THE EVENT HORIZON OF THE SHROUD OF TURIN
BY ISABEL PICZEK

When we had finished the 3D work on the Image of the Man on the Shroud and had created the Holograms, Lenticulars and Anaglyph 3D images, we were confronted with a problem. When you take the virtual 3D bas-relief of the Front and of the Back of the Body and try to superimpose the Front on top of the Back, you will find that it does not fit and that a substantial part of about 4 inches of the body mass is missing.
So, studying all the image formation theories, I could not find one that explains why that is the case.
When I met Isabel Piczek, she told me that she had a theory of the image formation that could explain this phenomenon.

ISABEL PICZEK’s ARTICLE STATES THE FOLLOWING:

We have stated that there is a dividing line, a real INTERFACE between the projection of the Frontal Image and the Dorsal Image that was, no doubt, created by the Body wrapped into the Shroud.

REVEALING SIGNS:

1) The hermetic separation of the two images Frontal and Dorsal without any overlap.
2) The lack of anatomical distortion of the naked Body projected on the Shroud.
—-These both indicate that the Shroud was forced absolutely taut, and precisely parallel with some kind of horizontal entity running in the center.
—–Also is apparent the presence of an inner Enclosure, AN ISOLATED SYSTEM, with all that this Isolated System would indicate or even enforce.
3) It is clearly visible on the Shroud Images, especially on the Dorsal Image, that the muscles of the Body are not crushed and flattened against the stone bench of the tomb.

4) The Body is hovering between the upper and the lower sheet and there is NO TRACE OF GRAVITY.
5) The lack of gravity is also further proven by the Shroud linen. The linen does not fall on top of the Body but remains in its unnaturally stretched condition at some distance from the Body.

Photo 12. Event Horizon shown in Sculpture of Christ

Photo 12. Event Horizon shown in Sculpture of Christ

 

Photo 11. Event Horizon shown in Sculpture of Christ

Photo 11. Event Horizon shown in Sculpture of Christ

 

Photo 13. Event Horizon shown in Sculpture of ChristPhoto 13. Event Horizon shown in Sculpture of Christ

 

All the above tell us that the INTERFACE indicated is not an ordinary interface. Judging by its qualities it has to be an EVENT HORIZON that blocks every communication between the two sides of the image.
Let us see what is usually indicated by an EVENT HORIZON and how does that relate to the EVENT HORIZON of the Shroud.

An Event Horizon is a critical line or a radius that divides Space-Time into two distinct regions. The exterior region one can experience, but the region beyond the critical line or radius one cannot experience. The critical line marks the path of the last light pulse that still reached the Event Horizon and Time itself slowed to a halt. Looking at the critical line from the other side Time and events gain almost infinite speed, and one could see the whole history of the Universe, past, present and future rapidly passing to an arbitrary end.
Ordinarily Event Horizons are tied to Gravity and Time, until they both, Time and Space cease to exist in a Black Hole, the end-product of the process and Gravity suffers a catastrophic collapse.

Does the interface Event Horizon of the Shroud lead to a Black Hole?

Everything on the Shroud indicates that the answer is NO. It is here that we face the most substantial paradox of our investigation. A paradox of that magnitude one cannot solve all at once, but one can assemble everything that is known so far and get closer to the magic door opening through the Shroud into a startingly different world.
We have stated before that the images on the Shroud firmly indicate the total absence of Gravity. Yet they also firmly indicate the presence of the Event Horizon. These two seemingly contradict each other and they necessitate the past presence of something more powerful than Gravity that had the capacity to solve the above paradox.

 

ENTROPY TURNED AROUND. THE SECOND LAW DEFEATED.

Entropy decreasing can produce energy levels powerful enough to replace gravity while leaving other gravity-like effects in place, as the Event Horizon. This shpuld be studied further. It promises some very new results.

