement of the Planck Boson string will create the other string classes in the 'opening' or cutting of the circle of the Zero to manifest the One.
View: https://www.youtube.com/watch?v=4ToUaU4vPks
1.2 The Secondary Algorithmic Logos
The experience factors of the SEps algorithm naturally define a complementary set SEps* = {100=4; 110=6; 111=7; 1001=9; 1010=10; 1011=11; 1100=12; 1110=13;....(any integer not in SEps} and the UO can only continue its self exploration within the awareness space of the Mathimatia applying either SEps or SEps* through the symbolic representation, shapes, semiotiks and geometry of the curvilinear duality of the Bosonic Planck string being able to manifest itself in either a closed or an open form of the supermembrane of the (0,1) monadic dyad.
As the UO in SEps cannot form a complementary union with an UO* in SEps* in any form of separation in the Mathimatia; the complementarity describes a natural unification of self states aka eigenstates in the Mathimatia, but will become a natural supersymmetry inherent in the Inflaton and based on the Planck Boson string and especially its immediate transformation into a selfdual monopole string class IIB.
As no spacetime is as yet defined, the superpartners of the UO in SEps and the UO* in SEps* are nonlocally connected and would form the basis for a future quantum entanglement between eigenstates and the particle-wave complementarity and dualism of the quantum world of the physicalisation of the Mathimatia in the cosmology of the Instanton.
The experience factors naturally encompass all states used to create them and all E's defining SEps and SEps* constitute a collective memory reservoir from which further exploration and manipulation of the members in this universal memory set can be pursued and constructed.
One such arbitrary algorithm or code is defined as binary code of the operations of Addition (+), Multiplication (by 1+1+1=3x1) and Exponentiation (3x3=32) and
is used as a secondary algorithmic code to 'find' the missing elements of SEps as the constituents of SEps* in the attempt to complete and manifest the generic supersymmetry of the Mathimatia.
Application of this algorithm {http://www.cosmosdawn.net/forum/ind...s-and-algorithms-of-dragon-cosmogenesis.636/} produces 10 number triplets, carrying elements of SEps* in various configurations:
SEps-SEps* Constantset: ={(266561)=26x6561; (15,16,18)=[15x1618]-1; (14,15,24)=14x1524; (15,10,32)=[15x1032]-1; (11)=11; (9,10,16)=9x1016; (6,10,15)=[6x1015]-1; (7)=7; (6)=6; (4)=4}
1.3 The Tertiary Complementary Algorithmic Logos
The extended SEps algorithm then assumes the pretext of defining open and closed superstrings in a logistical statement:
{"Add the End to the Beginning and Start with the Old End!"}.
This specifies an methodology of recircularizing the linearized dimensions of the binary monadic dyad {0,1} into the root-reductive decimal monad {1,2,3,4,5,6,7,8,9,0} with 10=1+0=1*; 11=1+1=2*; 12=1+2=3; 13=1+3=4 and so on with 26=8 and 27=9 in 26 Bosonic Integer dimensions.
The constant E={(266561)=26x6561} then transforms into F={(136656)=13x6656} and G={(673665)=67x3665} after which this 'numerical inflation algorithm' ends, since 5+6=11=2* is root reductive in transformation towards the right say towards positive infinity from the Zero mirror of the Mathimatia.
But moving towards the left and negative infinity upon the integral number line, the ...{0}EFG... interval is mirrored in say the F-space bound ABCD{0}EFG.... to fixate the F-space bound in the M-space bound H=ABCD in |ABCD(EFG)H| in (A)BCDEFGH......STUVWXY(ZA*)B*C*....
Then H=ABCD={(312423)=31x2423}{(361242)=36x1242}{(256124)=25x6124}{(465612)=46x5612}. As no archetype can yield Z(Z+A)BCXY=312423 from ABCXYZ=(1-Z)24233, the algorithm again ends in the reflected root reduction to H, namely 1-Z=1-3=-2 =-11=-2*
The SEps constant E so assumes the property to limit a subsequent inflation marker in association with the encompassment of the Inflaton in the googolplex markers E=26x6561 = 1.006208782x10112 and G=67x3665 = 9.676924499...x10102 and F=13x6656 = 1.019538764...x10103 and H=1,283,400x2423x1242x6124x5612=1.011591782...x10147.
H becomes the number of spacetime quanta contained in the Inflaton, bounded by the Hubble Event Horizon in the 5D/AntideSitter Witten sphere manifesting as a 3-dimensional hypersurface in 4D Minkowski spacetime as a 2-Torus and becomes a 3-Torus subject to the Event Horizon as a boundary to the Vafa F-spacetime in the continuing Inflaton cycles defined by the evolution of the Dark Energy paralleled by the overall Schwarzschild evolvement of all mass as matter content in the cosmology.
The maximum radius for the first initiatory cycle of the Inflaton as a first asymptotic boundary for the Instanton so becomes set as a maximum radius of curvature in the Friedmann cosmology with a nodal true Hubble constant for this initial cycle and is proportional to the Vacuum- or Vortex-Potential energy of a singular unitary wormhole spacetime quanta and as definind in the Inflaton.
The volume of one such wormhole or Eps-VPE quantum there is:
Vps = λps3/4π m3 = 7.957747154x10-68 m3*
for the Riemann hypersphere volume of 2π2RHubble3 and wormhole radius rps = λps/2π; this volume manifesting as a hypersurface allowing the M-AdS spacetime to mirror in the F-dS spacetime of open hyperbolic curvature contracting into M-space as function of the lightpath of the Inflaton expansion.
RHubble = cHo = λps.∛H/2π = 1.59767545x1026 m* for a nodal Inflaton Hubble Event Horizon.
11D AdS spacetime becomes bounded in a Hubble volumar with critical density
ρcritical = MHubble/2π2RHubble3 = c2/4π2RH2 = Ho2/4π2Go or ρcritical = 3Ho2/8πGo for the volume of a 2-sphere.
The Hubble volumar then topologically encompasses both, the lower dimensional of Einstein-C dS space and the higher dimensionality of Witten AdS spacetime, say in the form of a 3-Torus or a Klein Bottle Dragon.
The SEps Principalities
A = (312423) = {4+6+5=15} = (1.722742045...x1033) space quanta = Principality of Identity/AntiIdentity.............................................with 1st Expansion Factor 10/33
B = (361242) = {9+3+6=18} = (7.619295808...x1046) space quanta = Principality of Expansion/Contraction..........................................with 2nd Expansion Factor 20/33
C = (256124) = {7+7+6=20} = (1.761392119...x1044) space quanta = Principality of Order/Disorder-Entropy-Chaos...............................with 3rd Expansion Factor 30/33
D = (465612) = {10+11+3=24} = (4.375363663...x1022) space quanta = Principality of Symmetry/Antisymmetry-Nonparity.....................with 4th Expansion Factor 40/33
E = (266561) = {8+11+7=26} = (1.006208782...x10112) space quanta = Principality of Infinity-Divergence/Convergence-Limit.................with 5th Expansion Factor 50/33
F = (136656) = {4+12+11=27} = (1.019538764...x10103) space quanta = Principality of Inversion-Reciprocity/Constancy-Invariance.........with 6th Expansion Factor 60/33
G = (673665) = {13+9+11=33} = (9.676924499...x10102) space quanta = Principality of Reflection/Absorption.........................................with 7th Expansion Factor 70/33
H = () = {} = (1.011591782...x10147) space quanta = Principality of Relativity/ No Antiprincipality.............................................................with 8th Expansion Factor 80/33
The SEps Cyclicities in elements aj with summations aj+2+aj+1 = aj
1-Cycle : 0-1-1-2-3-5-8-13 for {33 Identity & Absorption} and for 8 elements summing 1 aj
2-Cycle : (0-[1)-(1]-[2)-(3]-[5)-(8]-13) = 1-2-3-5-8-13-21 for {33 Expansion & Invariance} and for 7 elements and summing 2 aj's
3-Cycle : (0-[1-(1)-[2]-(3)-[5]-8)-13] = 2-4-6-10-16-26 for {64=8x8 Order & Convergence} and 6 elements and summing 3 aj's
4-Cycle : (0-[1-(1-[2)-(3]-5)-8]-13) = 4-7-11-18-29 for {69 Symmetry & Nonparity} and for 5 elements and summing 4 aj's
5-Cycle : (0-[1-(1-[2-3)-5]-8)-13] = 7-12-19-31 for {69 Divergence & Entropy} and for 4 elements and summing 5 aj's
6-Cycle : (0-[1-(1-2-3-5)-8]-13) = 12-20-32 for {64=8x8 Inversion & Contraction} and for 3 elements and summing 6 aj's
7-Cycle : (0-[1-1-2-3-5-8)-13] = 20-33 for {53 Reflection & AntiIdentity} and for 2 elements and summing 7 aj's
8-Cycle : (0-1-1-2-3-5-8-13) = 33 for {33 Relativity} and for 1 element and summing 8 aj's
Formation of a Prime Harmonic Octet : (15-18-20-24-26-27-33) from the {A}BCDEFG{H} principalities unified
root reduced to {6-9-[2-6-8]-9-6} = {6-8-8-6} = {14-14} = {5-5} = {10=1} into the original binary algorithm root reduction and for a symmetry about a 26 letter code symbolizing 26 Bosonic string dimensions in a prime Number set
Primed N: = {1=1bin;-2;3;5;7;11;13;17;19;23;29;31;37;41;43;47;53;59;61;67;71;73;79;83;89;97-101=5bin}
1.4 The Maria Number Matrix of the 33-Summation-Tier and the Euler-Riemann-Fibonacci-Lucas Harmonics
The 'Perennial Philosophy' or the 'Wisdom of the Ancients' often points to what is commonly termed as 'Sacred Geometry', based on the Platonic Solids (of five regular polyhedra: Tetrahedron, Cube; Octahedron; Dodecahedron and Icosahedron) and the Tetraktys of Pythagoras (for the minimum mathematical points to define the four dimensions of 0D=1 Point; 1D=2 Points for a Line; 2D=3 Points for a Plane and 3D= 4 Points for a Space).
