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Originally posted by ThoughtForms
you say about egyptian-mason squaring the circle. Suggesting it bypassed Greek knowledge? they didn't share information through history?
The late Vedic literature includes mathematical texts known as the Sulba-sutras which contain detailed instruction for the building of sacrificial altars. After a monumental study spanning more than 20 years, the distinguished American mathematician and historian of science, Abraham Seidenberg showed that the Sulba-sutras are the source of both Egyptian and old Babylonian mathematics. The Egyptian texts based on the Sulba-sutras go back to before 2,000 BCE. This provides independent confirmation that Indian mathematical knowledge existed long before that date, ie, during the height of the Harappan era.620
If however we recognize the possibility that the very idea of divisible continuous magnitude is far from being 'natural' and that it was before Eudoxus nothing more than a soup of paradoxes, geometry had consequently to be little more than its Egyptian and Babylonian models, i.e. simple similitude properties, superposition techniques to compute areas, figurate numbers and simple properties of algebraic geometry, some connections between geometric figures and Gods, plus the first results about squaring the circle and doubling the cube. On the other side the 'theory of the logoi', under the impulse of the music theory, could have been the main stream of mathematical research, producing the results of the VIII book of the Elements, the first negative proof of incommensurability and more advanced geometric applications, as in Archytas' algorithm to find two mean proportionals. Here different cognitive hypotheses give completely different meanings to the same fragment. At the same time I think that history of cognition (in particular of mathematics) must become an essential ingredient of cognitive science.231
Schwaller de Lubicz, the Godfather of Egyptology (Graham Hancock, etc.), a subject key to Puharich’s Council of Nine and the Freemasonic “music logarithmic spiral,” was also a leader in the synarchist movement. “One of Schwaller de Lubicz's 'Watchers' was Vivien Postel du Mas, the man who wrote the Synarchist Pact of the 1930s. Through du Mas, Schwaller de Lubicz had a particular influence on Hitler's Deputy, the tormented and complex Rudolf Hess.”332 As Prince and Picknett note the S.R.I., tied to the CIA and Freemasonry, was a main funder of Egyptology.
509 Corinna Rossi, Architecture and mathematics in ancient Egypt (Cambridge University Press, 2004), pp. 67-8.
It might even be suggested that they would not have liked the concept of the convergence to a number they could not reach, since the mathematical sources seem to indicate that the Egyptians were particularly fond of completion to the unity.509
Originally posted by ThoughtForms
....
that seems absurd Drew, mozart used it, most egyptian instruments found are said to have used it, and a few others around the place, ancient people used this tuning - and yes there were many others used too
Arnold Pacey's The Maze of Ingenuity (1975, 2nd edition M.I.T. Press 1992) which documents the Freemasonic Golden Ratio constructions for the medieval and Gothic cathedrals.
In conclusion, the most interesting point of Badawy's theory is the use of the 8:5 triangle, which corresponds to the most successful among the geometrical con- structions listed above, whereas all the others may be dismissed without losing any significant detail. The 8:5 triangle raises many questions. Its geometrical construc- tion and practical use are difficult (although not impossible) to explain, but the main objection lies at a deeper level of the discussion, at a basic point which Badawy did not take into account. He thought that the 8:5 triangle could have been a simple and practical device to approximate the convergence of the Fibonacci Series to 4>, thus implying that the Egyptian knew 4> and performed this calculation. However, he did not go far enough as to prove it.
As for numerical system, the Egyptians used integers (that is, whole numbers) and fractions, but only the so-called unit fractions, with 1 as a numerator and any number as a denominator, such as 1/2 , 1 /15 , 1/ 42 or 1/ 140 , with the exception of the fraction 2/3 ....The knowledge of other numerical series has been suggested on the basis of other
mathematical problems,12 but it is important to mention the fact that no mathematical
source contains any trace of the Fibonacci Series 1, 2, 3, 5, 8, 13, . . . (or of
any similar series based on the same method of accretion, such as 1, 3, 4, 7, 11,
18, . . . or 1, 4, 5, 9, 14, 23, . . . and so on).