The upper region of the isolated system of the Shroud has one Event Horizon, H1, that serves as a boundary of the Upper Region and there has to be an Event Horizon, H2, that is boundary to the Lower Region of the closed system. There is no space region but infinite density between the two. The two Boundaries can be looked at as one. Because H1 and H2 move so close to each other that they look as one, makes them eventually disappear, causing a total collapse of the Time quantum to ABSOLUTE ZERO TIME.
The total Space and Time breakdown to zero exposes that what was in the heart of the now collapsed Event Horizon. Not a Black Hole, but a special kind of SINGULARITY, similar to the one that once assisted the creation of a universe, our own.

THE TRUE FACE OF SINGULARITY.

For years science looked at dark matter as something that cannot exist in reality. The existence of dark matter has now been proven. For a long time, no one believed in the real existence of black holes. When their existence was accepted, science thought of them as very sinister entities in outer space. Now we know, that with their great gravitational power, they keep the galaxies together against the gravitational pull of dark matter. Singularities are feared and are on the extreme sinister list. It is here that the laws of nature, order and organization, as we know them, cease to exist, together with the predictability and consequently science itself. Due to them, one has to give up rigid symmetries, or the idea of an exactly uniform Universe. Unpredictable influences can come into the Universe from elsewhere.

WHAT IS THE TRUE FACE OF THE BIG BANG TYPE SINGULARITY?
Space-Time Singularity Big Bang style allows something to come out of nothing. It lends us to the possibility of the creation of a Universe. Science and human thinking since centuries, was trapped in the notion that events that already have happened and the previous structures of the Universe determine with considerable precision the structures and events of the present and even the future Universe. It seems to be a safe and utterly mechanized set up. The trouble with it is that it just does not work.
Creation is alive, it is not mechanized. It was formed by SINGULARITY. It freely implants new patterns and ideas into creation for its DEVELOPMENT, nor for its smooth working. Singularity stands in the service of information, the real INFORMATION, not the one science believed in for centuries through its mechanized set up. Information is the basic, living substance of the universe of which everything is made. It cannot be destroyed or changed. (Landauer’s Principle: “Any process that erases a bit in one place, must transfer that same amount of information somewhere else”). It always comes in from the future, never from the past. While Space and Time can fall to zero in the depth of Singularity, it is the wrong notion that also information is trapped there. Nothing can trap information. Its propagation is independent from light, it has its own information waves that can overcome any field or force. While everything in the Universe began at some point out of Singularity and may cease to exist at another point, Information simply stays.
The presence of Singularity selects for us the type of field at work in the tomb. It is undoubtedly THE FIELD OF INFORMATION. Its nature forbids the formation of its own anti-field.

Symmetry breaking is an almost more frequent phenomenon than invariance in nature. This should be attributed to the character of Singularity and its still ongoing consequences in creation. The subatomic world was mankind’s first exposure to the real nature of creation without any human manipulation. Science had to accept randomness, vague probability, constant change, sudden appearance and annihilation of particles. The real world seems to be a very creative world but hard to hold on to where anything can happen.
Paul Davies, one of the physicists who most profoundly studied Singularities, calls Singularities of the Big Bang type “a permanent and inexhaustible life support system”.
A Space-Time Singularity has two functions and characters in one. The time-like character of Singularity is a boundary to Space and its space-like character is a boundary of Time. The time-like Singularity in this universe is a more severe boundary to Space than the space-like Singularity to Time. Both could be considered past, like if this would not be turned over by the quasi rules of the quantum world. The big difference between the space-like and the time-like Singularities is that the space-like Singularity does not endure in the true sense. It shows an explosive behavior. The time-like Singularity in this creation system continues with time at least through certain duration. John Archibald Wheeler said: “It carries new influences into the Universe”.
The double Event Horizon of the Shroud, once it is fused into ONE (with the energy supplied for it probably by reverse entropy), exposes a Singularity that has this double nature, time-like and space-like and behaves accordingly. As a Big Bang type space-like Singularity it explodes in one impact. As a time-like Singularity it will continue. If we wondered how Time could recover from a zero-collapse state, the answer is to be found in this. Time also has to go through a PHASE TRANSFORMATION.

THE IMAGE.

