
Vijay Fafat
 Published on
A typical story of the era. Delmar had been in love with a girl called Lorna, daughter of a geniuscaliber mathematical physicist, Arnold Kettering. Kettering, was as violenttempered and irascible as he was brilliant. He utterly dismissed most of the scientific community except those who delved into the depths of mathematics, for “only in the field of mathematics do your socalled scientists really begin to think”. He had hired Delmar as an assistant for his experiments but completely dismissive of his Ph.D. and his expertise. Delmar bore all the atrocious treatment meted out to him to stay close to Lorna.
Kettering had long believed that the physical universe was just a particular structure of energy shaped by frequencies (of disturbances) in it, with our 3d space just a sliver of a larger geometry of 4=four dimensions. To quote:
“>Kettering, it now seemed clear enough, had pictured the objective physical world as a fourdimensional superstratum, which was characterized by the infiniteness and perpetuity of energy and being. To limited sense perceptions and instruments, abstractions from the superstratum appeared as finite threedimensional crosssections. Threedimensional objects, in other words, were “shadows” of four dimensional “extensions”, and were thus illusory. There was no ultimate reality, but only a relative point of view. Extensions had orientation within the superstratum up to the instantaneous “present” in any particular system of spacetime. A reorientation or displacement involved the infinite energy of the superstratum and accordingly took place at the speed of light, and at a rightangle to the original orientation. From the three dimensional point of view, the relatively dynamic became the relatively static, and therefore a threedimensional object became a two dimensional crosssection, or shadow. Here the LorentzFitzGerald contraction was in the direction of “thickness”. Equilibrium of the energy relationships between the extension and the superstratum was reached in another system of spacetime, on the plane of the probabilityfuture.”
Based on these considerations, Kettering built a device which would rotate a human being into the eternal fourth dimension, because:
“A human being, of course, was a threedimensional object, a crosssection of a fourdimensional extension. Subjected to a process utilizing the infinite energy of the superstratum, this object could literally be shifted into another system of spacetime. The object thus had extension in the original system up to the point, or instant, of application of the process. Beyond this point in the original system the object no longer had extension or threedimensional reality, but remained as a twodimensional crosssection or shadow, since this was all that now had extension in that system. A twodimensional shadow would be superimposed against any surface that came within the field of influence of the process, a wall—or a window. Two systems of spacetime would meet here at right angles, and as a result there would be certain abnormal phenomena, among which would be a faintly audible “singing”. The process itself involved three dimensional abstractions from the basic energy of the superstratum in the form of electromagnetic frequencies. It was fully reversible, infinite in one direction, finite in the other. The transformation was essentially one of degree rather than kind, since the only real difference was in the point of view. From the threedimensional point of view, an electromagnetic process directly involving the superstratum would have perpetuity and would be self sustaining by its very nature.”
When Kettering found out about the intimacy between Delmar and his daughter, he threw Kettering out and one day, in a fit of rage, turned the machine on his daughter, banishing her into the higher dimension. This dimensional gate got embedded into the window of his study room, which now became a phantasmical object.
“A picture had somehow been blended into the glass of the window, the picture of a girl, lifesized and startlingly real in color and photographic detail.”
Years later, a married but harassed Delmar moved into that same house and remained fascinated with Lorna’s picture. Yadayadayada, a plotline of marital infidelity, and Delmar jumped through the window to disappear into the fourth dimension, presumably going on to find Lorna.