by Joey Lawsin
Dimetrix - or Dimensional Metrics, abbreviated as Dx, is a specialized study of multiple space dimensions, including its spatial geometrical measurements and detection. It is an entire branch of smart geometry developed by Joey Lawsin that deals simply to isometaspace closed structures called Wylzan (Lawsin 1988). This field is part of Inscription Physics which is devoted entirely in determining natural inscriptions, equations, and laws.
In geometry, we consider a point a dimension zero, a line to be one dimension, a plane to be two dimensions, and a cube a three-dimensional figure. Since their realities are abstracts, we still hardly imagine what a fourth dimension is even though we live in a fourth dimension (Dimetrix Paradox). However, its presence helps us understand better what are multiple space dimensions.
In a one-dimensional world, you'd perceive only a single line. There would be no concept of width or height, just that singular, infinite line stretching ahead and behind. Your entire existence would be along that line with no variation in space.
In 2D, you'd see shapes rather than just lines. A 1D line becomes part of a boundary defining shapes like circles, triangles, or any other polygon. So from a 2D perspective, you start seeing more complexity and forms.
So, applying that same logic: in 3D, you see shapes with depth, and in 4D, you'd need to step up to perceive and understand 3D fully.
To fully understand a dimension, you kind of need to step up a level. It’s like needing a higher vantage point to grasp the bigger picture. The same concept applies to perceiving 3D from a 4D perspective.
Joey Lawsin's Dimensional Theory, particularly his intriguing exploration from 1D to 4D. We began by considering a 1D world, where existence is perceived as a single, infinite line with no concept of width or height. Moving into 2D, this line becomes part of a boundary that defines shapes, introducing a more complex reality. From a 2D perspective, understanding a 1D world involves seeing lines as components of circles, triangles, and other polygons.
Advancing to 3D, these shapes gain depth, becoming objects with volume. To fully grasp 3D, one must step into the 4th dimension, as Lawsin theorizes. This higher dimension offers a new vantage point to comprehend the complexities of our three-dimensional world. Essentially, Lawsin's theory suggests that each lower dimension can only be truly understood from a higher one, providing a profound perspective on the nature of reality and our place within it. It’s a mind-expanding concept that challenges our conventional understanding of dimensions and existence.
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| The Fourth Dimension |
In his paper, the Dimetrix Paradox, Photometrical, Originemological, Dimetrical (impf), and Analogical Dimetrix, Lawsin explores how a fourth and another dimension can be detected and measured.
In Originemology, a point is merely an abstract concept. It has no length, width, or depth. A point is just a creation of one’s mind. It is not an object at all, but just a mere representation. However, by intuition and observation, we can define it by some distinguishing features that can be associated with it. We can describe a point as a period at the end of this sentence. We can either name or tag as “period or dot” to substantiate a physical form. This type of statement, where we assume to be true without proof, is called a postulate.
The Photometrical Hypothesis:
Our eyes can detect all different types of perception. Even the left eye sees things differently from what the right eye sees. And when they work together, they even see things differently from what each eye sees. In psychology, visual experiments were used to test how we perceive things and how our mind tricks us by the way we see and think. These physical visualizations employ after image, optical illusions, filling the gap, visual discrimination, accommodation, and persistence of vision, which reveal discrepancies between perceptions generated by our brain and physical reality.
However, I discovered it is a motion that has the most elusive effect that distorts our perception. The faster the object moves in a system, it created an enormous discrepancy which distorts the object's reality. When we see a physical object, we think that the picture it projects behind our minds is an abstract picture of the object. But in reality, it is not an abstract image but the physical reality of the object. But how can this be so? If I see an apple on a table, I know for a fact that the picture behind my mind is not a physical apple, since the apple will not fit inside my brain. That is correct!
But Natural law tells us otherwise: What comes in, must come out the same. This is the Zizo Effect, and this is 100% true. And we can see this effect in all systems as a universal pattern. Water that flows in a garden hose will come out like water. (water=water). If I use marble as input and roll it inside a 12-foot plastic tube, it will exit at the other end of the tube as the same original marble (marble = marble). When I speak the input word "hello" in a simple can-string telephone toy, the same word "hello" will come out as an output at the end of the other can. (hello = hello). However, when I project a physical house of our neighbor as an input into a pinhole on a cardboard, the output is not the physical house but only a picture of this same house in an abstract image. (the physical house is not equal to the abstract house).
