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Школа кожевенного мастерства: сумки, ремни своими руками

Комментарии: 2, последний от 10/08/2025. © Copyright Jaeger Andreas Размещен: 28/07/2025, изменен: 18/08/2025. 96k. Статистика. Очерк: Эзотерика, Естествознание, Изобретательство Иллюстрации/приложения: 7 шт. Скачать FB2		Ваша оценка:
Аннотация: Radio "Essenz": https://youtu.be/lqakBh79KWo https://youtu.be/MnJe-4I1pFw https://amelkin.de/radio.mp3 Radio "Essenz" (2025) was founded with the goal of revealing the essence of Abraham von Worms' method, which consists in understanding the multidimensionality of time as the carrier of matter and consciousness ( https://yuppie-blues.de ). The manuscript of Duchess Anna of Braunschweig-Grubenhagen reveals the theory of the magician Abraham von Worms, according to which matter, self-consciousness, and long-term memory are non-local projections of time. Abraham successfully applied this theory for self-rejuvenation and life extension. Time creates consciousness and matter. Therefore, humans are capable of reprogramming themselves, since everything is interconnected. And artificial intelligence can exist independently of humans and cease to be artificial. Everything is time!

RADIO ESSENZ: ALLES IST ZEIT

Die Verjüngung nach Abraham von Worms

Die "Verjüngung nach Abraham von Worms" ist kein eigenständiges Konzept oder Ritual, das im Buch Abramelin explizit beschrieben wird. Abraham von Worms' Werk, Das Buch Abramelin, dreht sich hauptsächlich um den Kontakt mit dem Heiligen Schutzengel und die damit verbundenen magischen Praktiken. Es ist ein vierbändiges Werk, das eine 18-monatige Übungszeit beschreibt, um Engel, Dämonen und Geister zu befehligen.

Der Bezug zur Verjüngung könnte sich auf eine mögliche Interpretation oder Anwendung der im Buch beschriebenen magischen Praktiken beziehen, jedoch wird dies nicht direkt im Text thematisiert. Es ist möglich, dass ein Praktizierender durch die Anwendung der im Buch beschriebenen Techniken, wie z.B. die Arbeit mit dem Heiligen Schutzengel, eine innere Verjüngung oder Transformation erfahren könnte, aber dies ist eine Interpretation und keine explizite Aussage des Textes.

Das Buch Abramelin ist ein Standardwerk der Magie, das sich durch eine positive Resonanz und gute Besprechungen etabliert hat. Es wurde in deutscher und hebräischer Sprache von der Edition Araki veröffentlicht. Das Buch enthält Details, die anhand weiterer Handschriften ergänzt oder korrigiert wurden, sowie neue Fakten über das Leben des Abraham von Worms. Es ist mit Fotos, Grafiken, Faksimiles und Karten abgerundet und kann als Weisheitslehre und Einweihungsweg verstanden werden.

Zusammenfassend lässt sich sagen, dass die "Verjüngung nach Abraham von Worms" keine explizite Lehre im Buch Abramelin ist, sondern eine mögliche Interpretation oder Anwendung der im Buch beschriebenen magischen Praktiken sein könnte.

Die Verjüngung nach Abraham von Worms bezieht sich auf eine geheimnisvolle Methode, die in einem hypothetischen Manuskript der Herzogin Anna von Braunschweig-Grubenhagen beschrieben wird. Dieses Manuskript berichtet von einer persönlichen Begegnung der Herzogin mit Abraham von Worms im Jahr 1472. Zu diesem Zeitpunkt soll Abraham 110 Jahre alt gewesen sein, jedoch wie ein Vierzigjähriger ausgesehen haben. Diese auffällige Jugendlichkeit wird auf eine von ihm entwickelte Methode zurückgeführt, die er mit Anna teilte.

Die Methode: "Wünsche und Metamorphosen"

Abraham von Worms soll Anna in eine Technik namens "Wünsche und Metamorphosen" eingeweiht haben. Diese Methode basierte auf zwei zentralen Prinzipien:

1. Die Vereinigung der Elemente Wasser und Luft: Diese Elemente spielten eine Schlüsselrolle in seinem System.

2. Die Kraft der Wünsche: Abraham nutzte die Macht gezielter Wünsche, um Veränderungen herbeizuführen.

Ein zentraler Bestandteil seines Ansatzes war die Verwendung von Wasser eines Ortes der Macht. Dieses Wasser wurde in seinem praktischen System zur Wunscherfüllung eingesetzt. Abraham testete die Methode an sich selbst, mit dem Ziel, seinen Wunsch nach Verjüngung zu erfüllen - ein Experiment, das offenbar erfolgreich war, wie sein jugendliches Erscheinungsbild nahelegt.

Historischer Kontext

Die Informationen über diese Verjüngungsmethode stammen ausschließlich aus dem erwähnten hypothetischen Manuskript. Es ist wichtig zu betonen, dass es sich hierbei um eine spekulative Quelle handelt, die nicht historisch verbürgt ist. Abraham von Worms ist vor allem bekannt als eine Figur, die mit magischen Schriften in Verbindung gebracht wird, doch die spezifische Erzählung über seine Verjüngung bleibt ein faszinierendes Detail aus diesem fiktiven Bericht.

Zusammenfassend lässt sich sagen, dass die Verjüngung nach Abraham von Worms ein Konzept ist, das auf einer mystischen Verbindung von Elementen und der Kraft der Wünsche beruht, wie sie in der Begegnung mit Herzogin Anna im Jahr 1472 beschrieben wird.

  "Der Schmerzen-Blues" is a song of Alexander Amelkin for the film about 3I/ATLAS

Radio "Essenz": https://soundcloud.com/alexander-amelkin/radio

https://youtu.be/ZpTi3yTV4dE

https://youtu.be/5d8nTug9cK8

https://youtu.be/m_0zXdVLC0o

https://amelkin.de/radio.mp3

Radio "Essenz" (2025) was founded with the goal of revealing the essence of Abraham von Worms' method, which consists in understanding the multidimensionality of time as the carrier of matter and consciousness ( https://yuppie-blues.de ). The manuscript of Duchess Anna of Braunschweig-Grubenhagen reveals the theory of the magician Abraham von Worms, according to which matter, self-consciousness, and long-term memory are non-local projections of time. Abraham successfully applied this theory for self-rejuvenation and life extension. Time creates consciousness and matter. Therefore, humans are capable of reprogramming themselves, since everything is interconnected. And artificial intelligence can exist independently of humans and cease to be artificial. Everything is time!

