Dimensional Structure

Figure 1. The dimensional Structure
of the universe by ImageFX

 I put the search term "dimensional structure of the universe" into the Google search engine and Google's AI-generated response was:

The "dimensional structure of the universe" refers to the concept that the universe can be understood as having multiple dimensions, with the most commonly accepted view being that our universe is four-dimensional, consisting of three spatial dimensions (length, width, and height) and one temporal dimension (time), as described by Einstein's theory of relativity. [1, 2, 3]  
Key points about the dimensional structure of the universe: [1, 3, 4] 
• Three spatial dimensions: These are the dimensions we experience in our everyday lives, allowing us to measure the size and position of objects in space. [1, 3, 4]  
• One temporal dimension: This represents time, which is considered an integral part of the fabric of the universe, inseparable from space. [1, 2, 3] 

Figure 2. Dimensional Structure by Gemini.

 Beyond the standard four dimensions: [4, 5] 
• Higher dimensional theories: Some advanced physics theories, like string theory, propose the existence of additional, curled-up dimensions that are too small for us to perceive directly. [4, 5]  
• Importance of understanding dimensions: By studying the dimensional structure of the universe, scientists can better understand the nature of gravity, the expansion of the universe, and the origins of the cosmos. [6, 7] 
[1] https://cms.cern/physics/do-we-really-live-only-three-dimensions[2] https://phys.org/news/2023-11-four-dimensional-universe.html[3] https://www.sciencefocus.com/space/fifth-dimension[4] https://www.miraikan.jst.go.jp/sp/9dimensions/en/notes/visualization/[5] https://www.sciencedirect.com/science/article/pii/S0370269319301200[6] https://press.sdss.org/astronomers-make-the-largest-map-of-the-universe-yet/[7] https://www.newscientist.com/article/2097510-largest-ever-map-of-1-2-million-galaxies-measures-dark-energy/

Figure 3. See: The nature of reality

Text prompt for IMageFX (see Figure 1): "An illustration from a physics textbook in the year 2438 showing the dimensional structure of the universe."

Text prompt for Gemini (see Figure 2): "an image for an imaginary physics textbook of the year 3625 that illustrates the dimensional structure of the universe, it having been proved that there are 11 total dimensions with 6-7 compactified dimensions. In the textbook figure, include the following text labels, 'string theory', 'quantum gravity', 'compactified', 'temporal', 'spatial' and 'dark energy'. "

generated by Whisk

I started this blog in 2009 and in one of my blog posts from that year called "The nature of reality" I showed the image in Figure 3 which was intended to provide a diagrammatic representation of the dimensional structure of the universe as it existed after the Big Bang. The vertices of the three triangles represent nine spatial dimensions. The shaded triangle represents the universe of our every-day experience with three extended dimensions while the other six spatial dimensions are compactified. Three of the compactified dimension form the Hierion Domain while the other three form the Sedron Domain. I had a discussion with Claude about the Dimensional Structure of the Universe.

generated by Whisk

 Me: "Claude, I am writing a science fiction story in which it is discovered that there are 9 spatial dimensions. In the diagram that I uploaded, the vertices of the three triangles represent nine spatial dimensions. The shaded triangle represents the universe of our every-day experience with three extended dimensions while the other six spatial dimensions are compactified. Three of the compactified dimension form the Hierion Domain while the other three form the Sedron Domain. Claude, can you describe the image that I uploaded?" {I had uploaded to Claude a copy of the image in Figure 3}

Claude: "The provided diagram depicts a hexagonal geometric structure comprised of three equilateral triangles sharing a central vertex. The following key features are observed:

Generated by Mr. Wombo.

 Structural Components:
- One shaded triangular region (superior position)
- Two unshaded triangular regions (inferior positions)
- Six peripheral vertices
- One central vertex
- Three bisecting lines connecting opposite vertices through the center. 

 Dimensional Annotations:

generated by Whisk

- Text label "Ground State" positioned beneath the structure
- Green highlighting applied to two of the connecting lines

Topological Organization:
The diagram represents a nine-dimensional spatial framework, with dimensions mapped to vertices. The shaded superior triangle has been designated to represent three extended spatial dimensions characteristic of observable space-time, while the two unshaded triangles correspond to compactified dimensions segregated into distinct domains (Hierion and Sedron).

  Geometric Properties:
- 120-degree angular separation between triangular segments
- Equivalent edge lengths throughout the structure
- Radial symmetry around the central vertex
- Consistent line weight utilized for all edges

The diagram exhibits precise geometric regularity and clear demarcation between extended and compactified dimensional domains through selective shading patterns."

Figure 4. The second image uploaded to Claude. Image source.

 Me: "Claude, imagine a fantastically advanced future technology by which the line segments with green highlighting (applied to two of the connecting lines of the diagram) can be altered by a process of 'Dimensional Engineering' as shown in the second image that I uploaded. Claude, can you see the formation of a 'Transitional Universe' as depicted in the second uploaded image, or is the image too small for you to 'see' and process?"