When an Event Horizon is reached and Time stops, events are frozen in Time. It is held to be true that events are recorded on the Event Horizon.
Similarly, since the Shroud represents a closed system, the Body was recorded, Frontal and Dorsal, on the two Event Horizons, together with some of the traces of the phenomena that effected the closed system. After Time, (due to the impulse of Singularity) started to proceed again, it had to give forth the image that was joined to the last Time quanta and recorded on the Event Horizon. Hence the retrospective quality of the image and the fact that it is the dead Body that got recorded, not the risen one. At the “time” the image was transferred on the cloth, the Body was no longer in the tomb. But the difference in time is infinitesimal. Not expressible in our terms.

The process that permanently fixed the two images on the cloth is not any simpler than what lead to it till now. No wonder Shroud Research never was able to tackle this problem. Why were these complexities necessary at all?

“The Singularity may represent the interface between the natural and supernatural”. (Paul Davies).

We never could find and describe the “physics” of the Resurrection or find the secret to make people rise. All these belong to God alone. But perhaps we could get a glimpse of the purpose this extraordinary piece of cloth wants to serve?
Earnestly reading on the cloth the traces of some colossal phenomena, there is only one conclusion. Let us follow the complex process again described by the Shroud.

 

SUMMARY OF THE PROCESS OF IMAGE FORMATION.

There is the hermetic separation of the two images with no overlap. The Frontal image is projected upward and the Dorsal image downward, clearly describing a Horizontal Interface in between. The Interface seems to have the power of making the Shroud straight and taut, and definitely forced to be parallel with this mysterious entity. Due to this condition of the Shroud the image of the Body on both sides is visibly perfect and undistorted anatomically. The cloth is staying at some distance from the Body and does not fall on it. Also, clearly visible is that the muscles of the Body are not flattened against the stone bench of the tomb. The Body is weightlessly hovering between the two sides of the sheet. The fact that the upper side of the sheet did not fall on the Body and that the muscles are not crushed and flattened against the stone bench of the tomb clearly proves the total absence of gravity.

Al the above visible traces on the Shroud indicate that the new Entity, the mysterious Interface, is significantly more than just an Interface. It has obviously great power of a special kind that indicates we are dealing with an Event Horizon. The lack of Gravity, however, introduces here a significant paradox. There is a great upsurge of energy with strong organizing power that would mean decreasing entropy. The immense energy released has the means to overpower Gravity, while energizing the Event Horizon already in place. (Here some new and different laws seem to present themselves that have to be studied).

The greatly divided Upper region and Lower region of the Isolated System of the Shroud each seems to have its own Event Horizon. Since energy has been added by entropy falling, the Event Horizons move closer and closer to each other, finally becoming one. Time collapses to zero. Eventually they disappear, revealing the entity they were clothing so to speak, the Space-Time Singularity Big Bang style. Everything indicates that at the collapse of the Interface the Body is suddenly no longer in the tomb.

After time, due to the impulse of the time-like part of Singularity started to proceed in a new direction, it had to give forth the image that was carried by the last time quanta and encoded, as we know, on the Event Horizon. It was the image of the dead Body with a retrospective quality and recorded in two halves.

The space-like part of Singularity, as we have seen, explodes with everything all at once spreading its powerful Information Field. With its obvious assistance the Image recovered by time spreads itself on both sides of the cloth. The mechanism is extremely complex. The orthogonal projection is scarce. The oblique forms are transported in multi planes turning and turning, superposed and creating a Bas-relief effect with the mysterious Event Horizon as its impenetrable background. Another paradoxical quality of the Shroud is its semi-three-dimensional character, a two-dimensional encoded image that can only translate itself in three dimensions, forever speaking about the presence of a real three-dimensional Body.

We should remember also, that the explosion of a Singularity is an incredibly powerful event even in an Isolated System. One of these brought forth the Big Bang. The tomb can contain and witness only the infinitesimal split duration of the explosion and action of the Singularity, hence the unknown an alien marks on the Shroud that no one could imitate.

Creation started out of a Singularity and its explosion. We call it the Big Bang. No matter how startling and unbelievable it is, but this investigation led to a definite Singularity. The Second Creation has been started in the tomb and burst forth from there. The Shroud is an incredible Blueprint presented amidst the signs of a monumental sacrifice.

