In 1988, three reputable laboratories in Oxford, Zurich and Tucson carried out radiocarbon tests on the Shroud of Turin and declared it a brilliant, medieval fake produced between 1260 and 1390. Since then startling new evidence has led Professor Christopher Ramsey of the University of Oxford and Head of the Oxford Radiocarbon Accelerator Unit which participated in the original 1988 carbon-14 dating of the Shroud to say, in May 2008:
"There is a lot of other evidence that suggests to many that the shroud is older than the radiocarbon dates allow, and so further research is certainly needed. Only by doing this will people be able to arrive at a coherent history of the shroud which takes into account and explains all of the available scientific and historical information."1
The evidence to which Professor Ramsey refers includes:
1. Contamination by a fire in 1532 that could have skewed the results by thousands of years.
2. A difference detected in the dates of the different samples given to the three laboratories (in some cases as much as several hundred years).
3. The fact that some parts of the sample appear to come from a fabric that was used to repair the cloth at a later date.
If the Shroud of Turin was indeed created by the same phenomenon that allowed Jesus to ‘glow brighter than the sun’ in front of James, Peter and John, known as the ‘Transfiguration’ then the remarkable features that this cloth has been found to possess could have a clear explanation.
Could a momentary burst of radiant energy, a transfiguration account for these properties? In 2008 an Italian group of scientists researching this possibility presented their conclusions at the Ohio Shroud Conference:
"In summary, our results do not rule out the possibility that a short and intense burst of directional UV radiation, having a very narrow set of duration/intensity/wavelength values, may have played a role in the formation of the body image on the Turin Shroud. However more investigations and characterization work are still necessary to gain a deeper insight into the UV radiation effects on linen aging and image formation Finally, let us point out that the total UV radiation power required to color a linen surface corresponding to a human body, of the order of 16 × 106 W/cm2 × 17.000 cm2 = 2.7 × 1011 W, is impressive, and cannot be delivered by any UV laser built to date. The enigma of the origin of the body image of the Turin Shroud still "is a challenge to our intelligence"2
Could this burst of laser-like radiation have been produced by the conversion of the very atoms of Christ’s body into light? If this was indeed the case it is no surprise that there is no laser powerful enough to deliver such a blast of radiation!
Einstein’s famous equation describing the fact that mass is really an expression of energy E=MC² describes the fact that mass or matter is ‘condensed’ energy. Energy is an expression of force and force is a product of the state of separation of points. Levels of separation and therefore force are increasing in time due to the entropic momentums of a physical Universe. Based on this fact I am going to put before you a remarkable proposition:
Is it possible that through thought and behavior that binds and unites, in other words through that much misused word ‘love,’ Jesus Christ lessened the force of his own atoms such that their condensed energy was liberated in a blaze of transfiguration?
I propose that E=MC² suggests that matter is in fact no more than energy in a frozen state and energy is no more than thought in a frozen state. If the God state is infinite in extent then it is a state of timelessness without beginning or end. All finite states must therefore have their beginning in this infinite state. If the fabric of that infinite state is thought then all finite states are therefore fashioned from thought. With this in mind let’s take another look at how the image on the Shroud might have been formed.
The holographic properties of the Shroud are very important. A hologram is a pattern of interacting microscopic rings, or interference fringes, not unlike the pattern created when a handful of pebbles are tossed into a pond. Every area of the hologram sees and stores information about the whole image. If you break a hologram into multiple pieces, you have multiple holograms, each of which bears information about the whole image.
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