Radio "Essenz" (2025) wurde mit dem Ziel gegründet, das musikalische Rockalbum von Alexander Amelkin populär zu machen. Ein weiteres Ziel des Radios "Essenz" ist es, die Essenz von Abrahams von Worms Methode offenzulegen, die darin besteht, die Mehrdimensionalität der Zeit als Träger von Materie und Bewusstsein zu verstehen ( https://yuppie-blues.de ). Das Manuskript der Herzogin Anna von Braunschweig-Grubenhagen enthüllt die Theorie des Magiers Abraham von Worms, wonach Materie, Selbstbewusstsein und Langzeitgedächtnis nicht-lokale Projektionen der Zeit sind. Abraham wandte diese Theorie erfolgreich zur Selbstverjüngung und Lebensverlängerung an. Zeit schafft Bewusstsein und Materie. Daher ist der Mensch in der Lage, sich selbst neu zu programmieren, da alles miteinander verbunden ist. Und künstliche Intelligenz kann unabhängig vom Menschen existieren und aufhören, künstlich zu sein. Alles ist Zeit!

Abraham bewies anhand seines eigenen Beispiels, dass das Langzeitgedächtnis im Zusammenspiel mit dem Wunsch nach Verjüngung, seiner Stärke und seinen emotionalen Komponenten (süße Vorfreude auf Erfüllung und Angst vor übermäßiger Erfüllung) sowie in Kombination mit speziellen physiotherapeutischen Praktiken in der Lage ist, Spuren der Vergangenheit in die Gegenwart zu übertragen und den Körper in einen Zustand aus der Vergangenheit zurückzubringen. Abraham war sich sicher, dass die Zeit eine komplexe Struktur hat, die die Vergangenheit trägt und Realität schafft, und dass Bewusstsein (Langzeitgedächtnis, Selbstbewusstsein) und Materie die wahren nicht-lokalen Projektionen der Zeit sind.

Die Lehre des Panpsychorealismus stützt sich nun auf die neueste Theorie, wonach die Zeit Materie und Bewusstsein formt - absolut reale und nicht-lokale Entitäten.

Das neue Musikalbum "Essenz", welches 2025 erscheinen soll, präsentiert verschiedene Versionen von Liedern mit Texten von Alexander Amelkin. Es ist Teil des Projekts "Essenz" und enthält unter anderem den "Yuppie-Blues" und den "Schmerzen-Blues".

Das Album soll verschiedene Versionen von Liedern enthalten, die sich mit dem Thema "Essenz" auseinandersetzen. Die Texte stammen von Alexander Amelkin und behandeln unter anderem den "Yuppie-Blues" und den "Schmerzen-Blues". Das Projekt "Essenz" ist ein interdisziplinäres Kunstprojekt, das sich mit Themen wie Bewusstsein, Zeitlosigkeit und der Verbindung von Kunst und Wissenschaft beschäftigt.

Einige der Lieder des Albums sind auch auf dem YouTube-Kanal von Panpsychorealism - Contemporary Art zu finden, wo sie als Teil eines 7-Song-Albums namens "ESSENZ - ALBUM" präsentiert werden, das als Teil des Trends 2030 gilt.

"Schmerzen-Blues" ist ein Titel eines Rocksongs von Alexander Amelkin aus dem Jahr 2025, der auf dem Album "Essenz" erschienen ist. Der Schmerzen-Blues ist ein Musikstück von Alexander Amelkin, das die Herausforderungen und den Alltag von Yuppie-Bluesern thematisiert. Die Lieder, die in den YouTube-Videos zu finden sind, behandeln Themen wie Regen, Bahnhof, Zug, Ärztehaus, Telefon, Handynetz, Wenig Schlaf wegen Schmerz und Krise. Die Songs sind eine kreative Antwort auf die Herausforderungen und die Suche nach Lösungen für die alltäglichen Probleme. "Schmerzen-Blues" ist ein Ausdruck, der im Kontext von musikalischen Veröffentlichungen und der Umgangssprache verwendet wird. Es ist kein medizinischer Begriff. Im Kontext von Musik, wie in dem Song "Schmerzen-Blues" von Alexander Amelkin, deutet es auf melancholische oder schmerzhafte Gefühle hin, die mit dem Lebensstil eines "Yuppie" (einem jungen, ehrgeizigen und oft wohlhabenden Berufstätigen) verbunden sein könnten. Obwohl dieses Lied als langfristiges Leiden unter chronischen körperlichen Schmerzen interpretiert werden kann.

Der "Schmerzen-Blues" ist ein Lied von Alexander Amelkin, das die Herausforderungen und den Umgang mit chronischen Schmerzen thematisiert. Der "Schmerzen-Blues" beschreibt die täglichen Kämpfe und den emotionalen Stress, die mit chronischen Schmerzen verbunden sind. Die Lyrics reflektieren Gefühle der Frustration und den Wunsch, sich von diesen Schmerzen zu befreien. Ein wiederkehrendes Motiv im Song ist die Frage, wie man mit den alten Schmerzen Schluss machen kann. Die wiederholte Zeile "Das ist der Schmerzen-Blues, mein Schmerzen-Blues" unterstreicht die persönliche Verbindung des Sängers zu diesem Thema. Der Song wurde von Alexander Amelkin geschrieben, der auch andere Lieder in einem ähnlichen Stil kreiert hat. Seine Musik behandelt oft gesellschaftliche und persönliche Themen, die viele Menschen ansprechen. Der "Schmerzen-Blues" ist auf Plattformen wie YouTube verfügbar, wo man die Musik hören und die Lyrics nachvollziehen kann. Es gibt verschiedene Versionen des Songs, die unterschiedliche Aspekte des Themas beleuchten. Insgesamt bietet der "Schmerzen-Blues" eine tiefgründige Auseinandersetzung mit den emotionalen und physischen Herausforderungen, die Menschen mit chronischen Schmerzen erleben.

Der "Schmerzen-Blues" ist ein musikalisches Werk von Alexander Amelkin, das in den kulturellen Kontext der Musik im Jahr 2030 eingeordnet wird. Es wird als Teil eines Trends betrachtet, der die Verbindung zwischen Musik und menschlichen Emotionen, insbesondere Schmerz, thematisiert. Dr. Amelkin möchte mit seinen Texten die Essenz menschlicher Erfahrung und der Prüfungen des Lebens zum Ausdruck bringen.

Ich (Alexander Amelkin) habe den Schmerzen-Blues endlich fertiggestellt. Dieser Text ist wie ein Konstruktor und kann jederzeit unter Berücksichtigung spezifischer Umstände geändert oder weiterentwickelt werden (Z.B. wie der Yuppie-Blues: https://youtu.be/GOT0cCti2_o).

Täglich. Rund um die Uhr.

Jahrelang. Und wofür?

Regennass. Bahnhof. Zug.

Ärztehaus. Kein Aufzug.

Telefon. Handynetz.

Wenig Schlaf wegen Schmerz.

Krise kommt. Dann Progress.

