The-Complete-Neruda-Interviews-1-5

The Fourth Interview of Dr. Jamisson Neruda
WingmakersTM
Sarah: “Apes”
Dr. Neruda: “Any molecular biologist will tell you that our genome is a 98 percent match of
the chimpanzee.”
Sarah: “Are you suggesting that the WingMakers produced this site in homage to the
chimp”
Dr. Neruda: “No. I’m simply relating the truth. Until 1955 scientists believed that humans
had twenty-four pairs of chromosomes just as the chimpanzee or gorilla, but then it was
discovered that somewhere in time, humans fused two chromosomes into one—”
Sarah: “And how does this all relate to the discovery of the twenty-fourth chamber”
Dr. Neruda: “It probably doesn’t. The human genome is like a set of encyclopedias with
twenty-three volumes. It’s quite possible that the twenty-fourth chamber, in this case, is the
equivalent of the index or navigation volume.”
Sarah: “But it’s not visible like the other twenty-three chromosomes”
Dr. Neruda: “We thought there was significance in the fact that the twenty-fourth chamber
was hidden, and was only connected by a narrow, vertical passage to the twenty-third. It’s
possible, in theory, that the twenty-fourth chromosome isn’t a molecular based gene
repository. There may be a genetic mutation that is being foreshadowed in our future, or the
twenty-fourth chamber is a metaphor for a new functionality of the human species that is—
as yet—dormant or non-coded.”
Sarah: “So, what does Fifteen think it all means”
Dr. Neruda: “ZEMI had done an exhaustive search of the variables, and I believe Fifteen
had more or less accepted its most probable alternative, that the twenty-third chromosome
was destined to mutate and create or catalyze the creation of a twenty-fourth chromosome
that would act as a navigation system or index for future geneticists.”
Sarah: “And ZEMI deduced all of this from a single painting”
Dr. Neruda: “ZEMI had sixty-two different analyses of the twenty-fourth chamber
painting, and each of them had probabilities of over 40 percent. This is unheard of unless an
object is coded in sufficient complexity, and this coding is consistently applied to produce a
web effect of possibilities. This painting, along with the glyphs on the opposite wall,
achieved that end. The ACIO calls this phenomenon, Complexity Interlocks, with factors on a
scale of zero to one hundred. If an object or event has a CI of fifteen, it’s considered a
coded object. The artifacts of the twenty-fourth chamber had the highest CI of all the
chambers: 94.6. To put it into perspective, the next highest chamber, chamber six, had a CI
of 56.3.”
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