Soviet "Anenerbe": The Unified field theory of the universe part 4

In this article, I will attempt, as much as I am able,
to cover and describe the full depth of the concept
developed by Soviet theoretical physicists who created
a little-known experimental branch called "new cosmological
geometrodynamics." This field is known within a narrow
circle of enthusiasts - researchers. The scope of this task
exceeds my current knowledge of physics, but I will try
nonetheless. I apologize in advance for any possible errors.
Imagine that the entire universe - from galaxies to your
thoughts - is an incredibly complex but rule-governed
geometric structure. What if the tiniest building blocks
of matter and fundamental forces are simply different
manifestations of the same "geometry in action"? This grand
hypothesis was reached in the 1980s by a group of Soviet
theoretical physicists. Their bold, almost forgotten work
was an attempt to unify two seemingly incompatible
concepts: string theory and torsion field theory. The
key to this unification was geometry.

Act I: Two Languages of Geometry

String Theory: Geometry of Vibrations.

Its main postulate: elementary particles are not points but
ultra-microscopic vibrating strings. Different modes of
their oscillations, like notes on a violin string, give rise
to electrons, quarks, photons. However, for the mathematical
beauty of this "symphony," ten dimensions were required -
not just three. Six of these are "compactified" into
intricate microscopic forms called Calabi-Yau manifolds.
As a result, all particle and field physics essentially reduces
to the geometry of these hidden, extra dimensions.

[ \frac{\partial g}{\partial t} = \kappa \cdot R(g) ]

Where:

(g) - the metric of the Calabi-Yau manifold
(describes its shape and size),
(R(g)) - a certain curvature of this manifold
(analogous to scalar curvature in General Relativity),
(\kappa) - a constant relating the rate of change to curvature,
(\frac{\partial g}{\partial t}) - the rate of change of the metric
over time.

What did Soviet scientists hypothesize? That the shape of the
extra dimensions "breathes": when curvature is high, it changes
rapidly.

Torsion Field Theory:

Geometry of Twisting.

If string theory describes what the universe is made of,
torsion theory (developed in works by G. Shipov, A. Akimov,
and others) describes how space and time interact. Any
rotation - be it a planet orbiting a star or an electron
around a nucleus - is not just motion but an act that alters
the very fabric of spacetime. It creates twisting (torsion)
within it. This twisting is what we call a torsion field. If
the gravitational field is a "bend" in spacetime caused by
mass, then the torsion field is its "twist" caused by
rotation.

For a long time, these two theories existed in parallel:
one as an abstract mathematical construct, the other as
a controversial but intriguing physical hypothesis. Soviet
scientists saw in this a chance that these were not two
competing descriptions but two missing pieces of a single
puzzle.

Act II: Synthesis - where Notes Meet the Screw

The brilliant insight was: what if strings are not just
vibrating threads but carriers that create the very geometry
of spacetime itself?

Strings as Sculptors.

Vibrations of a string in a multidimensional space do not
merely "sound" a certain note (particle), but also "carve"
a complex relief into spacetime itself. Each particle
corresponds to a unique geometric pattern - an interplay
of curvature and torsion.

[ J^{\mu\nu}(x) \sim \int \delta^{4}(x - X(\sigma, \tau))
\cdot \left(\frac{\partial X^{\mu}}{\partial \sigma}\right)
d\sigma d\tau ]

Description:

(J^{\mu\nu}(x)) - torsion source at point (x) in spacetime,
(\int ... d\sigma d\tau) - integral over the string's worldsheet,
(\delta^{4}(x - X(\sigma, \tau))) - four-dimensional Dirac delta
function, acting as a "detector" that is zero everywhere except
where the point (x) coincides with the string's position
(X(\sigma, \tau)),
(X(\sigma, \tau)) - coordinates describing the string's position
in spacetime, with (\sigma, \tau) as internal parameters,
(\frac{\partial X^{\mu}}{\partial \sigma}) - the most important
part: the partial derivative of the string's position with respect
to (\sigma), physically representing the tangent vector to the
string.