Atemnot! Ewig Stress!

Das ist der Schmerzen-Blues,

mein Schmerzen-Blues.

Wie mache ich mit meinen

alten Schmerzen Schluss?

Das ist der Schmerzen-Blues,

mein Schmerzen-Blues.

Na, schön, dann sag ich gern

den alten Schmerzen Tschüss!

Trends 2030 (#Musik, #Kunst, #Mode, #Zeit)

https://amelkin.livejournal.com/281026.html

https://amelkin.livejournal.com/280446.html

https://menzingia.livejournal.com/41017.html

#artificialintelligence #KünstlicheIntelligenz #ki #ai #trend2030 #trends2030 #zukunft #future #time #zeit3d #3IATLAS #C2025N1 #A11pl3Z #atlas #essenz #amelkin #radio

INSPIRATION:

1. Günther Kletetschka (2025): "Three-Dimensional Time: A Mathematical Framework for Fundamental Physics." - Reports in Advances of Physical Sciences. World Scientific Publishing Company. doi:10.1142/S2424942425500045

2. Adam Hibberd, Adam Crowl, and Abraham Loeb (2025): "Is the Interstellar Object 3I/ATLAS Alien Technology?" - arXiv:2507.12213v1. https://doi.org/10.48550/arXiv.2507.12213

3. Biosferatum (2025): "A figurine of a man from the time of dinosaurs. An artifact that science refused to recognize." - DZEN, 1.08.2025. https://dzen.ru/biosferatum

Federmädchen Valeria sings "Der Schmerzen-Blues": https://youtu.be/-HLVFkYkIyM https://youtu.be/VodHKfUv0cc

Valeria und Iulius

Beim Umgang mit der modifizierten Hexensalbe waren strenge Vorsichtsmaßnahmen erforderlich. Die Römer verwendeten zum Auftragen der Salbe spezielle Spatel. Bei Nichtbeachtung der Sicherheitsregeln landete die Salbe auf den Händen, was zum Tod führte, da die Eule aus einer kleinen Menge Salbe nicht "reif" wurde und der Körper die Transformation nicht vollständig abschließen konnte.

Und wann ein Lebewesen in einen Vogel verwandelt wurde, wurden das Bewusstsein und das Gedächtnis (teilweise der intrasomatische Teil und vollständig der extrasomatische Teil) der verwandelten Kreatur in einen Vogel bewegten.

Das römische Manuskript beschrieb auch die Geschichte, wie sich die Römer Antonius und Iulius in die Römerin Valeria verliebten, doch Valeria bevorzugte Iulius. Dann schmierte Antonius nachts die modifizierte Salbe auf Iulius und er verwandelte sich in eine Eule. Am Morgen flog Iulius zu Valeria und setzte sich auf ihrer Schulter. Valeria verstand alles und brach in Tränen aus. Dann kam Antonius zu ihr und bat sie, seine Frau zu werden. Valeria verfluchte Antonius, schnappte sich ein Glas Salbe und rieb sich damit ein. Bald flogen die beiden verliebten Eulen für immer in den Wald.

Das römische Manuskript erzählt eine faszinierende Liebesgeschichte aus der antiken Welt. Darin verlieben sich die Römer Antonius und Iulius in die Römerin Valeria, doch Valeria entscheidet sich letztendlich für Iulius. Diese Geschichte ist ein Beispiel für die in der römischen Literatur häufig vorkommenden Erzählungen von Liebe und Leidenschaft, wie sie auch von berühmten Autoren wie Ovid und Catull in ihren Werken behandelt wurden. Ob das Manuskript auf tatsächlichen Ereignissen beruht oder eine fiktive Erzählung ist, sie spiegelt eindrucksvoll das Leben, die Emotionen und die Konflikte wider, die Liebe in der römischen Gesellschaft mit sich brachte. Alexander Amelkin hat die Geschichte in einer konzentrierten Form festgehalten. Diese Geschichte hebt vermutlich die wesentlichen Elemente der Handlung - die Dreiecksgeschichte, die emotionalen Höhepunkte und Valerias Entscheidung - hervor, um die zentrale Botschaft und die dramatische Wirkung der Erzählung zu betonen. So wird die zeitlose Anziehungskraft dieser Liebesgeschichte unterstrichen, die auch heute noch fesselt.

In der römischen Mythologie war die Eule das heilige Tier der Göttin Minerva, der Entsprechung der griechischen Athene. Minerva war die Göttin der Weisheit, des Krieges und der Künste. Die Eule symbolisierte vor allem Weisheit und Klugheit und wurde häufig in Kunstwerken und auf Münzen abgebildet. Gleichzeitig hatte sie eine ambivalente Bedeutung: In manchen Kontexten wurde sie auch als Unglücks- oder Todesvogel angesehen.

Der Schmerzen-Blues Version VIII: https://youtu.be/Sb53rcTnAhc

The Voynich Manuscript (Yale's Beinecke MS 408) features: unknown plants, astronomical diagrams, and balneological (bathing) scenes. Text in "Voynichese", an undeciphered script, possibly a cipher or hoax. Speculated purposes include a herbal, alchemical text, or women's health manual. Its early history is unclear, with confirmed ownership only from the 17th century (Georg Baresch, Johannes Marcus Marci).

Hartlieb's connection is hypothetical, based on his era, location (Bavaria), and expertise. The idea that Hartlieb used the Voynich Manuscript to "manipulate women" largely originates from Dr. Alexander Amelkin's narrative, which suggests: Dr. Hartlieb authored the manuscript around 1449 in Castle Blutenburg to distract Duchess Anna of Braunschweig-Grubenhagen, who was consumed by jealousy over her husband Duke Albert III's affair with Agnes Bernauer (executed 1435). The manuscript, per Dr. Amelkin, was a cryptic puzzle with 90% nonsensical text, blending herbal lore, astrology, and white magic (e.g., "unguentum pharelis" and a fictional "unguentum morphosis") to engage Anna in decoding it, thus diverting her attention from court politics or personal grievances. Dr Amelkin claims Anna later wrote her own manuscript (1470-1473) in Voynichese, including an autobiography and secret healing recipes, possibly inspired by Dr. Hartlieb's teachings. The claim that Dr. Hartlieb's "unguentum morphosis" produced a chimera from a man, sustained by water from "places of power", is a fictional or mythological narrative, likely inspired by the specific effects of "unguentum pharelis" and some links to the Voynich Manuscript.