In conclusion, even discarding the most complicated theories, Golden Sectionrelated geometrical figures and mathematical relationships can be found both in the art and architecture of ancient Egypt. The number of clear cases, however, does not appear to be significant and does not seem to be able to provide a reliable basis for claiming the existence of a marked preference of the ancient Egyptian artists and architects for this proportion. What appears clear, on the contrary, is the modern psychological tendency to find the Golden Section everywhere.
As for the Ptolemaic temples, an interesting detail is that the group of fractions 1/2 + 1 /10 (which can also be expressed as 3/5 ) corresponds to a value of 0.6 which might be interpreted once more as an approximation of the Golden Section. The Edfu and Dendera temples were built when this proportion had already been codified in Greece and probably imported into Egypt (see Part I). Doubt remains, however, as to what degree this knowledge would have penetrated Egyptian culture and how receptive the Upper Egyptian priests, who were in charge of planning and building large the Egyptian-style temples commissioned by their Greek rulers, would have been.
Originally posted by ThoughtForms
I listened to the classical composers microtonal songs he had available free mp3, can't say I enjoyed it, probably the best microtonal thing I ever heard was this its a beautiful instrument, I think you'll like this video -
As just demonstrated, integer overtone series can be aligned with themselves by frequency shifting. In an extreme case, with very sharp, rigid sounds, it works like a filtering. The overtone series apparently remains the same, only the low frequencies are more or less missing. Displacements with fractions of the base frequency no longer align with the original overtone series, but are in turn interpretable as parts of an integer series with a lower fundamental tone. The original fundamental tone always remains in the difference frequencies of the successive partial tones, no matter which interval they are just forming. However, that also means with each distortion which leads to combination tones, it is reconstructed! Such distortions can develop through overloading, through bad links in the transmission chain (amplifier, loudspeaker), but also directly in one's ears if a shifted sound is played too loud. Therefore, one should very carefully use narrow-banded sounds of this type primarily – unless one would like to cause such mostly unpleasant interferences... If one wants to motivically work with various transpositions of the very same sound, similar to the way it would also be possible with tempo transposition or pitch shift (whereby all frequencies would be proportionally shifted, rather than linearly), then a rare phenomenon arises: There is no harmonic conflict; there is no such thing as 'consonance' and 'dissonance.' Either the partial tones are aligned or not, or they lie so close beside the alignment that a pulse which is the same for all frequency pairs develops.
Your scale might call for the perfect fifth up from C to be on the F# key rather than on the G key. (This happens when the 12 notes are tuned to overtones 12 through 24—an interesting scale, which Robert Rich has used on some of his CDs.) In that case, you’ll have to train your brain to interpret the keyboard in a new way.
(3) that a key element of the musical ‘blues’ comes from recreating missing notes on the modern equal temperament scale. The latter is an example of ‘art built on artifacts’. Finally, brief reference is made to the value of music as a tool for teaching physics, mathematics and engineering to non-scientists.
In blues one flattens the note E, but only partially, so it lies close to the correct major third. (Even though the blue note is shown in figure 15 as E flat, it lies between E and E flat.)
Originally posted by fulllotusqigong
On the capstone not being finished on the pryamid I'm referring to the dollar bill and the All-Seeing-Eye. So not the actual pyramids.
(3) that a key element of the musical ‘blues’ comes from recreating missing notes on the modern equal temperament scale. The latter is an example of ‘art built on artifacts’. Finally, brief reference is made to the value of music as a tool for teaching physics, mathematics and engineering to non-scientists.So the African influence on U.S. music is to play closer to the actual natural overtones, including the flat 7th as the 7th harmonic overtone.
