Quantum Mind

The Planck quantum of action h indicates a fundamental discontinuity to the physical projection of space and
time, leading to a quantum relativity that can resolve many of the current enigmas of science. In this view we
humans are synchronous projections in a holographic movie with a cosmic role to play.


Quantum mechanics indicates a fundamental discontinuity in the nature of all phenomena, and yet we perceive
a seamlessly coherent world around us. We are able to measure space by the dimensions of things and
compute time by periodic events such as the rotation of the earth. This macroscopic integration of a seamless
reality, from which we derive the characteristics of space and time, leads us to believe that space and time are
independent entities in themselves. We are conditioned to believe that they are a priori determining conditions
of creation. Newtonian physics assumes that space is akin to an infinite vessel in which things occur and that
time flows endlessly onward. Relativity theory married the two into a continuous field with curvatures
conditioned by concentrations of gravitational mass, such as planets, stars and galaxies. But how is a
fundamental quantum discontinuity in the nature of all phenomena ever to be reconciled with a spacetime
continuum? The two concepts are inherently contradictory, even though they are sometimes used together.

When quantum mechanics was still in its teething stages during the 1920’s, relativity theory had already
captured the imagination of the world. In that social context it could hardly occur to anyone that perhaps there
are really no such independent things as space, or time, or spacetime, at all. No one seemed to notice that
these concepts are derived a posteriori to creation. Of course we need these ideas to cope in a practical
manner with everyday circumstances as they present themselves to us. But what if there is another way to see
how the whole of creation works? What if there is a cosmic order that can be understood in a completely
different way that is consistent with the seamless reality that we see around us and also with a fundamental
discontinuity to all experience? Is there a way that this can be possible?

A holographic movie:

In fact there is a way that is fully consistent with the evidence. And there is only one way that allows of all
possible varieties of phenomena. The cosmic order has a discontinuous character but it is structured in such a
way that it integrates space and time. It integrates history. At the most fundamental level this means that the
simplest atoms of primary hydrogen are synchronously projected in a very rapid discontinuous succession
throughout the universe, like successive frames in a movie. In fact each individual atom is like an independent
frame in a holographic cosmic movie.  It appears as a particle, then it loses its particulate identity in an
alternate quantized mode, where it becomes a quantum bundle of energy that is spatially indeterminate, then it
reappears as a particle again, and so on. All the hydrogen atoms in the universe do this synchronously
together. So there is a particular aspect to each atom, and there is also a universal aspect common to all
atoms that makes them all the same and that regulates their synchronous occurrence as discrete particles.
The quantum mode is timeless and the particle mode is static. Thus changes in position occur as quantum
jumps between rapidly occurring particle frames as the cosmic movie proceeds through an endless succession
of frame sequences.  

This is similar to an ordinary movie where a succession of frames projected onto an empty screen produces
the illusion of spatial and temporal continuity. And we can easily see from this general description why position
and momentum cannot be known simultaneously. Position is determined in each integrated particulate space
frame while momentum depends upon jumps in position through a succession of such frames. Planck’s
constant derives from this discontinuity of matter that effectively quantizes all electromagnetic radiation into a
smooth series of pulses. The timely recurrence of each particle frame is a measure of h/2pi and the associated
indeterminacy according to Heisenberg’s principle is half of this, or h/4pi. The quantum of action
h is analogous
to the radius of a particle’s cyclic recurrence. De Broglie’s development of his wave equation for a moving
particle corresponds precisely as does his “pilot wave” associated with Bohm’s Quantum Potential.

Light defines space:

In the cosmic movie each particle thus acts as a wave, dancing to and fro between being a particle and being a
quantized bundle of formless energy. Moreover it is both a wave and a particle in the same interval of time,
since each successive particle frame defines a primary interval of linear time. Linear time itself is quantized by
successive frames in the movie. Since the movie is projected by electromagnetic radiation, it is the only activity
that occurs within each static particle frame. Light thus has a universal velocity with respect to each individual
atom in the universe. In fact it originates from inside atoms. It can only travel so far in each particle frame, and
in doing so it defines the space between things. Where there is no light there is no space. In this respect space
is also quantized by the distance that light can travel with respect to the projection of each particle. Light must
link up all particles in each spatially integrated frame so there won’t be black holes in the movie. The movie is
thus normally projected as a seamless reality with characteristics of space and time.

The quantum sensorium:

The empty screen in the cosmic movie is the integrated quantum frames associated with all the atoms in the
universe (and more). Since each quantum frame is a spatially indeterminate and timelessly balanced energy
bundle, the integrated quantum frames constitute a formless energy field that is indeterminate. This is called
the Void. It is not normally seen behind the movie, just as we do not normally see the screen in an ordinary
movie. This timelessly balanced energy field resides as a master sensorium behind the movie from which the
physical projection of the universe is recalled to form in a succession of particulate frames. The Void is
orthogonal to the integrated fabric of space-time.

But the whole master sensorium is not recalled to form with each sequential projection of the physical universe.
There are synchronous distortions introduced into the movie by relative motions, even though the universe at
large must maintain a preponderance of synchronicity to cohere as the seamless physical whole that we see.
Most relative motions are of a circular or angular nature. Planets orbit around suns, they spin on their axes,
and they migrate around galactic centers. On a cosmic scale the angular momentum of galaxies with respect  
to one another is most significant. This rotational motion introduces a relative skipping of particle space  
frames at each galactic center with respect to its own periphery in the cosmic projection of the movie. In other
words the quantum jumps of particles revolving synchronously around the periphery of a galaxy get out of
synch with particles near the center. Light can’t link all of them up within each synchronous particle frame.