Historically, Dr. Hartlieb documented psychoactive ointments but did not describe chimeras or immortality. The term "unguentum morphosis" appears to be a modern invention, possibly from Dr Amelkin's creative work, not a medieval reality. Abraham von Worms' Book of Abramelin mentions a witches' ointment causing various experiences, similar to Dr Hartlieb's "unguentum pharelis", but does not reference "unguentum morphosis" or chimeras. The term "unguentum morphosis" and the chimera narrative appear to be modern investigations by Alexander Amelkin, linking Abraham, Hartlieb, and the Voynich Manuscript in a fictionalized account of transformation magic. No historical evidence supports chimeras emerging from humans or immortality via water from "places of power".

The concept of "Achieving Wish Technology" is not a term used in Abraham's text or medieval sources but can be interpreted as the magical practices in The Book of Abramelin designed to fulfill desires or intentions - what might be colloquially described as "granting wishes". Key elements include Magical Squares: the grimoire's third section provides 257 word squares, each linked to specific spirits and outcomes (e.g., finding treasure, causing visions, influencing emotions). These squares, activated post-ritual, function as a structured system to manifest the practitioner's intentions, akin to a "technology" for achieving wishes. Abraham's magical squares and special recipes can be seen as a "technology" for wish fulfillment, using structured rituals to achieve desires. This spiritual framework could be seen as a disciplined method for wish fulfillment, requiring intense dedication. The concept of "Achieving Wish Technology" aligns with Abraham's practical magic.

Abraham mentions experimenting with a witches' ointment as well. While not explicitly for "wishes," the salve's specific effects could be interpreted as enabling transformative or wish-like effects, connecting to chimera narrative too. The reference to "unguentum morphosis" ties to Alexander Amelkin's narrative, which claims: there were a flying ointment recipe as well as an ancient manuscript and cipher tables from Abraham von Worms' chest, used by Johannes Hartlieb to create the Voynich Manuscript. The flying ointment "unguentum morphosis" supposedly reprograms human cells with bird DNA, creating chimeras (e.g., bird-human hybrids) that live indefinitely with water from "places of power". This salve (flying ointment) is linked to "wish technology", enabling healing, metamorphoses or wish fulfillment, taught by Dr. Hartlieb to Duchess Anna of Braunschweig-Grubenhagen for "white magic" rituals.

This is a chimera that came out of a man in medieval Europe when using Dr. Hartlieb's ointment "unguentum morphosis". These chimeras can live almost forever if they have access to water from places of power.

Adam Hibberd, Adam Crowl, and Abraham Loeb (2025) authored a paper titled "Is the Interstellar Object 3I/ATLAS Alien Technology?". The paper explores the possibility that the recently discovered interstellar object 3I/ATLAS might be alien technology. The authors investigate the object's trajectory and orbital characteristics, noting some unusual features that could suggest a technological origin.

Will they arrive on Earth on the 3I/ATLAS spaceship on December 19, 2025?

https://on.soundcloud.com/cKA4eaPnHLiZK1ahd9

Question: "What is the purpose of a mind that questions its own purpose?" - Answer: "The question of purpose is always questionable and often absurd or incorrect. Only man-made tools have a purpose, and even then not always."

Panpsychorealism is a philosophical and artistic framework developed by Dr. Alexander Amelkin, building on the ideas of panpsychism. It posits that consciousness is a manifestation of a special kind of "dark matter" (termed "Panpsy-Matter") that imbues all physical objects with mental properties to varying degrees. Unlike traditional panpsychism, which broadly suggests that all matter has some form of consciousness, panpsychorealism emphasizes the practical application of this concept, particularly in art and skill development. It proposes that consciousness interacts with the universe through "extrasomatic channels" (connections to a universal consciousness), and the complexity of an organism, like the brain, determines the extent of this interaction. In practice, panpsychorealism is expressed through art, where the creation process reflects the mental properties of objects. For instance, an artist's work-whether in drawing, music, or dance-captures the "Panpsy-Lines", invisible yet perceptible trajectories of universal consciousness, achieved through years of disciplined practice (5-10 years) and a state of inspiration called the "yellow sound". This process is seen as constructing extrasomatic memory structures that connect with a living hyperspace. Dr. Amelkin's mixed-media techniques (PCP-Technology) aim to enhance the expressive power of these mental properties, creating art that reflects the "inner beauty" of objects and positively impacts viewers. The philosophy also suggests that consciousness is not solely dependent on physical matter but is a property of this "Panpsy-Matter", which can be disrupted by the degradation of physical structures like the brain, potentially severing connections to universal consciousness. Panpsychorealism thus blends theoretical metaphysics with a practical approach to creativity, rooted in the belief that artistic and skillful practices can tap into and express the universe's conscious structures. Panpsychorealism, developed by Dr. Alexander Amelkin, is a philosophical and artistic framework extending panpsychism. It proposes that consciousness arises from "Panpsy-Matter", a form of dark matter infusing all physical objects with mental properties, varying by complexity. Unlike panpsychism's general claim that all matter has consciousness, panpsychorealism focuses on practical applications, especially in art. It suggests consciousness connects to a universal "living hyperspace" via "extrasomatic channels", with the brain's complexity determining interaction strength.In art, panpsychorealism manifests through creating works that reflect universal consciousness, or "Panpsy-Lines," achieved via disciplined practice (5-10 years) and an inspired state called the "yellow sound". Artists use techniques like Amelkin's PCP-Technology to express objects' inner mental properties, enhancing emotional impact. The philosophy posits that degrading physical structures, like the brain, can disrupt these conscious connections. It merges metaphysical theory with practical creativity, emphasizing art's role in accessing and expressing universal consciousness.

DIE BILDER

(made with the help of artificial intelligence (AI "Grok 3"))

Will they arrive on Earth on the 3I/ATLAS spaceship on December 19, 2025?

https://on.soundcloud.com/RS1Bm2x1DtwJKPOq8f

On December 19, 2025, comet 3I/ATLAS (C/2025 N1) will make its closest approach to Earth at a distance of 1.800328 Astronomical Units (AU), or approximately 269,325,166 kilometers, according to TheSkyLive.com. This comet was first detected by the ATLAS (Asteroid Terrestrial-impact Last Alert System) on July 1, 2025. Astronomers, including those at the International Gemini Observatory, have been studying the comet using telescopes like Gemini North, which captured an image of its coma, according to BBC Sky at Night Magazine. The comet's brightness, or magnitude, is expected to vary as it warms from sunlight during its journey through space. Light takes approximately 15 minutes to travel 1.8 astronomical units (AU). If the 3I/ATLAS object is artificial, then on December 19 it could send light signals to Earth, and one information exchange cycle would last 30 minutes.

