Now, he found, now the point is reached.
Only in this "now", this unique moment that drinks from all other moments, which floods up from the inexhaustible presence as a fountain of light, only here it would make sense.
The gap gives the crucial leap. Not easy, as a time-being, to forget this time.
But when the knowledge overcomes a gap, then it can connect everything.
So he made a gap into his design.
The gap would draw the knowledge from space, like a transition from the beyond into the here and make it available to the design.
The neurons in his brain also know nothing by itself.
The jump, the flash of inspiration that comes at the synapses is also from the gap, even if the gap is always seen as a transition.
Who was first? The inspiration or the flash?
The vortex, which was running from the shower drain while cleaning took place, looked like a tornado in a violent weather, like a galaxy, which swirled the energy and matter from space into here.
Or did it flow from?
The flowing water matter took his thoughts on a trip.
He decided to widen the gap to a spiral dimension in order to transfer the eddies of the world as a midwife into his design.
A gap made of spiral dimensions, that would wrest the space a little spirit, so that the design gets something by "chance".
But the dimensions remain moored in copper, it is the conducting matter of electrons ... how close would these dimensions have to be, so the jump succeeds in transition?
He asked himself questions about the structure of the design. The basis of design should be the number three.
Three inputs and three outputs would give the world always an alternative to dualism.
Where three states become one, there can be development, because between Yes and No there is also the "I know nothing."
The victory over the binary death means life.
Between the outputs and the inputs there is the gap of enlightment.
What probably will be the messages of chance? He shuddered inwardly.
Radio garbage, mobile radio and electrical pollution will penetrate into the sensitive gap, radiation from the cosmos will excite the electrical synapses - yes, and the fingers of hands.
Coming from the inputs they will be reinforced by paired transistors, these synaptic findings, and added to one of three, only to be integrated.
From all the gaps they are fed into the complex web and network of relationship intensities, amplified together, superimposed, fed back and cancelled out again.
Maybe the network could capture a little of the omnipresent spirit.
The countless integrators become to be filtering winds, whispering something of the omnipotence.
After careful consideration, he called the design "Ghost Wind".
He refused the storage.
A now-machine does not need a digital memory which could call conservation again from the lived moment.
Nothing could be more degrading for the sound messages than to store them.
Everything that yet is to be stored, is contained in volatile capacitors, which are empty again after turning off.
Even so, they would never freeze a condition perfectly.
Something would always leak, so that sound networks would be forced to constantly changing.
Sameas, the capacitors are charged by the noise of the electronic spiral synapses.
He imagined that auras of people would be able to do so.
Their spiritual activity would produce sound, and affect sound as mankind had never ever heard before.
He read something about holiness even though it was already within him.
Only few people consider something to as sacred.
There is a virus in the world which most people attacks.
A virus of significance.
People think something were sacred to them, but in the end it is only their vanity or the desire for recognition.
It was almost embarrassing to him to design something that filled no ostensible purpose, which didn't seem to satisfy any of the material scope principles.
And even no protest.
It should not be sacred, but convey sacred messages.
Would that be a church in printed circuit board format, from where messages of God chatter?
Certainly an insult in today's art world.
The geometry of holiness is simple, he found.
Circles are mapped on circles, the centers of a new circle are the intersection of an old circle with the previous one.
If all circles have the same radius, the result is a hexagonal structure of circles that appear like blossoms in a honeycomb.
The densest cell pack, the densest packing of spheres, the purest honey-comb - it's all contained in this sacred geometry.
He integrated the three outputs and the three inputs into the sacred geometry of the sound cells.
This would not be a dead square matrix, but a triangular matrix of hexagons.
How many things yet in nature arrange themself to hexagonal, from the benzene rings of carbon atoms to snow crystals or to the cell structures of tissue.
The inputs and outputs make up directing arrows on the hexagons - there are always three main axes that cross the design, as avenues of a huge holy city.
Yet he found it could become a universal matrix, as all connections are possible.
Every avenue has parallel avenues and these in turn cross others in 120-degree angle.
How simple and yet ingenious.
Each sound cell has a sound noise generator, which is absolutely not pseudo-randomizing but generating real chance.
Perhaps, he thought, in the superimposing and cancellation of all these rushing waves somewhere a message could exist, as simple it may be.
While he was imaging them, he dragged more traces on the screen.
They would certainly come up, those messages.
With his hands he would take voltages from resistor matrices and store them in capacitors and so shape sounds that are directly in exchange with the electrons of sound.
This would be a veritable instrument, for the sounds get created in the hands and fingers of the player, like a string instrument.
He thought it would remain an attempt.
An attempt that is worth it.
The attempt to influence complex processes directly, and therefore to experience something about the body, life and the Chi.
He listened to his Chi.
The Chi whispered silent messages of life and let him go on.
With the design.