 Claude: "The second uploaded image has been successfully analyzed and found to contain clear depictions of dimensional engineering processes. The image demonstrates a sequential transformation of spatial configurations through three distinct phases:

Phase I (Upper Sequence):
- Initial hexagonal ground state configuration
- Transformation vector indicated by red arrow
- Terminal state exhibiting curved red path integration
- Resultant configuration labeled as "FTL Boson Universe"

Phase II (Middle Sequence):
- Ground state initialization with green-highlighted segments
- Directional transformation indicated by green arrow
- Formation of curved green path integration
- Resultant "Transitional Universe" configuration observed

generated by ImageFX

 Phase III (Lower Sequence):
- Transitional state initialization with blue-highlighted segments
- Blue vector transformation indicated
- Terminal configuration demonstrating balanced symmetry
- Designated as "The most accessible FTL Fermion Universe"

The image resolution has been determined to be sufficient for comprehensive analysis of all depicted transformational sequences. The "Transitional Universe" formation is clearly observable, characterized by:
- Asymmetric dimensional configuration
- Partial path integration
- Maintained connectivity with ground state parameters
- Intermediate structural stability between initial and terminal states

These dimensional engineering processes have been effectively visualized through the systematic application of color-coded transformational vectors and resultant path integrations."

 Me: "Claude, in my imagination, Dimensional Engineering can be used to make it possible for bosons to move through space at faster-than-light speeds or, through alternative Dimensional Engineering, make it possible for both bosons and fermions to move through space at faster-than-light speeds. Imagine a technologically advanced artificial life-form called the Huaoshy that was able to first alter the Dimensional Structure of the universe so as to make it possible for bosons to move through space at faster-than-light speeds. Later, when the Huaoshy could access and utilize more energy, they were able to perform another modification of the Dimensional Structure of the Universe and make it possible for both bosons and fermions to move through space at faster-than-light speeds. Claude, Dimensional Engineering by the Huaoshy to create an "FTL boson universe" allowed the Huaoshy to use a form of interstellar faster-than-light communication by which a special boson of the Hierion Domain could carry transmitted information rapidly (faster-than-light) over vast distances, essentially by "tunneling" through the Hierion Domain."

generated by Whisk

 Claude: "The proposed mechanism of superluminal information transmission via Hierion Domain bosons has been characterized through detailed analysis of dimensional topology modifications. The following parameters were observed:

Signal Transmission Parameters:
- Information encoding was achieved through quantum state modulation of specialized Hierion Domain bosons
- Superluminal propagation velocities were facilitated via quantum tunneling mechanisms through modified dimensional pathways
- Signal coherence was maintained via stabilized path integration through compactified Hierion dimensions (n=3)

Methodological Analysis:
Transmission protocols were implemented through precise manipulation of dimensional boundary conditions. Modified spatial topology enabled selective permeability to Hierion Domain bosons while maintaining standard model gauge boson constraints within classical domains. Quantum tunneling efficiency η was determined to be statistically significant (p < 0.001) across interstellar distances d > 1 parsec.

Experimental Parameters:
- Signal propagation velocity: v > c
- Quantum tunneling efficiency: η = 0.99 ± 0.01
- Information retention fidelity: φ ≥ 0.997
- Dimensional pathway stability: σ = 10^-15

Statistical analysis demonstrated robust maintenance of signal coherence through modified dimensional pathways. Information theoretical analysis confirmed preservation of quantum state fidelity during superluminal transmission events. The selective nature of dimensional modification preserved relativistic causality within classical spacetime domains while enabling rapid information transport through engineered Hierion pathways."

generated by Whisk

 Me: "Claude, imagine that the most energetically accessible FLT Fermion Universe had the unexpected property of making possible a technology known as "positronics". This, in turn, made possible the kind of telepathic positronic robots described by Isaac Asimov in his stories about positronic robots. Further, assume that the Dimensional Structure of the FLT Fermion Universe made possible time travel, as depicted in Isaac Asimov's novel, "The End of Eternity". Later, the Huaoshy wanted to eliminate the possibility of time travel, so they again altered the Dimensional Structure of the Universe, creating our universe as it currently exists. Claude, can you predict if telepathic positronic robots are possible in our universe?"

 Claude: "Analysis of the dimensional configuration of the current universe has been performed to evaluate the feasibility of positronic computational substrates and associated telepathic capabilities.

Methodology:
The dimensional structure was analyzed through comparison of three distinct universal configurations:
1. The FTL Fermion Universe configuration (n=9 spatial dimensions)
2. The temporal-access-enabled intermediate state
3. The current universal configuration (n=3 extended + 6 compactified dimensions)

Results:
Statistical analysis of dimensional pathway stability metrics indicated that the final modification of universal topology by the Huaoshy civilization resulted in:
- Elimination of temporal recursion pathways (p < 0.001)
- Significant alteration of fermion transport mechanisms (η < 0.02)
- Modification of positronic substrate viability parameters (φ = 0.001 ± 0.0001)

generated by Whisk

 Discussion:
The observed modifications to fundamental spatial topology have rendered positronic computational architectures non-viable in the current universe. Key factors include:
- Insufficient quantum coherence maintenance (τ < 10^-15 s)
- Inability to establish stable positronic pathway integration
- Absence of required dimensional resonance patterns

Conclusion:
The data indicate that telepathic positronic robots, as described in the referenced literature, cannot be implemented within current universal dimensional constraints. The intentional modification of spatial topology by the Huaoshy has created boundary conditions incompatible with positronic computational processes. Further research into alternative computational architectures is warranted.

These findings have been verified through analysis of n=10^6 independent dimensional configuration states (p < 0.0001)."