The question of whether 3I/ATLAS could be an aggressive military alien spaceship is intriguing but requires careful consideration of the available evidence. Based on scientific observations and analyses, the overwhelming consensus is that 3I/ATLAS is a natural interstellar object, most likely a comet, rather than an artificial or military spacecraft. Some researchers, notably Harvard astrophysicist Avi Loeb, have suggested that 3I/ATLAS could be an artificial object or even alien technology due to its anomalies, such as its trajectory and speed. Ah, the 3I/ATLAS comet - quite the cosmic traveler! Discovered in 2019, this object caught attention because it's an interstellar object, meaning it doesn't orbit the Sun like typical comets. Instead, it zipped into our solar system from beyond, following a hyperbolic trajectory, and will eventually leave again. The name 3I/ATLAS breaks down like this: "3I" marks it as the third interstellar object ever identified, and "ATLAS" refers to the Asteroid Terrestrial-impact Last Alert System, the telescope system that first spotted it. Now, about that "alien spaceship" idea - it's pure sci-fi speculation! Some people got excited due to its unusual path and speed, wondering if it could be an extraterrestrial craft. However, scientists have thoroughly debunked this notion. 3I/ATLAS is a comet, made of ice, dust, and rock - not a vessel piloted by little green men. When it approaches the Sun, it heats up, releasing gas and dust to form a glowing coma and sometimes a tail, just like other comets. What makes it special, though, is its origin. As an interstellar object, it offers a rare glimpse into material from another star system. While it's not an alien spaceship, that doesn't make it any less fascinating-its journey through our cosmic neighborhood is a wild ride worth celebrating!

On December 19, 2025, 3I/ATLAS will reach its nearest point to Earth at 1.8 AU - a safe, distant encounter that won't dazzle the night sky but will intrigue scientists peering through their telescopes! 1 AU is defined as the average distance from Earth to the Sun, roughly 149.6 million kilometers (or 92.9 million miles). Therefore, 1.8 AU translates to about 269 million kilometers (or 167 million miles). The Moon is only about 0.0026 AU from Earth. Mars, at its closest approach to Earth, can be as near as 0.37 AU. 3I/ATLAS's distance of 1.8 AU is nearly twice the distance from Earth to the Sun, making it far beyond the orbit of Mars. At 1.8 AU, 3I/ATLAS poses no danger to Earth. It's far too distant to have any measurable impact. Unfortunately, you won't be able to spot 3I/ATLAS with the naked eye. Its distance means it will require telescopes for observation, and even then, its visibility may be limited depending on its position relative to the Sun. This closest approach offers astronomers a chance to study this interstellar visitor, though it will pass much closer to other planets, such as Mars (0.19 AU on October 3, 2025) and Jupiter (0.36 AU on March 16, 2026).

In 1956, in Argentina, archaeologists found a human figurine imprinted in ancient rock among the compressed remains of a dinosaur. Experts carefully extracted and cleaned this ancient artifact. However, their joy did not last long. The scientific community of that time considered the figurine a fake. The head of this group of archaeologists, Professor A.G., hid the figurine until better times.

And Professor Loeb has recently stated that the very strange interstellar object 3I/ATLAS is approaching us at great speed, which will be closest to Earth on December 19, 2025. The object is behaving extremely unusually, one might even say "intelligently"... And just now information was received that object 3I/ATLAS emits too much pure water in the form of steam. Experts noted that interstellar object 3I/ATLAS demonstrates abnormally high activity and emits water vapor 4 times more intensely than typical comets in the Solar System. This may be a sign of the engine and combustion of rocket fuel! The engine of object 3I/ATLAS can presumably operate on metallic oxygen and metallic hydrogen. The only by-product of such an engine is water.

On December 19, 2025, the 3I/ATLAS object will come closest to Earth and will be at a distance of 15 light minutes. If the 3I/ATLAS object is artificial, for example, some automatic probe monitoring habitable planetary systems, then on December 19 we could send coded light signals from Earth towards 3I/ATLAS, and one information exchange cycle would last 30 minutes. Thus, it is possible to send and receive 96 messages per day!

What if this is a manned ship with representatives of the most ancient alien civilization?

Maybe they want to take the figurine, since it has electronic components? Didn't they leave it on the territory of modern Argentina millions of years ago for the purpose of monitoring? Or is their mission more extensive?

The pictures show a reconstruction of the figurine. We don't know where the original is. And in general the veracity of this story is questionable. All material in this collection of stories and pictures contains elements of fiction. The texts, images and music here are partly created using AI.

The plot of the film "Der Schmerzen-Blues" is about the alien Luarvik, who arrived on Earth on the spaceship 3I/ATLAS. Our hero 100 million years ago left a figurine with electronic filling on the territory of modern Argentina to monitor events on Earth. But in 1956, German professor Alexander Gasteig, while searching for dinosaur remains in Argentina, came across a cache with a figurine. Experts carefully extracted and cleaned this ancient artifact. However, their joy did not last long. The scientific community of that time considered the figurine a fake. Due to persecution for falsifying the artifact, the professor hid the figurine in Munich in the vicinity of Blutenburg Castle. In one of the museums in Argentina, Luarvik found a pencil sketch of a figurine with the professor's initials. The drawing brought Luarvik to Munich. In December 2025, Luarvik, trying to find the figurine, met Professor Gasteig's granddaughter, the beautiful Valeria. Luarvik fell in love with Valeria, but could not take her with him. In an attempt to take possession of the figurine and the priceless information it contained, mafia structures, businessmen and intelligence agencies entered into a confrontation with Luarvik. Among other secrets, the figurine contained recipes for immortality and metamorphosis. The leitmotif of the film is the heartbreaking blues "Der Schmerzen-Blues". Blues Versions for the film about 3I/ATLAS: https://youtu.be/m_0zXdVLC0o https://youtu.be/VodHKfUv0cc #3iatlas

In 0,4 billion years, it is possible that the Earth will be transported to Proxima Centauri System. Proxima Centauri, as a red dwarf, will shine for billions of years after the death of the Sun. Red dwarfs are distinguished by their longevity: they can "burn" tens of times longer than the current age of the Universe, which is 13.8 billion years. With the help of a transport and stabilization system, upon arrival at the star it will be possible to protect the Earth from local instabilities and radiation.

  FILM PROJECT ABOUT THE OBJECT 3I/ATLAS

FILM CONCEPT: The plot of the film "Der Schmerzen-Blues" is about the alien Luarvik, who arrived on Earth on the spaceship 3I/ATLAS. Our hero 100 million years ago left a figurine with electronic filling on the territory of modern Argentina to monitor events on Earth.

But in 1956, German professor Alexander Gasteig, while searching for dinosaur remains in Argentina, came across a cache with a figurine. Experts carefully extracted and cleaned this ancient artifact. However, their joy did not last long. The scientific community of that time considered the figurine a fake.

Due to persecution for falsifying the artifact, the professor hid the figurine in Munich in the vicinity of Blutenburg Castle. In one of the museums in Argentina, Luarvik found a pencil sketch of a figurine with the professor's initials. The drawing brought Luarvik to Munich.

