The Shroud Codex - Jerome R. Corsi [105]
“Of course, an artist would not have worried about the physical transfer process,” Gabrielli said in objection. “An artist would have worked on a stretched canvas and painted intentionally without the distortions of a cloth lying on the body at all. It would have been completely natural to have painted a front and a back image separately, each without distortion.”
“Yes, you have a point,” Bucholtz conceded, “but I disagree with you that the image was painted at all. The Shroud image was imprinted on fibers of cloth that are one-tenth the diameter of hairs on your head. The image was created by what at a microscopic level would look like random coloration, much like how newsprint looks like dots when magnified. You would have needed an atomic laser machine that could place the image on the Shroud as we see it. Unfortunately, high-resolution atomic microscopes like we have available here at CERN were not available to artists working in the thirteenth and fourteenth centuries. The very top of the linen fibrils of the cellulose fibers of the Shroud demonstrates colorization from an extremely rapid dehydration and oxidation process. It is almost as if the Shroud fibers aged in an instantaneous process similar to effects we observe with radiation. The reddish brown sepia or yellow-straw image on the Shroud appears almost as if formed in the process of the Shroud being scorched.”
“So how then do you explain how the image was formed?” Gabrielli asked, rapidly losing patience with an explanation he still considered to be nothing more than the ramblings of a theoretical physicist speculating about a religious relic outside her area of expertise.
“I believe the suspended body of Christ in the tomb entered what we call in general relativity an event horizon,” she answered.
“Excuse me if I don’t know what an event horizon is,” Gabrielli replied. “I’m just a simple chemist, not an advanced particle physicist like you.”
“An event horizon is a boundary in space-time where the normal laws of physics no longer apply,” she said. “We observe event horizons, for instance, in the area surrounding black holes in space, where light that is emitted from within the black hole is never able to escape to an observer standing outside the black hole.”
“So you are telling us, then, that Christ suspended like your hologram shows, between the sheets of the Shroud, and entered one of these so-called event horizons where his body radiated into some other dimension. Is that it?” Gabrielli asked, intending to be sarcastic.
“Yes, that is exactly what I am trying to say,” Bucholtz answered, not realizing that Gabrielli was trying to be facetious.
“So, in other words, the Shroud of Turin, in your opinion, is a kind of time machine. Is that it?” he asked.
“In a way, I guess you could say that,” she said. “My conclusion is that Christ’s body entered an event horizon in which his physical body transitioned into another space-time dimension. My hypothesis is that at the moment of transition, the body transitioned into another space-time dimension with an instantaneous burst of radiant energy. The burst of radiant energy at the instant of transition was what seared the linen cloth and formed the image. In other words, what we see today as a brownish red image imprinted on the linen Shroud was created almost as an energy scorch, as Christ’s body transitioned almost as pure energy through an unseen event horizon. Importantly, my theory validates Einstein’s famous equation that energy is a function of mass and the speed of light. In transitioning dimensions, the mass of Christ’s body transformed into a burst of energy that moved through our dimensions of space and time with the speed of light.”
Castle was not sure he comprehended the physics behind what Dr. Bucholtz was saying, but he connected instantly with the discussion at Princeton with Dr. Silver. Dr. Horton Silver and Dr. Ruth Bucholtz were saying the same thing. Deciphering the