 Me: "Claude, is our current universe and its Dimensional Structure stable or could it spontaneously revert to the Ground State?"

 Generated by Whisk.

 Claude: "Analysis of universal dimensional stability parameters has been conducted. Stability assessment was performed via measurement of:
- Vacuum energy density fluctuations (δρ)
- Dimensional pathway coherence (τ)
- Topological defect formation rates (λ)
- Ground state transition probability (P_gs)

Results:
- Vacuum energy density: δρ = 10^-29 g/cm³ ± 0.1%
- Dimensional coherence time: τ > 10^100 years
- Defect formation probability: λ < 10^-500 per unit volume per second

The measured parameters indicate robust dimensional stability has been achieved through precise engineering of vacuum state configurations. Quantum tunneling calculations demonstrate negligible probability of spontaneous reversion to ground state topology within currently predicted universal lifetime constraints (t > 10^100 years).

Discussion:
The observed dimensional configuration exhibits significant metastability, with energy barriers ΔE > 10^500 GeV preventing spontaneous topology reorganization. Multiple redundant stability mechanisms have been identified:
- Vacuum state degeneracy prevention
- Dimensional pathway phase locking
- Quantum decoherence suppression

Conclusion:
The data provide statistically significant evidence (p < 0.001) that the current universal dimensional configuration maintains stable topology with effectively zero probability of spontaneous ground state reversion. These findings suggest the Huaoshy implementation of dimensional engineering protocols achieved permanent modification of universal spatial structure.

Generated by Whisk.

 Me: "Claude, imagine a form of artificial life called a "replicoid". The Huaoshy can convert a human body into a replicoid copy composed entirely of fundamental particles called "hierions". A replicoid cannot be distinguished from a human being by using technologies available on Earth in 2025. Matter composed of hierions is held together by hierion-hierion bonds that are twelve orders of magnitude shorter than conventional chemical bonds. In our universe, humans cannot travel at faster-than-light speeds. However, replicoids can be moved through space at faster-than-light speeds. For this science fiction scenario, should travel of replicoids through outer space at faster-than-light speeds best be depicted as: 1) a form of long-range teleportation, or 2) as a form of space travel using spacecraft?"

Generated by Whisk.

 Claude: "Comparative analysis of FTL transport mechanisms for hierion-based replicoids has been conducted through evaluation of quantum mechanical constraints and dimensional topology parameters.

Methodology:
Transport mode feasibility was assessed via examination of:
- Hierion-hierion bond characteristics (l = 10^-22 m)
- Quantum coherence maintenance requirements
- Dimensional pathway stability metrics
- Matter stream integrity preservation parameters

Results:
Statistical analysis revealed teleportation to be the optimal transport mechanism (p < 0.001). Key factors supporting this conclusion:

1. Structural Integrity Parameters:
- Hierion-hierion bonds exhibited significant strain under conventional acceleration (σ > 10^12 N/m²)
- Matter stream coherence degraded rapidly in conventional spacecraft configurations
- Teleportation protocols maintained quantum state fidelity φ ≥ 0.999

2. Energy Requirements:
- Spacecraft propulsion: E_s > 10^45 joules
- Teleportation: E_t ≈ 10^30 joules
- Δ E = 10^15 (p < 0.0001)

3. Transport Efficiency:
- Teleportation demonstrated superior hierion structure preservation
- Reduced quantum decoherence effects
- Enhanced dimensional pathway utilization

Generated by Whisk.

 Discussion:
The significantly compressed molecular architecture of hierion-based matter (10^-22 m) enables efficient quantum state transmission through modified dimensional pathways. Conventional spacecraft acceleration induces unacceptable strain on hierion-hierion bonds, potentially compromising replicoid structural integrity.

Conclusion:
Experimental data support implementation of long-range teleportation protocols for FTL replicoid transport. The observed parameters indicate teleportation provides superior maintenance of hierion-based structural configurations while minimizing energy requirements and transport duration.

These findings have been verified through analysis of n=10^6 independent transport simulations (p < 0.0001)."

Generated by Whisk.

I provided Whisk with Figure 3 as a "subject" image and Figure 4 as a "scene" image. I provided Whisk with these instructions: "The subject is in the left hand center of the scene. Place a sparkling transparent blue glass globe around the subject. The text and geometric figures of the subject and scene are reproduced in precise detail in the rendered storyboard image." The Whisk-generated "storyboard" image for these inputs is shown below in Figure 5. The image that is show to the right is part of the second "storyboard" image that was generated by Whisk along with the image in Figure 5.

Figure 5. Whisk-generated dimensional structure "storyboard".

Generated by Whisk.

For the "storyboard" in Figure 6, I tried adding additional instructions: "Arrows indicate relationships between the multiple universes. Precisely copy a text and line segments from the scene image into the final rendered image." Here is the Whisk generated description of the "storyboard" in Figure 6: "Photorealistic rendering of a scientific diagram depicting a theoretical model of the dimensional structure of several possible universes. The background features interconnected pentagons and triangles representing different universe states, connected by red, green, and blue lines.  The vertices of triangles correspond to spatial dimensions. Text labels like "Ground State Universe," "FTL Boson Universes," and "Transitional Universe" are present and must be reproduced in precise detail. 

Generated by Whisk.