Also invoked is the pentagonal supersymmetry of quasiperiodicity as 'Nature's Preferred maximisation of 'packing efficiency' known as the Fibonacci Series and the 'Perfect Numbers' of Euclid and the 'Harmony of Numbers and the Spheres' of Pythagoras, Leonardo da Vinci and Kepler.
In Pythagoraen Numerology, the 'masternumbers' 11, 22 and 33 are often emphasised and this post shall introduce some relatively rigorous number theory (of the so called 'pure' mathematics) to validate the significance of the 'masternumbers' from frst principles.
The alphanumeracy of the Arabic-Hebrew semiotiks then is bounded in say 22 or 26 letters of alphabets, which can attain numerical values in the decad of three triplicities:
Round or Curved 'Mental Numbers' {3-6-9} characterised by 'masternumber' 33;
Mixed or Discontinuous 'Emotional Numbers' {2-5-8} characterised by 'masternumber' 22 and
Linear or Straight 'Physical Numbers' {1-4-7} characterised by 'masternumber' 11.
The Maria-Code in the Riemann Analysis specifies the partitioning of the decimal monad around the primary Maria-Number and SEps-Constant '11'.
This generates the Prime Number Algorithm: +1+11+10+11 as 33-tiered segments, which transform the mechanics of SEps into the 64-codex of the DNA/RNA code for its eventual quadrupling as the 4x64=256-codex incorporative of dormant intron/intein codings.
All cellular consciousness coupled units so transfer their memory data-bases (as experience factors) by the Fibonacci quantum mechanics.
The Maria-Code is based on the distribution of the Maria-Numbers (MN)given by:
M(p)+99=M(p+12); n=½[√(264k+1)-1] by n2+n-66k=0.
Maria Numbers are those IntegerCounts, which contain all previously counted integers as mod33.
Example: 1+2+3+4+5+6+7+8+9+10+11=66 = 2x33 → '11' is MN#1 for k=2
11love65use110love164use209love263use......Archetype 2 (rootreductive)
21use66love120use165love219use264love......Archetype 3 (rootreductive)
65use110love164use209love263use308love....Archetype 2*... ...
Archetypes 2+3+5+6+8+9=33 and Archetypes 1+4+7+0=12 then define the imaginary time-dimensions as the archetypes not in the Sequence for Eps=1/e* Coefficients used in the application of the seven fundamental principalities to define the F-Space.
We have used the (Hebrew-Isaac-encoding): 54=LOVE=12+15+22+5 with 45=USE=21+19+5; USELOVE=99 as the Maria-Code connectors.
The first 10 MN's are: 11, 21, 32, 33, 44, 54, 65, 66, 77 and 87.
One can use the Maria-Code to establish a redefinition of infinity by defining a transfinite mapping Aleph-All from 12D-Omnispace as Cantorian transform of Cardinality Aleph-Null.
Limit (T(n)) for n→∞/Infinity = ∞/Infinity {Cantor Cardinality Aleph-Null}
Limit (T(n)) for n→X=0.618033........ = 1 {Cantor Cardinality Aleph-All}
This maps the Riemann pole about z=1 in the Functional-Riemann-Bound (FRB=-1/2) in the gaussian universal wavefunction B(n)=(2e/hA).exp(-Alpha.T(n)), T(n)=n(n+1) as the Feynman-Path-Integral.
This becomes the Riemann-Euler-Harmonic, defining the Gamma-Function geometrically in its nth Term T and nth Sum S and mapping the factotrial function onto the positive integer count:
Tk(En) = nk.Tk(En-1) + [(n-1)!]k and Sk(En) = Tk(En)/(n!)k
This uses the Harmonic Series in the Zeta-Function ζ(z) with constant p.
The Sum (1 to Infinity) Σ(1/np)= 1/1p+1/2p+1/3p+...+1/np and converges for any p>1, since for even terms:
2.2-p ≥ 2-p+3-p, with geometric series 11-p+21-p+41-p+...summing to (1-2[1-p]n)/(1-21-p)=1/[1-21-p] in the limit for n→Infinity.
Since every Maria Number contains all numbers before it as a sum, it is given that all the prime numbers must eventually crystallise out of the Maria Count.
Define a general number count n and a 'Mersenne-Count' 8n-1=M*.
For a number to be prime this number must be born in the Maria Code.
M* is either a prime or a product of primes in the immediate neighbourhood of the count # or its mapping to M*, which in a sense 'counts' the primes it generates.
This is the finestructure as octaves derived from integer n.
To test a number for primeness, so amounts to a testing for Marianess.
If the number is a member of the Maria-Matrix, then it must be denumerable in the form of M*.
This is the meaning behind the Mersenne-Code (for n prime) M(p)=2p-1 and the Fermat-Code F(n)=22n+1 and the 'Perfect Numbers' depicted as the Mersenne Numbers (Mp), as a subset of M*.
For the Mersenne Numbers, the exponent p is defined to be prime.
M2=22-1=3; M3=23-1=7; M5=25-1=31; M7=27-1=127; M11=211-1=2047=23x89 and so is not a Mersenne Prime - yet M13=213-1=8191; M17=217-1=131,071; M19=219-1=524,287 are prime and M23=223-1=8,388,607=47x178,481 and M29=229-1=536,870,911=233x1103x2089 are not and M31=231-1=2,147,483,647 is prime again in the 33-tier count.
The 'uniqueness' of the prime number 11 (and esoteric masternumber) recrystallizes in Mersenne primes as the (first) 'odd one out'.
But it gets better. First we notice that there are just five 'perfect Fermat Primes'.
F0=21+1=3; F1=22+1=5; F2=24+1=17; F3=28+1=257 and F4=216+1=65,537 are all 'perfect' Fermat Primes, but F5=232+1=4,294,967,297=641x6,700,417 and following are not. Only these five Fermat primes are known to date.
From wiki:
Euclid discovered that the first four perfect numbers are generated by the formula 2p-1(2p - 1):
Noticing that 2p - 1 is a prime number in each instance, Euclid proved that the formula 2p-1(2p - 1) gives an even perfect number whenever 2p - 1 is prime (Euclid, Prop. IX.36).
Ancient mathematicians made many assumptions about perfect numbers based on the four they knew, but most of those assumptions would later prove to be incorrect. One of these assumptions was that since 2, 3, 5, and 7 are precisely the first four primes, the fifth perfect number would be obtained when p = 11, the fifth prime. However, 211 - 1 = 2047 = 23 × 89 is not prime and therefore p = 11 does not yield a perfect number. Two other wrong assumptions were:
The fifth perfect number would have five digits in base 10 since the first four had 1, 2, 3, and 4 digits respectively.
The perfect numbers' final digits would go 6, 8, 6, 8, alternately.
