quantum information traced back to ancient egyptian mysteries

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TA 11 (3) pp. 319334 Intellect Limited 2013

Technoetic Arts: A Journal of Speculative Research Volume 11 Number 3

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

KeywordsIsis and Osiris mythart and sciencegeometryancient Egyptian

knowledgehigher-dimensional

space conceptsontologyquantum information

renate QuehenbergerIndependent researcher

Quantum information traced back to ancient egyptian mysteries

abstractThere are strong indications that ancient Egyptian mythology contains knowledge of the nature of space up to higher dimensions and provides ontologic answers to the question about the creation of matter. This article examines the pentagonal inter-pretation of the myth of Isis and Osiris by comparing the iconographic details with recent findings from the art research project Quantum Cinema, where an interdis-ciplinary group of digital artists and scientists established a virtual space model for visualizing the usually non-perceivable processes in the microcosm on a Planck scale. At this scale, quantum mechanics applied to space itself leads to a discrete amount of quantum states. For this research, a new geometrical tool proved invaluable: the epitahedron. The double heptahedron named epitahedron (E), a 3D Penrose kites and darts representation, confines the dodecahedron in many ways and seems to be Platos fifth element. It is a 5D space cell, decorated with fragments of circles, which allows to visualize the permutations of symmetry elements within a discrete lattice (Z5). This higher-dimensional configuration is also the appropriate space to create a quantum-mechanical depiction of particles with inherent wave-like character by means of 3D animated geometry. Disguised in a mythological language the same subscendent space structure with the same golden polytope (E) can be revealed: is this the origin of the concept of aether, the quintessence model which was a basic scientific task for the last 2500 years?

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IntroductIonLogos and mythos each determine the other. The myth of Isis and Osiris raises the topic of the connection with the divine, and structures it into argu-ment (logos) and narrative (mythos). The argumentative logos assume argu-ments axiomatically, and tries to make them plausible without proof. In this way, the myth turns out to be the completion of the logos, the Greek historian and philosopher Plutarch states (1936).

In recent research for my thesis and within the Quantum Cinema project for the development of 3D animated geometry to visualize higher math-ematical descriptions, certain equivalencies to ancient Egyptian concepts were revealed. Here the variontological method is applied to reflect distinct concepts of reality that emerge from human consciousness influenced by the different media people used to communicate scientific concepts now and in ancient times (Zielinski 2008). In this case the myth is the medium.

the story Is told In shortPlutarch who was also for many years one of the highest priests in Delphi, tells us de Iside et Osiris about 2500 years after the first appearance of this myth: Osiris, Haroeris, Seth, Isis and Nephthys are children of Nut, the personification of the sky and the heavens and brother-husband Geb, god of earth, which were successively born on the epagomenal days. Each repre-sents a symbol of the natural order. These additional days, birthdays of the gods in the end of the year after 360 days although not in July, as in ancient Egypt, but in december are still celebrated in another form by Christianity nowadays.

The pair of siblings Isis and Osiris reigned Egypt as first pharaohs. Once, when Osiris returned from the south where he was teaching agriculture and the laws of harmony, and the ways of worshipping the divine powers, his brother Seth, god of the wind and master of the desert, and his 72 accom-plices trapped him into an ambush. They locked Osiris into a coffin made to fit his dimensions and threw it into one of the arms of the Nile. Near Byblos, the coffin washed ashore and a magnificent tamarisk tree growing out of it. Isis was searching for him transformed into a swallow. She flew around the column that stood there instead of the tree where he was caught. Then she hid him in the Nile delta, where Seth found him again and tore him into four-teen pieces scattering all over Egypt. Isis found them and built sanctuaries on the places of discovery. Only one piece, Osiris penis, remained lost.

Finally Isis reassembled the pieces of her husband with the help of her sister Nephtis, she resurrected him and conceived their son Horus.

the orIgIn of the Aether concept?In ancient Greece, in pre-Platonic times the aether is not only the clear, bright air, the space of the superior heaven and seat of the gods, but was some-times also still connected with the god himself, when Sophocles in Oedipus Coloneus let exclaim the choir, O mighty aether, o Zeus the choir is fearful exclaiming (Frlinger 1948: 86). Plato still knew about the moving aether and for Anaxagoras the flash is illumination of the aethereous fire (Frlinger 1948: 74).