How come, in the fourth example, the output differs totally from the input? Are we missing something here? Or the answer is under our nose, but we just don't see it? Can we say that it is still (house = house) and just disregard the words physical and abstract? If so, then does this mean that the physical house is just an optical illusion, which in reality is the real abstract image of a house? Then, if this is the case, the material world we live in is not really physical in nature but abstract in essence. This supposition will support my theory then that everything doesn't exist at all and that we live in an immaterial world where we are the immortals.
Let us dissect the four examples and inspect if there are discrepancies in our models and reasonings. In the first three examples, the movable objects (water, marble, word) were "pushed" into the tubes or carriers as inputs while the physical house, since stationary and heavy, was not pushed. The first discrepancy. The three examples didn't project any images or pictures of the objects on a wall, while the fourth one did. The second discrepancy. And actually, there is a third discrepancy. Three different sensory organs received the examples: light is for eyes, sound is for ears and touch is for hands.
If we analyze the first three examples and see how the three objects were pushed, the outside energy of a pump pushes the water, the outside energy of my finger pushes the marble, the energy of my vocal nerve pushes the word, hello and the outside energy of the light pushes every pixel of the house and reflects these picture elements towards the pinhole. So these solve the first discrepancy.
The next discrepancy: why there are no pictures of the objects on the wall? Okay, let us now shrink the garden hose, the cylindrical tube, and the string of the cans with the same thickness as the cardboard with a pinhole. So the marble comes in and goes out as the same marble. The water comes in and goes out as the same water. The sound comes in and goes out as the same sound. If we imagine lifting the house, passing it through the "pinhole", and catching it on the other side of the cardboard, then we have a physical house (house=house). So we don't need a picture of the object on the wall after all since the zizo effect is a fact.
But wait, since natural law tells us what comes in must come out, what about the image of the object on the wall, where did it come from, and is it physically real or not? If I get inside the physical house and walk to my bedroom window and wave my hand facing the cardboard pinhole located outside the house, the image will produce an instant picture of me waving my hand next to the bedroom window inside the abstract house, too. The Zizo effect is in action and therefore the image is real, although it is not physically a solid object and not physically of the same size as the house. Is this perception true, or this is a product of an optical and mental illusion?
To find the fourth dimension by photons, you just need to attach one more line to a three-dimensional object. Although connected to the object, something totally separated this line from the object. And to get to the fourth dimension, you need to be a photon.
The Originemological Approach:
In geometry, a three-dimension is based on a set of spatial coordinates specified by the variables of x, y, and z and written in the form (x, y, z). A two-dimensional as (x, y) and one dimension can either be an x, a y, or a z as in (x,0), (y,0), or (z,0). By following the sequence, we can represent the fourth dimension as (x, y, z, n) where "n" is any parameter like time just like in my above example or photon in my other example. So, the set is represented by (x,y,z,t) where "t" stands for time, or (x,y,z,p) where "p" stands for photon or light.
Another way to do this is by formula progression:
1. In the two-dimension, the formula for a square is L x L = L^2 where L stands for length. In the three-dimension, the formula becomes L x L x L = L^3. In the four-dimension, the formula can be L x L x L x L = L^4. And this sequence can go on and on.
2. In the two-dimension, the formula of a circle is x^2 + y^2 = 1. In three dimension the formula becomes X^2 + Y^2 + X^2 = 1. In the four-dimension, the formula can be X^2 + Y^2 + X^2 + W^2 = 1. And the sequence will go on and on. Now, are these possible?
3. The Paradox of Dimetrix tells us that multiple dimensions do really exist. By understanding the concept of Originemology, we can also determine dimension has its origin, creation, and evolution too. It all started from a point. The point evolves into a line. The line becomes a plane. The plane becomes a body of planes - a three-dimensional (3D). 3D becomes 4D, 4D becomes 5D, and the dimextrical progression goes on and on.