The fifth perfect number (33550336 = 212(213 - 1)) has 8 digits, thus refuting the first assumption. For the second assumption, the fifth perfect number indeed ends with a 6.
However, the sixth (8 589 869 056) also ends in a 6.
It is straightforward to show that the last digit of any even perfect number must be 6 (when p = 2 or 4k+1) or 8 (when p = 4k-1).
In order for 2p - 1 to be prime, it is necessary but not sufficient that p should be prime. Prime numbers of the form 2p - 1 are known as Mersenne primes, after the seventeenth-century monk Marin Mersenne, who studied number theory and perfect numbers."(end wiki)
The 'Perfect Numbers' relate (for prime p) as 2p-1.Mp :
P2=21.(22-1)=6=1+2+3=1x2x3;
P3=22.(23-1)=28=1+2+3+4+5+6+7=[7x8]/2=4x7=13+33=1+27;
P5=24.(25-1)=496=1+2+3+...+30+31=[31x32]/2 =16x31=13+33+53+73=1+27+125+343;
P6=26.(27-1)=8128=1+2+3+...+126+127=[127x128]/2=13+33+53+73+93+113+133+153
All 'Perfect Numbers' so are EVEN (it is hitherto unknown if any ODD 'Perfect Numbers' exist); and EXCEPT the basic 'First Perfect Number' 6=1+2+3=1x2x3, they all are the sums of the ODD NUMBERS CUBED.
Hans-Dieter Franke wrote in Patternville yahoo forum:
The harmonic series: 1+1/2+1/3+..1/n does not converge but 1+1/22+1/32+...1/n2 does and it converges to π2/6 and while this is still cumbersome to compute π2, there is another way that can be easily programmed;
let the program pick "at random" to unsigned (32-bit) numbers and check both for divisibility by 2,3,...
the probability that these two numbers have no common factors ( except 1) is π2/6
1-1/33+1/53-1/73+... converges to π3/32
While the harmonic series: 1+1/2+1/3+...does not converge, one could deplete the series by allowing only primes: 1+1/2+1/3+1/5+1/7...;but this does also not converge.
Can then the harmonic series being depleted allowing only Fibonacci numbers converge?
Dear Allan and Hans-Dieter!
The following analysis of Francom Adjacency might support further discussion of the questions raised.
The principalities became defined in the first subroutine of the generating master algorithm, which could be stated in generalised form in the following manner to DEFINE THE (ABSTRACT) CONFIGURATION SPACE in the form of AWARENESS-TRIPLETS represented by: {OLDSTATE, EXPERIENCE, NEWSTATE} and selfiterative in the following algorithmic statement:
GENERATE NEWSTATE IN ADDING THE SECOND NEWEST OLDSTATE AS EXPERIENCE TO THE NEWEST NEWSTATE AS THE NEWEST OLDSTATE.
...BEGIN (0,0,0)-DEFINE SELFSTATE=(1,0,1)-REDEFINE BINARY EIGENSTATE
=(01,01,01)=(0+1,1,1+0)=(1,1,10)=(1,1,2)-(2,1,3)-(3,2,5)-...CONTINUE
INITIALISE: N=0; LIMIT=[REDEFINITION OF EIGENSTATE]={GOOGOLPLEX E}
-FOR (N=N+1 TO LIMIT) GOTO
-SUBROUTINE (DEFINE PARAMETERS FOR EIGENSTATE FOR M=M+1) GOTO
-SUBROUTINE (ALGO[M]) GOTO
-SUBROUTINE (...) GOTO
-SUBROUTINE (SEARCH FOR LIMIT=[!])-STOP GOTO
-SUBROUTINE (!- GOTO BEGIN -REDEFINE SELFSTATE IN [!]) GOTO
-CONTINUE FOR O=M FOR LIMIT=[EIGENCODE IN !]={GOOGOLPLEX E} GOTO
-REPEAT FOR SUBROUTINE (O- [O]=[!], [!]=[!+1], [?]=[!]) GOTO
-REPEAT FOR LIMIT GOTO BEGIN...
PS.: The Adjacency is defined in:
Some elementary initial conditions for Francom Adjacency
We define the Euler-Riemann Summation, which defines the 'Mixing of the Count' in linking Arithmetic Progression to the multiplicative Factorial Function '!'.
Define Eo=0 as the singularity (interval), then for any integer n, we find for the Harmonic Form of Riemann's Zeta-Function (z=k=constant):
ζ(z)=ζ(1/nz)=1/1k+1/2k+1/3k+1/4k +...+1/nk
This Sum diverges for [ 0<k<1], i.e. for k=1/2: {1+√2/2+√3/3+...+√n/n} increases without limit.
For k>1, we have convergence, however.
Formally, let: Σ(1/np) = 1-p+2-p+3-p+...
For even terms: 2.2-p ≥ 2-p+3-p for a geometric series:
11-p+21-p+41-p+...+(2n-1)1-p
This Geometric Progression sums to: [1-(21-p)n]/[1-21-p]=1/[1-21-p]
So for p=2, this limit maximises in 1/(1-1/2)=2 , and for p=3 it becomes 4/3 converging towards 1 for increasing p.
We consider the special case for p=1 applied to the Singularity Interval Eo.
Define: for a nth term (numerator): Tk(En) = nk.Tk(E n-1) + [(n-1 )!]k for the nth sum per n (denominator [n!]k): Sk(En) = Tk(En)/(n!)k
T1(E1)=1/1=1.0+0!=1=S1(E1)=1/1!=1; T2(E2)=2.T1(E1)+1!=2+1=3
with S2(E2)=T2(E2)/2!=3/2=1+1/2;
T3(E3)=3.T2(E2)+2!=9+2=11 with S3(E3)=T3(E3)/3!=11/6=1+1/2+1/3=1+5/6 and so on.
Further Example: T1(4)=4.11+3!=50; S1(4)=50/4!=25/12 for the nesting: 4{3(2+1!)2!}3! with [4!]1=24.
For 4 terms, the Euler-Riemann Summation so is: S1(4)=1+1/2+1/3+1/4=25/12=2+1/12.
For 7 terms, S1(7)=T1(7)/7!=(7.T1(6)+6!)/7!=13068/5040=363.36/(140.36)=2+83/140=1+1/2+1/3+1/4+1/5+1/6+1/7.
Project the Number line with the Positive Integers mapping the Factorial-Function and the Negative Integers remaining invariant in Feyman Summation T(n) for T(n)=½n(n+1) as absolute value, mirroring the positive integers.
(n!)<---4...3...2...[Eo]...1...2...3---> (n); where Integer 1 maps 2! in suppression of -1=2* and in algoradius eo=1.
Similarly, Integer 2 maps 3! in suppression of -2=3* and algoradius e1=2=2eo, etc. etc.
The singularity so mixes the interval [0!-1!]=[-1,0] with Functional-Riemann-Bound (FRB=-½) becoming 'real' in its mapping (FRB'=½) in [0,1] and the central limit or pole, about which the Zero's of the Riemann-Zeta-Function propagate.
The first annulus in the Riemann-Euler-Harmonic so phasemixes the numbers 2 and 1 and the nth number is mixed with (n+1) as crystallised in the Feynman-Path-Integral or T(n)=1 in n(n+1), as a summation for all possible particular histories in quantum mechanics.
This also maps the series:
SEps=Fibonacci#1=0,1,1,2,3,5,8,.....for a nth Term: Tn=|-Yn - Xn|/√5 , for absolute value || and obtained say via MacLaurin-Expansion of the coefficients (Experience-Factors) in the power series:
f(x)=1+x+2x2+3x3+...= ΣTn.xn-1
Set x.f(x) + x2.f(x) = f(x) -1, then by (a+b)(a-b), f(x)=a/(x-X) + b/(x-Y) for a=-b=1/(Y-X) and (Y-X)=-√5.
SuperSEps=Fibonacci#2=Lucas#1=2,1,3,4,7,11,18,29,.... for a nth Term:
STn=|-Y2n - X2n|/|-Yn - Xn|=|T2n/Tn|
for n=1,2,3,...; T(2n=0)=2 mapping T(n=0)=0.