I close with the very fitting words of John Archibald Wheeler:

“Someday a door will open and expose the glittering central mechanism of the world in its beauty and simplicity”.
Who would have thought that this door will open through the Shroud of Turin!

 

ISABEL HELEN PICZEK (1927-2016)

Photo 1. Isabel Piczek

Photo 1. Isabel Piczek

Since we met Isabel Piczek the first time in the USA in 2006, we became good friends and visited her regularly in Los Angeles in her atelier and had long discussions, with of course as main theme the Shroud of Turin. She showed us part of her work in different churches and chapels, large paintings, beautiful stained-glass artwork and her mosaics. She was a brilliant woman, and I had a great respect and admiration for her. Her death came as a shock to me and my wife Dalys and I will always remember her sharp mind and artistic qualities and her very warm personality.

Photo 2. Isabel in her atelier Los Angeles

Photo 2. Isabel in her atelier Los Angeles

Photo 6. Isabel and Dr. Soons meeting AMSTAR

Photo 6. Isabel and Dr. Soons meeting AMSTAR

Photo 7. Isabel in her atelier and Dr. Soons

Photo 7. Isabel in her atelier and Dr. Soons

Photo 8. Isabel and Dr. Soons in her atelier

Photo 8. Isabel and Dr. Soons in her atelier

Photo 9. Isabel and Dr. Soons in front of tile work of Maria de Guadalupe

Photo 9. Isabel and Dr. Soons in front of tile work of Maria de Guadalupe

Photo 10. Isabel and Dr. Soons in her atelier

Photo 10. Isabel and Dr. Soons in her atelier

Following is a short overview of her life.

In Memory of Isabel Helen PICZEK:

Isabel Helen Piczek, a world-renowned ecclesiastical and sacred artist, passed away peacefully in her home in Echo Park, California on September 29, 2016 at the age of 88. She was born in Hatvan, Hungary on November 14, 1927 to Zoltan and Elona Piczek. Her father Zoltan was a noted artist and art professor. Isabel graduated from the Academy of Fine Arts in Budapest and in addition to being a world class artist also became an internationally known Physicist, recognized for her study of “Time”, and also the Shroud of Turin. Isabel shared her formative years as an artist with her sister Edith who also nurtured and developed her own artistic style. Their partnership blossomed and matured through the years. Edith was a frequent collaborator and Isabel’s lifetime companion until her death in 2012.
Isabel was still a young student when she began to visualize the possibilities of a new sacred art form–a new liturgical vision. She realized early on that there would be no opportunity to create that vision in Hungary as it was then part of the suppressed world behind the Iron Curtain under Communist rule. Just after the end of World War 11, Isabel and her sister fled the Communist regime in Hungary and escaped across the border into Austria. It was a difficult and often dangerous journey, but they soon found their way to freedom. After a brief stay in Vienna they literally “painted” their way across Europe, travelling from one monastery to another, enduring struggles and challenges along the journey. At one point they wandered in the snow of the Alps for three days until finally finding their way across the Italian border.They continued on to Rome which would become their home for the next three years.

In Rome, Isabel won the International Grand Award for her painting at the Galleria di Roma. As a result, though still only a teenager, she won the competition to paint a new mural. Isabel, already a prodigy, was only 14 years old but was commissioned to paint a 400 sq. ft. true fresco mural at the world famous Pontifical Biblical Institute owned by the Vatican.
When she arrived to receive the award, officials doubted that such a young girl could have created the submitted art that had won the competition. To prove her ability, they demanded that she complete the first third of the mural for free and that a panel of experts would judge her work. The judges were astonished at the quality and maturity and approved the completion of the commission. From that humble start, during their three-year stay at Rome, Isabel and her sister would go on to be hired and to complete 42 additional mural paintings.
Declining a scholarship to move to Paris, Isabel and her sister briefly lived in Canada before making the decision to come to America in 1956. They soon established their Studio, the Construction Art Center, in Echo Park, close to downtown Los Angeles. It is here that Isabel has continued to live and create art over 50 years.
Her body of work is nothing short of astonishing and includes colossal sized murals, mosaics, paintings, stained glass windows and tile works for over 400 buildings, churches and cathedrals in seven countries and on three continents.