In blues one flattens the note E, but only partially, so it lies close to the correct major third. (Even though the blue note is shown in figure 15 as E flat, it lies between E and E flat.)
edit on 29-2-2012 by fulllotusqigong because: (no reason given)edit on 29-2-2012 by fulllotusqigong because: (no reason given)
Originally posted by ThoughtForms
Originally posted by fulllotusqigong
On the capstone not being finished on the pryamid I'm referring to the dollar bill and the All-Seeing-Eye. So not the actual pyramids.
say what man!?. You were talking about that in the context of ancient egyptian musical instruments and whether the ancient egyptians used greek methods or not and then you're telling me you went straight from that context of discussion, into the context of using "the capstone on the pyramids" as a literal metaphor for the pyramid + eye design on the dollar bill?? were you planning on telling anyone that the context of what you were discussing had changed? c'moooooooon man, people can't read your mind. and this is still assuming that you're telling the truth...
and even if I am to believe that you'd suddenly changed context without bothering to mention...(who would do that...)
what would someone do to the dollar bill to "put the capstone on the pyramid" if that is a metaphor as you say, then what is it a metaphor for?
seriously it made more sense when I thought you were referring to the actual pyramid and the actual missing capstone.
Originally posted by ThoughtForms
ok see this I understand. Yes. Its because the african tribal natives could literally hear and sing perfect quarter tones. which is a 25 cent pitch difference (roughly) from the whole tone of that note. They also have secret societies (tribal) that used to drum and probably still do, secret magical rhythms that if only able to do one thing, were really good at getting people to 'trance out'.
So I understand that what we need is not a dial that turns in increments but a super smoothed out dial that hits each and every 'point' of pitch along the way... just intonation.. yes?
but then you're also saying in unlocks the consciousness? what is this like, have you done it, what happens before during after, how long have you been doing that, what instruments do you play?
-TF
-TF
the full lotus position creates one of these how? they look cool btw...
Originally posted by fulllotusqigong
See I'm talking about the full lotus yoga position as a tetrahedron pyramid
ok thats pretty cool but my understanding is the full lotus position is a way to 'sit' whilst 'meditating' but meditating on what exactly and to achieve what, and if a tetrahedron pyramid forms from the process, how does it do that, can you see it and what is it made of, also what purpose does it serve for the person who creates it through the lotus position meditation?
I mentioned professor Hugh B. Urban revealing the full lotus yoga position as the highest level of French Freemasonry. The Franklin Committee -- Ben Franklin was secretly in the Nine Sisters -- a French Freemasonic organization -- and so the All Seeing Eye on the top of the pyramid refers to order out of chaos as the worship of Harmonia -- the Goddess.
Only the Freemasons got it wrong by trying to "contain infinity" using irrational geometry -- in contrast to the complementary opposite harmonics of the 1-4-5 music intervals.
don't know what that is but...
So the yin-yang-Emptiness harmonics of the body-mind
this I understand.
resonate most simply in the full lotus yoga position to open up the pineal gland as the third eye or All Seeing Eye.
are you saying that I-thought consciousness is 'self awareness' and that when you "go into the emptiness" you are self aware in that you can tell you are sensing things, but you don't know who or what you are? ETA: and you have no ability to retain memories?
Again this is why the capstone will never be finished as the All Seeing Eye -- because the consciousness goes into the Emptiness. The I-thought as consciousness has not start nor finish but always resonates into the Emptiness as
this last bit loses me also.. I still can't grasp those terms... unless I already have.. you mean the results of the double slit experiment yes?
the inherent asymmetry of reality -- the time-frequency uncertainty principle.
in what form do these creations take place? what are they made of and did you discover this personally?
There is no symmetric containment of consciousness and it eternally creates energy mass and space-time by going into the Emptiness and then creating the yin-yang Tai-Chi symbol or the Pythagorean Tetrad (the Pyramid).
which suggest that the 'realm' we go to when we die is where creativity comes from? and that is our spiritual purpose, to create things while we're alive?
So Logos meant "creative fire" to Pythagoras -- the Tetrad is the Logos -- so that Pyramid refers to Pyre as in the funeral pyre -- the creative fire of the pyre.