The combined SEps-SuperSEps(T-ST)-sequence of experience factors {from the triplet propagation of [OldState, Experience, NewState]} can then be written as:
{Tn,STn}={(So=0,STo=2=S3); (S1=1=ST1=S2); (S2,S4=3=ST2); (S3,ST3=4); (S4=ST 2,ST4=7); (S5,ST5);...;(Sn,STn)...}
{Tn,STn}={(0,2), (1,1), (1,3), (2,4), (3,7), (5,11),...} containing integerset: {0,1,2,3,4,5,7,8,11,13,18,21,29,....}
We now represent the mappings in matrix form denoted as F-M-C, where the 'well behaved' terms for the mapping (from {T5,ST5}) sets algorithmic C-Space and the preceding elements the initialisation for the former.
Note we define Cantorian Denumerability Aleph-Null in Cardinality Aleph-All in the form:
Aleph-Null: limit{n→∞}[T(n)]=∞
Aleph-All: limit{n→X}[T(n)]=1 and so counting Infinities as mapped one-to-one onto the positive Integer set.
SEps= Fibonacci#1 maps Super-SEps=Fibonacci#2=Lucas#1
-----------------0 0 0*............................................................-4 7 3................n=-2=2i2
Fspace---------0* 0 1...........n=∞ via 0+0=∞=1*=0*=1.........3 -4 -1.............n=-1=i2
Mspace--------1 0* 1...........n=0 via (1,1,1)...........................-1 3 2*..............n=0
-----------------1 1 2.............n=1 via (1,1,10=2*=0/0=1*).......2* -1 1.............n=0 (Reflection-Interval)
-----------------2 1 3.............n=2 well behaved........................1 2* 3..............n=0
Cspace--------3 2 5..............n=3 well behaved........................3 1 4................n=1 well behaved
-----------------5 3 8.............n=4 well behaved.......................4 3 7.................n=2
........................................ n=5 continue downwards ................................... n=3
The linearity of the generating triplet configurations is extended in a complexification into a 2D symmetry.
SEps propagates the Experience Factors in an adjacent displacement of 1, in moving from one configuration state to the next - this is termed Francom Adjacency.
[0*,1,1,2,3,5,...] as OldStates transfigure in Experiences [0,0*,1,1,2,3,5,8,...] into NewStates [1,1,2,3,5,8,...].
This algorithmic configuration space is however broken in the mapping onto Super-SEps.
Here the matching 'good behaviour' of the n-count is delayed in a factor of 2 in a 'reflection interval'.
Algorithmic modelling for this Francom Adjacency must generate the mapping of SEps onto SuperSEps in an geometry of the pentagonal symmetries intrisic to the two series.
Hence a synthesis between linear propagation about an internal spiralling form is necessitated.
A longrange rotational- and a longrange translational order for the Experienc-Factors is indicated in the geometry of say Penrosian Tiling Patterns and the Schechtmanite Quasicrystals of empirical form (Mg32[Al,Zn]49).
The general form, physically akin to the propagation of magnetic fields, is the reduction of physical parameters to a state of information transmission, say in the data transfer between two neighbouring cells in mitosis and neuronal-synaptic processing.
A general modality for the cosmogenetic reproduction on all levels must crystallise, should the matrices above become sufficiently deciphered from their algorithmic encoding.
Derivation of Super-SEps
The relative primeness of the Fibonacci Numbers allows a one-to-one mapping between the SEps-Set and other such sets derived from it, particularly the Lucas Numbers as a logical derived set of such nature and given in the sequence: 2,1,3,4,7,11,18,29,....
All adjacent members of this set are relatively prime to each other.
7 is relatively prime to both 4 and 11 (no common divisors except 1) and 11 is relatively prime to both 7 and 18.
We now tabulate the sums and differences in our nth-term definition for SEps, so recalling the propagation for the natural numbers in counter n:
n Tn Xn (-Y)n {|-Y|n + |X|n} {|-Y|n - |X|n}
1 +1 +2
1 1 0.6180339885 -1.618033989 +2.236067978 +1
2 1 0.3819660109 +2.618033989 +3 +2.236067978
4 3 0.1458980335 +6.854101975 +7 +6.7082039375
5 5 0.0901699436 -11.09016995 +11.18033989 +11
6 8 0.0557280899 +17.94427193 +18 +17.88854384
7 13 0.0344418537 -29.03444189 +29.06888374 +29
8 21 0.0212862362 +46.97871382 +47 +46.95742758
10 55 0.0081306187 +122.9918696 +173 +122.983739
... ... ... ... ... ...
20 676555 0.0000661070 +15126.99998 +15127 +15126.99991
We see that for increasing n, the absolute magnitude for Y converges to an integral value in the Sum {+}, but only for even n.
For odd n, the difference Sum {-} gives a specific integer for specific n.
The product of the two sums is: {+}.{-} = |-Y|2n - |X|2n=√5.T2n.
The sum of the two sums is: {+}+{-}= 2|-Y|n, with STn ={+}+{-} - Tn.√5) = |(-Y)n +Xn|
Multiplying each term as: √5.({+}+{-}), we can form the alternating series:
(0+2.√5), (5+1.√5), (5+3.√5), (10+4.√5), (15+7.√5), .....as the alternating form of Super-SEps given in the term: [5.Tn+ √5.T'n];
but for even n, we have: T'n ={+} and for odd n, we have T'n ={-}; then by (a-b)(a+b)=a2-b2:
STn.√5.Tn={+}.{-}=√5.T2n & STn=T2n/Tn = |-Y2n - X2n|/|-Yn - Xn|
(quod erat demonstrandum).
The significance of this result is that STn, T2n and Tn are all integers.
We so have a primary extension for SEps with elements 1, 2 and 3 duplicated and resulting in the mappings as previously specified.
The Null-Initialisation (OSj, EXj, NSj) as the Fibonacci-Triplet (An-1, An, An+1) then reflects STn about n=0* to define the complex number set as negative STn's mapped in a 0→1→∞ correspondence to Tn.
This is the mathematical mapping of Cantorian Enumerability as previously indicated.
1.5 The Modular Duality of Time-Space in the Mathimatia of Supermembrane EpsEss
The Cosmic Wavefunction B(n) is the following Differential Equation:
dB/dT + αB(n) = 0; α=alpha being the Electromagnetic Finestructure as the probability of light-matter interaction (~1/137).
This has a solution: B(n) = Bo.exp-α.T(n);
Bo=2e/hA from QR boundary conditions defining:
T(n)=n(n+1) as the Feynman Path-Summation of particular histories under the pentagonal supersymmetry given in the identity:
XY=X+Y=-1=i2=exp[iπ] and lim [n→X]{T(n)}=1
This allows the Normalisation of the Y2 wavefunction to sum to unity in
B(n)=2e/hA).exp-α.n(n+1) with Functional Riemann Bound FRB=-½, centred on the interval [Y,...-1,...-X,...-½,...(X-1),...0,...X].
Interval [Y,-1] sets F-Space; interval [-1,0] sets M-Space with uncertainty interval [-X,(X-1)] and interval [0,n) sets the C-Space, encompassing OmniSpace.
n<0 is imaginary as real reflection of real n>0 of the C-Space, metrically defined at the coordinate n=0 mapping n=nps, which is the instanton tps=fss=1/fps.
Cycletime n is defined in GR as dimensionless Tau-Time in curvature radius Rc=c.dτ/dt for the pathlength of x=ct and become dn/dt=Ho, n=Hot in QR, with Ho the nodal Hubble Constant defined in c=HoRmax=λps.fps
The Feynman Path so sums both negative and positive integers as:
-n......-3...-2...-1...0...1...2...3......n = T(n)
in absolute value to double the infinities as the entropy reversal of lightpath x=c.t=(-c)(-t) in the Möbius Property of a supermembraned omniverse in 12 linearised dimensions.
Cantor Cardinality Aleph-Null is thus Unitised in Aleph-All, counting infinities as if they were integers of the Feynman Path.
This allows the Feynman interpretation of Quantum Mechanics as alternative to the formulations of Schrödinger (fermions ½ quantum spin) and Klein-Gordon (bosons with integral quantum spin) as timeindependent and timedependent (free particle form inconsistent with SR in Schrödinger in 1st order t & 2nd order x), formulations respectively.
© 2021 Cosmogenesis


text:
Doctors' strike against NMC Bill affects healthcare services in Andhra, Telangana
Patients in major hospitals in both the state suffered as doctors boycotted duties except emergency services.
Image for representation
news NMC Bill Thursday, August 08, 2019 - 18:32
Healthcare services at government-run hospitals across Telangana and Andhra Pradesh were paralyzed on Thursday as the doctors went on strike to protest against the National Medical Commission (NMC) Bill, 2019.