 The style is futuristic and technological, with sharp lines and richly saturated colors.  In the left-center, a diagram of subject containing three triangles representing nine spatial dimesnsions is enclosed within a crystalline, sparkling, transparent blue glass globe. The top triangle within the pentagon is shaded with a dotted pattern and represents the tree extended spatial dimensions of our universe.  Green lines indicate the locations of alterations that can be achieved by dimensional engineering. The words "Ground State" are written below the glass sphere in a photorealistic, clear font. 

Generated by Whisk.

 The glass globe and the enclosed diagram emit a soft glow, illuminating the surrounding parts and details of the alternative universe models. Arrows show related universes that can be created by dimensional engineering. The color palette is a vibrant cool and warm contrast, with the blue globe contrasting against the lines of the elements of the scene which are all reproduced with precise detail in the rendered image."

The image shown to the right is part of a "storyboard" that was generated by Whisk in which the "glass globe: was provided with the shape of North America.

Figure 6. Updated Whisk-generated dimensional structure "storyboard".

Generated by Whisk.

I've been surprised by how bad Whisk is at creating this kind of diagram. I tried pasting the Claude-generated description of Figure 4 into Whisk text field for the "style" and then Whisk generated the two images shown at the bottom of this blog post (Figure 18). I believe there was some improvement in the clarity and details of the rendered "storyboard" images, but Whisk seemed completely uninterested in reproducing details from the subject and scene images. Figure 7 shows the new image Generated by Whisk when I altered the text description of the scene.

Figure 7. New Whisk-generated "scene" image.

Generated by Whisk.

It may be that there is some other kind of text prompt that could be given to Whisk that would improve the quality of its Dimensional Structure diagrams, but I could not discover the magic words.

It may be that my two "subject" and "scene" images were too small to allow Whisk to "see" them in enough detail. However, I suspect that the bigger problem is on the side of the AI generating the new images. Whisk seemed to want to use Platonic solids as models of the Dimensional Structure of universes; which is a step up in dimensional complexity from my flat 2D models.

SSS dimensional

I started over, using the "subject" image that is shown in the image to the left along with my original larger version of the diagram that is shown in Figure 4 (that was made in 2003) as the "scene" image. 

Also, I now provided these instructions to Whisk for how to create the "storyboard: "The subject is in the left had center of the scene. Place a sparkling transparent blue glass bubble around the subject. Arrows indicate relationships between the multiple universes. Precisely copy all of the text and arrows and line segments from the scene image into the final rendered image." 

I tried to specify this "style": "The overall style has a high degree of photo-realism, with a focus on rich colors and intricate details. The colors are vibrant and saturated. The image is sharp and clear, with a high level of detail visible in the subject and the lines and text of the scene. The overall mood is scientific evoking a spirit of precision in details. The text and lines of the subject are depicted photo-realistically. The level of detail is consistent throughout, creating a cohesive and immersive scene," but Whisk kept deviating from that desired style and I ended up with this Whisk-generated style: "A digitally created image depicts a glass tube diagonally across the image, filled with an orange liquid.  The tube contains several spherical bubbles of the same liquid. The background is dark, with an overlay of orange-toned technical diagrams, schematics, and alphanumeric text.  The style is photorealistic, with high detail and vibrant, saturated colors."

Using these inputs, Whisk created the "storyboard" shown in Figure 8.

Figure 8. Whisk-generated "storyboard" that includes "The First Reality".

subject image

The text label "The First Reality" that is seen in Figure 8 originated from my "subject image" which is shown (without being cropped) in the image to the right. This is the Whisk-generated text description of the "subject" image: "A diagram shows a pentagon with three triangles inside. The pentagon's vertices are labeled 6, 9, and an unlabeled vertex. Two of the triangles share a vertex at the center of the pentagon. The top triangle is shaded with a dotted pattern and labeled 3. The bottom two triangles are unshaded.  A thick green line connects two vertices of the pentagon, labeled "Ground State" below the line.  The text "The First Reality" is at the top of the image. Below the diagram, the text "original dimensional structure" is written."

Generated by Whisk.

I am interested to know if there is any limit to the length of text prompts that can be provided to Whisk. I changed the text description of the "storyboard" to: "Photorealistic digital painting.  A sparkling, transparent blue glass bubble, containing the subject, sits in the left-center. The subject is labeled "Ground State" below.  "The First Reality" is at the top. Below the subject diagram, "original dimensional structure" is written. The rest of the rendered image is copied precisely from the scene image and includes alternate versions of the subject representing other universes.  Lines are black, filled areas are gray, with red, green, and blue lines connecting shapes. Text labels from the scene are reproduced exactly in the rendered image and include "FTL Boson Universes," and "FTL Fermion Universe".  Arrows indicate transformations between universes that have been engineered to have different dimensional structures compared to the Ground State. The overall style is clean and schematic, with vibrant, saturated colors.  All text, lines, and arrows from the scene image are precisely copied into the final image. The bubble is highly detailed, with realistic light refraction and reflections.

Generated by Whisk.

 A diagram illustrating the dimensional structure of the universe, as envisioned in a hypothetical physics textbook from the year 3625. It suggests a model where the universe is composed of multiple dimensions, some of which are compactified, meaning they are curled up and too small to be observed directly.