Pyramid power full lotus meditation
Originally posted by ThoughtForms
... how does it do that, can you see it and what is it made of, also what purpose does it serve for the person who creates it through the lotus position meditation?
... that you meet in in the middle at f4 and g4... 'opposite' notes within the octave?? and they're complimentary because they produce ear-pleasing harmonies? or are you saying for e.g. that the interval of 4 is the opposite of 1 or 5?
are you saying that I-thought consciousness is 'self awareness' and that when you "go into the emptiness" you are self aware in that you can tell you are sensing things, but you don't know who or what you are? this last bit loses me also.. I still can't grasp those terms... unless I already have.. you mean the results of the double slit experiment yes?
I took classes from qigong master Chunyi Lin. First I experienced the chi energy from Effie P. Chow when she blew the fuse in the room behind us at the University. haha. So Chunyi Lin for his training at qigongmaster went a month in full lotus taking hardly no water, no food and no sleep (like maybe a couple apples for food). Then he had to take 200 volts through his body.
in what form do these creations take place? what are they made of and did you discover this personally?
which suggest that the 'realm' we go to when we die is where creativity comes from? and that is our spiritual purpose, to create things while we're alive?
Am I getting all this so far other then the new question?
-TF
Originally posted by fulllotusqigong
Now when I wrote "Golden Ratio" -- I did not mean in the sense of the Greek Miracle but rather in the sense described by a compass and ruler.
There are many ways of discussing ratios and proportions. One way that works for me is to read a ratio as "parts". In the ratio 2:1, read two parts to one part. Or in practical terms two measures of a substance to one measure of another substance. Let's say two teaspoons of sugar to one teaspoon of butter. In vibration studies the "unit of measure" may be either frequency (cycles per second) or time (wave number) or space (wave length). So the ratio of 2:1 refers to either of these "units of measure" meaning the first term (2) is TWICE the value of the second term (1). Or reciprocally we can say the second term is HALF the value of the first.
Ratios are nearly always (but not always!) reduced to their least common factors. Hence if we had a ratio of 200:100 or 4:2 it would usually be reduced to 2:1 to keep things simple. So if there is another ratio of 4:7 it would mean 4 parts to 7 parts. We can multiply the 4 and 7 respectively times anything we want: bushels, teaspoons, inches, cycles per second or whatever. The important thing is the final result must always be the same PROPORTION of 4 to 7.
An additional thing to remember is to avoid reducing the ratio to a decimal. Sometimes reducing it to a decimal can be helpful but the decimal is NOT the original ratio. Another problem is a whole number ratio represents whole number quantities of two distinctly different things. So the reduction to a decimal is the same thing as dividing apples by oranges. This is not something most people see and understand. They've been mistaught in school to always reduce to a decimal. And this, in my opinion, is a grave error. We see this tendency quite often in the reduction of the ratio of 20612 : 6561 which is the ratio of the parts of a circumference of a circle (curved line) to the parts of length of that circle's diameter (straight line). These two numbers represent whole number values of two distinctly different things. How could they be divided and still have accuracy? Not possible - one ends up with an APPROXIMATION which is a value acknowledged to have an error. Adding more decimals does not eliminate the error, it is simply reduced.
Theses pieces are composed with the anciently derived solfeggio zobet scale.
Below is my understanding of the significance of the scale Fractal Harmony
Just a note before you read o: vibrational healin can hapen purley at a level of consiousness, music is not nessesarily essential for this to happen...nor is the solfeg advocated by me as replacment for conventional scales
These tunes are primarily intended for vibrational healing. Some of my cymbols all my bass drums, snares and tribal percussion are tuned to solfeg freqs, the level and cut off of the attack on some drums renders them more dynamicaly rounded with the other layers of the track in a theraputic manner. If one is interested in exploring solfeg music as a form of vibrational ballancing/healing or consiousness enhancement then these tunes will prove to be usefull should you aproach them receptivley, any scepticisim will serve as a block however its possible taht even that will disolve if u listen long enough.
