Story

The story begins in 1994 and involves three people whom nothing had predisposed to participating in such a revolutionary discovery.
However, by what kind of qualification, and in an era where knowledge has become so specialised, would a research team, however advanced or sophisticated it may be, have found itself in a position to conceive of a pre-Big Bang context so far removed from the current paradigm while casting such universal light on what we think we know about the universe?
No individual will, nor any group of whatever nature, can claim such a thing. One can only see here a rather unexpected sequence of facts, which only the prospect of such a radical and relevant renewal of thought prevents one from attributing it to chance or to any opportunism.

Judge for yourselves, and decide in all impartiality whether this story can be considered a mere fabrication, or whether it does not rather testify to an intervention of life itself, whatever name one gives it, and whatever paths it takes.
In this sense, the discovery can be said to have been "revealed," except that, far from having simply fallen from the sky, it required 30 years of work to define its outlines and express it in a language and according to references that would allow it to be received.

geometry as the objective basis of the theory

It all begins with Solange Glat, an ordinary person working in school childcare, much appreciated by the children, but above all, in no way inclined toward any kind of scientific or even mystical questioning. Let us say, thoroughly down-to-earth.
At the age of 47, her children having left the family nest, she often found herself alone at home and discovered a passion for drawing the kind of graphics that today constitute the GlaTiale Geometry—a name given posthumously in her honour.
This designation is all the more fitting since, according to her own intuitions, this geometry goes beyond symbolism: it is the actual representation of an energy network spontaneously emerging from the "glacial" void of origin.

Thus came into being a few hundred untitled graphics, which she did not sign and did not intend to exhibit. What mattered for her above all was to "draw," like a marathon runner, thousands upon thousands of lines, but also to share her comments with anyone willing to listen, or to jot them down on the fly as inspiration struck, on notebooks, loose sheets, or any piece of paper at hand at the opportune moment.
It was one of her painter friends who, upon discovering what she was doing, urged her to exhibit some of these graphics. And it was because she met with considerable success in the Liège region, where she was from, that she decided to transpose some of them into larger-format works.
At the end of 2000, she was invited to Paris for an exhibition, and it was there that she met Bruno Vidal, the one who would work with her on the transmitting the information carried "between the lines" by the GlaTial Geometry, information far more important, according to her, than the simple aesthetics of the graphics.

a challenge: bridging the gap between two paradigms difficult to grasp

Bruno Vidal's career as a production manager is secondary here. What matters to him is his faith, not a faith in God in the religious sense of the term, but a faith in the fact that, according to his experiences and the feelingsensations that accompanied them, there exists unquestionably and in a perfectly objective way a higher dimension still beyond classical reason.
What he senses as an effective presence is necessarily for him a strictly physical dimension, and his encounter with the GlaTial Geometry and its author, during that exhibition in Paris, was experienced as the lifting of a veil on an evident truth.
There followed 14 years of shared life and work -until Solange's death in 2015- fully engaged in the formulation of the theory of which this geometry is not only the illustration, but first and foremost the basis

The work was considerable, in several respects.
- First of all, due to the vocabulary used by Solange and the register in which she expressed herself. With no scientific references, and viewing her geometry as a universal decoding grid for phenomena, the terms employed were often improper, even invented, yet stemming from a vision that was indeed profound -a fundamental void as the sole origin- but extremely simplified.
- Then, because, faced with such a situation, Bruno's only solution was to plunge as deeply as he could into a multitude of fields of knowledge entirely foreign to him. Not, of course, to acquire precise expertise in these various fields, but to grasp the central substance of these disciplines' discourse: their actual knowledge, their limits, and their unresolved questions.
- Finally, because the knowledge itself is often disparate, sometimes even fragmented, riddled with questions that are not truly resolved -some authors, moreover, evolving in their views over the years- both within each field of knowledge and, obviously, even more so between them, often addressing very similar subjects using different approaches and lexical fields.
In short, a gigantic puzzle to reconstruct, without a reference image, and without the puzzle pieces themselves being formally circumscribed…

Such a challenge could never have been met if its founding paradigm -the "Integral Vision"- had proved false, which would necessarily have led to logical impasses. This is especially true given that the abundance of discoveries published in the press over the years could sometimes suggest that peculiarities would emerge, undermining the very foundations of the theory. Yet, this has never been the case; on the contrary, these findings have only enriched it, deepening our awareness of the information it conveys and rendering it increasingly unavoidable.
Let us be clear: Bruno's approach, when confronted with a new discovery in any field, is not simply to seek how it might fit within the framework of the Integral Vision. While this has happened, it is more often the other way round: by delving ever deeper into the logic of this paradigm and its consequences, the necessary existence of certain phenomena reveals itself to him. He can then outline their broad lines, only to find later that they correspond to earlier findings he was previously unaware of, or to these very new discoveries.

an unexpected opening toward practice

Solange knew she was ill. At that time -in the 2010s- strictly no one, apart from a few close acquaintances, showed any sensitivity to this exceptional approach, despite numerous attempts to make it known.
Years passed, and it was with no small surprise -and the accompanying emotions- that Bruno one day heard Solange tell him, as she saw her condition deteriorating sharply, that the work was far from finished, that he would need serious support, and that "from up there," she would know how to find and send him the right person to carry on…
Her death occurred, and at first, although he was firmly determined not to give up, there was a dark period where the future seemed to close in on itself. And then one fine day the promise was fulfilled, and initially Bruno did not realise how much the person in question was indeed the right one.
The encounter with Anne Marie Vin took place in a rather particular way. On a website referring to the work of Jean Charon -one of the first physicists to have worked on bridging science and spirituality- Bruno replied to a comment left by someone who had provided their contact email to discuss the subject. Now this first contact came exactly ten years to the day after Anne Marie had posted her message… and a good year after Solange's death.

Anne Marie is a visual artist, and again one might think this has little to do with the present subject. However, it should be added that she operates willingly in "meta" mode, and a careful examination of her artistic process led her to develop a practice fostering the emergence of the creativity that everyone carries within themselves.
So Bruno was all the more surprised to realise that this practice rests precisely on the evolutionary springs revealed by the Integral Vision! This marked the starting point, alongside uninterrupted research work, of a joint reflection on this practice as well as Bruno's involvement as scenographer for Anne Marie's exhibitions. In 2020, due to the COVID events, they had to stop their professional activity, which had the merit of allowing them to commit themselves 100% together to the work on the theory of the Living Void.

Anne Marie stands out notably for her particularly sharp critical and analytical mind; by nature, but also thanks to her extensive reading across all fields -philosophical, scientific, literary…- and her discussions, which have been ongoing since her youngest years within an intellectually inclined family.
The specific work undertaken with Bruno was that of a complete rereading of the writings already produced, a serious questioning of the concepts put forward, the logic underlying them, and their overall coherence.
This resulted in numerous adjustments, an opening toward new developments, and the development of a contextualised terminology supported by lexical charts.

in sum...

If Bruno is indeed the author of the publications edited by the Foundation, their content is the fruit of the unexpected convergences that brought these three people together to form a research cell motivated by an authentic desire to account accurately for this new apprehension of reality.
"Fortunately" -though doubtless it could not have been otherwise- this understanding is capable of federating the widest diversity of viewpoints:

"Reality is one and indivisible, made of a natural essence that is both spiritual and material."