In Originemology, a point is merely an abstract concept. It has no length, width, or depth. A point is just a creation of one’s mind. It is not an object at all, but just a mere representation. However, by intuition and observation, we can define it by some distinguishing features that can be associated with it. We can describe a point as a period at the end of this sentence. We can either name or tag as “period or dot” to substantiate a physical form. This type of statement, where we assume to be true without proof, is called a postulate.
The Photometrical Hypothesis:
Our eyes can detect all different types of perception. Even the left eye sees things differently from what the right eye sees. And when they work together, they even see things differently from what each eye sees. In psychology, visual experiments were used to test how we perceive things and how our mind tricks us by the way we see and think. These physical visualizations employ after image, optical illusions, filling the gap, visual discrimination, accommodation, and persistence of vision, which reveal discrepancies between perceptions generated by our brain and physical reality.
However, I discovered it is a motion that has the most elusive effect that distorts our perception. The faster the object moves in a system, it created an enormous discrepancy which distorts the object's reality. When we see a physical object, we think that the picture it projects behind our minds is an abstract picture of the object. But in reality, it is not an abstract image but the physical reality of the object. But how can this be so? If I see an apple on a table, I know for a fact that the picture behind my mind is not a physical apple, since the apple will not fit inside my brain. That is correct!
But Natural law tells us otherwise: What comes in, must come out the same. This is the Zizo Effect, and this is 100% true. And we can see this effect in all systems as a universal pattern. Water that flows in a garden hose will come out like water. (water=water). If I use marble as input and roll it inside a 12-foot plastic tube, it will exit at the other end of the tube as the same original marble (marble = marble). When I speak the input word "hello" in a simple can-string telephone toy, the same word "hello" will come out as an output at the end of the other can. (hello = hello). However, when I project a physical house of our neighbor as an input into a pinhole on a cardboard, the output is not the physical house but only a picture of this same house in an abstract image. (the physical house is not equal to the abstract house).
How come, in the fourth example, the output differs totally from the input? Are we missing something here? Or the answer is under our nose, but we just don't see it? Can we say that it is still (house = house) and just disregard the words physical and abstract? If so, then does this mean that the physical house is just an optical illusion, which in reality is the real abstract image of a house? Then, if this is the case, the material world we live in is not really physical in nature but abstract in essence. This supposition will support my theory then that everything doesn't exist at all and that we live in an immaterial world where we are the immortals.
Let us dissect the four examples and inspect if there are discrepancies in our models and reasonings. In the first three examples, the movable objects (water, marble, word) were "pushed" into the tubes or carriers as inputs while the physical house, since stationary and heavy, was not pushed. The first discrepancy. The three examples didn't project any images or pictures of the objects on a wall, while the fourth one did. The second discrepancy. And actually, there is a third discrepancy. Three different sensory organs received the examples: light is for eyes, sound is for ears and touch is for hands.
If we analyze the first three examples and see how the three objects were pushed, the outside energy of a pump pushes the water, the outside energy of my finger pushes the marble, the energy of my vocal nerve pushes the word, hello and the outside energy of the light pushes every pixel of the house and reflects these picture elements towards the pinhole. So these solve the first discrepancy.
The next discrepancy: why there are no pictures of the objects on the wall? Okay, let us now shrink the garden hose, the cylindrical tube, and the string of the cans with the same thickness as the cardboard with a pinhole. So the marble comes in and goes out as the same marble. The water comes in and goes out as the same water. The sound comes in and goes out as the same sound. If we imagine lifting the house, passing it through the "pinhole", and catching it on the other side of the cardboard, then we have a physical house (house=house). So we don't need a picture of the object on the wall after all since the zizo effect is a fact.
But wait, since natural law tells us what comes in must come out, what about the image of the object on the wall, where did it come from, and is it physically real or not? If I get inside the physical house and walk to my bedroom window and wave my hand facing the cardboard pinhole located outside the house, the image will produce an instant picture of me waving my hand next to the bedroom window inside the abstract house, too. The Zizo effect is in action and therefore the image is real, although it is not physically a solid object and not physically of the same size as the house. Is this perception true, or this is a product of an optical and mental illusion?