My own exploration began with out knowing i was using one of the frequencies in a meditation track a year befor i had any knowledge of the ancient scales tones. It had induced synesthesia in me when lstening on several occassions, so natrualy when i heard of the ancient solfeg scale i played it through a spectrum analizer and found the main tone of my tune was 49.5hz the 4th sub octave harmonic of 369hz purported by the western rediscoverers (its actually a vedic scale in origin) as the liberation of guilt and fear tone used in christian gregorian chants
THE ANCIENT SOLFEGGIO SCALE
The solfeggio scale traditionally is known as the Latin toning sounds that are sung in conventional music and "perfect pitch” do re mi fa so la ti.
The ancient solfeggio scale is what the modern day solfeggio scale
evolved from. Initially the Ancient Solfeggio scale (AS) was sung in
Gregorian chants. However these chants were forbidden about 1000
years ago by the church and over time lost. It has also been found
that certain musical instruments of the ancient world utilised some
of the frequency's of this scale, being mainly middle eastern
instruments.
According to the researcher Leonard Horowitz who rediscovered the tones, he claims to have been intuitively guided to find them via numerological reduction of the
verses in the book of numbers, each verse when translated to numbers
(I believe but am not certain) according to the alphabet e.g. A=1 B=2
(however he used the Hebrew alphabet) etc. which when neurologically
reduced to a number below 10 become a multiple of either 3, 6, &9.
He says that he found 6 tones in the book of numbers which were then
extended to make a 9 tone perfect circle of sound scale by doing the
maths to find the frequencies that are holographic harmonics to the
initial 6 these tones are believed to be the tones of creation or the
music of the spheres, however you can tune for the further 3 to get a
12 tone scale that is harmonic as well. there is a difference of 111
Hz as the primary tones progress with the acceptance of G#417 and 741
which have 22hz difference and a 102hz difference either side of the
frequencies they are between of the 9 tone circle, so this 9 tone
scale can be extended by adding 111 Hz further twice beyond 963 Hz,
to get 1074 Hz and 1185 Hz and one note below the first being 63 Hz
To create a Perfectly Harmonic 12 tone scale.
Primary Tones
Note Hz / Reduction Value
F 174 (3)
D 285 (6)
G 396 (9)
G# 417 (3)
C 528 (6)
E 639 (9)
F# 741 (3)
A 852 (6)
B 963 (9)
All of this looks higgledy piggledy and random for a scale but that's where u have to find the sub tones and the upper tones by dividing or multiplying by two repeatedly for
each note until u get the frequency for each octave so eventually [for example] the
scale from C 3rd octave reads:
C 132
D 142.50
E 159.75
F 174
F# 185.25
G 198
G# 208.5
A 213
B 240
See source for full article soundcloud.com...
705 Dale Pond is reported to have recommended this water sonofusion propulsion to Stan Meyers who attended a John Keely natural resonance energy conference. Keely relied on ultrasound standing wave resonance – 42,800 CPS (Hertz) -- for his water dissociation plasma propulsion. “Verification of Frequency to produce Etheric Force from Water,” Keelynet.com, 12/20/97.
Nick Redfern has confirmed the research of Nick Cook's book The Hunt for Zero Point Energy which has confirmed the otherwise personal testimony about Schauberger's wild history. Jörg Schauberger, the grandson of Viktor Schauberger, confirms in “The Nazi UFO Conspiracy” documentary (2008) by the Discovery Channel that, indeed, Schauberger’s designs were stolen by the U.S. military. Redfern has seen the declassified UK documents of Nazi UFO aircraft technology. Schauberger hated the modern technology of the U.S. since it killed Nature. He went back to the forests of Austria and died depressed and frustrated. Another excellent source on Schauberger’s implosion propulsion technology is Joseph P. Farrell’s book Reich Of The Black Sun: Nazi Secret Weapons & The Cold War Allied Legend.