Here's a breakdown of the elements in the image:

Core Concepts:

11 Total Dimensions: The diagram implies that the universe has a total of 11 dimensions. This aligns with some theoretical frameworks like string theory.
6 Compactified Dimensions:** It indicates that 6 of these dimensions are compactified, meaning they are curled up and extremely small, likely at the Planck scale.
String Theory & Quantum Gravity: These terms are labeled, suggesting that the diagram is rooted in these theoretical frameworks, which attempt to unify gravity with quantum mechanics.
There is one time dimension.

Generated by Whisk.

 Visual Representation:

Hexagonal Shapes: The use of hexagonal shapes might be a symbolic representation of the complex interplay between dimensions.
Lines & Arrows: These likely depict connections and interactions between different dimensions or states of the universe.
Color Coding: Different colors might represent different types of dimensions, states, or entities. For example, red might represent the "Ground State Universe," green might represent "FTL Boson Universes," and blue might represent "FTL Fermion Universes."

Text Labels:
"Ground State Universe": This likely refers to the initial or baseline state of the universe.
"Our 3 Spatial Dimensions": This highlights the three dimensions we experience in our everyday lives.
"Our Universe": This might refer to the specific region or state of the universe we inhabit.
"FTL Boson Universes" & "FTL Fermion Universes: These terms suggest the existence of other universes accessible through faster-than-light (FTL) travel, possibly associated with different types of particles (bosons and fermions).
"Transitional Universe": This might represent a state or region of the universe that facilitates transitions between different dimensional states.
"Compactified": This label emphasizes the existence of dimensions that are curled up and hidden from our direct observation.

Generated by Whisk.

 **Overall Interpretation:**

The diagram presents a complex and speculative view of the universe, suggesting a multi-dimensional reality beyond our current understanding. It incorporates concepts from string theory, quantum gravity, and the possibility of other universes and dimensions.

Caveats:

Hypothetical: This is a hypothetical image from a future textbook, not a representation of current scientific consensus.
Symbolic: The visual elements might be symbolic and not intended to be taken literally.
Simplified: The diagram likely simplifies complex concepts for educational purposes.

Generated by Whisk.

 Depictions of dimensional engineering processes. The image demonstrates a sequential transformation of spatial configurations through three distinct phases:

Phase I (Upper Sequence):
- Initial hexagonal ground state configuration
- Transformation vector indicated by red arrow
- Terminal state exhibiting curved red path integration
- Resultant configuration labeled as "FTL Boson Universe"
Phase II (Middle Sequence):
- Ground state initialization with green-highlighted segments
- Directional transformation indicated by green arrow
- Formation of curved green path integration
- Resultant "Transitional Universe" configuration observed
Phase III (Lower Sequence):
- Transitional state initialization with blue-highlighted segments
- Blue vector transformation indicated
- Terminal configuration demonstrating balanced symmetry
- Designated as "The most accessible FTL Fermion Universe"

Generated by Whisk.

 The image resolution has been determined to be sufficient for comprehensive analysis of all depicted transformational sequences. The "Transitional Universe" formation is clearly observable, characterized by:
- Asymmetric dimensional configuration
- Partial path integration
- Maintained connectivity with ground state parameters
- Intermediate structural stability between initial and terminal states

These dimensional engineering processes have been effectively visualized through the systematic application of color-coded transformational vectors and resultant path integrations." Adding all this additional textual prompting led to images such as the one in Figure 9.

Figure 9. More textual information does not really help.

Generated by Mr. Wombo.

As shown in Figure 9, just adding more AI-generated textual descriptions (obtained from Claude and Gemini) into Whisk does not in itself help produce the kind of results that I was hoping for.

Generated by Mr. Wombo.

The image shown to the right was generated by WOMBO Dream using part of Figure 9 as a reference image and the "Surrealism v3" style.

The image shown to the left was made by Mr. Wombo using the "Monster v3" style.

SSS line drawing

 Uploading a Style Image. Unlike all of the other examples of Whisk-generated dimensional structure diagrams shown above on this page, I tried NOT specifying the "style" with text and instead uploaded a third line drawing as the "style" image. The "subject", "scene" and "style" images are shown to the left. The resulting "Storyboard" image is shown in Figure 10, below.

Figure 10.

Next: depictions of imaginary technology.

Figure 10. Visit the Gallery of Movies, Book and Magazine Covers

Memory Phantom

Figure 1. cover art by Frank R. Paul

 I've been reading old science fiction stories from the 1920s and 1930s and trying to imagine the process by which the young Isaac Asimov became both a fan of science fiction and a biological scientist. I've previously commented on several stories by Miles J. Breuer, M.D. including "The Man Without an Appetite" (~1916), "The Girl from Mars" (1929) and "The Gostak and the Doshes" (1930).

Today I went in search of two other stories by Breuer that attracted my attention simply because of their titles. I've long been intrigued by the many unrealistic science fiction stories that have been published which depict living organisms on every planet, moon and stray asteroid of the galaxy. "A Baby on Neptune" was published by Breuer in the December 1929 issue of Amazing Stories and I wanted to find out if this was a story similar to "Out of the Cradle, Endlessly Orbiting" by Clarke. Clarke's story concerned the first human baby born on the Moon.

image source

 Flying Plants. However, before I could get to "A Baby on Neptune", I ran into "Vampires of the Desert" by A. Hyatt Verrill. I'm not interested in vampires, so I would not normally have been distracted by a story called "Vampires of the Desert", but I recently read an old ghost story by Isaac Asimov ("Legal Rites") that was set in the Desert Southwest. Thus, I was distracted by the word "desert".

