Transcription
January 15th, 1987, above the Swiss Alps, a woman was looking out at the most beautiful thing she had ever seen. And then she wasn't looking at anything. She had collapsed. The balloon had climbed too high. She was dying. But what she saw while she was gone, she's still trying to explain it.
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Linclair Dennis was not a scientist or a theologian. She was not someone looking for a spiritual experience. In January of 1987, she was a woman in a hot air balloon above the Swiss Alps. And then she was dying. Most people who have near-death experiences come back with feelings, a sense of peace, of love, of light. Linclair came back with something else. A shape, a specific geometric pattern, one she could see clearly, but couldn't yet explain, couldn't draw yet, and couldn't yet show anyone. It would take her years to recover, years more to remember it fully, and years after that to find the people who could help her understand what she'd [music] seen.
And when she finally did, mathematicians recognized it. Scientists studied it. And the question shifted from, "Did she see something?" to, "What exactly did she see?" That's what we're here to find out. My journey began as incredible as it seems 38 years ago when I died. And in a near-death experience, I didn't see angels. I didn't see God. I didn't see white light. I didn't fly through time. Most near-death experiences have a common vocabulary. Light, tunnel, peace, presence. Linclair had some of that, but she also had something almost no one else has reported. She described it like this.
And what I saw was the music I was hearing. I saw geometry moving, dancing. Geometry moving, dancing. Not a feeling, not a figure, a structure, alive, in motion, and somehow familiar. Something that she felt she already knew.
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In one ephemeral glimpse, I saw the pattern. The single strand of the tapestry I knew was the essence woven through matter in every reality. I knew I was looking at life itself. It was the very essence of all being. It moved in perfect harmony with all the universe. She wasn't describing a vision that faded when she woke up. She was describing something she knew. the way you know something you've always known but never had words for.
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250 years before Linclair's balloon left the ground, a man was looking for the same thing. He wasn't a mystic. He wasn't a preacher.
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He was a scientist, an anatomist, a mathematician, an engineer, someone who spent his career trying to understand the structure of physical reality. And then something happened to him that took the investigation somewhere else entirely. His name was Emanuel Swedenborg. And what he found he spent the rest of his life writing down. One line in particular sits very close to what Linclair saw. Divinity is the same in the largest and smallest things. One sentence, but what it implies is vast. that the same structure runs through everything, the enormous and the microscopic, the visible and the invisible.
Linclair didn't know what she had seen. Not yet. But she knew she had to find a way to show it to the world. The problem was when she came back, she could barely remember it.
>> [music] >> She didn't want to come back. >> Someone grabbed my left foot and began [music] pulling me backwards. And I didn't want to go. And I remember twisting in my body. I can still feel it turning, knowing I had to lock everything in. >> She came back to a body that had been without oxygen at 22,000 ft. Doctors told her she would never walk or talk normally again. She proved them wrong, but that took years. There was something harder than the physical recovery [music] she would have to go through. The pattern was gone. Not forgotten exactly, more like locked behind a door she didn't have the key to anymore. She knew it was there, but [music] she couldn't reach it.
Swedenborg once spoke with a newly arrived spirit who was distressed that he couldn't access what he [music] had known during his physical life. Swedenborg told him, "You haven't lost a single solitary thing. But in the next life, you don't have access to it. You've left behind what belonged to [music] the worldly realm." Linclair's situation was the reverse. She had come back from that realm and was now trying to reach across [music] the same gap in the other direction. What she had perceived there didn't translate clearly into ordinary memory.
So she went looking for silence deep enough to remember. I knew I had to [music] remember what I had experienced. I knew I had to bring it back. And the only way to do that was in the [music] silence. She ended up at a Buddhist monastery in Hawaii. Even though she wasn't looking for religion, and it worked. Eventually, the pattern came back to her. Not all at once, but enough. Enough to draw it. Enough to reach for a white metal coat hanger and bend it deliberately into that shape for the first time. She held it in her hands. This was what she had seen. Almost immediately, someone offered her a million dollars for it. She said, "No, >> it's not mine. I can't sell what does not belong to me." >>
The question now was what it [music] actually was and whether anyone had the tools to understand it.