The retired Boston University geophysicst Gerald Hawkins discovered this secret music-math theorem, as well, in his research of crop circles. Gerald Hawkins' crop circle analysis is considered definitive. He has an astronomy Ph.D. from Boston College and he published an article in a math journal challenging anyone to reproduce the secret music proof he found in Euclid. No one could respond – in fact the proof he relies on is well-known in music theory. For example the 3-4-5 triangle is 3:4 as the perfect fourth and 4:5 as the Major Third. Even still Hawkins doesn't understand that those ratios are asymmetric (unlike Euclid's symmetric-based proof). So the music intervals C to G as perfect fifth or 2:3 equal G to C as a perfect fourth, or 3:4, thereby violating the commutative principle which Euclid relied on (G to C is 2:3 and G to C is 3:2). Hawkins is just reproducing Western math – but since it's gematria (magic as symmetry) the New Age scene eats it up. Also John Worrell Keely developed higher dimensional harmonic resonance technology based on the 3:4:5 triangle. Keely's harmonic resonance findings that demonstrated levitation, disintegration, energy generation, etc., funded by the richest man in the U.S. at that time, John Jacob Astor II, were concealed apparently by the Freemasonic Skull and Bones society according to Free Energy Pioneer: John Worrell Keely by Theo Paijmans (p. 268). The Bush Dynasty Nazi investors are also members of the Skull and Bones Society. The Platonic music harmonic 3:4:5 triangle (perfect fourth/major third) is the basis of the logarithmic music spiral that will be used to create the Matrix.
Theon was the one to first use “differential calculus” in Alexandria to calculate the square root of two as a limit based on differential geometry. But then Diophantus took Theon’s work and Apollonius — based on ellipses of the cone — to create an algebra using an alphabet. The new math logic failed in Alexandria but in Greece it was successful with the Attic number system which is essentially the same as Phoenician and Semitic gematria.
David Abram’s book Spell of the Sensuous goes back to the Greeks’ and Jews’ language and ecology connections but not to the psychological origins of Indo-European abstract language and their common origins. The non-phonetic languages are examined to produce an “animistic analysis of rationality” by Abram. Levant literally means “sun-riser” but “I Am that I Am” (the definition of God) also refers to gematria – the resonance of meaning through sacred images.
“I Am that I Am” is the Freemasonic gematria of the squaring of the circle that encloses infinity (“I” is the One as side magnitude and “Am” is the circle OHM as yin-yang resonance). This Freemasonic squaring of the circle was documented by UC-Berkeley math professor Abraham Seidenberg as far back as the 3,000 B.C. Brahmin India human sacrifice rituals. (In the academic journal Folklore Seidenberg also promoted a secret society to socially engineer the planet through the same Freemasonic rituals).
The right-brain of natural resonance consciousness is now valued as zero – this is the matrifocal, horticulture, free-women, wielding the lunar-water cycle hoe.676 And the left-brain, letter “A” – satanic bull's head-imperial force is measured as infinite supply and linear time. Linear time hides the fact that the farmers get screwed because you can have both infinite demand and low price even though by the rule of pareto efficiency this should not be the case. This is because the demand is not controlled by the natural desire of the market but by the iron power of the letter A-gematria-Freemason, blacksmith technology. Here's a Marvin Harris essay, “The evolution of human gender hierarchies,” from the book Sex and Gender Hierarchies (Cambridge U Press, 1993): These questions cannot be answered without considering the different implications of hoes and plows for the sexual division of labor as related to male and female anatomy and physiology in cultural evolutionary perspective. Where hoe agriculture prevails, women tend to be as productive as men in agricultural operations. This is what keeps their labor force in high demand and makes them independent of men. In contrast, where plow agriculture prevails, plowing constitutes a critical task (an 'energy gap') which men perform (or operate) more efficiently than women. And this is what underlies the Eurasian pattern of female dependency and subordination.