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


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the basic spatial element and the medium of light. For Maxwell and Faraday, the luminiferous aether with the lines of forces was still the right concept to describe electro-magnetism (1861). Light may be visualized as turbulence of the five-dimensional (5D) space (Quehenberger 2012b).

Isis was her Greek name, but she was known to the ancient Egyptians as Aset (or Ast, Iset, Uset). The goddess Isis, she of many names, is sometimes called Athyri or Methyer, which sounds similar to aether.

Mut (mother) also is the name of the goddess Isis, who attends the pure and the orderly and stands for the house of Horus. She is the female prin-ciple of Nature in accord with Platos gentle nurse and all-receptive who is cradling the triangles in order to arrange them in a way that matter comes into existence.

Plutarch points out that the myth of Isis and Osiris explains the principle of Isis: the division into the visible and the transient. This division is not unlike the common distinction between matter and spirit or, nowadays, wave and particle duality. The robes of Isis are variegated in colour, for her essential power concerns the material, which becomes everything and receives every-thing light and darkness, day and night, fire and water, life and death, begin-ning and end; but the robe of Osiris [] is of one simple color, the colour of light (respectively, of the aether); for the origin of things is unadulterated and the primal element which is spiritually intelligible (Plutarch 1936: 129).

They write the name of the King and Lord Osiris by means of an eye and a scepter; some explain the name as meaning many-eyed, since os in Egyptian means, many and iri eye (Plutarch 1936: 133).

Both are connected to the star-cult: the celestial counterpart of the Goddess Isis is Sirius and Osiris to the constellation of Orion. The correlation theory compares the arangement of stars in the belt of Orion to the layout of the three main pyramids in the Giza.Thus Osiris is as God of the death and resurection connected with the kings of Egypt.

the pentagonal InterpretatIon of the IsIs and osIrIs mythFor the pentagonal interpretation by Lima de Freitas (de Freitas in Hargittai 1992), Plutarchs description of Osiris as the primordial teacher of the laws of harmony provides the hint to the golden order, which may be connected with the properties of the 5D space.

Sethos, stands for the chaotic element. He is the originator of confusion; he is not only the murderer but assisting Osiris for his resurrection, the demonic initiator who delivers his brother to the eternal life through death. Together the two counterparts are confining a complex system of stability and chaos.

Seth is the dismemberer who dissects Osiris sarcophagus and scatters its triangles irregularly over the whole land. This means over the whole plane in a geometric sense, where the pattern of the golden ratio emerges in its aperiodic order. This irregular fivefold tiling of the plane in the Golden ratio is known nowadays as Penrose Pattern (Figure 1), since its discovery by British mathematician and physicist Roger Penrose in 1974 (Penrose 1974). It is a two-dimensional slice of the five-dimensional space.

The one-dimensional representation of the golden ratio, the Ammann Bars, are straight lines that run parallel into five directions of space as part of the 5D cubic lattice (Grnbaum and Shephard 1987). Figure 1 shows the five directions indicated in different colours as layers of planes running over the Penrose tiles in 72 degrees.


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Sethos 72 accomplices seem to symbolize this grid lines partitioning the space. In the myth it is the realm of the god of the empty, deserted space. So as god of the desert and the bier, which refers to alcohol, his names are meta-phors for the luminiferous aether which was supposed to carry the electro-magnetic field.

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

The earliest evidence for the worshipping of Sethos in this form is based on a drawing dating from 3790 bc.