To find the fourth dimension by photons, you just need to attach one more line to a three-dimensional object. Although connected to the object, something totally separated this line from the object. And to get to the fourth dimension, you need to be a photon.
The Originemological Approach:
In geometry, a three-dimension is based on a set of spatial coordinates specified by the variables of x, y, and z and written in the form (x, y, z). A two-dimensional as (x, y) and one dimension can either be an x, a y, or a z as in (x,0), (y,0), or (z,0). By following the sequence, we can represent the fourth dimension as (x, y, z, n) where "n" is any parameter like time just like in my above example or photon in my other example. So, the set is represented by (x,y,z,t) where "t" stands for time, or (x,y,z,p) where "p" stands for photon or light.
Another way to do this is by formula progression:
1. In the two-dimension, the formula for a square is L x L = L^2 where L stands for length. In the three-dimension, the formula becomes L x L x L = L^3. In the four-dimension, the formula can be L x L x L x L = L^4. And this sequence can go on and on.
2. In the two-dimension, the formula of a circle is x^2 + y^2 = 1. In three dimension the formula becomes X^2 + Y^2 + X^2 = 1. In the four-dimension, the formula can be X^2 + Y^2 + X^2 + W^2 = 1. And the sequence will go on and on. Now, are these possible?
3. The Paradox of Dimetrix tells us that multiple dimensions do really exist. By understanding the concept of Originemology, we can also determine dimension has its origin, creation, and evolution too. It all started from a point. The point evolves into a line. The line becomes a plane. The plane becomes a body of planes - a three-dimensional (3D). 3D becomes 4D, 4D becomes 5D, and the dimextrical progression goes on and on.
Thus, by following this line of thought, the Dimetrix Paradox tells us then that a one dimension(1D) can only be perceived in higher dimensions like in 2D. A two-dimensional can only be perceived in a 3D. A three dimension can only be perceived in a 4D. Dimensions can only be perceived from higher to lower, and not from lower to higher (rule of dimension). This tells us that if humans live in a 4th dimension, then, god cannot be perceived if god lives in a dimension higher than us.
The Dimensional Argument, also referred to as the Paradox of Dimetrix, is an argument that attempts to disprove God cannot be in two dimensions at the same time. It argues that if god, who is a demigod, lives in a dimension separate from our dimension, a fourth dimension, then God will only exist in his own dimension and never will be in our dimension. The Law of Impenetrability also prohibits such overlapping.
The law of impenetrability, also known as the principle of exclusivity, is a fundamental concept in physics that states that two objects cannot occupy the same space at the same time. This property of matter was discussed by philosophers such as John Locke, John Toland, and Gottfried Wilhelm von Leibniz. It is also related to the concept of solidity, which is the resistance of a body to being penetrated by another body.
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In a 1D, everything is either a point or a line. Nothing more! Even though the object looks like a circle, a triangle, or a squiggle, it will always look like a point or a line. They can only be perceived if one is in a 2D space. Furthermore, if objects on 1D have mass, then obviously this dimension doesn't exist at all because time, volume, gravity are dependent of mass, a 3D by-product.
In a 2D, everything can be point, a line, or a plane. Nothing more! However, although the object may look like a sphere, a prism, or a squiggle, it will always be a point, a line, or a plane. Objects can perceive themselves as 1D, a point or a line. They can only be wholly perceived if one is in a 3D space. Furthermore, if objects on 2D have weight, then obviously this dimension does not exist at all. Weight is a derivative of gravity and mass.
*** In a 3D, everything can be point, a line, a plane, or a solid. Nothing more! Even though an object looks like xsphere, xprism, or xsquiggle, it will always be a point, a line, a plane, or a solid. But here, objects can perceive themselves as 3D. What's going on here? What happens on the principle behind the Dimetrix Paradox?
Lawsin's Dimetrix Paradox tells us that humans are actually living in a 4th-dimension space. The idea is based on the principle that the only way a 3 dimensional being can perceived a 3D objects is that he must be in a 4th dimensional space.
