The Shroud Codex - Jerome R. Corsi [106]
“This is why the Shroud is a negative that shows a mirrorlike reversal of the way right and left appear to the naked eye,” Bucholtz said. “When Christ’s body transformed into radiant energy, a negative was burned into the linen of the Shroud, such that the transformation of Christ’s body was a function of mass converting into energy, producing a flash of light that left the brownish red burn marks on the cloth.”
“Excuse me, Dr. Bucholtz,” Fernando Ferrar said from the back of the room. “I want to make sure what you’re telling us. You’re talking about the resurrection of Jesus Christ, aren’t you? With this burst of radiant energy that burned the image onto the Shroud, aren’t you saying the Shroud image was formed by the energy generated when Christ resurrected from the dead? I want to report this, but I want to be sure I get it right.”
“I guess I am,” she said. “What I am describing is how Christ’s body transfigured, much like we see the New Testament gospel describing Christ after the resurrection. Christ appears to the apostles after the resurrection almost magically, as if he chooses to leave and reenter our normal four dimensions through an unseen fifth, special dimension. The importance of quantum physics is that it allows us to see our world bounded by length, width, height, and time, but it allows us to envision a multidimensional universe that is not bounded by our ordinary understanding of time and space. What the Shroud evidences is that human beings can transform the mass of their bodies into energy so as to make the transition into another dimension with the speed of light.”
“That’s all well and good,” Ferrar said, not sure he really understood a word of what Dr. Bucholtz was saying, “but what does this have to do with the resurrection of Jesus Christ?”
She did her best to explain. “The image of the man in the Shroud, in my judgment as a professional physicist, could only have been created by a phenomenon in which the man in the Shroud passed through into an extraordinary dimension, where, if he had been perceived as dead, he was suddenly seen as alive. In other words, it is completely conceivable to me that the man in the Shroud emerged with a transfigured body that would appear to us in our dimensions, if we could perceive it at all, as being not a physical body, but rather a body that was composed of part spirit and part physical material.”
“Okay.” Ferrar persisted. “Then what you are describing is the resurrection of Jesus Christ?”
“I am a physicist, Mr. Ferrar,” Dr. Bucholtz said, acknowledging her limits. “You are asking a religious question that I am not qualified to answer. But you can interpret what I am saying as consistent with the description of Christ’s resurrection in the New Testament, if you want to.”
Ferrar appeared pleased with that answer.
Listening carefully, Marco Gabrielli decided to interrupt, determined to take the discussion down to a much more practical level.
“Excuse me, Dr. Bucholtz,” Gabrielli began, “but if I understand you directly, a key point you are making is that the image of the man in the Shroud of Turin is three-dimensional. Is that correct?”
“Yes,” she said. “And more importantly, that the three-dimensional image has the characteristics of a hologram. In other words, we can lift a hologram of the man in the Shroud from the information contained in the brownish red image.”
“So, to produce a Shroud by means of artistic forgery, all a painter would have to do is to paint an image that was three-dimensional in nature with holographic characteristics embedded in the two-dimensional information. If I understand you, that is what the Shroud of Turin does. Is