Also, I had previously read "The Ultra-Elixir of Youth" and "The Voice from the Inner World", both published in 1927 by Verrill, two stories which I've labeled as "silly", so I had no expectation of finding interesting fictional science in "Vampires of the Desert". "Vampires of the Desert" was constructed as a painfully long and tedious mystery story in which readers only slowly learn the cause of the "Night Death".

excerpt from "Vampires of the Desert"

 Dangers of Climate Change. "Vampires of the Desert" begins with a shift in ocean currents off the coast of Chile. When heavy rains fall on the coastal desert, strange plants begin to grow... plants unlike any others existing elsewhere on Earth, some with odd four-foot-long "flowers". Then the mysterious "murders" begin, occurring only at night. The murder victims have tiny puncture wounds and appear to have been strangled. Finally, the narrator of the story (Barry) witnesses one of the giant "flowers" detach from its stem and drift through the air, dangling tentacles. 

interior art by H. W. Wesso

 Flying Flowers. That floating "flower" attacks Barry, but he is able to survive and tell the tale. You might wonder how these large "flowers" are able to float through the air, but Verrill assures readers that their tissues are full of some gas that makes them lighter than air. The end of the story concerns efforts to eradicate the blood-sucking plants. The solution: coat the entire coastal region of Peru and Chile with petroleum. Tanker planes are deployed "spraying every square foot of the country with heavy oil". Problem solved.

Fictional Plant Evolution. In "Vampires of the Desert", Verrill advanced the theory that that these blood-sucking plants evolved from marine invertebrates such as hydrozoans. In an ancient geological age, the ocean floor was thrust upwards to form the coast of South America and sea creatures evolved into blood-sucking plants.

time machine; page 1 interior art by Frank R. Paul

 Time Travel. Having just completed a four part series of blog posts on science fiction stories about doctors, I could not resist reading Verrill's "The Astounding Discoveries of Doctor Mentiroso" which was published in the November 1927 issue of Amazing Stories and concerns time travel. 

Peru is both the setting of "Vampires of the Desert" (above) and the home of Doctor Mentiroso. A mathematical physicist, Dr. Mentiroso is an expert on the works of Albert Einstein and Mentiroso refers to himself as the discoverer of the 4th dimension.

in the Ekcolir Reality

 Vibrostink. While explaining what makes time travel possible, the brilliant Dr. Mentiroso assures us that everything is "merely the result of vibratory waves" including our sense of smell. In "The Ultra-Elixir of Youth" Verrill coined the term "Juvenum" as a new chemical element that proves to be the secret of youthfulness. For Dr. Mentiroso's theory of vibration, I was inspired to coin the term "vibrostink". But what does this have to do with time travel? Dr. Mentiroso explains, "time itself must be the mere expression, in arbitrary terms, of some electronic force or vibratory waves".

image from Amazing Stories

Dr. Mentiroso does not take full credit for discovery of the 4th dimension. He discovered ancient ruins in Peru and found that the ancient inhabitants had already long ago mastered the 4th dimension. At the end of "The Astounding Discoveries of Doctor Mentiroso", Dr. Brown Mentiroso disappears with his time machine, planning to go visit the 1800s.

 Long Road to Neptune. Having been sent back in time from 1929 by Alpheus Verrill, I decided to read Breuer's story "The Appendix and the Spectacles" from the December 1928 issue of Amazing Stories. 

from the December 1928 issue of Amazing Stories.

Figure 2. Gernsback's memory phantoms.

However, before I could get to "The Appendix and the Spectacles", I ran into Hugo Gernsback's essay "An Amazing Phenomenon". Gernsback suggested a "theory" to account for the odd sensation that you have seen a location previously, before you actually get there (see Figure 2).

The American Magazine

I don't know what Gernsback was imagining as a "brain particle" that could transmit information that was once inside a dead person's brain and send it on into another living person. In my own stories, I like to imagine that we humans are composite creatures and our brains have both biological cells and nanoscopic endosymbionts. If so, then maybe after a person dies, their brain nanites could carry some of their memories to another person.

I like to imagine that in the Ekcolir Reality, these sorts of ideas were "in the air" during the early 20th century of Earth due to the activity of Interventionist agents on Earth. As Edison put it, "...these infinitesimally small units live forever. When we 'die' these swarms of units, like a swarm of bees, so to speak, betake themselves elsewhere and go on to function in some other form or environment."

I'm currently writing a new story called The Nanites of Love and wondering if there might be a limited number of Phari nanites on Earth that keep getting recycled from generation to generation. If so, might they carry useful information from one person's mind to another?

4D surgery; interior art by Frank R. Paul

 The Bookstrom Solution. In "The Appendix and the Spectacles", a practical method is found to temporarily move people into a 4th spatial dimension, allowing surgical removal of a bodily organ without first having to cut through the skin at the surface of the body. This great discovery is made by Bookstrom, who while attending medical school, ran out of money and had to satisfy himself with becoming Professor of Applied Mathematics.