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The Dimetrical Hypothesis:
Every entity always has a pair or alterpair to exist. Everything has a shape in a two-dimensional plane. It always has a top and bottom or left and right sides. A line has a pair of points to call it a line. A point has its top side or bottom side. But this point becomes more prominent in a three-dimensional plane. It has not only a continuous top and bottom cylindrical body, but it has two circular ends, too. We might perceive these ends as two ends, but in reality, they are one—a point in two dimetrix-plane.
These isometaspace figures in a closed system are categorized according to their base of reference. Their position in a conceptual dimensional space can be determined using a modified coordinate positioning system. This system forms a time frame that divides the past from the future. Think of this section as a bridge between learning space and time, where time is considered as another dimension separated from space. Space evolved first before time. However, both are continuously expanding since the first particle was born. Henceforth, time must be treated separately to study its nature of existence and to learn the possibility of time travel.
In isometaspace, the common X-Y-Z axes coordinate positioning system is still used as a spatial basis for reference. These axes merge towards a common point of origin in a time frame (T-frame) called a crown. We plot their coordinates into two-dimensional frames, intersecting evenly perpendicular to each center. In this mid-intersection, the X-axis is pointing parallel within the T-frame; the Y-axis is pointing upward perpendicular to the X-axis, and the Z-axis is pointing away 90 degrees (or karats) from both X-axis and Y-axis. Their anti-pairs are also plotted on the backside of the Time frame. So as not to complicate matters, we only need to concentrate on the front side of the time frame. The T-frame, also called the Y-Z frame, is a chronographical plain surface wherein all isodimensional lines are plotted.
In Dimensional Math, a dimension is a coordinated, fixated space that I can describe using a grid positioning system (GPS). A grid system is made up of horizontal and vertical virtual frames, equally spaced and paralleled to each other. A sheet of graph paper is a good example of a GPS with a twist. The graph paper lines extend outward to form several virtual frames. We stack together these virtual frames like decks of cards. In an IsoMetaSpace, the dimension is a helical lateral iso-dimensional space, which is divided into chronographical frames.
To illustrate this dimension, let us assume it is a windy summer day, and you are on the other side of the globe flying your colorful kite alongside the beach. For me to locate your exact position, I need to find your latitude (horizontal line) and longitude (vertical line) on the map. The map, which serves as a positioning tool, is dimensionally a flat surface. The latitude and longitude are called variables and are coordinated as a two-dimensional point. Now, locating the exact position of your kite requires another kind of variable called altitude. Therefore, the location of the kite now is at a three-dimensional point. Your location, too, is now a three-dimensional point. It just so happens that your latitude is ground zero.
If you are interested in the isodimensional morphical space figures, a whole chapter was written in the book "Dimetrix / Inscriptional Physics" by Joey Lawsin.
About the Author :
Joey Lawsin is the author of the new school of thought "Originemology". He is a revisionist who wants to change the world by rewriting the textbooks with new concepts that debunk the old scientific, theological, and philosophical ideas of antiquity. He published a book in Physics, created a conscious machine known as Biotronics, and conceived the theory of "Dimetrix". The article above is an excerpt from his book "Evolution of Creation".
Every entity always has a pair or alterpair to exist. Everything has a shape in a two-dimensional plane. It always has a top and bottom or left and right sides. A line has a pair of points to call it a line. A point has its top side or bottom side. But this point becomes more prominent in a three-dimensional plane. It has not only a continuous top and bottom cylindrical body, but it has two circular ends, too. We might perceive these ends as two ends, but in reality, they are one—a point in two dimetrix-plane.
These isometaspace figures in a closed system are categorized according to their base of reference. Their position in a conceptual dimensional space can be determined using a modified coordinate positioning system. This system forms a time frame that divides the past from the future. Think of this section as a bridge between learning space and time, where time is considered as another dimension separated from space. Space evolved first before time. However, both are continuously expanding since the first particle was born. Henceforth, time must be treated separately to study its nature of existence and to learn the possibility of time travel.
