The idea about heaven in the regard with which you ponder, is it not very far away then? Meaning, that heaven is really right next door to you all the time. Heaven then, could be a state of mind, consciousness where we can move in time in very interesting ways. Heaven literally then, could sit in the very same space that you are standing in? So this idea then rests on how one may interpret geometric dimensional attributes as facets and degrees with which we access not only the future, but about how that future affects the past.
I see a clock, but I cannot envision the clockmaker. The human mind is unable to conceive of the four dimensions, so how can it conceive of a God, before whom a thousand years and a thousand dimensions are as one?
- From Cosmic religion: with other opinions and aphorisms (1931), Albert Einstein, pub. Covici-Friede. Quoted in The Expanded Quotable Einstein, Princeton University Press; 2nd edition (May 30, 2000); Page 208, ISBN 0691070210
While in the film we see physical manifestations as gravitational waves, as a bar code and a distribution of dust according to those patterns, these are derivatives of some higher dimensional thinking being communicated from the Tesseract, as books falling to the floor. So the gravitational waves have “a source” from which information is attained. The watch, as time being communicated in the second hand. We use time as a means of representing a fourth physical dimension.
Penrose’s Influence on Escher
During the later half of the 1950’s, Maurits Cornelius Escher received a letter from Lionel and Roger Penrose. This letter consisted of a report by the father and son team that focused on impossible figures. By this time, Escher had begun exploring impossible worlds. He had recently produced the lithograph Belvedere based on the “rib-cube,” an impossible cuboid named by Escher (Teuber 161). However, the letter by the Penroses, which would later appear in the British Journal of Psychology, enlightened Escher to two new impossible objects; the Penrose triangle and the Penrose stairs. With these figures, Escher went on to create further impossible worlds that break the laws of three-dimensional space, mystify one’s mind, and give a window to the artist heart.
I think artists in some way explore these limitations of how such a thought construct could have been realized and in regards to Dali (are such dimensional attributes really inaccessible to the mind?), while we may make comments on his character, this does not limit one to realize how the Tesseractbecomes the measure that heaven can be seen in the construct of such thoughts you are engaged in.
The implied idea of symmetry(the God Particle), possibly, as to perfection in the way one may look at heaven and in Plato’s case regardless of how old the philosophy is, it helps to point to some ideas about how the Catholic religion in Rome grabbed hold of Plato by a finger, as pointing up in relation to Aristotle in the School of Athen’s fresco done by Raphael in the Signatore’s rooms at the Vatican.