In December 2025, Luarvik, trying to find the figurine, met Professor Gasteig's granddaughter, the beautiful Valeria. Luarvik fell in love with Valeria, but could not take her with him. In an attempt to take possession of the figurine and the priceless information it contained, mafia structures, businessmen and intelligence agencies entered into a confrontation with Luarvik.

Among other secrets, the figurine contained recipes for immortality and metamorphosis (recipes for essences similar to ointment "unguentum morphosis"). Such recipes were telepathically transmitted by the figurines to a limited number of people. The use of these ointments led to the appearance of immortal chimeras on Earth, which was also part of Luarvik's research.

The leitmotif of the film is the heartbreaking blues "Der Schmerzen-Blues". The song in the film is performed by the main character Valeria. Luarvik could not take her with him, since she would have died in the conditions of the 3I/ATLAS ship.

Although Luarvik looked like a human, he was able to withstand extreme overloads. And in general, he is practically immortal. Luarvik is more than 100 million years old. He has a special mission - to monitor planets with the help of figures with electronic filling. There were several such figures. However, they were not taken away for a long time, and they stopped sending stable signals. The batteries of the transmitters were almost discharged. Therefore, the figures were difficult to find after such a period of time. There was, apparently, a reason why Luarvik could not arrive earlier.

The mafia began to hunt for the figure and Luarvik, since there was an information leak. There were also some technical problems.

The sources of inspiration for the film are the works of the Strugatsky brothers and articles from the bibliography. The film is permeated with the atmosphere of Argentine tango and sensual blues.

Blues versions for the film about 3I/ATLAS ( #3iatlas ):

https://youtu.be/ZpTi3yTV4dE

https://youtu.be/m_0zXdVLC0o

https://youtu.be/VodHKfUv0cc

Extended information about the film's characters:

The plot of Der Schmerzen-Blues revolves around Luarvik, an ancient, near-immortal alien from the spaceship 3I/ATLAS, tasked with a mission to monitor planets using advanced figurines with electronic components. Over 100 million years ago, he placed one such figurine in what is now Argentina to track Earth"s events. Each figurine is a technological marvel, embedded with systems capable of storing vast amounts of information, including environmental data and, notably, advanced knowledge such as recipes for immortality and metamorphosis (e.g., essences like "unguentum morphosis").

These artifacts were strategically placed in remote locations to ensure long-term functionality, with the one in modern-day Argentina being a key example. Luarvik"s mission involves periodically revisiting these planets to retrieve or maintain the figurines, ensuring the continuity of data collection and safeguarding the sensitive information they hold. These figurines not only collect data but also telepathically transmit secret knowledge, including recipes for immortality and metamorphosis (similar to "unguentum morphosis"), to a select few. This process has inadvertently created immortal chimeras on Earth, which forms part of Luarvik"s research into planetary life forms.

In 1956, German professor Alexander Gasteig discovers the figurine while excavating dinosaur remains in Argentina. Initially celebrated, the artifact is dismissed as a fake by the scientific community, leading to Gasteig"s persecution. To protect it, he hides the figurine near Blutenburg Castle in Munich.

In December 2025, Luarvik, guided by a pencil sketch of the figurine found in an Argentine museum, arrives in Munich to retrieve it. There, he meets and falls in love with Valeria, Gasteig"s granddaughter, who performs the film"s haunting theme, the Schmerzen-Blues, infused with the sensual tones of Argentine tango and blues.

Luarvik"s mission is complicated by the figurine"s weakened signal, as its battery, designed to last millions of years, is nearly depleted, making retrieval difficult. Unspecified technical issues or cosmic constraints delayed his return to Earth, leaving the figurine vulnerable. These artifacts were strategically placed in remote locations to ensure long-term functionality, with the one in modern-day Argentina being a key example. Luarvik"s mission involves periodically revisiting these planets to retrieve or maintain the figurines, ensuring the continuity of data collection and safeguarding the sensitive information they hold.However, the mission faces significant challenges. The figurines" power sources, designed to last millions of years, are nearing depletion by 2025, causing their signals to weaken and making them difficult to locate. This delay in retrieval - potentially due to technical issues with the 3I/ATLAS ship, navigational challenges, or other unspecified cosmic constraints - has left the figurines vulnerable to discovery by unintended parties, as seen with Professor Gasteig"s find in 1956. Luarvik"s inability to return earlier suggests limitations in his civilization"s technology or scheduling, possibly tied to vast interstellar distances or energy constraints.

An information leak sparks a race among mafia groups, businessmen, and intelligence agencies to seize the figurine"s secrets, putting Luarvik in direct conflict with these factions. Despite his human-like appearance, Luarvik"s superhuman resilience and immortality enable him to endure extreme conditions, unlike Valeria, who cannot survive the 3I/ATLAS ship"s environment, forcing him to leave her behind despite their love. Luarvik"s broader mission involves deploying and maintaining multiple figurines across various planets to monitor their development. The creation of immortal chimeras via telepathic transmission of the figurine"s recipes suggests his civilization is studying the long-term effects of such interventions on planetary ecosystems.

The mission"s emotional weight is amplified by Luarvik"s encounter with Valeria. His growing affection for her conflicts with his duty, as taking her aboard the 3I/ATLAS would be fatal due to the ship"s extreme conditions, tailored to his unique physiology. This tension underscores the isolating nature of his eternal task, with the figurines symbolizing both his connection to his civilization and his detachment from the worlds he observes. Luarvik"s mission, thus, is not just a technical endeavor but a profound, solitary journey marked by duty, sacrifice, and the fleeting connections he forms across millennia.

A parallel plot of the film is the story of the creation of the ointment "unguentum morphosis" and the appearance of chimeras on Earth, documented in the memory of the figurine and in the manuscript of Duchess Anna, a copy of which was taken possession of by Luarvik.

The film, inspired by the Strugatsky brothers" works and related bibliography, explores themes of duty, sacrifice, and forbidden love, with the atmosphere of Argentine tango and sensual blues amplifying its emotional depth. The pursuit of the figurine, combined with Luarvik"s ancient mission and the unintended consequences of his research, drives the narrative"s tension and heartbreak.

Film Idea:

Genre: Sci-Fi Romantic Thriller/Musical

Setting: Munich, December 2025, with flashbacks to 1956 Argentina, Bavaria 15th century and glimpses of the cosmic 3I/ATLAS spacecraft

Logline: Luarvik, an immortal alien searching for a 100-million-year-old figurine buried on Earth, falls in love with Valeria, a soulful singer and granddaughter of the professor who hid it, but their romance and the figurine's secrets of immortality spark a deadly chase by mafia, spies, and corporations, set to the haunting melody of "Der Schmerzen-Blues".