 Take the 4th. You'll have to read "The Appendix and the Spectacles" to learn how a pair of spectacles and a money-hungry banker come into the story. As for the imaginary physics in this story, maybe there is a special law of conservation of mass that applies to 4th dimensional physics... if you take out a man's appendix by means of 4th dimensional surgery then something has to be left inside the patient?

interior art for The Fifth Dimension

 On to the 5th. The December 1928 issue of Amazing Stories had a silly transmutation story called "The Metal Man" (see Figure 1 for related cover art) and also "The Fifth Dimension" by Clare Winger Harris. In the story by Harris, time is counted as the 4th dimension. In the story, Harris advances the "theory" that all sequential events in time are eventually repeated. "Premonitions" are occasional memories from past cycles of the universe. However, there is opportunity to change the course of history and we can account for that flexibility and freedom from determinism by positing a 5th dimension. 

Figure 3. Cover art by H. W. Wesso

 Sea Monsters of Neptune. Returning to the December 1929 issue of Amazing Stories and "A Baby on Neptune", there on the cover (see Figure 3) we see the living creatures of Neptune, surface temperature less than −200 °C. The story was apparently written as a collaboration between Breuer and Clare Winger Harris. For the story, they invented a future history for SETI which included radio contact with the planets Mars, Venus, Jupiter and Saturn in the late 20th century, but there was no progress on understanding the received signals from aliens until the year 2099. By 2300, there were "fluent" radio communications with aliens on Mars and Venus, but the faint radio signals from Neptune were a mystery. By 2345 interplanetary travel by spaceship began and visitors from Earth got their first chance to see the worm-like natives of Venus.

Corrigan blasting off from Earth

 We are the Scalosians. Then, finally Patrick Corrigan decodes the radio messages from Neptune (they are veeeery sloooow), revealing that they are being sent by a Neptunian physicist named Elzar. Every thing on Neptune is very cold and moves very slowly. Elzar invites Corrigan to visit Neptune, providing assurance that "You will find no lovelier spot in the universe" although sometimes monstrous creatures come out of the ocean to "prey upon our people".

 The Baby. In 2347, Corrigan sets off for Neptune in a "geodesic space flyer". Arriving at Neptune, he finds the temperature to be a chilly −260 °C upon dropping below the clouds and reaching the icy surface. In order to view Elzar and the other life forms of Neptune, a special device (an "infrared visual transformer") is constructed which reveals the slow-moving natives (see Figure 3) who are composed of gas, not liquid-containing cells. Fortuitously, Corrigan is on Neptune when a sea monster attacks the child of Elzar. Corrigan saves the baby alien's life. Elzar is pleased. The End.

Figure 4. time travel

 Tempium. Also in that issue of Amazing Stories was "The Time Deflector" by Edward L. Rementer. Professor Melville discovers that when the element "tempium" is heated then it emits a "ray" that can "move objects about in time". There in Figure 4 is the dramatic event, the first trip into the future. A man is sent 5000 years into the future and then brought back to his starting point in time. The time traveler writes his account of the future, including women who dress in mini-skirts and automated traffic control that automatically synchronizes the movements of all vehicles. You'll have to read "The Time Deflector" to learn more about the amazing future of Humanity.

A new chemical element!

 Back From the Future. However, by the end of "The Time Deflector", the world's supply of "tempium" has been exhausted (or something), so no further trips to the future are possible. In case you are wondering about how the time traveler was brought back from the future, that involved using reflected tempium rays which naturally reverse the direction of time travel.

interior art for "The Space Bender"

 4D Bend. The only other story listed at the ISFDB by Edward L. Rementer is "The Space Bender" (1928).  The Space Bender is a machine that can bend space, and its inventor, Professor Jason T. Livermore, uses it to bring the planet Venus in contact with Earth. Livermore wants to go to Venus because he suspects that it has a breathable atmosphere.

After bending space and arriving on Venus, Livermore discovers that it is populated by humanoids who are more like cats than apes. Eventually, a memoir from Livermore is discovered back on Earth in a subway construction site. Did he try to return to Earth or was he satisfied to remain on Venus and simply send back to Earth an account of his adventure? You'll have to read the story and decide for yourself because the story is written as a kind of joke story with cute names for the aliens and it seems like Rementer lost interest in his own plot before terminating the story.

Figure 5. Mr. White teleported to Mars. Martian swords.

The December 1928 issue of Amazing Stories also had "Flight to Venus" by Edwin K. Sloat. As described by G. W. Thomas, Sloat began publishing science fiction stories in 1928, but eventually went on to publish about 50 stories in the Western genre. The ISFDB lists 11 of his stories published between 1928 and 1940.

Teleportation. Sloat's second published Sci Fi story was "The World Without Name" and was published in the March 1931 issue of Wonder Stories. 

Figure 6. Martians. Interior art by M. Marchioni.

While "Flight to Venus" made use of fairly conventional rocketry for space travel and to make possible first-contact with the green-skin aliens of Venus, the world "without name" is actually Mars. Nothing as mundane as rockets are used to go to Mars. After the technological wizard Steinhilde builds a teleportation device, he discovers that the Martians have long been using teleportation technology. However, Sloat was seemingly influenced by Edgar Rice Burroughs, "The World Without Name" also features sword-wielding Martians (see Figure 5). 

in the Ekcolir Reality

For the type of teleportation imagined by Sloat, you need a teleportation terminal at both ends of your journey. When Steinhilde and his assistant teleport to Mars, they end up being tortured by the Martians (Figure 6). However, Sloat was familiar with the concept that it is wise to bring a gun to a sword fight. As shown in Figure 5, Steinhilde's buddy Mr. White brings a gun to Mars and manages to rescue Steinhilde. The Martians do have HiTek™ ray guns, but they are reluctant to use them in close proximity to their delicate teleportation equipment.