Photo 3. Painting in Catholic Church L.A.

Photo 3. Painting in Catholic Church L.A.

Photo 4. Stained glass windows in Church L.A.

Photo 4. Stained glass windows in Church L.A.

Photo 5. Stained glass windows in Church L.A. 

Photo 5. Stained glass windows in Church L.A. 

Winning an International Competition, Isabel created the 300 sq. ft. figurative stained glass entrance for the Basilica of the National Shrine of the Immaculate Conception in Washington, D.C. Considering the hundreds of art works she has created, Isabel frequently references the following as among her favorite; The large Resurrection mural at Holy Cross Mausoleum in Culver City; the art works of the Sacred Heart Chapel in Santa Anna; the mosaics of St John Neumann Church in Irvine; St. Anne of the Sunset in San Francisco; San Fernando Mission Mausoleum in Mission Hills; St. Mary Magdalene’s in Camarillo; the mural paintings, mosaic and stained glass at the Guardian Angel cathedral in Las Vegas, Nevada; Holy Family Church in Deming, New Mexico; St. John Fisher in Palos Verdes Peninsula; and the murals, stations and stained glass windows at St. Anthony Church in San Gabriel. In 1992, Isabel along with her sister Edith was honored by Pope John Paul 11 in recognition of her prolific artistic achievements, examples of which can be found in multiple cathedrals, churches and other buildings across the world.
Cardinal Roger Mahony, Archbishop of Los Angeles, conferred on Piczek admission into the Pontifical Order of St. Gregory and the title Dame of St. Gregory, making her one of only 70 Knights and Dames throughout the world who hold this honor.
Isabel’s art and research has touched the lives of millions of people around the world. Her legacy lives on through her extraordinary work.

 

SCULPTURE BASED ON THE IMAGE OF THE MAN ON THE
SHROUD OF TURIN (2007-2008)

 

I was in a unique position to produce a sculpture of the Man on the Shroud of Turin, having worked the last eight years as a sculptor in tropical wood, creating a series of life-size sculptures, but also since 2005 involved in the 3D investigations of the Shroud.

The procedure that was followed to create the sculpture;

1) As a solid basis for the measurements, we used the measurements of the image on the Shroud itself. These were taken from the new folded illustration of the Shroud, as produced after the restauration of 2002, with the measurements of the Shroud taken by GIAN MARIA ZACCONE, Scientific Director of the Museo della Sindone, and BRUNO BARNERIS, Chairman of the Confraternity of the Holy Shroud of Turin and the International Centre for the Turin Shroud. This illustration has a superimposed grid, prepared by GINO MORETTO, which makes it relatively easy to identify every point of the image on the front side of the Shroud. You will find this in: “SINDONE 2002, L’intervento conservative”, written by: MECHTHILD FLURY-LEMBERG. As the scale of this illustration is 1:5 and knowing the new measurements it became the basis for the work drawings, identifying every point necessary for the exact information on the X- and Y-axis. BARBERIS and ZACCONE measured the length of the Shroud as, left side 442,5 cm, and right side 441,5 cm. The width was, bottom 113 cm and top 113,7 cm.

Photo 20

Photo 20

Photo 21

Photo 21

Photo 22

Photo 22

Work drawings based on the measurements made by Bruno Barberis y Juan Maria Zaccone in 2002 during the restauration of the Shroud

2) The 3D investigations done by us during the last 5 years and especially the last two years, that were based on the scientifically proven distance information present in the grayscale information of the image and that led after conversion from 2D to 3D to the production of the Holograms, Anaglyph photographs, Lenticulars and DVD’s, proved to be a very valuable source of information for the relevant points of the anatomy of the body and their position on the Z-axis. For example, the degree of bending of the legs, arms and the head and the position of the feet.