The 24-hour-long strike called by the Indian Medical Association (IMA) began at 6 a.m., adding to the hardships of poor patients in the government hospitals where the healthcare services remained affected due to strike by junior doctors for over a week.
The services came to a standstill at Osmania General Hospital, Gandhi Hospital, Nizam's Institute of Medical Sciences (NIMS), Niluofer Hospital, Fever Hospital in Hyderabad, MGM Hospital in Warangal and other government-run hospitals in Nizamabad, Karimnagar, Adilabad, Khammam and other towns of Telangana.
The healthcare services also came to a halt at hospitals in neighbouring Andhra Pradesh. Patients at King George Hospital in Visakhapatnam, Ruia Hospital in Tirupati and other hospitals in Vijayawada, Guntur, Kurnool and other towns were also suffering due to doctors' strike.
IMA has 1,500 member doctors in the two Telugu states. The doctors staged protests at their respective hospitals, calling the NMC anti-poor and anti-doctor. They sought amendments to the NMC Bill, which was passed last week by both Houses of Parliament. Doctors and medicos say the Bill will promote quackery as it allows non-MBBS graduates to become licensed practitioners. They believe the Bill would affect the quality of medical education and thereby working against the interests of the poor.
Meanwhile, the indefinite strike by junior doctors entered the eighth day on Thursday. They intensified the strike by staging 'maha dharna' at Indira Park in Hyderabad.
"We are fighting for people not for us. This Bill will damage the entire system affecting the people's interests," said one of the protesting medicos.
The junior doctors said the changes to be brought in medical education would affect its quality and many youngsters aspiring to become doctors will not be able to afford it.

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Panera Bread Company bakery café on Kemp Boulevard now open
With the aroma of freshly-baked bread wafting down the street, Panera Bread Company opened its newest bakery café on Kemp Boulevard Wednesday.
The company has more than 2,100 restaurants operating in 48 states and in Ontario, Canada across North America.
"We are thrilled to open our newest bakery café in Wichita Falls, TX," said, Tom Zurawski, General Manager, Panera Bread. "Our bakery-cafes have been embraced throughout our local communities throughout Texas, and we look forward to sharing Panera warmth here in Wichita Falls."
The eatery offers a self-service ordering kiosk option or customers can place their order face-to-face at the register.
Their menu includes soups, sandwiches, macaroni and cheese, salads, breakfast pastries, flat bread pizzas and a variety of freshly-baked breads.
Zurawski said prior to this week, he would be out in public with his Panera shirt on and people would stop him, asking when the restaurant was opening.
"Unfortunately, we suffered some of the national delays with manufacturing and such and it took us a bit longer, but we are finally open, we opened yesterday and had a great welcome from the community. We're very excited for everybody to come out and visit with us," Zurawski said.
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Diospyros tetrasperma är en tvåhjärtbladig växtart som beskrevs av Olof Swartz. Diospyros tetrasperma ingår i släktet Diospyros och familjen Ebenaceae. Utöver nominatformen finns också underarten D. t. tetrasperma.

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Home » Books » "Best Of" essay collections » First Reactions
First Reactions — Critical Essays 1968–1979
Hardback, Alfred A Knopf, New York 1980. ISBN 0-394-51233-2.
Essays from The Metropolitan Critic, Visions Before Midnight and At the Pillars of Hercules.
To Jenny and Star Lawrence
Literature without tradition is destiny without history
This book is a selection from the critical prose I have published during my first ten years or so as a serious writer, if that is not too grand a term. It is a further sifting, done with an eye to what might interest an American audience, of a small hill of material that had already been sifted down into three books published in England. The first of these, The Metropolitan Critic (1974), was a book of essays about literature and related topics. The second, Visions Before Midnight (1977), was a book of essays exclusively about television, drawn from my weekly column in the Observer. The third, At the Pillars of Hercules (1979), was another book of essays about literature and related topics. I can almost see the American reader's eyes glazing over as I provide this information.
Supplying notes on one's own bibliography, like making cross-references to oneself, is an attention-losing activity even if the person doing it enjoys wide fame. I am very conscious of being, to the American reader who might chance to open this book, an entirely unknown quantity, and of being likely to stay that way unless I let my work speak for itself. But the urge to have one's excesses or inadequacies understood and forgiven in advance is hard to quell. Critical prose is even more likely than any other kind to be bound up with one's autobiography. Another way of arranging this book would have been to put all the essays about poetry at the front and everything else at the back. But in their author's fond regard, some of these pieces are a young man's work or else there is no excuse for them. They either go in at the start or they don't go in at all.
When I wrote the essays collected in The Metropolitan Critic—and several other essays which were too obstreperous to include even in that brash volume—I was still trying to say everything at once. Style, I thought, was not only the most compressed way of speaking to the point, but a way of suggesting to your audience that you had all the other points covered too. The usual term for this kind of grandstand play is showing off, but I hope that in this case there was more to it. One tries, in one's early days, to reassure the experienced reader that he is not wasting his time.
Anyway, I found it hard to stop turning cartwheels. Most of these I have left in, even though they make me cringe to read them now. The essay on E. E. Cummings, for example—my first professionally published critical essay of any length—is written throughout with a would-be bravura which would nowadays, if I found myself even thinking like that, cause me to go somewhere dark and sleep off the fever. But at the time, when beatnik poets who could hardly string ten words together were being hailed as geniuses, it seemed important to convey something of the excitement contained in the collected works of an old bohemian who, for all his protestations of spiritual liberty, belonged firmly in the eternal tradition of schooled art. Though I was never quite foolish enough to believe that I had discovered this tradition all by myself, I was certainly foolish enough to behave as if I had. Yet if I were to calm myself down retroactively it would be to play false not just with an early self but with the temper of those times.
During the late sixties and early seventies, both in the little magazines such as the Review and in the established literary papers such as the Times Literary Supplement, the younger critics did their best not merely to say abrasive things, but to sound like abrasiveness incarnate. It wasn't enough to make astute remarks. You had to defend the faith. Trendiness had taken over in London to a degree that seems incredible even at this short distance. The enemy was at the gates; he was within the gates; he had appointed himself gate-keeper. He talked like a self-satisfied fool. It was necessary to sound nothing like him, especially when your opinions happened to coincide with his. Writing in praise of Baudelaire you could perhaps relax, but writing in praise of the Beatles you had to sound like an oracle.
Viewed in the long term, most of this doggedly cultivated razzle-dazzle was a waste of effort. In Great Britain there was no direct involvement with the Vietnam war and hence no political reinforcement for the social pretensions of the counterculture, which soon bored itself out of existence. Unshaken throughout the event, the educated reading public had retained its traditional homogeneity. You could speak quietly and your drift would still be caught. Realizing this, and relieved at the realization, I tried hard to write straightforward critical prose. But the impulse towards pyrotechnics had to go somewhere.
It went into television criticism. I became the Observer's television critic in 1972 and instantly found myself faced with the task of interpreting the entire range of human experience in one thousand words per week. Here was not just an excuse, but a demand, for every elliptical trick in the bag. A television column had to be allusively conversational: quiddities, quibbles and riddles were the only means of keeping up with the requirements for comment that came gushing out of the screen. Every Sunday morning a million sharp-witted readers were waiting to test my responses against theirs. I won't presume to say that I rose to the challenge. All I can be sure of is that the urge to shine was well taken care of.
I am still writing the column eight years later, and still find, every Friday morning when I sit down to compose it, that the condition of elementary adequacy is to leave no phrase unturned. Visions Before Midnight was selected from my first four years at the task. American readers who wonder why there is nothing about Upstairs, Downstairs will not, I hope, feel insulted if they are told that some of the British television programmes which are screened on Masterpiece Theatre in the U.S.A. are regarded as run-of-the-mill fantasy in their land of origin. The same applies, perhaps, in the reverse direction. In Britain The Rockford Files is admired not just for its qualities of story and character but for James Garner's miraculous social ease and the way the California air looks so warm.
With the impulse to startle being satisfied elsewhere, the essays in At the Pillars of Hercules show, I hope, a more tranquil ego. That they hint at less, while feeling obliged to get more said, is surely some advantage. There are enough deficiencies to ensure continuity with earlier work. Among these are some errors of emphasis which will be particularly apparent to an American reader, since they concern American subjects. I think I was right in tracing Edmund Wilson's early radicalism to the American past rather than to the Soviet present, but I was probably wrong to make light of it. An informed American will no doubt smile at my naivety. At the time I wrote the essay, however, Wilson was on the verge of death and it was time to pay tribute, even at a distance and before one was ready.