Torsion Field as the Voice of Geometry.

When a vibrating string creates a region of twisting
(torsion) in space, this twisting does not remain localized.
It propagates as a wave - forming a torsion field. Thus, the
torsion field is not an independent entity but a trace, an
informational imprint of the geometric deformation caused
by the string. It is a "message" indicating that a rotation
or twist has occurred at that point in space.

In simple terms: strings are architects designing and constructing
the universe's geometry. Torsion fields are the "news" about
their construction activities, spreading throughout the universe.

Act III: The Grand Picture of the World

This progressive understanding leads to a remarkably coherent
picture:

A Unified Field.

The four known interactions - gravity, electromagnetism,
strong and weak nuclear forces - are different aspects of
a single geometrodynamics. Gravity arises from curvature
caused by string configurations; electromagnetic and nuclear
forces from specific types of twisting and vibrations.

The Vacuum as a Living Medium.

In this model, the physical vacuum is not empty but
a dynamic, structured medium resembling a crystal
or hologram.
All information about particles and fields is "encoded"
in its geometry via torsion patterns.

Consciousness and Matter.

The most daring conclusion:

If the brain is an ensemble of particles (strings), then its
operation is a process of generating incredibly complex
torsion fields. Thought, from this perspective, is an act of
geometric structuring of the vacuum. Consciousness could
be the ability of a system to resonate with the universe's
global torsion-information structures.

The brain acts as an antenna resonating with the universe's
torsion fields. Resonance = stable connection, information
exchange.

Resonance condition (roughly):
[ \omega_m = n \cdot \omega_0 ]

Where:

(\omega_m) - the frequency pattern of neurons
(e.g., gamma rhythm ~40 Hz),
(\omega_0) - the fundamental "breathing" frequency of the
vacuum, (n) - an integer (resonance mode).

The more complex and stable the fractal structure of neural
ensembles (with fractal dimension (D_m)), the stronger the
resonance and the "louder" the perceived "thought."

"Thought strength" (rough estimate):
[ S_{\text{thought}} \sim D_m \times A \times
e^{-| \omega_m - n \omega_0 |} ]

Where (A) is the amplitude of the torsion wave from
the thought object.

Act IV: The Fractal Universe - Geometry at Large and Small Scales

If this theory is at least partially correct, its
implications should extend beyond the micro-world
of elementary particles or the macro-world of galaxies.
Its imprint should be visible at all levels of existence.
Here, fractal geometry - study of self-similar, repeating
structures - comes into play, where parts reflect the
whole.

A Single Creation Algorithm.

The main principle of geometrodynamics - unified laws
for all reality - directly leads to fractality. If strings
"weave" spacetime geometry according to a single algorithm,
then these structures will exhibit self-similarity. The
twisting pattern created by one string will resemble, at
some scale, the pattern formed by a complex configuration
of billions of strings - much like a branch repeats the shape
of a tree, or a riverbed echoes the bends of a great river.

From Calabi-Yau to Galactic Web.

Recall the Calabi-Yau manifolds - the six compactified
extra dimensions in string theory. Their intricate, twisted
geometry is not arbitrary. It is plausible that their
fractal patterns manifest in our three-dimensional universe.
The grand "cosmic web" of galaxies and voids is not just
matter distribution but a direct projection of the original
higher-dimensional geometric structure of the vacuum.
Torsion fields, carrying information about rotation, twist
matter into spirals of galaxies, which in turn form larger
spiral structures. The universe is a matryoshka of
self-similar vortices. The stable yet complex geometry
of extra dimensions determines the properties of particles
and fields in our macroworld.

Living Systems as Geometric Fractals.