This interpretation leads to the assumption that the notion of aether was disguised in the Isis and Osiris myth. It provides insight into an ontologic concept of space as it is understood by quantum physicists nowadays. All emanations of matter and forces are connected to the properties of space itself. Somehow all three protagonists are representing different aspects of the char-acteristics of higher dimensional space from the empty space (Sethos) over the golden order (Osiris) up to the creation of matter for which Isis stands. As per Plutarch, Osiris stands for the beginning, Isis for the perception and Horus for the completion. All three are symbolized by the 3, 4, 5 triangle three the right angle, and four the base, and five the hypothenuse. And he adds,

One might conjecture that the Egyptians hold in high honour the most beautiful of the triangles, since they liken the nature of the Universe most closely to it, as Plato in the Republic seems to have made use of it in formulating his figure of marriage.

(Plutarch 1936)

Findings in contemporary art research correspond to isis attributesDuring my research on the Penrose Pattern, I found the three-dimensional (3D) equivalent of the kites and darts, a golden double heptahedron,

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



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named epitahedron (E) (Figure 2a, b). Both their volumes are related in the Golden ratio (EE: E+=E+: E-), which means these polytopes are tiling space in the Golden mean (Quehenberger 2014). Roger Penrose confirmed it to be the 3D representation of his kites and darts tiling (2013) which confines the dodecahedron in many ways and seems to be Platos fifth element.

It is a 5D space cell, decorated with fragments of circles, which allows to visualize the permutations of symmetry elements within the icosahedron (Quehenberger et al 2012). In this way different compositions of this polytope may serve as appropriate higher-dimensional space configurations to depict particles with inherent wave-like character conform to quantum mechanical descriptions.

The knot in Isis dress seems to help not forgetting the pentagon enfolded into the 5D space cell, which I only rediscovered all credits belong to the Goddess herself:

Here is the geometrical experiment that can be solved with a piece of paper: fold a knot in a stripe of paper and flatten the knot. You get a pentagon with interior angles of 108, exterior angles of 72 and an area of approxi-mately 1.7204774s2 (where s=side length). Thus play Seth and unfold the so accomplished paper pentagon into triangles and dissipate them. Then fly to the north (turn the triangles around the apices of three acute triangles) and a irregular fivefold pyramid evolves into space. From both sides of the complex layers of the pentagon evolve a convex (E+) and a concave hepta-hedron (E-) with seven faces that makes the fourteen pieces of Osiris each with one triangle (his penis?) missing. In this dual shape the five reminds on Plutarch s description, partly resembles the father, partly the mother, being made up of the three and the two. We did this experiment in 3D animation, but ancient Egyptians could have played it as paper enfolding with their children in the grass.

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


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the fIbonaccIzatIonAs A. P. Stakhov puts it, the transgressive character of the golden number is a process of fibonaccization and the myth describes its geometry disguised in a story about love and murder including a transformation into a bird: the pentagon has to be dismembered into triangles and the resulting kite for the faces of the epitahedron seems to be just another name for swal-low (Figure 3a) since the triangle configuration looks alike and the move-ment for its composition is comparable with a flight around the column. The above still-frame shows the evolving polytope with traced points of the triangles in a circular movement in a 3D animated geometry movie (Figure 3b).

In this way, the triangles take off the plane and form the above described 3D space cell of grid Z5 which are constituting its edges. There Sethos repre-sents the disorder, the dynamic underlying principle is applied on his body and the creational force which leads to the emergence of matter symbolized by Isis. The myth describes Osiris resurrection in the higher fractal order of living matter, nourished by Isis. Mathematically, it contains the transforma-tion of the golden mean into the Fibonnacci series. Their sequence replicates itself at each level and again reveals the fractal nature of the golden mean. The equation +^2=^3 shows how the quadratic form transgresses into the next higher order of the cubic form. The mathematical proof for this was achieved by French mathematician Jacques P. M. Binet in the nineteenth century. Thus the golden mean the worlds oldest scientific paradigm of harmony and beauty as it seems to be discovered in ancient Egypt, leads to the appearance of a new class of hyperbolic functions, the hyperbolic Fibonacci and Lucas functions and gives a new approach to Lorentz trans-formations as used in Relativity Theory (Stakhov and Aranson 2008). The cubic form is of course the 3D representation of the golden mean, which is the epitahedron. It can also be considered as space element composing the fourth dimension where the fifth dimension is evolving in the next higher level of intersection.

