THE GHOST IN THE BOX
In QUANTUM DEATH (Savant 2016), Cerebrus Agents Koski and Falk are challenged with facing and defeating a kvantovaya mashina smerti or Quantum Death Machine (QDM) being used to bring the United States and all of the Americas to their knees. But is the alleged QDM a simple writer's MacGuffin or is it more substantial? Could it really happen?
I believe the answer is "yes," which, I hope, makes this techno-thriller even more intensely gripping.
A deeper explanation is that the QDM is based on a new "theory of everything" called M-Superstring Theory in which single-dimension "strings" replace particles while preserving their quantum wave characteristics. These strings exist not in three (length, width, depth) or even four (time) dimensions, but require exactly 11 dimensions to characterize. We humans are not able to sense the seven extra dimensions, but mathematically, M-Superstring Theory is said to unite the cosmic with the quantum in a Unified Field Theory.
https://www.youtube.com/user/MichioKakuVideos
M-Superstring Theory, when applied, posits the existence of not just our universe, but an infinite number of universes (called "branes"), theoretically allowing for not only instantaneous teleportation within one universe but also from one universe to another. It is upon this characteristic of M-Superstring theory (think of "wormholes" or rents is time/space) and quantum simultaneity, a unique property of quantum particle/waves allowing one object to momentarily exist in two or more places at the same time (think Star Trek transporter), that the kvantovaya mashina smerti or Quantum Death Machine (QDM) was built. And if you're shaking your head in disbelief, be assured that both properties have actually already been demonstrated in our sized physical world:
http://www.anu.edu.au/news/all-news/experiment-confirms-quantum-theory-weirdness
Of course, I added a little "Raymondism" to all of the above -- What's a cake without icing? -- keep all of this in mind when you re-read QUANTUM DEATH (Savant 2016) by A. G. Hayes with Raymond Gaynor.