In isometaspace, the common X-Y-Z axes coordinate positioning system is still used as a spatial basis for reference. These axes merge towards a common point of origin in a time frame (T-frame) called a crown. We plot their coordinates into two-dimensional frames, intersecting evenly perpendicular to each center. In this mid-intersection, the X-axis is pointing parallel within the T-frame; the Y-axis is pointing upward perpendicular to the X-axis, and the Z-axis is pointing away 90 degrees (or karats) from both X-axis and Y-axis. Their anti-pairs are also plotted on the backside of the Time frame. So as not to complicate matters, we only need to concentrate on the front side of the time frame. The T-frame, also called the Y-Z frame, is a chronographical plain surface wherein all isodimensional lines are plotted.
In Dimensional Math, a dimension is a coordinated, fixated space that I can describe using a grid positioning system (GPS). A grid system is made up of horizontal and vertical virtual frames, equally spaced and paralleled to each other. A sheet of graph paper is a good example of a GPS with a twist. The graph paper lines extend outward to form several virtual frames. We stack together these virtual frames like decks of cards. In an IsoMetaSpace, the dimension is a helical lateral iso-dimensional space, which is divided into chronographical frames.
To illustrate this dimension, let us assume it is a windy summer day, and you are on the other side of the globe flying your colorful kite alongside the beach. For me to locate your exact position, I need to find your latitude (horizontal line) and longitude (vertical line) on the map. The map, which serves as a positioning tool, is dimensionally a flat surface. The latitude and longitude are called variables and are coordinated as a two-dimensional point. Now, locating the exact position of your kite requires another kind of variable called altitude. Therefore, the location of the kite now is at a three-dimensional point. Your location, too, is now a three-dimensional point. It just so happens that your latitude is ground zero.
However, another variable exists between you and the kite. Time is another variable that always comes along with any object. Just like latitude, longitude, and altitude, we can perceive and measure Time. Since two intersecting dimensional frames can orient a three-dimensional space, time is the third frame. How is that? Let us say we want to create a cube (1” x 1” x 1”) in a two-dimensional frame. To do this, we plot this cube on an X-Y and X-Z frame graph. In the X-Y frame, there is one unit plotted on the x-axis and one unit plotted on the y-axis. In the X-Z frame, there is one unit plotted on the x-axis and one unit on the z-axis. Now, if you intersect these frames at a 90º angle, wherein the x-axes merge into one, and shuffle these frames so that the x-y frames go to the right and the x-z frames extend upward, we can create a virtual isometric cube.
In the above example, we created an X-Y frame and an X-Z frame - two frames intersecting each other to form a 3-dimensional figure. Within this configuration, a third frame exists, the Y-Z frame. Y-Z frames are the graphical representations of Time, for which I have coined the term “chronographical frames”. These time frames are plotted in such a way that the Y-axis represents a 3600ˆ karat revolution and the Z-axis is divided into 365 days.
Let us look at various space dimensions from a different perspective using a single card taken out from a deck of cards. Looking at the edge of this card provides a view of what one dimension is. The edge is simply a line. Flip the card in a standing position. It gives you a two-dimensional space with four edges called the perimeter. The point of origin is now made up of two-point lines. Extending the card backward by placing the remaining cards in the deck behind the card yields a rectangular shape. This structure creates a three-dimensional space with twelve edges and three-point lines. Since everything is evolving, the point of origin is also evolving from one to two to three and four-point lines. We made the fourth dimension up of four-point lines created like a roller deck of cards in a form of a donut. We made up this dimension of a mirror image symmetrically opposite, creating two new worlds of space - the inside hole and the outside space - just like a doughnut or a torus.
The Analogical Approach:
A typical house is usually made up of several rooms: a bedroom, a kitchen, a garage, a bathroom, a backyard, and a front yard. Each room has its own universe or characters. In the bedroom, bed, drawers, and lampshades are usually found. In the kitchen, ovens, fridges, dishwashers, sinks, and groceries cabinet are always present. In the living room, a sectional sofa, a bar, a futon, and an entertainment center for flat-screen TV and gaming are all displayed for enjoyment or pleasure. The compositions of each room are highly unique. Each dimension in the house has its own individual characteristics. They all work differently but come together for a common good - to be a typical house.