Again this means that the so-called “Pythagorean Skein Equivlanet” used by conspiracy activist Dr. Leonard Horowitz is fake – the Western gematria promoted by Horowitz is a “divide and average” system, not real Pythagorean harmonics.
The Golden Ratio is originally “A:B as B:A + B” but that's not the Freemasonic “equipartitioned” gematria (promoted by fake Pythagorean gematria of Leonard Horowitz and Western Freemasonic science, etc.). Kepler realized that the replacement of “A + B” with “C=A-B” used to solve the Golden Ratio for the quadratic equation is wrong. With C not equaling A + B but now C as A - B then AC does not equal B squared! Again this is the “bait and switch” trick of Archytas by reversing the order, as exposed by Dr. Alan C. Bowen, for the necessary algebraic geometry Babylonian equation.
This is the true secret of the Greek Miracle – combining the Brahmin Vedic gematria (the one to one correspondence) cipher system of the commutative property with Babylon’s equation of the arithmetic mean times harmonic mean equaling the geometric mean squared along with Egyptian geometry and music harmonics.
This Freemasonic gematria left-brain phonetic ritual sacrifice science was first used in the Babylonian Zoroastrian, Egyptian, Vedic and Hellenistic Solar Dynasty technology. To offset the “crowd diseases” or pandemics of the early city-state empires there was developed new empire expanding ritual technologies in allegiance with the reptilian brain mass sacrifice holographic information. Professor Abraham Seidenberg documents this “squaring of the circle” Pythagorean Theorem Freemasonic sacrifice ritual as an altar geometry technology used by Vedic Brahmans in 3,000 B.C.E. The matrifocal circle had to be “squared” and this new Solar ritual sacrifice altar was based on the same mathematics to find the center of the circle for chariot wheels – thereby expanding the tantric empires through warfare.
At this point of achieving eternal liberation through resonance of the reptilian heart-mind, the left-hand directed carbon-based, right-brain matrifocal lunar-water molecules resonate back to their fourth-dimensional space consciousness foundation. Then through the undead heart-soul as eternal consciousness there is a turn around, as the holographic information, to spiral back as right-hand directed, left-brain Freemasonic technological “contained infinity” gematria magnitude or imperial force. This philosophy is the ritual priest nondual soul as bodily “contained infinity” and then projected as right hand technology to “contain infinity” of Nature.
That shift from lunar silver matrifocal water energy to iron-solar patriarchy represents the shift from a forest auditory culture to a visual savannah-agriculture relying on gematria (phonetic-number symmetry) for Freemasonic technology. Quite literally the brain of the planet Earth is the rainforest along the equatorial belt – the branches of the trees are the neurons of Earth. Just as the Amazon rainforest is being replaced with Freemasonic Cargill soybean farms617, so too are the brain of humans being replaced with soy-based nanosilica biochips618 for the Actual Matrix Plan.
The Solar Dynasty extended from West Asia into the Levant (meaning sun-riser) and then on into Europe. The Jewish language was changed with Hellenization of Western Asia from Alexander the Great in the third century BCE, creating Hellenized Aramaic – and from this came the rise of gematria as the secret of Judaism and a new focus on antisemitism. Alexander had taken over the Persian empire from where Aramaic came from, used originally as the Assyrian language but continued for commercial trade and Aramaic was the vernacular language while Hebrew is the priestly language.
The key to gematria is equidistant spacing of the letters with the numbers. This emphasis is even explicit in today’s obsession with “the number code” in the Bible — all that fake Western magic promoted on (CIA) cable t.v. (for example the History channel's series “Decoding the Past”). What gets lost in all this is the Pythagorean Theorem and its connection to the Law of Pythagoras — the diverging Harmonic Series. Symmetric logarithmic gematria was from the Greek Phoenician combination with Hebrew as Aramaic – which also signified the Levant (Sun- Riser) as the misogynistic Essene (Jesus) cult over the earlier matrifocal lunar cultures.