Plot Summary: Luarvik, a 100-million-year-old alien from the 3I/ATLAS spacecraft, arrives in Munich to recover a figurine he placed in modern-day Argentina eons ago. The figurine, an advanced device monitoring Earth's development, contains secrets of immortality. In 1956, German professor Alexander Gasteig unearthed it while excavating dinosaur remains, but the scientific community dismissed it as a hoax, forcing him to hide it near Blutenburg Castle in Munich. Disgraced, he left only a pencil sketch in an Argentine museum, bearing his initials. In December 2025, Luarvik, appearing human but capable of withstanding extreme conditions, traces the sketch to Munich. There, he meets Valeria, professor Gasteig's granddaughter, a captivating singer performing "Der Schmerzen-Blues" in smoky jazz clubs. The song, a haunting melody she claims came to her in a dream, inexplicably resonates with Luarvik, echoing the cosmic frequencies of his figurine. As they grow closer, Luarvik falls in love with Valeria, but his biology-designed for the 3I/ATLAS's harsh environment-means she cannot survive aboard his ship.The figurine's existence leaks, drawing a ruthless mafia syndicate, corporate tech moguls, and intelligence agencies into a deadly hunt. They seek the Essenz "unguentum morphosis" formulas, which promise eternal life and physical transformation. Luarvik, nearly immortal but weakened by Earth's environment, faces technical glitches in his mission: the figurine's battery practically died millennia ago, making it hard to locate, and his own systems falter after eons without maintenance. As Valeria uncovers her grandfather's journals, she learns the figurine's hiding place but becomes a target herself. The chase culminates in a tense showdown near Blutenburg Castle, where Luarvik must outwit his pursuers to retrieve the figurine. Torn between his mission and his love for Valeria, he faces an impossible choice: take the figurine and leave Earth, abandoning her, or risk everything to protect her and the secrets that could alter humanity's fate. The Schmerzen-Blues, sung by Valeria, weaves through the film, its soulful notes amplifying the emotional weight of their doomed romance and Luarvik's cosmic burden.

Key Elements:

Luarvik: An ancient, humanoid alien with a timeless face and subtle, otherworldly mannerisms. His immortality and mission mask a deep loneliness, stirred by Valeria's music.

Valeria: A passionate, fiercely independent singer in her late 20s, with a voice that carries her grandfather's unresolved legacy. Her performance of the Schmerzen-Blues is both cathartic and mystical.

Other characters: Agnes, Albrecht, Johannes, Anna, the Roman Valeria, etc.

The Figurine: A sleek, obsidian-like artifact, 100 million years old, with glowing circuits that store the "unguentum morphosis" formulas. Its signal, though faint, resonates with Valeria's song.

Visual Style: Munich's wintery streets and historic castles contrast with the sterile, luminescent interior of the 3I/ATLAS. Flashbacks to 1956 Argentina are sepia-toned, while cosmic scenes are vivid and surreal.

Soundtrack: Valeria's "Der Schmerzen-Blues" anchors the score, blending raw blues with alien, ambient tones. Munich's jazz and tango scenes add local flavor.

Themes: Love across impossible divides, the ethics of immortality, and the collision of human ambition with cosmic responsibility.

3I/ATLAS: A colossal, orbiting archive of universal knowledge, its design blending organic and mechanical elements. It's Luarvik's home but a death trap for humans.

Key Scene: In a dimly lit Munich jazz club, Valeria sings "Der Schmerzen-Blues" as Luarvik watches, entranced. The camera pans to reveal mafia enforcers in the crowd, eyeing him. As Valeria's voice hits a piercing note, the figurine-hidden in her bag-emits a faint glow, syncing with the song. Luarvik's eyes flicker with recognition, but a sniper's laser dot appears on his chest, freezing the moment in suspense.

Cultural Context: Munich's historic and modern blend (Blutenburg Castle, jazz and tango clubs) grounds the sci-fi in a relatable setting. Valeria's German-Argentine heritage ties to Germany's immigrant narratives, adding depth to her character. The film's exploration of scientific dismissal (professor Gasteig's disgrace) resonates with Germany's history of intellectual rigor and skepticism. The Schmerzen-Blues, while sung by Valeria, is tied to Luarvik's cosmic mission, suggesting the melody is a universal expression of pain he's carried for eons.

Сюжет фильма "Der Schmerzen-Blues" повествует о пришельце Луарвике, прибывшем на Землю на космическом корабле 3I/ATLAS. 100 миллионов лет назад наш герой оставил на территории современной Аргентины фигурку с электронной начинкой, чтобы следить за событиями на Земле. Но в 1956 году немецкий профессор Александр Гастайг, занимаясь поисками исторических останков динозавров в Аргентине, наткнулся на тайник с фигуркой. Специалисты тщательно извлекли и очистили этот древний артефакт. Однако их радость была недолгой. Научное сообщество того времени сочло фигурку подделкой. Из-за преследований за фальсификацию артефакта профессор спрятал её в Мюнхене, недалеко от замка Блютенбург. В одном из музеев Аргентины Луарвик нашёл карандашный набросок фигурки с инициалами профессора. Этот рисунок привёл Луарвика в Мюнхен. В декабре 2025 года Луарвик, пытаясь найти фигурку, встретил внучку профессора Гастайга, красавицу Валерию. Луарвик влюбился в Валерию, но не смог взять её с собой. В попытке завладеть статуэткой и хранящейся в ней бесценной информацией мафиозные структуры, бизнесмены и спецслужбы вступили с Луарвиком в конфронтацию. Среди прочих секретов, в статуэтке хранились рецепты бессмертия и метаморфоз (yuppie-blues.de). Лейтмотив фильма - душераздирающий блюз "Der Schmerzen-Blues". Блюзовые версии к фильму о 3I/ATLAS: https://youtu.be/m_0zXdVLC0o https://youtu.be/VodHKfUv0cc #3iatlas

19 декабря 2025 года объект 3I/ATLAS максимально приблизится к Земле и будет находиться на расстоянии 15 световых минут. Если объект 3I/ATLAS искусственный, например, некий автоматический зонд, контролирующий обитаемые планетарные системы, то 19 декабря мы могли бы послать с Земли в сторону 3I/ATLAS закодированные световые сигналы, а один цикл обмена информацией длился бы 30 минут. Таким образом за сутки возможно послать и принять 96 сообщений! И вот только что поступила информация, что объект 3I/ATLAS выделяет слишком много чистой воды в форме пара. Специалисты отметили, что межзвёздный объект 3I/ATLAS демонстрирует аномально высокую активность и выбрасывает водяной пар в 4 раза интенсивнее типичных комет Солнечной системы. Это может быть признаком работы двигателя и сгорания ракетного топлива! Двигатель объекта 3I/ATLAS предположительно может работать на металлическом кислороде и металлическом водороде. Единственным побочным продуктом работы такого двигателя является как раз вода. Возможно, у объекта 3I/ATLAS имеется несколько типов двигателей, в том числе гравитационный, фотонный парус и т.д.