Figure 3: (a) Pentagon with kite as flying Isis; (b) pentagon with evolving into the third dimension with traces. CAD Image (3a) and animation still-frame (3b): Christian Magnes, Quantum Cinema.



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1. Recently Koji Miyazaki, who did the first drawing of the penta-cube adviced me that the air (octahedron) and the earth (cube) do not have the same number of triangles and we were wondering about Platos purpose.

The hieroglyph of Isis uses the throne in the properties of the sacred 3 4 5 triangle and the cloud-like hyperbolic sign, as we used it for the upper half plane in the complex depiction of the Lorentz Transformation.

It is noteworthy that it is one of the geometric series which is also a Fibonacci sequence and therefore may be resolved into the precise geometri-cal pattern of the golden ratio which is the Penrose Pattern. In antiquity it was known as Egyptian triangle or 3 4 5 triangle which was also used for the musical scale and had great importance in cosmology. The american mathematician and author Jay Kappraff showed a geometric solution for how a golden rectangle :1 can be divided by two diagonals 5/2 in a way that the triangles are upraising into an inclined surface with five steps (1992). The steps of the throne in the Isis-icon seem to refer to this mathematical solution (Quehenberger, 2012a).

plato refers to ancIent egyptIan mysterIesPlato speaks about the problems of perception in the mode of eidos logos, conscious about not telling a certified truth he refers to what he has heard from old men and ancient knowledge from Atlantis and Egypt. His travel to Egypt is conveyed for the year 399 bc (Erler 2007). The same time when he started the work in his book Timaios. Discussing the ontologic principles of subscendent forms he describes all possible compositions of triangles, known as the five Platonic solids. The most beautiful triangles are integral parts of the platonic solids: the semi-equilateral triangle and the semi-square. Only the compounds of the elementary triangles assemble into an equilibrium of forms. The triangles achieve balance at the barycentre of the boundary surfaces (Bhme and Bhme 1986).

Thus the Platonic model of the four elements is comprised of forms of stability. Plato explicitly does not compare his model with the atomic theory of Democritus, because the Platonic forms constitute ontogenesis on the level-1, as British physicist David Bohm calls the implicate order, the unitary deep structure which subcends or underlies the explicate surface structures of elementary particles and waves (1982) which corresponds to Platos world of ideas. Even though, as the great Chinese-born American mathematician S.-T. Yau mentions, the particulars of Platos theory of everything, as outlined in Timaios, strike the modern sensibility as absurd (if not borderline psychotic), there are many parallels between his picture of the universe and that embodied in string theory. Geometrization the idea that the physics we observe springs directly from geometry stands at the core of both approaches (Yau and Nadis 2010). And as I may add, it seems to stand on the beginning of human thoughts and research as it can be observed in ancient Egypt.

In his framework of subdivided triangles, the number of Platonic trian-gles for each element of fire, air, water and earth correlates except one mistake1 with modern group theory used for the description of particles in modern quantum physics: The tetrahedral group contains 24 elements, the hexagonal group and the octahedral group each contain 48 elements and the icosahedral group contains 120 elements.

The dodecahedron is not mentioned by Plato, because it does not fit into his concept of triangles and its discovery is ascribed only to his student Theatetos, who proved that there are only five such regular convex polyhedra, the platonic solids.


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Figure 4a: The faces of two epitahedra are confining the dodecahedron.

Figure 4b: Here the circle decoration is shown in rotation. CAD Image: Christian Magnes, Quantum Cinema.

Plato himself added instead a obscure remark about a fifth element: [] since there is another fifth configuration, the god used it for the ornamenta-tion of the whole universe (2003).

Did Plato know about the shape of this fifth composition and just did not want to explain it it detail because he wanted to keep it a secret or was it already forgotten? Infact the epitahedron reveals one of his most beautiful triangle in projection and the dodecahedron appears as a result of the inter-secting faces of two epitahedra (Figure 4).

Another well-known symbol, the Star of David appears as a shadow in the centre of the twelve compound epitahedra forming a four-dimensional (4D) dodecahedron (Figure 5) which features the symmetries of the Poincar dodecahedral space (Quantum Cinema, 2012). Was this also known as higher dimensional object from this context?