When someone is watching television sitting comfortably on the sofa, this person knows that there are other rooms in the house. However, because he is in the living room, he doesn't see the other rooms or the other three-dimensional areas in the house. All these 3d-rooms are inter-dimensionally connected in one roof of a three-dimensional "house". A fine line connects one room to another room. Although we are confined in this cosmic room where we are now, there are other adjacent rooms somewhere in the House of Multiverse.
Another way of detecting dimension is by density and linear fingerprinting. Everything has density, just like all things have mass and volume. Fluids like water, oil, honey, and alcohol, when poured slowly in a graduated cylindrical one at a time, can create multiple layers or dimensions separated by residual lines. These layers, with individual characters, provide us a clue that we can also orient dimensions in vertical multi-dimensions. Density (rho) Fingerprinting is one tool that we can use in detecting dimensions.
On a lighter note, a dimension has its own characteristics. The sea is a dimension with its own environment; the air is another dimension with its own surroundings. Under our feet is another dimension with chaotic conditions, and above us is an outer space totally different from the three. However, there is actually another dimension: the abstract world where "nothing" solids exist at all. And if I incorporate my Isodimesional Morphical Space Figures (IMSF), there are over four dimensions. And a very fine line between interlinks or interconnects is the best thing. A line that separates every dimension - a residual line. This dimensional line is the imposing entrance through the House of Multiverse. It is just a matter of time before we find this one-dimensional door!
Now, is there a way animals who live in the ocean can sense those beings who live in the space station? Is there a way a two-dimensional being can perceive someone who lives in a three, four, or five-dimensional space? If God lives in one of these dimensions, can humans detect this deity? (The Dimetrix Argument).
Let us look at various space dimensions from a different perspective using a single card taken out from a deck of cards. Looking at the edge of this card provides a view of what one dimension is. The edge is simply a line. Flip the card in a standing position. It gives you a two-dimensional space with four edges called the perimeter. The point of origin is now made up of two-point lines. Extending the card backward by placing the remaining cards in the deck behind the card yields a rectangular shape. This structure creates a three-dimensional space with twelve edges and three-point lines. Since everything is evolving, the point of origin is also evolving from one to two to three and four-point lines. We made the fourth dimension up of four-point lines created like a roller deck of cards in a form of a donut. We made up this dimension of a mirror image symmetrically opposite, creating two new worlds of space - the inside hole and the outside space - just like a doughnut or a torus.
The Analogical Approach:
A typical house is usually made up of several rooms: a bedroom, a kitchen, a garage, a bathroom, a backyard, and a front yard. Each room has its own universe or characters. In the bedroom, bed, drawers, and lampshades are usually found. In the kitchen, ovens, fridges, dishwashers, sinks, and groceries cabinet are always present. In the living room, a sectional sofa, a bar, a futon, and an entertainment center for flat-screen TV and gaming are all displayed for enjoyment or pleasure. The compositions of each room are highly unique. Each dimension in the house has its own individual characteristics. They all work differently but come together for a common good - to be a typical house.
When someone is watching television sitting comfortably on the sofa, this person knows that there are other rooms in the house. However, because he is in the living room, he doesn't see the other rooms or the other three-dimensional areas in the house. All these 3d-rooms are inter-dimensionally connected in one roof of a three-dimensional "house". A fine line connects one room to another room. Although we are confined in this cosmic room where we are now, there are other adjacent rooms somewhere in the House of Multiverse.
Another way of detecting dimension is by density and linear fingerprinting. Everything has density, just like all things have mass and volume. Fluids like water, oil, honey, and alcohol, when poured slowly in a graduated cylindrical one at a time, can create multiple layers or dimensions separated by residual lines. These layers, with individual characters, provide us a clue that we can also orient dimensions in vertical multi-dimensions. Density (rho) Fingerprinting is one tool that we can use in detecting dimensions.