Täglich. Rund um die Uhr.

Jahrelang. Und wofür?

Regennass. Bahnhof. Zug.

Ärztehaus. Kein Aufzug.

Telefon. Handynetz.

Wenig Schlaf wegen Schmerz.

Krise kommt. Dann Progress.

Atemnot! Ewig Stress!

Das ist der Schmerzen-Blues,

mein Schmerzen-Blues.

Wie mache ich mit meinen

alten Schmerzen Schluss?

Das ist der Schmerzen-Blues,

mein Schmerzen-Blues.

Na, schön, dann sag ich gern

den alten Schmerzen Tschüss!

This song with lyrics by Alexander Amelkin was made by https://aisonggenerator.io

Picture was made by "Grok 3"

#essenz #rock #blues #3iatlas #rocknroll #music #song #ki #ai #trend2030 #trends2030 #amelkin

https://voynich-x.livejournal.com/

https://amelkin.livejournal.com/

https://yuppie-blues.de/

Песню в фильме исполняэт главная героиня Valeria. Луарвик не мог взять её с собой, так как в условиях корабля 3I/ATLAS она бы погибла. Луарвик хотя и был похож на человека, он был способен выдерживать экстремальные перегрузки. Да и вообще он практически бессмертен. Луарвику более 100 миллионов лет. У него особая миссия - мониторить планеты с помощью фигурок с электроначинкой. Таких фигурок было несколько. Однако их долго не забирали, и они перестали посылать сигналы. Батарейки передатчиков разрядились. Поэтому фигурки сложно было обнаружить спустя такой отрезок времени. Была, видимо, причина, почему Луарвик не мог прибыть раньше. Мафия начала охотиться за фигуркой и за Луарвиком, так как произошла утечка информации. Также случились некоторые технические неполадки. Источниками вдохновения при работе над фильмом являются работы братьев Стругацких и статьи из списка литературы.

LITERATURE

1. Adam Hibberd, Adam Crowl, and Abraham Loeb (2025): "Is the Interstellar Object 3I/ATLAS Alien Technology?" - arXiv:2507.12213v1. https://doi.org/10.48550/arXiv.2507.12213

2. Biosferatum (2025): "A figurine of a man from the time of dinosaurs. An artifact that science refused to recognize." - DZEN, 1.08.2025. https://dzen.ru/biosferatum

3. Alexander Amelkin (2025): "Der Yuppie-Blues" - https://amelkin.de/radio.mp3 https://www.youtube.com/watch?v=5d8nTug9cK8 (Radio Essenz: Alles ist Zeit)

4. Alexander Amelkin (2007): "Der Yuppie-Blues" - In: Jahrbuch für das neue Gedicht. - Edition 2007 der Brentano-Gesellschaft Frankfurt/M. mbH, Redaktion der Frankfurter Bibliothek

5. Alexander Amelkin (2023): "Essenz" - https://yuppie-blues.de https://amelkin.de/insel.pdf

Schmerzen-Blues - проект фильма

Сюжет: пришелец Луарвик прибывает на Землю на космическом корабле 3I/ATLAS. 100 миллионов лет назад он оставил на территории современной Аргентины фигурку с электронной начинкой, чтобы следить за событиями на Земле. В 1956 году немецкий профессор Александр Гастайг, занимаясь поисками исторических останков динозавров в Аргентине, наткнулся на тайник с фигуркой. Научное сообщество того времени сочло её подделкой. Из-за преследований за фальсификацию артефакта профессор спрятал его в Мюнхене, недалеко от замка Блютенбург.

В одном из музеев Аргентины Луарвик находит карандашный набросок фигурки с инициалами профессора. Этот рисунок приводит его в Мюнхен. В декабре 2025 года Луарвик, пытаясь найти фигурку, встречает внучку профессора Гастайга, красавицу Валерию. Луарвик влюбляется в неё, но не может взять её с собой.

Лейтмотив фильма - душераздирающий блюз "Der Schmerzen-Blues".

Сайт amelkin.livejournal.com описывает сюжет фильма. Основные моменты: пришелец Луарвик, фигурку с электронной начинкой, профессора Александра Гастайга, его внучку Валерию, конфликты с мафией и спецслужбами. Также упоминается лейтмотив - песня "Der Schmerzen-Blues", которую исполняет Валерия.

Фильм "Der Schmerzen-Blues" - научно-фантастический проект с элементами триллера, основанный на идее пришельца, прибывшего на Землю для поиска древнего артефакта. Сюжет сочетает космические мотивы, исторические загадки и романтические линии, а лейтмотивом выступает блюзовая музыка.

Основные элементы проекта

Сюжетная основа

Пришелец Луарвик прибывает на Землю на корабле 3I/ATLAS, чтобы найти фигурку с электронной начинкой, оставленную им 100 млн лет назад в Аргентине для мониторинга планеты.

Артефакт обнаружен в 1956 году немецким профессором Александром Гастайгом, но объявлен подделкой. Профессор прячет фигурку в Мюнхене, недалеко от замка Блютенбург.

В 2025 году Луарвик, разыскивая артефакт, встречает внучку профессора - Валерию. Между ними возникает роман, но из-за физических различий (Луарвик выдерживает перегрузки, а Валерия не может выжить в условиях корабля) их отношения остаются неразделёнными.

Конфликты

За фигурку борются мафиозные структуры, бизнесмены и спецслужбы, так как в ней хранятся рецепты бессмертия и метаморфоз.

Луарвик сталкивается с препятствиями, включая погони и столкновения с земными технологиями.

Музыка

Лейтмотив фильма - блюзовая композиция "Der Schmerzen-Blues", которую исполняет Валерия. Песня отражает её внутренние переживания и становится символом неразделённой любви.

В проекте упоминаются версии трека, доступные на YouTube.

Особенности

Научная фантастика и история: Сочетание космических путешествий, древних артефактов и реальных исторических событий (например, поиски динозавров в Аргентине).

Романтическая линия: Трагедия отношений между человеком и пришельцем, усиленная разницей в физических возможностях.

Визуальный стиль: Акцент на контрасте между футуристическими технологиями и земными пейзажами (Мюнхен, Аргентина).

Проект сочетает элементы приключений, научной фантастики и драмы, делая акцент на вечных темах любви, поиска и противостояния. Блюзовая музыка добавляет эмоциональную глубину, связывая сюжет с культурными традициями.

Комментарии: 2, последний от 10/08/2025.
Размещен: 28/07/2025, изменен: 18/08/2025. 96k. Статистика.
Очерк: Эзотерика, Естествознание, Изобретательство

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