Nevertheless it seems that the Hebrew gematria known to us now (i.e., assigning 1-9, 10-90, 100-900 to the letters) came from the Greeks…. According to Diringer (Story Aleph Beth 136), one of the distinctive differences between Early Hebrew (which is very much like Phoenician) and Square Hebrew (which is influenced by and perhaps derived from Aramaic) is the presence of final forms in the latter, so this form of gematria cannot have been used before Square Hebrew.”631
Originally posted by fulllotusqigong
reply to post by Spiratio
The secret of the Solfeggio scale is not based on symmetric gematria as Leonard Horowitz claims -- again the symmetric gematria is not Pythagorean harmonics -- it's part of the Platonic and Babylonian and Brahmin Solar Freemasonic ritual priest cover-up of complementary opposite harmonics.
So the real reason the "Doe a Deer" Solfeggio scale works is because it's the natural harmonics which are complementary opposites -- and do not line up with the octave and so they are not based on irrational numbers as an attempt to "contain" infinity.
Gurdjieff states that his diatonic scale has two shocks -- the only half notes in the scale, E to F, and, B to C. Gurdjieff describes them as a slowing down of the acceleration of consciousness or a "retardation in the increase of vibrations." Gurdjieff then explains that these shocks get stronger as the Law of Octaves gets higher: "The next octave gives an even more marked deviation, the one following that a deviation that is more marked still, so that the line of octaves may at last turn completely round and proceed in a direction opposite to the original direction." So again the diatonic Pythagorean scale that Gurdjieff gives is based on the Law of Three -- the negative and positive centers as he calls it or the Perfect 4th/Perfect 5th harmonics which create what's known in the West as the "comma of Pythagoras" -- the deviation from symmetry causing the shocks of full energy transduction.
Physicist John Wheeler has stated that information theory of black holes proves that there is no continuum of real numbers and that instead information of 1s and 0s are only real (Strange Matters) – Wheeler’s infamous “It from Bit” argument. This undermines all math since the square root of two!
Peter Levenda’s research on Andrija Puharich and “the Nine” is the most penetrating in how these theosophist CIA Freemasonic channellers have been directly connected to the most nefarious conspiracies. For example Levenda states how while Andrija Puharich was channeling “the Nine,” the secret attendance of the séance were also “the Nine” but composed of the U.S. top blue bloods like the Forbes, Du Ponts, and Astor families. Levenda then exposes how the Forbes connection through Ruth Forbes Paine Young and Arthur Young were directly connected to Oswald, Allen Dulles of the CIA, and the assassination of JFK. Ruth Forbe Paines, friends with Lee Harvey Oswald, traveled from Dallas up to be with Arthur Young for another involvement of the extraterrestrial channeling scene right before the JFK assassination.347
What’s more, later so would his friend and spiritual heir, the millionaire philosopher Arthur Young, at one time a majority shareholder in the Bell Telephone Company, and himself a close friend of Andrija Puharich and business associate of the Rockefeller family.
The secret is how to generate free energy from this plasma and the answer is in the Tetrad or (“the Nine” of 1:2:3:4) geometry. Arthur Young, inventor of the Bell Helicopter (tied in with the Puharich-C.I.A. Stargate Conspiracy) realized this key: “The cube roots of one are the points that divide the circle in three equal parts…But all these roots can be expressed in terms of square roots.” (his book Mathematics, Physics and Reality.) Young argued that this procedure, using Gauss’ i-1 grid, proved that time is inherently asymmetrical and, as Dr. Heinz Pagel points out in his book Perfect Symmetry (p. 358) if space is highly curved then particles are created out of nothing. The first use of this math was in the Egyptian Pyramids, as described in Napier’s book The Story of i: An Imaginary Tale.
Our experiments provide unambiguous evidence that scroll rings can pin to an inert double torus. They also demonstrate the existence of two, strikingly different, pinned vortex states. However, due to the limitations of our detection method, they cannot provide detailed insights into the full three-dimensional dynamics.