The most striking evidence supporting this theory is its
reflection in nature: branching blood vessels, bronchial
trees, neural networks - all are classic fractals optimized
for efficient energy and information distribution. From a
geometrodynamic perspective, this is no coincidence but a
consequence of a fundamental law: evolution tends toward
states of maximum geometric complexity and stability. Living
organisms are systems that have achieved the highest level
of structuring the vacuum. Their fractal architecture may
be a direct result of interaction with the universe's torsion
-information patterns, which themselves have a fractal nature.

If (x \to \lambda x), (t \to \lambda^H t),
then the main equations remain invariant.

(H) - the Hurst exponent, characterizing fractal properties;
for an ideal fractal, (H=1).

Example for mass:
[ M_{\text{total}}(R) \sim M_0 \times \left(\frac{R}
R_0}\right)^D ]

Where:

(R) - the radius considered,
(D) - the fractal dimension of mass distribution (~2–3?).

This suggests that mass within a sphere grows faster than (R^3)
due to fractal clustering.

Thus, fractal geometry becomes a bridge connecting microcosm
and macrocosm into a seamless cosmological picture.
It vividly demonstrates that from string vibrations to
consciousness, we are dealing not with isolated phenomena
but with a hierarchy of scales governed by unified geometric
principles. The universe appears not merely as a geometric
entity but as a fractal-geometric one, where simple rules
of twisting, repeated at different levels, generate
unimaginable diversity and complexity.

Act V: New Cosmology

According to this perspective, the Big Bang was not
merely an expansion of matter into empty space, but
a phase transition of the very geometry itself. The primary
"string-Universe," existing in a singular closed state,
began not only to expand but also to rapidly "unfold"
its hidden dimensions, crystallizing into the most complex
structures. Spacetime is not empty - it has texture and
memory. The large-scale structure of the universe, with
its galactic filaments and voids, is not a coincidence but
a direct consequence of the initial torsional pattern
"imprinted" in the vacuum's geometry at the earliest stages.
The expansion of the universe is not just the galaxies
moving apart; it is an ongoing growth and increasing
complexity of this enormous geometric construct.

Origin of Matter and Dark Matter

In this model, there is no need for a separate mechanism for
matter creation. Matter is already a consequence. As the
primordial vacuum cools and structures, stable vibrational
modes of strings condense into the particles we know. And
what is dark matter? It is not some mysterious particle but
the manifestation of gravitational effects caused by the
global torsional "stress" of the vacuum. Regions where the
geometry of space has a special, twisted topology (invisible
to electromagnetic radiation) manifest as additional
gravitational mass, influencing the motion of galaxies.

The Life Cycle of the Universe

Such a universe model turns out to be alive and dynamically
evolving in a geometric sense. Its law of evolution is a law
of increasing geometric complexity. Perhaps the final stage
of our cycle will not be thermal death or collapse, but the
achievement of a state of maximum geometric complexity,
where all possible twisting and curvature are realized. This
could be a point of a new phase transition - a "geometric
relaxation," when the complex structure collapses into a new
singularity, giving rise to the next universe with different
initial conditions and, consequently, different physical
laws.

Epilogue: An Unfinished Symphony

This brilliant geometric model, unfortunately, remained a
hypothesis. Its mathematical framework was incredibly
complex, and experimental confirmation at the time was
practically impossible due to the limited computational
power. Work gradually faded away, remaining in archives
and among a small circle of enthusiasts like the author
of these lines. But its main significance lies not in practical
implementation but in the scope of the idea. It was an
attempt to create a "Theory of Everything" in purely
geometric language, where matter, forces, and perhaps even
consciousness appeared as manifestations of a single, deeply
harmonious geometric principle. It is a story of how Soviet
physicists, albeit briefly, managed to hear the echo of
space-time twisting in the symphony of strings.
Unfortunately, the disintegration of Soviet science
prevented the completion of these studies. The people
who developed this theory are no longer alive. Therefore,
new researchers will have to start from scratch.