Certain descriptions of spaces in the texts of Hermes Trismegistos may open such speculations: Besides these 4 divisions and 60 spaces, there is a further ordering into 12 intervallic divisions (Mead 1906). Twelve epitahedra and their 60 edges transect the dodecahedron. The icosahedral rotation group I is of order 60. So, there are just 60 rotational symmetries of the dodecahedron, which could correlated to the fundamental space Hermes also could have had in mind based on the preceding development of the simple enfolding of the pentagon as shown above. But after all those images of intersecting polytopes are only possible in 3D digital geometry. Although before the invention of digital arts experiments with projections of the edges of the polyhedron could have been possible as a projection of a shadow against a wall.

According to Plato and the ancient cosmology in general, the world is a certain proportional entity subjected to the law of harmonic division, that is the Golden section, writes A. F. Losey, historian of philosophy and thought (de Freitas,1992). In modern times, the astronom Johannes Kepler stood in this tradition by explaining the cosmic order of our solar system with Platonic



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

There is no mystery in this concept if one considers the 5D cubic lattice as subscendent space of matter, since the Penrose Tilings as a two-dimensional (2D) slice of the space of the same order reveals the pattern of the golden ratio. In ancient Greece in the same way, E, the fifth letter in the Greek alphabet, served for the invocation of the transcendency.

symmetrIes In ancIent egyptThe German mathematician Hermann Weyl emphasized that ancient Egyptians knew all planar rotations, One can hardly overestimate the geomet-rical imagination and creativity reflected in these patterns. Their constructions are far from being mathematically trivial (Weyl 1952).

There is only a finite number of distinct ways to rotate elements to achieve a 2D rapport. Examples of all seventeen possible symmetries can be found in decorative patterns in antique ornamental Egyptian wall papers. The conceptual means and framework for the abstract description of the under-lying problem was only invented the nineteenth century, by mathemati-cians with the notion of group transformations. This proof was achieved by the Hungarian mathematician George Polya only in 1924. This theory makes evident that all possible symmetries of the plane were implicitly known by ancient Egyptian artisans. The art of ornaments is the oldest piece of math-ematics known to us, Weyl affirms.

CAD Image: Quantum Cinema.

Figure 5: Epita-Dodecahedron compound by twelve epitahedra.


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If ancient Egyptian artisans knew about symmetries of the plane, would it be likely that they were also investigating in spatial permutations with concepts even up to higher dimensions?

a hypothesIs about hIgher space dImensIons In ancIent egyptThe geometry of a hypersphere, as designed during the Quantum Cinema project for a discrete dynamic digital 6D space model seems to undermine such a hypothesis: The Egyptian flower of life (Figure 6a) appears from a view from the centre of the hypersphere (Figure 6b), which is the result of a

Figure 6: (a) Flower of life, Oseiron in Abydos; Image: Monkman (b) View through the Hypersphere; (c) Quantum Cinema, N. Tasic. Animation still-frame: Nikola Tasic, Quantum Cinema.

Figure 8: Antipodes, Christian, c. 1500.Figure 7: Nut, sarcophagus, Saqqara.



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new digital depiction of Riemannian Manifolds forming the tangent space of intersecting hemispheres in which the first symmetry braking, what we call time, takes place (Quantum Cinema, 2011).

Is it possible, that ancient Egyptians had the same vision of a spacetime geometry like me?

Isis mother Nut the goddess of the heavens is pictured in many ways. Here at the sarcophagus in Saqqara (Figure 7) the necropolis of the ancient egypt capital Memphis (from c. 3000 bc) she makes a bow over the earth which is depicted as a disk. The three sun disks on her heavenly body might symbolize time the morning, the noon and the evening. Below Isis with the world body holds also a sun in her head. The fifth dimension depicted as a small circle on top of the world disk, another symbol of the sun.