Photo A. Body front in 3D ANAGLYPH (use 3D glasses)

Photo A. Body front in 3D

ANAGLYPH (use 3D glasses)

Photo B. Body back in 3D ANAGLYPH (use 3D glasses)

Photo B. Body back in 3D

ANAGLYPH (use 3D glasses)

3D images Galmarini

3) I have been practicing many years as a medical doctor and was trained as such at the University of Utrecht and Rotterdam in my native country, the Netherlands. This has given me the expertise and experience to recognize the most minute details of the anatomy and pathology of the human body, be it in the form of disease or trauma, like in the case of the Man on the Shroud. I did also study extensively the investigations of the forensic specialists that have worked on the Shroud image, for example the work done by Dr. BUCKLIN, Dr. FREDERICK ZUGIBE and recently by Dr. JOSE de PALACIOS CARVAJAL in Spain. This put me as a medical doctor in a special position to interpret the different findings in the 3D anatomy and especially the signs of the different traumas caused by the beatings, torture, flagellation and crucifixion that the Man on the Shroud endured.
4) In Curacao, Netherlands Antilles, I founded an Ultrasound Clinic and after the appropriate training developed great skills in the reading and interpretation of 3D images. It is a skill that you can only develop with an inborn talent for 3D imaging and very hard work. The skill to interpret very professionally 3D images were of a great help to me when we produced the 3D images of the Man on the Shroud and I was in a unique position as a medical doctor and also a specialist in 3D Ultra Sound Work to do these interpretations, which led to several new findings in the anatomy and also the traumas suffered by the Man on the Shroud.
Some examples of these findings were;
———-The position of the arms in a horizontal plane and with elbows higher than was
stated by the professional artists and scientists.
———-The bending of the legs, with the left leg more bended than the right leg, because
of the position of the feet.
———-The position of the feet, with the left foot crossed over the right foot.
———-The bending and the degree of bending of the head.
———-Very well visible were the swellings in the face and the dislocation of the nose.
——— The presence of a solid oval object under the beard with letters on the surface.

5) On the recommendation of my dear friend and very well known religious artist and Sindonologist, ISABEL PICZEK, I made extensive use of life models when creating the sculpture as accurate as possible, putting them in the position that the 3D images indicated.

6) I want to make it absolutely clear, that I am not a professional sculptor, I am an amateur. Since 2001 I have been making large life-size sculptures in tropical woods under the guidance of my teacher Maestro CRUZ GONCALES in Volcan, Panama where we live. The Maestro is considered one of the best sculptors in Panama. During all these years with hard work I developed every year more skills and experience. See the added 7 photographs.

Photo 8. Maria with child

Photo 8. Maria with child

Photo 9. Detail child

Photo 9. Detail child

Photo 10. Making Running Woman

Photo 10. Making Running Woman

Photo 12. Piëta

Photo 12. Piëta

Photo 14. Detail Piëta

Photo 14. Detail Piëta

Photo 15. Torso with baby

Photo 15. Torso with baby

Photo 16. Madonna with child

Photo 16. Madonna with child

This sculpture was the result of all the years of study of the 3D qualities of the image of the Man on the Shroud, and an intense desire to produce it. I started working on this sculpture in September of 2007 and it was finished in August of 2008. We exposed it first in our local church and when we organized a large exhibition of the Shroud in Panama, that lasted for a year, we exposed this sculpture also in the exhibition to the great delight of the visitors, who were allowed to touch it.

7) I added a series of photographs to give an idea of the producing of the sculpture and also two movies, made by my compatriot and dear friend Erik Westra, that also gives a real good idea what it means to produce a life-size sculpture like this one, of the Man on the Shroud.

Photo 1 Working for three months outside

Photo 1

Photo 2 Working for three months outside

Photo 2

Photo 3 Working for three months outside
Photo 3

Working for three months outside

 

Photo 4 The detail and finishing in my workshop

Photo 4

Photo 5 The detail and finishing in my workshop

Photo 5

Photo 6 The detail and finishing in my workshop

Photo 6

Photo 7 The detail and finishing in my workshop

Photo 7

The detail and finishing in my workshop

 

Following three movies showing the making of the scukpture of Christ from September 2007 until August 2008.

7.1 ESCULTURA 19 PHOTOS

Following two movies showing the making of the sculpture of Jesus Christ from september 2007 until august 2008

7.1 ESCULTURA 18 JUNE 2007

7.1 ESCULTURA 17 DEC. 2008