Pauli’s Cosmic Dream

above: Wolfgang Pauli, ca. 1924. Wikipedia CC BY 4.0

Renowned psychiatrist Carl Jung had an intellectual friend in Wolfgang Pauli, a leading theoretical scientist in the development of quantum mechanics who had offered (with others) a third perspective to the deterministic physics of Newton and relativistic physics of Einstein. For example, Pauli’s Exclusion Principle explained how sub atomic particles of the same type could be connected to each other (entangled) on the level of the very small.

Dream analysis with Carl Jung opened Pauli up to the inner worlds of alchemy, archetypes, and dreams. Pauli recounted his dreams to Jung who would analyze their symbolism. One dream is of special interest here since it concerned a cosmic clock with two discs with a common center: one vertical and the other horizontal. The vertical disc was blue with a silver lining upon which were 32 divisions and the hand of a clock pointing to a division. The horizontal disc was divided into four differently colored quadrants, surrounded by a golden ring.

above: A visualization of Pauli’s report of his dream of the Cosmic Clock. The black bird would traditionally be a member of the Corvus or Crow family. In the original one sees 32 rings punctuating the outer ring. below: Jane Roberts colored it, noting it resembled Ezekiel’s vision. 

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Cologne Cathedral Facade as Double Square

image: The Gothic cathedral of Cologne by night, by Robert Breuer CC-SA 3.0

On the matter of facades of Gothic cathedrals, I hark back to previous work (February 2018) on Cologne cathedral. This was published in a past website that was destroyed by its RAID backup system!

As we have seen with Chartres, some excellent lithographs with scales can often exist online from which one can interpret their sacred geometrical form and even the possible measures used to build that form. The Gothic norm for a facade seem more closely followed at Cologne facade which has two towers of (nearly) equal height.

We saw at Chartres that an underlying geometry using multiple squares may have been used to define a facade and bend it towards a suitable presentation of astronomical time, in a hidden world view that God’s heaven for the Earth is actually to be found in the sky as a pattern of time. This knowledge emerged with the megaliths and, in the medieval, it appeared again in monumental religious buildings built by masons who had inherited a passed-down but secret tradition.

A Prologue to Cathedral Music

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