Quantum relativity:

This puts a spatial and temporal squeeze on the center with respect to the periphery. One way that this may be
compensated for is by atoms congregating into suns and fusing together into heavier atoms. The spatial
projection of two atoms of hydrogen can be fused into the spatial projection of one atom of helium and so on
up through the synthesis of atoms heavier than hydrogen. Space itself is contracted at the center with respect
to the periphery through fusion processes in the centers of suns. In the process enormous quantities of
electromagnetic energy are released that light up the universe and this light defines space itself. Since galactic
centers have not been directly observed to migrate rapidly with respect to one another, the universe as a
whole can maintain a preponderance of synchronicity. Although galaxies can migrate, their rates of migration
are implicitly regulated by their angular motions and the overriding need for synchronicity that defines their
material content as a whole. They are prevented from undergoing gravitational collapse, while synchronous
distortions can accumulate to cosmic extremes at galactic centers and result in massive black holes in the
movie. Black holes common to galactic centers share a common singularity with the primary projection of the
movie. In general, the integrated fabric of space-time will tend to be consistent with the findings of general
relativity on a galactic level but not on a cosmic level. The effects of special relativity are also consistent with a
relative skipping of particulate space frames, but with fundamental differences of interpretation.

Galaxies as cells of creative reflux:

Star systems are born in giant clouds of gas with accumulated dust and there is evidence of periodic ejections
of gas from galactic centers. Some of these giant clouds observed in our own Milky Way are moving radially
outward into the spiral arms with star formation taking place in them.  This is consistent with hitherto
unidentified quantum forces impelling particulate matter peripherally outward while condensing space itself
through fusion processes in suns, in order to maintain a preponderance of synchronicity in the universe at
large, via the integrating quantum sensorium. On the other hand old stars that have become spatially dense
through an accumulation of heavy elements will tend to be drawn back toward the galactic center, where space
is more densely contracted. They will tend to congregate there for eventual reflux and regeneration back to the
primary projection of hydrogen, since black holes in the centers of galaxies are closed event horizons that
result from the primary projection of the universe as a whole.

This interpretation means that galaxies are cells of creative reflux that can regenerate their own stellar
populations and may also periodically contribute material to one another. Their relative rates of stellar
regeneration are determined by their relative angular momentum and galactic migration rates are likewise
regulated by the overriding need to maintain synchronicity. On closer examination many disturbing enigmas in
the evidence fall into place in this general scenario, from the missing mass and the differential rotation of the
sun to the apparent prodigious energy output of distant quasars that can be an observational effect due to
great distance alone. The evidence indicates that rates of star formation must vary periodically. They are
known to vary widely, even in starburst galaxies that are comparatively close.    

Red shift as relative frame skipping:

The red-shift of the spectra from distant galaxies need not mean that they are receding at great velocities due  
to a cosmic expansion of a presumed space-time continuum. The red-shift effect can be due to the
synchronous skipping of frames and relative rates of stellar reflux over the great spans of time that the light
takes to reach us. The light from a distant galaxy may be several billion years old and yet relative synchronous
distortions over that expanse of time must be accounted for by the timeless quantum sensorium that spans  
and integrates space and time. The spectral lines are consequently shifted toward longer and longer
wavelengths. In the limit light itself is reabsorbed frame by frame back into the source from which it came as
stars are refluxed back through the centers of galaxies, defining limits to space and time. Alternate
explanations for the background radiation also present themselves.   

The sensorium and recall:

Since the quantum sensorium is timeless and formless and spans space and time, thus integrating history, it is
the conjugate reciprocal of the physical universe that exhibits its characteristic extension in space and the
linear flow of time. There are many self-similar relationships to this general description, from anomalies in
number theory and the nature of mathematical identities, to the manner in which we humans span space and
time to integrate our everyday experience.  We humans accumulate countless episodes of learning that are
quantized as discrete elements of memory hierarchically stored in the same timeless sensorium. Each memory
carries with it patterned energies that we can access, recall into consciousness, and tailor to the needs of
ongoing circumstance according to our anticipated hopes for the future. We span space and time and
integrate history every waking moment of our lives. We decide to go shopping because we must stock up for
old friends expected in a few days. We automatically recall how to walk from childhood, we consciously recall
where the new supermarket is that opened last year, and we decide to walk there that afternoon. In a self-
similar way all of our thoughts and actions are synchronously integrated with the physical projection of the
universe that is implicitly in intimate communication with itself. We are an evolved elaboration of the physical
creation. We are clothed in atoms but we have a capacity to transcend and subsume our origins in space-


This cosmic process had no origin in space or time. Rather it determines the nature of space and time. So it
has always been going on and there has always been a universe with stars and galaxies in a continual state of
regenerative change and evolution. Like the empty screen on which a movie is projected, the formless
quantum sensorium silently resides behind the cosmic movie and embraces the whole of history.

This Timeless Void is a cosmic mind in which we share. It is a universal aspect of conscious being that we
recognize in all living creatures to the relative extent that we and they enjoy a capacity to intuitively integrate
history. We share it with the family pet. We share it with our animal ancestry to which we are indebted through
biospheric resonance. We share it with intelligent beings wherever they may arise in the universe. We share it
with Universal Being. We are actors on the Big Screen with a cosmic role to play, not mere accidental
happenings of blind chance in a Big Bang destined to end in oblivion.  
The Cosmic Quantum Mind
Robert Campbell, 2005

A Brief Overview
System 3