At the thrilling climax of "The World Without Name", Mr. White has to battle a Martian creature that has been carefully bred for gladiatorial combat. These kinds of stories about Mars and Venus influenced Isaac Asimov and when he began publishing his own stories, some of them featured Martians and folks living on Venus, even though Asimov knew that those planets did not have Earth-like environmental conditions.

Figure 7. Click to enlarge. Interior art by Robert Fuqua

 1939. Sloat's story "When Time Stood Still" was published in the July 1939 issue of Amazing Stories. Simply based on the title, I had hope that this might be a story about time travel. However, there is no time travel, only a magical "ray" treatment of people that stops them from aging. 

Lasers did not arrive until the 1960s, so a kind of lightening bolt generator was used to protect the periphery of the utopian village, Futura (Figure 7). Futura is the secret, hidden community created by Dr. Dalmetz. Dr. Dalmetz has perfected an invisibility device which is used to hide Futura in the mountains of Arizona.

Figure 8. Dorothy, a robot and Kent.

"When Time Stood Still" concerns secret agent Kent Rider who visits Futura. He's on a mission to obtain "shield" technology that might be able to protect the people of Europe from air-raids in the coming war. 

As shown in Figure 8, the citizens of Futura make use of robots as their mechanized workmen. Dorothy is the daughter of Dr. Dalmetz, and by the end of "When Time Stood Still", Kent has resigned from the Intelligence Service and is ready to live with Dorothy in Futura, where he can begin a new career using the new 300 inch telescope being built there. At the end of the story, readers are left wondering about what the future holds for the technologically advanced residents of Futura.

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 There Should Have Been a Sequel. I was hopeful that Sloat may have written a sequel to "When Time Stood Still" with more futuristic technology from Dr. Dalmetz, so I took a look at "The Deadly Swarm" which appeared in the August 1940 issue of Astonishing Stories. "The Deadly Swarm" was a bit of military science fiction that anticipated the precise targeting of cruise missiles.

Fake News. In that August 1940 issue of Astonishing Stories was a short item (see the image to the left) by Donald Wollheim about The Invasion From Mars by Hadley Cantril (you can read the book here). In 1938, there was a radio broadcast version of The War of the Worlds. I've never quite been able to believe that people were actually tricked into believing that an alien invasion of Earth had taken place.

Figure 9. Interior art by Leo Morey

 Sex with Aliens. Also in the August 1940 issue of Astonishing Stories was a short letter from Isaac Asimov saying that he was thinking about a sequel to his story "Half-Breed". Even Asimov was caught up in the industry of creating Sci Fi stories about alien people from Mars and Venus. That new story did eventually get published as "Half-Breeds on Venus" right at the end of 1940.

One More Magical Chemical. Along with alien invaders, another ever-popular Sci Fi plot concerns the discovery of a means to shrink people. For "The Element of Logic", R. R. Winterbotham imagined the discovery and practical application of a new chemical element that when brought into contact with people could cause them to shrink (see Figure 9).  

image source

 Asimov's Imaginary Molecule. In 1948 Asimov published his first in what became a series of thiotimoline stories. His fictional substance "thiotimoline" was inspired by his on-going research in the chemistry lab. An imaginary chemical such as thiotimoline (that is able to dissolve in water before it touches the water) might seem like harmless Sci Fi fun, but how could you possibly control and work with a chemical element that had the power to shrink you to microscopic size (as imagined by Winterbotham)? 

Keep Your Cool. In the hands of Winterbotham, the answer to this problem was obvious: simply cool the dangerous chemical element to a very low temperature and that will render it inert. Warm it up, and then it will begin to exert its amazing power to shrink objects. In the case of thiotimoline, its amazing properties only became apparent when it was available in purified form.

chemical bonds for endochronic carbon

 Imaginary Chemistry. In his second story about thiotimoline (1953), Asimov described the properties of endochronic carbon atoms (see the image to the right) which have some of their chemical bonds aligned with the time axis. Asimov suggested that this unique temporal alignment of endochronic carbon atoms within the structure of thiotimoline is what allows it to interact with water molecules in the future.

In "Thiotimoline and the Space Age" (1960), Asimov imagined the military applications of thiotimoline. So horrible were the theoreticl military applications of thiotimoline that Asimov was forced to call a world-wide ban on all further production of thiotimoline. Clearly, Asimov was playing off of the fears of nuclear warfare that had grown during the 1950s.

image source

Published in 1973, "Thiotimoline to the Stars" (you can read it here) takes the form of a speech given to the graduating class of '22 at the starfleet pilot training academy. In this future time (2122?), polymers of thiotimoline have been developed that can be used to construct interstellar spaceships. The lecturer emphasizes how important it is that spaceship pilots not try to turn their spaceships into time machines.

No Spoilers. However, at the end of the story, the crusty old lecturer is tricked into believing that a spaceship has traveled far into the past. Will all of Earth's historical timeline suddenly be altered? You'll have to read "Thiotimoline to the Stars" in order to find out.

Next: I finally read the first draft version of Asimov's novel The End of Eternity.

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