1. The Shroud of Turin is a 14.3 foot by 3.7 linen cloth bearing the faint double-image (ventral and dorsal) of a bloodied, naked man (together with burn marks and water stains resulting from fires). Although very faint when viewed as a positive, the image becomes much clearer when darks and lights are reversed.
2. The back of the man is covered with over 120 scourge marks; there is a puncture wound on his left wrist (his thumbs and right wrist are hidden from view); there are puncture wounds on his feet.
3. In 1978 group of scientists known as STURP (Shroud of Turin Research Project) performed an intensive series of tests on the Shroud. Many were skeptical and expected that they would quickly discover it to be a fake. But after 3 years of analyzing the data they collected they wrote in their final report:
“We can conclude for now that the Shroud image is that of a real human form of a scourged, crucified man. It is not the product of an artist. The blood stains are composed of hemoglobin and also give a positive test for serum albumin. ”
4. In 1988, a sample taken form the corner of the Shroud was carbon dated and judged it to have been produced with 95% confidence between 1260 and 1390 AD.
5. If the medieval date is right, then this implies that the Shroud is a forgery, when all the forensic and historical evidence we have other than the carbon date implies that it is the authentic burial garment of Yeshua ben Yosef (Jesus).
6. Putting aside the fact that the image on the Shroud is a negative, most of whose features are invisible to the naked eye, created 500 years before the invention of photography, the man in the Shroud is the victim of mortal injuries which could only have been received at the hands of Roman executioners: he is covered with scourge marks clearly inflicted by the Roman instrument of the torture known as the flagrum.
The exit wound on the wrist contradicts depictions of the crucifixion in medieval art, but reflects the way in which people were really crucified in the first century.
He has puncture wounds on his head consistent with the wearing of a roughly prepared cap rather than the crown of thorns of medieval depictions of the crucifixion, and the Shroud contains large traces of pollen from the Gundelia, a thorny plant native to Jerusalem and the Near East.
There is a large wound on his right side which matches the lancea, a spear used by the Romans, from which ultraviolet fluorescence photography reveals that postmortem blood and pulmonary serum have flowed. And the blood on the Shroud contains a high level of bilirubin, a substance associated with extreme physical trauma.
7. The body-image itself -as distinct from the blood stains that lie below it- is the result of the degradation- the aging- of the linen fibers of which the cloth is woven.
8. The clue as to the cause of this degradation comes from one of the most striking characteristics of the image on the Shroud (and the thing the first prompted the creation of STURP). i.e. the image contains 3D information, as if it were an orthographic projection (the representation of a 3 dimensional object on a 2-dimensional surface).
9. Since the image is imprinted only on the underside of the Shroud, it is the result of projection whose light source was the body itself, and since the image does not extend beyond the very upper-most fibers of the Shroud, this light source must have possessed a short wave-length.
10. Wolfram Mathworld defines a projection in this way:
“A projection is the transformation of points and lines in one plane onto another plane by connecting corresponding points on the two planes with parallel lines. This can be visualized as shining a (point) light source (located at infinity) through a translucent sheet of paper and making an image of whatever is drawn on it on a second sheet of paper. ”
11. But a “(point) light source” is the same thing as a zero-dimensional light source, which involves the infinite concentration and the zero diffusion of light. The problem with the Wolfram Mathworld definition of projection, and with every physical theory that relies on zero-dimensional point-sources, is that these involve an infinite concentration and zero diffusion of light, when in our experience light is always finitely concentrated/diffused.
12. The solution is that the universe is a holographic projection arising from combinations of artificial atomic point sources such that the gaps between the natural and artificial sources correspond to angles and positions of the planes that allow for light to arise from a finite concentration and to undergo non-zero diffusion.
13. Narrowing the gaps between the natural light source and these artificial light sources caused the man’s body to emit an unnaturally large amount of radiation, and to take a brighter and less substantial form than a natural human body. Mathew 17: 2:
“There he was transfigured before them; his face shining as the sun, and his garments became white as light.”