'Physicist, engineer, author and philosopher of consciousness, Federico Faggin returns.
Early in his career, Federico designed the world’s first commercial microprocessor at Intel—a breakthrough that helped ignite the digital age. Over the course of his legendary Silicon Valley career, he developed core technologies behind modern computing, earning the National Medal of Technology and Innovation. But in 1990, a spontaneous mystical experience shattered his materialist worldview and set him on a radical new path. Since then, Faggin has turned his attention to the mystery of consciousness, proposing a groundbreaking model in which subjective experience is not a byproduct of the brain, but foundational to reality; a reality that is quantum, holographic and creative.'
Early in his career, Federico designed the world’s first commercial microprocessor at Intel—a breakthrough that helped ignite the digital age. Over the course of his legendary Silicon Valley career, he developed core technologies behind modern computing, earning the National Medal of Technology and Innovation. But in 1990, a spontaneous mystical experience shattered his materialist worldview and set him on a radical new path. Since then, Faggin has turned his attention to the mystery of consciousness, proposing a groundbreaking model in which subjective experience is not a byproduct of the brain, but foundational to reality; a reality that is quantum, holographic and creative.'
Open contact draws nearer and nearer
'Archaeologists have uncovered remarkably preserved fresco paintings in the banqueting hall of a grand domus along the ancient Via di Nola, one of Pompeii’s longest streets.
The hall, referred to as the “Black Room” for its obsidian-colored walls, contains a fresco unlike any previously catalogued. It depicts an encounter between mortals and beings from another world. Robed in radiant, otherworldly garments, the figures appear to have descended from beyond the stars.
One central panel shows a noble Greek woman, possibly representing a priestess or oracle, extending her hand in greeting toward the tall, luminous visitors. At their feet lies a calm, spotted hound, seemingly unbothered by the presence of the strange guests.
Some scholars believe the scene represents a dramatized account of otherworldly contact, preserved in pigment and plaster centuries before any surviving text.'
The hall, referred to as the “Black Room” for its obsidian-colored walls, contains a fresco unlike any previously catalogued. It depicts an encounter between mortals and beings from another world. Robed in radiant, otherworldly garments, the figures appear to have descended from beyond the stars.
One central panel shows a noble Greek woman, possibly representing a priestess or oracle, extending her hand in greeting toward the tall, luminous visitors. At their feet lies a calm, spotted hound, seemingly unbothered by the presence of the strange guests.
Some scholars believe the scene represents a dramatized account of otherworldly contact, preserved in pigment and plaster centuries before any surviving text.'