Coincidentally the sun in the disc is depicted at the same place like in the QC_model the 5D space for the propagation of light. The Nut-picture clearly displays a four-dimensional earth with presumably god Sethos in the shape of the horned figure with a walking stick, in the middle left and right in the tangent-space framed by a square. In contrast to this early Egyptian science drawing the picture of antipodes (Figure 8). On a 3D world (still proclaimed by many physicists) nowadays, may illustrate the decay of perception.

Beneath the QC_model (Figure 9) that embeds the fourth and the fifth dimension into a six-dimensional (6D) world to unify relativity theory and quantum world (so far still considered as riddle) shows clearly relations to the ancient Egyptian framework where the straight lines of the 5D hyper-grid are symbolized by Sethos (Quehenberger 2012c).

IsIs and osIrIs the bonnIe and clyde of geometry?Some sources tell us that Isis, although she was the Queen of the Gods, she had once been a mortal woman. This certainly fits with the mythology of the Ennead, which states that Isis and her husband Osiris had actually ruled Egypt before the time of the first pharaohs (approx. before 3500 bc) (Hill 2010).

Figure 9: 6D Space time model, Quantum Cinema 2012.


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According to old wise traditions, the most intelligent people were elected to rule the country. So is it allowed to consider Isis and Osiris as art researchers the Bonnie and Clyde of geometry?

There must have been some extraordinary people developing the geometry for the transcendency that was thereafter communicated as religious doctrine. Why not remember them by name? In ancient Egypt primordial teachers were known by name: Osiris, Thoth, Hermes Trismegistos and Imhotep, the architect of the Saqqara pyramid, and also the goddess Demeter in Greek Eleusinian Mysteries (among this list, Isis is usually missing).

A Hebrew myth speaks of Metatrons cube: Enoch, a pious teacher, scribe and leader of his people, who found a geometrical solid that contained all Platonic solids in one, embodying somehow the unifying theory of all symmetry permutations, was transformed into an angel with 36 wings by God himself. After Platos death, over 900 followers clamoured his apotheosis. Alas, without success. Deification was not fashionable anymore in Greece in the fifth century bc.

In this context, it is tempting to believe that there were a few geometers playing with forms, and inventing these unforgettable stories to preserve their knowledge. Art research, the curiosity about and creativity to examine the world we are living in is a primary human necessity. Is there any difference between 5000 years ago and now besides the use of different technologies and media?

Why should we not consider them colleagues: geometers and storytellers, weaving their names into their teaching myths to bring about their own apotheosis or maybe deified by their descendants for their outrageous chal-lenges and discoveries? Eternal fame and godhood as reward for outstanding findings is it not just another version of the Nobel Prize?

ImplIcatIonsWe will never know what was written in the more than 700,000 manu-scripts stored in the ancient library of Alexandria that were destroyed by Julius Caesar in the year 47. Only parts of this knowledge were preserved by ancient Greeks and carved into stone by Muslim architects in medieval times. Peter J. Lu identified the Penrose Pattern at the Darb-i Imam shrine in Isfahan made 400 years before their discovery in the west (Lu and Steinhardt 2007). Thus the religious context preserved the transcendent meaning of this geometry.

The developed QC_geometry shows in agreement with contemporary physics as recently discussed with Gerard tHooft that all matter can be visualized by transformations of a 5D cubic lattice. Sethos stands for the disorder and chaos in the dynamic spaces subscendent structure and is the counterpart represents for the golden order and Isis with its spacial element nourishes matter like the Higgs boson.

Could this have been the concept ancient Egyptians were celebrating in their secret mysteries?

Plutarch emphasizes that yet the name of Isis temple denotes clearly the message and the knowledge of all being, because it is named Iseion, as if we would realize all being itself by approaching the sanctuary of the goddess with reason and reverence (Plutarch).

This could explain why it is said that Egyptians were not interested in science because they knew all about it already. It can never be proved for



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certain but it is likely that the mysteries of Sais were established to keeping the theory of everything a secret.

Finally I like to strike out that ancient Egyptian art research should not remain underestimated. The above hints to a geometrical concept of tran-scendent spaces and subscendent structures returns in todays dark matter physics: the quintessence model which uses a canonical scalar field with a potential V () that interacts with all the other components only through standard gravity, regains recognition as the most promising solution for one of the greatest riddles in cosmology (Amendola and Tsujikawa 2010).

