An ambitious but unconvincing argument involving ancient gnostic theology.

ULTIMATE SYMMETRY

This final installment of a trilogy endeavors to demonstrate in the language of modern physics how multiplicity emerges from divine oneness. 

Attempts to explain the relationship between the diverse phenomena humans experience and the possibility of an underlying metaphysical oneness date back to ancient cosmology. Yousef (Duality of Time, 2018, etc.) argues that humans’ perceptions of both phenomenal multiplicity and continuity are mirages, the emanations of an irreducible ontological unity: a single monad, the expression of absolute divine unity. People experience the world as they do because they only view it from an “imaginary time dimension,” a perch from the outside that can’t possibly exist if the universe is truly one. At the heart of this book is the postulation of “nested symmetries,” five kinds that account for the “apparent dynamic multiplicity of creation.” Oneness of God is “conceived” as an “abstract point beyond geometry.” Normal symmetry applies to the physical world governed by the laws of classical mechanics, specifically the elements of space and time understood in Euclidean terms. Super-symmetry denotes the relation between the physical and psychical, which is essentially identical to Quantum Field Theory’s matter/antimatter couplet. Hyper-symmetry refers to the connection, explored in quantum mechanics, between particles and waves and, by extension, the appearance of continuous space. And ultimate symmetry explains how the curved space of contemporary physics can be generated from Euclidean geometry’s “homogenous” space. Underlying these threads is the divine Principle of Love, the original source of motion that explains the universe’s longing to continuously return to a state of harmony. Yousef is at his best providing historical accounts of physics, both ancient and modern—he is especially deft in detailing ancient cosmology—and the theoretical problems that persist within them. But his writing can be exasperatingly dense (“Although the things might outwardly seem to be continuously existing in their evolution, nothing is ever repeated the same twice, since their elementary microscopic components are always created anew in different forms, that may still resemble the perished ones, but they are not themselves”). Furthermore, his fusion of science and Islamic revelation is really just a translation of the latter into the terms of the former. For example, he simply identifies energy particles with “spirits.” This then becomes a springboard to a lengthy discussion of the kinds of spirits, including angels, that exist. 

An ambitious but unconvincing argument involving ancient gnostic theology. 

Pub Date: Jan. 1, 2019

ISBN: 978-1-72382-869-0

Page Count: 323

Publisher: Time Tunnel Media

Review Posted Online: April 4, 2019

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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