[music] >> [music] >> So what exactly did she bring back? A specific geometric [music] structure, one that she could eventually draw, model, and name. She called it the Marion matrix. >> Marion is not a name. It is a naming. We actually believe it's the formula hidden in plain sight. If this geometry is showing us something about how we [music] are connected, we're all made marrying. A formula hidden in plain sight. That's a large claim. But here is what made scientists stop and listen. The same structure keeps appearing in places [music] that have no obvious connection to each other. Mathematician Dr. Louis Kaufman described [music] it this way. Here is something that if you look at it one way shows you the Star of David. If you turn it another way shows you the yin-yang. If you turn it again, you see the crescent sacred to Islam, the symbol for infinity and the conventional image of an atom. And they're really all the same thing. The same thing. Sacred [music] symbols from traditions with no historical contact. A scientific model of the atom. The symbol for infinity. the same thing just turned. And then the researchers found something even harder to explain. >> We have the evidence [music] that shows that the pattern that these frequencies generate actually match the stethoscopic [music] sounds of a healthy human heart. >> The pattern of a healthy human heart.
Emanuel Swedenborg would not have been entirely surprised. He wrote that the physical world is not separate from the spiritual that everything in nature corresponds to something beyond it. That the same principles run through both. God is the design [music] itself. From himself, God imposed a design on the universe and [music] on every single thing in it. Not a design imposed from outside. A design that is the universe. Present in the largest structures and in the smallest [music] in the sacred symbols of every culture in the sound of a living heart.
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Linclair didn't invent this. She found it. And once she had, she couldn't keep it to herself.
[music] [music] Here's what the Marion team kept finding as they studied the pattern across disciplines. It isn't just a structure of matter. It's a structure of relationship. The knot doesn't describe isolated things. It describes how things connect to each other, how they flow into each other, how they hold each other together. Linclair noticed something about the word itself. The word not, the word rel, religion, the word yoga all means to reconnect. And here we are living in a world where we are divided by religion. We are divided by politic. We are torn apart. And there needs to be a mending >> to reconnect. That's what every one of those words points toward. Different languages, different centuries, all pointing at the same thing. Swedenborg would say that it's a correspondence, that the physical world keeps pointing, [music] whether we notice or not, toward the same spiritual reality. Love is the force [music] that holds all things in connection. Not metaphorically, but structurally. And Swedenborg went further than that.
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He described something that when read next to the Marion matrix is difficult to dismiss as coincidence. The freedom we receive from the Lord is a heavenly freedom. All who enjoy it share their blessings and happiness with others out of a deep-seated desire to do so. The sharing itself is accomplished by the Lord by means of the most amazing streams of inflow which flow in a pattern that defies understanding. The pattern of heaven. The pattern of heaven. Written two and a half centuries before Linclair Dennis died above the Swiss Alps. What she saw wasn't just a structure of matter. It was a structure of love. The way [music] it moves, the way it connects, the way it holds everything together. And if that's true, it changes what the pattern [music] is asking of us.
Linclair spent decades asking what the pattern meant. What does it ask of the person [music] who carries it? What does it ask of any of us? Her answer wasn't abstract. >> My purpose, my passion in life is obviously to help us know who we are so we can write our life [music] story. Authenticity is connected to the word author. You are the only person authorized to write your life story. That's what she brought back from 22,000 ft above the [music] Swiss Alps.
Swedenborg saw something in his own spiritual travels that speaks directly to this. I was shown that when thoughts [music] together with feelings spread abroad, they swirl around in almost the same pattern that the folds of the gray matter take in the human brain. The patterns of heaven are even more amazing though and beyond all comprehension, even by angels. Angelic communities in the heavens follow this pattern. [music] Angel's thoughts also flow into the same pattern and reach great distances almost instantly because they follow an infinitely perfect pattern. An infinitely perfect pattern alive, flowing through thought, through feeling through every community we are a part of. The same pattern Linclair saw moving and dancing while she died above the Swiss Alps. And here's what she said about what it all came down to. Movement is the key to life. That is the [music] dance of love. Movement is the key to life. She saw geometry moving, [music] dancing, and spent the rest of her life understanding that the movement wasn't incidental. It was the point. The pattern doesn't hold still. [music] It flows. It connects. It reaches. And so Swedenborg would say we should [music] too. The question Linclair's life leaves us isn't whether the pattern is real. It's whether we are moving or standing [music] still.
Hey everybody, thanks for watching. Hope you enjoyed that episode of the NDE Files. This show is produced by the not for-p profofit Swedenborg Foundation. If you want to support us [music] in the creation of this program, consider becoming a member of this channel. you'll get some cool [music] perks and help know that you're spreading this content out for the next person to find. Thanks,