In quantum physics, Klyachko and coworkers proofed the non-classical state by introducing the pentagon inequality for the most simple quantum systems (spin-1 systems) where a neutrally polarized spin state is represented by a real vector directed along fivefold symmetry axis of a regular penta-gram (Klyachko et al. 2008).

Furthermore quantum information is investigating solutions for Kochen Specker proofs whereat the french scientist Michel Planat et al. found that the generalized three-qubit Pauli group contains 12,096 distinct copies of a quantum mechanically possible structure, called Mermins magic pentagram (Planat et al. 2012).

These facts demonstrate an accordance with ancient Egyptian knowledge that should neither provoke fear against the beauty of fivefold symmetries nor accusations for golden mean worshipping.

Maybe one day we might know quite the same again like the ancients. This time, proven by high energy particle physics experiments and with a precision of about 27 digits behind the comma.

Alas, it is not only about the details alone. A more complete knowledge includes a mind that enables us to perceive the complex and higher dimensional reality which we might comprehend again from ancient societies. In times of stereo 3D digital cinema the imagination of the individuals itself became flat.

Recall the Austrian physicist Wolfgang Pauli who stated that he did not believe in the possible future of mysticism in the old form, but that, the natural sciences will out of themselves bring forth a counter pole in their adherents, which connects with the old mystic elements (Miller 2010).

We should not forget that Isaac Newton and contemporaries were still alchemists and that in many respects modern physics is build on the Hermetic tradition with its foundations in ancient Egypt. The knowledge captured in ancient myths may once more reveal the coherency for a full picture of the transcendency nowadays.

And how else could the notion of the aether hold for more than 2500 years, if there would not have been a complete concept about it in the beginning?

acKnowledgementsI would like to acknowledge the Quantum Cinema art research group for support: head Prof. Peter Weibel and the scientific board with Em. Prof. Helmut Rauch (ATI), Prof. Elisabeth von Samsonow, Em. Prof. Helmuth Stachel and Prof. Martin Blmlinger. All CAD graphics above derive from the project Quantum Cinema a digital Vision (AR 35-G21) facilitated by the Austrian Science Fund FWF in the framework of the PEEK program. I would like to thank the digital artists: N. Tasic, R. Friemel, C. Magnes, K. Stumreich and H. Katzgraber for calculations and programming.


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The participation at the Di-Egy Conference 0.1 was supported by the Austrian Federal Ministry for Education, the Arts and Culture bm:ukk.

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Renate Quehenberger

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noteThe participation of the author at the International Conference on Digital Arts within the International Research Conference in the Series Consciousness Reframed: Art and Consciousness in the Post-Biological Era in the framework of the Di-Egy 01. Fest in Cairo (from March 31 to April 2, 2013), with a talk on same task as the above article, was funded by the Austrian Federal Ministry for Education, Arts & Culture (bm:ukk).

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

Egyptian mysteries, Technoetic Arts: A Journal of Speculative Research 11: 3, pp. 319334, doi: 10.1386/tear.11.3.319_1

contrIbutor detaIlsRenate C.-Z. Quehenberger, is a scientific researcher working in digital arts, based in Vienna, Austria, investigating higher dimensional space. Currently she is working on her thesis in philosophy On the hermeneutics of the Penrose Pattern and editing a book about her Quantum Cinema a digital vision project funded by the Austrian Science Fund, FWF (20102013). Quantum Cinema 3D animated geometry films and prints were presented at digital art and mathematics festivals as well as exhibited in universities and museums on four continents. She occasionally writes art reviews for www.artmagazine.cc.

Finding: The 3D representation of the Penrose Kites and Darts (2006), named epitahedron, has all the properties required for it to be Platos obscurely remarked fifth element, the quintessence. See http://quantumcinema.uni-ak.ac.at/site/.

E-mail: [email protected]; [email protected]

Renate Quehenberger has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work in the format that was submitted to Intellect Ltd.


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quantum information traced back to ancient egyptian mysteries

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