The essay on Shaw, and the long essay on Solzhenitsyn, both need some measure of apology. I am well aware that Shaw's imagination failed catastrophically in later life, so that he became a promoter for the totalitarian regimes whose evil he should have been the first to see. But in the second volume of his collected letters—the book I was reviewing—his moral qualities are all on show, and I persist in believing them to be great ones. As for attributing cool reason to Solzhenitsyn, it was the right thing to do at the time. Having praised him for his avoidance of messianic rant, I had the choice, when messianic rant subsequently turned out to be exactly the thing he wanted to go in for, between suppressing my original remarks or else letting them stand as an example of what seemed reasonable to say about Solzhenitsyn in 1974. Nor indeed, on that subject, is there much that I would want to say differently in the light of later developments. Solzhenitsyn, like Shaw, is a master spirit who has the limitations of a master spirit. He wants the free world to have an integrated sense of ethical purpose, such as he has himself. The free world can't have that, but if he were not the man who thought it could, then he would never have given us his analysis and evocation of what an unfree world is actually like.
Most of my essays about literature, and a good proportion of the ones about television, are written in praise of something. It would be pharisaical thus to concoct an unwarranted reputation for easy charm. In fact there is a good deal of bitchery in the essays I have left out. The London literary world is a cockpit clouded with flying feathers. On the other hand it has a remarkable unity. The feuds are more personal than political. Sworn ideological enemies quite commonly join each other for lunch each week. The bitter divisions of New York intellectual life are difficult for the London literati to comprehend. Similarly the American onlooker would perhaps regard the typical London literary quarrel as a teacup-sized storm strangely without aftermath.
But these differences, though they are the most subtle and pervasive cultural differences of all, are essentially differences of tone. On the whole, with due allowance for disparate concerns, London and New York share the same literary culture. Perhaps I am bound to believe that, since lately I have been publishing essays with equal frequency on either side of the Atlantic. But I think I would believe it anyway. The language of considered judgement is spoken in both cities. Eugenio Montale, somewhere amongst his marvellously sane critical prose, defines poetry as a dream in the presence of reason. Once again I don't claim that these essays embody reason; but they all aspire to it, and could never have been written without the belief that it exists.
—Clive James, London 1980
Jacket Blurb
For the last fifteen years, the brilliant and irreverent Clive James has been one of England's most respected critics of literature, television, culture—his work best known to us through its appearance in the New York Review of Books. Here is his first collection to be published in the United States: an extensive selection of critical essays from the past decade, many of them on American subjects, that will confirm for the American reader the special pleasure of listening to his eclectic and singular critical voice.
Clive James is a propagandist of the first-rate and a gadfly of the pretentious and overpraised, his range of interest encompassing the highest bastions of culture and the lowest common denominators. He writes of important modern poets—Auden ("I can still remember those unlucky hands ... one of them had refurbished the language"), Berryman, Roethke, Lowell—and of giants like Solzhenitsyn and Lawrence. And he pays certain lesser literary figures no less attention: his piece on Lillian Hellman is entitled "It Is of a Windiness," and of Raymond Chandler he says: "He had an ear for depth—he could detect incipient permanence in what sounded superficially like ephemera." His view of both Norman Mailer and Marilyn Monroe ("Mailer's Marilyn") is wickedly brilliant; his slant on the Sherlockologists, demolishing. And then there are his TV reviews ( from the television column of the London Observer), written in the voice of the unabashed, yet skeptical, addict: "Tolstoy Makes Television History," "Anne and Mark Get Married," "Hi! I'm Liza," "Mission Unspeakable," while in an affectionately barbed essay called "Drained Crystals," James explains his love of Star Trek.
One of the most moving essays in the book, "The Metropolitan Critic," takes Edmund Wilson as its subject; and, indeed, James, in sensibility and spirit, is reminiscent of Wilson in his New Yorker days. James's rambunctious and provocative tone, his humor and clear intelligence, his capacity for profound appreciation, make First Reactions a book to be read and read again: for the ideas it imparts, and for pure pleasure.
Born in Australia in 1939, Clive James emigrated in 1962 to England, where he attended Cambridge. Aside from his critical work, James writes poetry (several volumes of which have been published in England) and song lyrics (most of which have been recorded). He has written for television, and since 1972 has been the television critic for the Observer. He divides his time between London and Cambridge.


When sensitive information is removed or obscured from a document before it is published, it is said to have been redacted. In writing, this is a form of editing.
In this exhibit, we hope to show your abstract work with some redaction. You are the creator and must decide how that occurs. Will you use text which you conceal? Will you have an area in your piece that has had some content removed? Will a sculpture obviously show us a missing part? Perhaps the way you portray this idea will be more subjective. Perhaps it will be very literal. Subtle or not, you decide! All media welcome.


To foster the open communication and collaboration required to develop new ERI funding opportunities, DARPA will host four ERI "What's Next" Technical Brainstorming Workshops from 8:30am – 12:30pm PT. These concurrent Program Manager (PM)-led workshops will explore applications for next generation hardware and specialized processing. The workshops will include a discussion on the current state of the art in targeted areas and allow for community-wide dialogue and brainstorming on future DARPA directions relevant to the next phase of ERI.
The ERI "What's Next" Technical Brainstorming Workshops are open to the public but require advanced registration from all interested attendees. For attendees interested in participating only in the workshops on July 23, a discounted one-day registration rate is available. The one-day pass permits access to the workshops as well as to other Monday ERI Summit events. Attendees already registered or planning to register to attend the full ERI Summit are not required to pay an additional registration fee to attend the workshops, but must still register to attend through the ERI Summit website.
As Moore's Law changes, the need grows to couple the design of AI software with the architecture of its target hardware. AI developers will need new hardware structures to support reconfigurable and updateable software architectures as well as adaptive AI software that can exploit dynamic hardware capabilities. DARPA program managers Dr. Hava Siegelmann and Dr. Y.K. Chen will bring together researchers developing next-generation AI software and those developing next-generation hardware. This workshop will explore cutting-edge research in both areas and end with a panel discussion to examine what this work means for future electronics.
The novel architectures and design improvements created by ERI offer an opportunity for military-unique specialization within the existing commercial microelectronics market. This workshop will explore how the U.S. can use these new specialization capabilities to strengthen the security of our digital society. DARPA program managers Dr. Kenneth Plaks, Dr. Linton Salmon, and Mr. Walter Weiss will lead a discussion on the potential for hardware specialization for security. DARPA and commercial researchers will describe current research in the area. A panel discussion will follow that explores gaps in the current hardware security portfolio with an eye toward emerging technology opportunities as well as ideas for potential DARPA programs.
System complexity has fractured the old DoD model of using human analysis for the bulk of verification, resulting in decades-long development times for complex DoD systems. Emerging system emulation methodologies used within the commercial sector show the potential for the development of an emulator that can reduce the design time for a large system by orders of magnitude. However, these methodologies require further innovation before they will be widely adopted. This workshop, led by DARPA program manager Mr. Andreas Olofsson, will provide a forum to discuss new approaches to total system emulation that will enable validation and rapid design of next-generation DoD systems. The session will consist of multiple presentations that highlight current system-level emulation approaches, challenges, and future requirements for commercial and DoD systems, followed by a general Q&A with Mr. Olofsson.
Integrated photonics technologies promise to enable both "More-Moore" scaling for microelectronic systems and "More-than-Moore" diverse functionality. In the first section of this workshop led by DARPA program manager Dr. Gordon Keeler, DARPA seeks to address the challenges, opportunities, and impact of deeper integration of photonic interconnects within advanced microelectronic computing components such as FPGAs, CPUs, GPUs, and ASICs. Discussions will center on an ultimate goal of enabling large performance gains for future systems by nurturing an accessible ecosystem for photonics and microelectronics co-design, volume fabrication, and packaging, while driving technology innovation for next-generation needs. The second section of the workshop will focus on the potential impact of photonics for sensors, RF signaling, and atomic/quantum systems.


Our film department allows the monsters to have creative control over the stories they want to produce. We think it is really important for youth of color to be able to narrate their own stories while keeping creative control of their visuals. Representation matters.
Heres their first short film that we were able to help them produce along with the help of their mentors.
© COPYRIGHT 2013 ALL RIGHTS RESERVED BY EDUCATED LITTLE MONSTERS.


