Musings on Cosmology of Light and Quantum Computation at the Mallorca La Seu Cathedral
Last week, I visited La Seu (the Cathedral in Palma de Mallorca). I began to feel a resonance on entering, and the space around my heart progressively transformed. That space began to fill with a deeper peace, and I sat down to cherish the moment.
The cathedral is adorned with beautiful stained glass, and I knew the dynamic play of light activating these living jewels had shifted my state of being. It occurred to me that I had witnessed a practical instance of something that has almost singularly occupied my life for the last decade—Cosmology of Light and its applications. The stained glass acts as a “function” to arbitrate specific characteristics of the vast potentiality implicit in light into practical experience.
But let me step back.
The Cosmology of Light is a mathematical treatise on light's power and fundamental place in the cosmos that I have been articulating over many books (a 6-book series on Cosmology of Light, a 4-book series on Applications in Cosmology of Light, and an ongoing Artistic Interpretation of Cosmology of Light series). This journey began with a simple question: Why does light travel at the constant speed of 186,000 miles per second in a vacuum? In the books, I explore this by beginning to imagine light existing at different constant speeds and speculating on the realities these must, in turn, create. These realities are summarized as mathematical spaces and strung together as a single Light equation:
The first line expresses a fourfold mathematical space where light is imagined to travel infinitely fast. The second line summarizes the first act of quantization, mechanically brought about by light slowing down to another constant speed, in which the four deeper properties differentiate into large sets related to those properties, as captured by the third line. The fourth line expresses a second act of quantization, bringing further differentiation to create an infinite number of individual seeds or “functions” that now exist subtly in some pre-material mathematical space, as expressed by the fifth line. The sixth and seventh lines represent quantization and the bringing of subtle seeds into material existence, respectively.
Think of each stained glass as representing a unique seed. Each seed has a unique combination of functions (fifth line) derived from the four large sets (third line). These seeds express more materially what remains invisible in the vast potential represented by light traveling infinitely fast (first line). Here, hence, is a sample depiction of a single seed:
However, it could also be that several different seeds (stained glass) act as a single function or meta-seed. The material experience, in my case — the widening of the heart — is a unique dialog between Light and me that occurred in that time and space for a particular reason (seventh line). Others may have other living dialogs and, therefore, other experiences. In other words, something is computed into existence in real time based on the feedback system implicit in the Light equation.
Further, since the vast potentiality implicit in the first line precipitates as a symmetrical infinite potentiality in the third line and again as yet another symmetrical infinite potentiality in the fifth one, only to become a precise material experience due to individual “observation” in the seventh line, is this not an act of ‘superposition’ and the ‘collapsing of the wave-function’ due to such observation? Is not the repeated act of quantization that connects subtle mathematical space to more material mathematical space also an instance of ‘quantum computation’? And is not the fact that separated by a vast distance in space and time yet I am identified with the stained glass at La Sue as I write this now an act of ‘entanglement’? And then, would not the parsing of things that are vast, immaterial, and invisible into the precise, material, and visible as suggested by the Light equation, qualify it to embody a ‘quantum cosmology,’ and would not La Sue and every other place where light is filtered and arbitrated in such a manner — from the macro to the micro to the nano to the pico to the invisible — become then a quantum cosmological computer? But then, what is the object of computation? And if it were conceivable that it could arbitrate in the language of “function,” does this not mean that there is a whole genre of other kinds of computational devices, particularly other quantum computational devices, that can be developed? And could not such agglomerations of stained glass-based function become a model also of alternative quantum computing gates structures?
But these musings must be taken up in some other time and space…