On a lighter note, a dimension has its own characteristics. The sea is a dimension with its own environment; the air is another dimension with its own surroundings. Under our feet is another dimension with chaotic conditions, and above us is an outer space totally different from the three. However, there is actually another dimension: the abstract world where "nothing" solids exist at all. And if I incorporate my Isodimesional Morphical Space Figures (IMSF), there are over four dimensions. And a very fine line between interlinks or interconnects is the best thing. A line that separates every dimension - a residual line. This dimensional line is the imposing entrance through the House of Multiverse. It is just a matter of time before we find this one-dimensional door!
Now, is there a way animals who live in the ocean can sense those beings who live in the space station? Is there a way a two-dimensional being can perceive someone who lives in a three, four, or five-dimensional space? If God lives in one of these dimensions, can humans detect this deity? (The Dimetrix Argument).
The 4th Dimensional Argument, also referred to as the Nth Dimension Paradox, is a logical challenge that claims God cannot exist in 2 different dimensions simultaneously. It argues that if god resides in a separate dimension from our dimension, such as a fifth dimension, then God would be confined to this dimension and never be present in our dimension. The Laws of Dimensions and Impenetrability prevent this from happening according to Lawsin.
Lawsin also suggests that dimensions have their own origin, creation, and evolution. They begin from a point. The point evolves into a line (1D). The line forms a plane (2D). The plane becomes a collection of planes; a three-dimensional (3D). 3D becomes 4D, 4D becomes 5D, and the dimextrical progression goes on.
By following this line of thought, the Dimension Paradox tells us then that a one-dimension(1D) can only be perceived in higher dimensions like in 2D. A two-dimension can only be perceived in a 3D. A three-dimension can only be perceived in a 4D. Thus, dimensions can only be perceived from higher to lower, and not from lower to higher (Lawsin,1988). Therefore, god cannot be perceived if god lives in a dimension higher than us humans. Humans don’t realize that they can perceive a 3-dimensional space because they live in a 4th dimension.
If you are interested in the isodimensional morphical space figures, a whole chapter was written in the book "Dimetrix / Inscriptional Physics" by Joey Lawsin.
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" Logically, humans actually live in a fourth dimension.
However, mentally, they only perceive a three dimension."
~ Joey Lawsin
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The Architecture of Existence: Lawsin's Dimensional Perspective
This paper delves into the pioneering work of Joey Lawsin and his revolutionary Dimensional Theory. This comprehensive study embarks on a journey from the fundamental concepts of 1D to the complex structures of 4D.
It begins with the exploration of a 1D world, where reality is perceived as an infinite line, devoid of width and height. As the journey progresses into 2D, these lines transform into the boundaries of shapes, adding a new layer of complexity. Moving forward, the study ventures into the 3D realm, where these shapes gain depth, becoming fully formed objects. Lawsin's theory posits that to fully comprehend the intricacies of 3D, one must transcend to the 4th dimension. This higher dimension offers a unique vantage point, allowing for a comprehensive understanding of our three-dimensional existence.
Through Lawsin's perspective, each lower dimension is best understood from a higher one, providing a profound insight into the nature of reality and existence. This thought-provoking concept challenges conventional perceptions and invites readers to reimagine the boundaries of the universe, encouraging a deeper contemplation of the intricate architecture that defines our reality.
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Beyond the Third Dimension: Lawsin's Theoretical Framework
Synopsis:
The Dimetrix Theory delves into Joey Lawsin's groundbreaking exploration of higher dimensional spaces. This thesis examines the principles and implications of the Dimetrix theory, proposing that our perceived three-dimensional reality is but a fragment of a more complex, multi-dimensional space.
Through a detailed analysis, the study unravels how each lower dimension can only be comprehensively understood from a higher one, offering fresh perspectives on the nature of existence and reality. By employing thought experiments and mathematical models, the thesis navigates the intricate architecture of dimensions, highlighting the interconnectedness of space and shape, and the profound implications of higher-dimensional spaces on our understanding of the cosmos. This framework challenges conventional perceptions, inviting readers to reimagine the boundaries of reality and the limitless possibilities that lie beyond.