Woman sitting at table with laptop, coffee, and a sign saying "Dream;" image by Rawpixel, via Unsplash.com.
One of the most powerful ways for us to take control of our lives is to start a business, a large task with potentially great rewards. At first, it has to be something we will work on the side, along with our current methods of acquiring income. We all know that certain someone who told you they had an amazing business idea, yet they did not act on it. Most of the time, the excuse is financial in nature. "If I just had the money to start my business with" is usually the way it goes. If those people are still in your network circle, do not allow them to demotivate you from making your move. And, if the person holding you back is actually you, do not worry. Starting a business has never been simpler, or less expensive. Yes, it will require a lot of work, knowledge, discipline, and consistency, and will not happen overnight. Let's go over some guidelines on how to get things going with minimal investment and maximum effort.
Everyone has an idea or two that they could build a business around. So, how do we come up with one? Sometimes, they come to us on their own, scattered thinly during our lifetimes. They tend to stick in the back of our mind, constantly prompting the questions "what if?" and "could I?". But most of the time, we have to think really hard about it. It is somewhere in between what we are passionate, knowledgeable, and experienced about. Mind that passion, it may not be enough to form a successful business around, and there is a good reason why. Your particular passion may not be the thing people are that interested in. Or maybe, the market is already heavily saturated in that area of industry. But, if you can mix your passion with something people can actually use and procure from you, you are golden. Something like that is surely a perfect combination.
Hand with lightbulb floating above the palm against a dark background; image by Rohan Makhecha, via Unsplash.com.
Like all things in this endeavor, finding interested and paying customers will take time and effort. For starters, try reaching out to friends and family. They are the ones who trust you the most and will be willing to help the best they can. Remember, you are not trying to sell anything yet, you just want to find potential customer feedback before committing. Search online for anything related to your idea. There are surely some people talking about your desired field. That is, unless, you are creating something absolutely unique that has never been done before. If that is the case, mind that it is never advisable to have something like that for your first business. Good, old competition is a good thing for your customers and for you, also. The reason is that the market is already present for your product or service. There are already plenty of people who have been purchasing it. It is your responsibility to put a personal touch, a twist, on it; some kind of added value over the competition. It could be a more affordable product or improved customer service, something to distinguish you from the competition.
You do not initially need funding for your first business. Or any business, if you build a prototype or a simple version of your product or service to showcase. Only when you have a confirmed necessary number of customers should you consider doing mass production. And, we will see how to do that in a moment. In order to come through with your idea, in today's economy, a loan is a must at some point. And, that is where your incredible prototype comes into play. The more your business looks promising, the better personal loan quotes you will get. Use consistent emailing lists combined with the ability to offer added value. Providing a consistent content flow of this information will build trust and strong relationships with the recipients. In return, listen to your customers and take feedback from your critics. Be open to making changes to improve upon your idea. This is especially important to do before you go into mass production. Perfect upon your idea before seriously committing and taking important steps, like loans for example. Start now, improve and expand as you go.
It should go without saying, but if you do not care about the business, your customers certainly will not. This applies to all aspects of doing business. From innovation, manufacturing, and feedback, to customer support and relations, all of it needs to have a human face. It will require constant investment, not only in a financial sense, but effort, learning, and determination. Also, invest in yourself as you are an integral part of your business and idea. Expand your knowledge and horizons for future endeavors. Maybe you would like to eventually expand the portfolio or go to the international market with your idea. Start gathering all the necessary information on how to make those situations happen, now. When our business is in its infancy, it is up to us to make everything happen. So, do all you can to make your associates, customers, and yourself happy, and your business healthy.
Depending on the type of industry that we have chosen for ourselves, different challenges will be set before us. All businesses will struggle at some point in their lifetimes. And, if we are starting from zero, we have our work cut out for us. It will take time, effort, dedication, and discipline, but it is absolutely possible to make it happen. In today's world of information, we have an unprecedented number of opportunities to make anything happen. The knowledge we need is always but a click away. It all comes down to the common denominator of how much work we are willing to put into it. Building a successful business with investors is hard enough. With these guidelines, it has never been easier to build something of your own from the ground-up.


text:
Design-Awards
American Standard and DXV Earn Prestigious Awards for Consumer-Centric Design Innovations
PISCATAWAY, N.J. (March 13, 2019) - American Standard and DXV brands, both part of LIXIL Americas, maker of pioneering water and housing products, have been recognized with two highly-respected design honors.
The Beale MeasureFill Touch kitchen faucet from American Standard has won a 2019 iF DESIGN AWARD, one of the most important design awards in the world and a globally recognized trademark when it comes to excellence in design. At the 2019 Kitchen & Bath Industry Show (KBIS), the latest 3D printed faucet from DXV received the top prize, "Best of Show" in the Best of KBIS awards.
"We are proud to receive these significant industry acknowledgments for the design and performance of our groundbreaking products," said Katty Pien, chief marketing officer of LIXIL Americas. "Design has always been ingrained in our DNA, and these award wins serve as a testament to our teams of fearless designers who have a deep passion for leading meaningful innovation to deliver an amazing consumer experience."
Beale MeasureFill Touch Designed to Streamline Cooking and Baking Tasks
A winner in the 2019 iF DESIGN AWARD Kitchen category, the Beale MeasureFill Touch kitchen faucet delivers an adjustable set volume of water on demand, ranging from a half cup up to five cups. Whether a busy home cook needs a quick, one cup measure of water for morning oatmeal or wants to fill a cooking pot to boil pasta, the Beale MeasureFill Touch faucet delivers the precise measurement faster than using conventional measuring cups. Also, the easy touch on/off feature is ideal for full or dirty hands – so a touch of the wrist or back of the hand is all it takes to operate this faucet.
"Our designers are constantly interacting with consumers to ensure their perspective is a core aspect of the product development process. The Beale MeasureFill Touch kitchen faucet is a perfect example of a design based on what consumers told us they truly want," added Pien.
Each year, the world's oldest independent design organization, Hannover-based iF International Forum Design GmbH, organizes the iF DESIGN AWARD. More than 6,400 entries were submitted from 50 countries in hopes of receiving this prestigious seal of quality.
The Beale MeasureFill Touch kitchen faucet from American Standard has also been recognized with a 2018 GOOD DESIGN Award, a 2018 Red Dot Award, and a 2018 Record Products Award from Architectural Record magazine.
The 3D Printed Faucet Designed for Fearless Self Expression
The winner of the coveted Best of KBIS "Best of Show" Award, the newest 3D printed faucet from DXV —the first manufacturer to deliver 3D printed faucets to the market— represents the next evolution of additive manufacturing. This new faucet gives designers and consumers the ability for daring and brilliant self-expression by generating shapes in the water flow that cannot be produced in the typical manufacturing process.
The faucet and its associated lavatory are designed to surprise and delight the consumer with a unique water experience. The faucet senses the user's presence and automatically turns on as the hands approach. The flow of water is delivered in the dramatic shape of a vortex, creating a mesmerizing effect.
"Our incredible designers are catalysts for creating the DXV brand portfolio of truly unique offerings for the consumer who wants to passionately push the boundaries of self-expression in design," added Pien.
The Best of KBIS Awards is a respected annual program that recognizes the most innovative new products introduced at KBIS each year. In 2016, DXV previously won a Gold Award in this competition for the Vibrato faucet, part of the brand's first collection to explore the possibilities of 3D printing.
To learn more, visit americanstandard.com or dxv.com.
Nora DePalma, Dialogue
For LIXIL Americas - American Standard, DXV, GROHE
nora@dialogue.marketing
ABOUT AMERICAN STANDARD
American Standard makes life healthier, safer and more beautiful at home, at work and in our
communities. For more than 140 years, the brand has innovated and created products that
improve daily living in and around the bathroom and kitchen for residential and commercial
customers. It has been recognized with 83 product innovation and design awards in the past
five years. American Standard is part of LIXIL, a global leader in housing and building materials products and services. Learn more at americanstandard.com, or follow us at
facebook.com/AmericanStandardPlumbing, twitter.com/AmStandard,
youtube.com/AmericanStandard01, Pinterest.com/amstandard,
Instagram.com/american_standard.
ABOUT DXV
DXV is a portfolio of luxury bath and kitchen products that reimagines the most influential design movements during the past 150 years: Classic (1890-1920), Golden Era (1920-1950), Modern (1950-1990), and Contemporary (1990-Present). The brand has been recognized with 23 product innovation and design awards in the past four years. DXV is part of LIXIL, a global leader in housing and building materials products and services. Learn more at www.dxv.com, or follow us at facebook.com/dxv, twitter.com/DXV, youtube.com/DXVLuxury, pinterest.com/dxv, instagram.com/dxvluxury.
ABOUT LIXIL
LIXIL makes pioneering water and housing products that solve everyday, real-life challenges, making better homes a reality for everyone, everywhere. Drawing on our Japanese heritage, we create world-leading technology and innovate to make high quality products that transform homes. But the LIXIL difference is how we do this; design, an entrepreneurial spirit, a dedication to improving accessibility for all, business growth. Our approach comes to life through industry leading brands, including LIXIL, GROHE, American Standard, INAX, and TOSTEM, as well as specialty brands such as DXV. Over 70,000 colleagues operating in 150 proud to make products that touch the lives of more than a billion people every day.
LIXIL of the LIXIL Group Corporation (TSE Code: 5938), the listed holding company for LIXIL's portfolio of businesses.
Learn more at www.lixil.com, facebook.com/lixilgroup and www.linkedin.com/company/lixil-group.
For 66 years, the iF DESIGN AWARD has been recognized as an arbiter of quality for exceptional design. The iF label is renowned worldwide for outstanding design services, and the iF DESIGN AWARD is one of the most important design prizes in the world. Submissions are awarded in the following disciplines: Product, Packaging, Communication and Service Design/UX, Architecture and Interior Architecture as well as Professional Concept. All awarded entries are featured on the iF WORLD DESIGN GUIDE, in the iF design app and are displayed at the iF design exhibition Hamburg.
ABOUT KBIS
KBIS, in conjunction with the National Kitchen & Bath Association (NKBA), is an inspiring, interactive platform that showcases the latest industry products, trends and technologies. KBIS is the voice of the kitchen and bath industry and has been for 50+ years.
Early in 2013, the National Kitchen & Bath Association (NKBA) and National Association of Home Builders (NAHB) announced an agreement to co-locate the Kitchen & Bath Industry Show (KBIS) with the International Builders' Show (IBS) in Las Vegas, Nev. in February 2014 under the banner of Design and Construction Week® and both organizations recently extended the agreement through 2026. The mega-event returns to Las Vegas Feb. 19 – 21, 2019. NKBA and NAHB will continue to produce separate educational programming and special events though one pass provides access to both shows.
KBIS is operated by Emerald Expositions, the largest operator of business-to-business trade shows in the United States, with most of our shows dating back several decades. We currently operate more than 50 trade shows, including 31 of the top 250 trade shows in the country as ranked by TSNN, as well as numerous other events. Our events connect over 500,000 global attendees and exhibitors and occupy more than 6.5 million NSF of exhibition space. We have been recognized with many awards and accolades that reflect our industry leadership as well as the importance of our shows to the exhibitors and attendees we serve. More information about KBIS can be found at www.kbis.com.
Beale®, DXV®, MeasureFill® and Vibrato® are registered trademarks of AS America, Inc.


Vein graphite is known under various names including crystalline vein, Plumbago, Sri Lankan graphite, and Ceylon graphite. The name "Sri Lankan" and "Ceylon" are commonly used for vein graphite since the island nation of Sri Lanka (formally Ceylon) is the only area to produce this material in commercial quantities. Serious mining and exportation of Ceylon graphite began about 1824, however the unusual deposits of Ceylon have been known, and apparently used locally, since the middle of the1600s.
Of all the natural graphite materials vein graphite is probably the most difficult to describe geologically and various theories of its origin have been presented. As the name suggests, vein graphite is a true vein mineral as opposed to a seam mineral (amorphous graphite) or a mineral that is disseminated throughout the ore rock (as in flake graphite). Seam minerals have some unique properties including their being non-contemporaneous with the country rock, steeply inclined (vein orientation), and subjected to filling by a host of minerals, especially those of hydrothermal origin.
Vein graphite is not restricted to Sri Lanka. Many localities are known including the famous Borrowdale, Cumberland, Great Britain location where the first "pencils" were carved from solid graphite veins. Dillon Montana USA is another location where relatively thick vein fillings of graphite have been found. The author has even observed pegmatitic vein-like fracture fillings in northwestern New Jersey, USA. However, all currently available commercial vein graphite is mined in Sri Lanka.
The first photograph below is a specimen of vein graphite from the Borrowdale, Great Britain deposit. The second photograph below is a vein graphite specimen from Sri Lanka.
Crystalline vein graphite is unique, as it is believed to be naturally occurring pyrolytic (deposited from a fluid phase) graphite. Vein graphite gets its name from the fact that it is found in veins and fissures in the enclosing "ore" rock. This variety of graphite is formed from the direct deposition of solid, graphitic carbon from subterranean, high temperature fluids known as pegmatitic fluids. Pegmatites form regionally or locally when a mass of magma cools, or when some other source of "geologic energy" results in melting of the country rock. The fluids emanating from such sources are hot, under high pressure, and are erosive and may actually be in a state known as "supercritical", which is a meta-stable fluid state that is not a liquid and not a gas. Pegmatites represent substances that distill out of heated rock due their low solubility in the local system. If such fluids invade a previously existing flake graphite deposit or other carbonaceous bearing rock the solid carbon present may become incorporated into the fluid as carbon dioxide, methane, carbon monoxide, or other carbonaceous fluid phase. Carbon containing gases can also form from the reaction of carbonate mineral species with magma or other energy source. If limestone, marble, or other carbonate rich mineral species is involved large volumes of carbonaceous gases can potentially form from the release of "carbon dioxide of crystallization".
Regardless of the mode of gas/fluid generation, carbon is mobilized, and transported through fractured country rock to a location more or less remote from the location where the carbonaceous fluid was formed. Where equilibrium conditions are right, solid graphitic carbon "precipitates" directly from the fluid phase resulting in the beautiful masses of graphite vein fillings known as vein graphite.
This type of graphite typically shows needle-like macro morphology and flake like micromorphology. Close examination of fracture fillings show the presence of tightly packed, needle or acicular crystals aligned perpendicular to vein walls. Needle-like texture is clearly visible to the naked eye, but vein fillings are anhedral, yielding no well formed single crystals. The accompanying photograph shows a large, 6 X 6 X 10 inch piece of vein graphite from Sri Lanka. Note the somewhat "top-to-bottom", elongated, preferred orientation of the piece. When emplaced in country rock this specimen was rotated 90o from its current position, the top and bottom of the specimen were perpendicular to the fissure walls. A close up of this same specimen shows the acicular structure of adjacent vein graphite crystals. This type of perpendicular "crystal-to-wall" orientation is typical of pyrolytic-type carbon deposition.
Particles imaged in the top SEM show the elongated, needle-shaped morphology characteristic of vein graphite at this scale. Moving to the bottom SEM it can clearly be seen that the individual needle shaped particles are made up of graphite having intrinsic flake morphology. This observation is especially apparent in the micrograph to the far right.
When viewed using polarized light microscopy, the oriented, needle shaped crystals that make up the mass of the vein are apparent as shown in the accompanying photomicrograph (field width approximately 300 micrometers).
Due to the natural fluid-to-solid deposition process, vein graphite deposits are typically above 90 percent pure with some vein graphite reaching 99.5% graphitic carbon in the "as found" state. This level of purity is possible because the deposition of carbon occurs as a precipitation of solid carbon from a geologic fluid that is traversing emplaced rock. There is no intimate mixing or association of the graphite with country rock as in conventional flake graphite deposits were the non-carbon and carbon phases may be deposited contemporaneously.
Typical veins measure from centimeters to nearly two meters in thickness with the highest purity material being located toward the center of the vein away from contact with the wall rock. Vein graphite is mined using conventional shaft or surface methods typically used to mine vein-type deposits.
Vein graphite is available in sizes ranging from 8-cm. lumps to powder as fine as 5-micrometers. Products covering the range of purity from 94% graphitic carbon to 99% graphitic carbon are commonly available. In many applications vein graphite may offer superior performance since it has slightly higher thermal and electrical conductivity, which result from its high degree of crystalline perfection. Vein graphite also has the highest degree of cohesive integrity of all natural graphite materials. High cohesive "energy" means that vein graphite is easy to mold and can be formed into solid shapes without the aid of a binder addition.


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redpajama_set_name: RedPajamaGithub