The Construct of the Universe

I n t e r n a t i o n a l

Lynnclaire Dennis Louis Kauffman Marko Rodin Anthony Morris John Martineau Frank Chester Gene Webb john Telfer

E - M a g a z i n e

Constructs

of Our Universe life

in

the

matrix:

Geometry, numbers, knots, planets...

Cover Art by Lynnclaire Dennis

Science to Sage

Themed, designed , layout and production by Karen Elkins

E-Magazine

SCIENCE TO SAGE International

The great minds of our time are

new convergence of leading-

bringing a new renaissance. The

edge science and ancient

fusion of ideas, disciplines, and

wisdom is bridging the heart and

cultures has always advanced

mind, science and spirituality,

civilization, be it from the

and East and West.

renaissance of the Middle East

Take a quantum leap in your

to Middle Ages of Europe, again,

understanding of the mysteries

we stand at this crossroad. The

of our universe.

The Construct of the Univers

CONTENT

Lynnclaire Dennis Louis Kauffman The Mereon Matrix;Unity, Perspective and Parado

Frank Chester The New Sacred Geometry of Frank Chester by Seth Miller, PhD.c

Anthony Morris No Coincidence-Revelations with Mod 9

Special thanks to the contributors. I am grateful for their articles and inspired work. Their contribution and fascination with water enriches and transforms our understanding of our designer universe.

john Telfer Focus on Patterns and Sound

John Martineau A Little Book of Coincidence in the Univers Inspired by Marko Rodin Vortex Based Math & Expandable Fibonacci Planet Growth Matrix

Gene Webb Tiling Our Univers

Leigh J. Mccloseky Archetypal Language of the Watchers & The Hieroglyph of the Human Soul

All material is copyrighted

Insights by Richard Merric

by Science to Sage or is copyright of the authors.

Science to Sage reprints

Conscious Media Network

these articles with the Awakening Zone Science to Sage E-Magazine/Radio Gaiam TV Banyen Books, Vancouver, B

consent of authors Special thanks to Ly n n c l a i r e D e n n i s

x

e

e

C

k

.

e

for the cover art.

The

Mereon

Matrix

Unity, Perspective and Paradox In the just released book by Elsevier, “The Mereon Matrix - Unity, Perspective and Paradox”, written and edited by Lynnclaire Dennis, Jytte Brender McNair and Louis Kauffman, and co-authored by Neville “Nick” Woolf, Peter McNair, Zeynep Tümer and John Stuart Reid, an approach to the uni cation of knowledge using whole systems modeling is presented. The book provides insight into a universal model that leads to a new approach to General Systems Theory and non-linear science. This process is shown to provide a way to dynamically model information over time and organize systems. It evolved from a unitive matrix that links geometry and topology, revealing a coordinated interaction

between the seven fundamental polyhedra that can be considered the building blocks of nature. In this book, the Mereon Matrix is shown to relate to a large number of systems, mathematical, philosophical, physical and social. In joining them it offers access to a new understanding of the relationships that exist between them. It does so by combining logical process thinking, linking space and time in a spatial-temporal nexus: a coherent pattern that is structurally independent of the external environment yet inseparable from it. In this process it resolves paradox, honouring perspective while generating meaning with measure

fi

.

“We are made to be one family.”

T h e Pat t e r n t h at C o n n e c t s The Mereon Matrix addresses the fundamental connections that are critical for the on-going search for unity, scalability, order, directionality and diversity.

A seven-step process, the Mereon is a complexly simple system that connects diverse disciplines. The Elsevier book, 600 pages with 1500 illustrations, 40 animations, and one video is intense and thorough, presented in a way that primarily focuses on the scienti c and academic community. It is however, accessible and understandable to the educated lay reader. Those who understand that there is a relationship between sound and light, vibration and the principles of creation, will nd the introduction of the emergent science of cymatics revealing

.

.

fi

g

s

fi

Images and copyrighted material used in this article are the property of The Mereon Institute and have been reprinted with permission

“We sing our song on the waves of the sea. ” www.mereon.or Vision, Illustrations and photography by Lynnclaire Denni

Form and Function The Mereon Matrix is composed of two harmonious and elegant three-dimensional geospheres, one embedded within the other. Both are internally de ned by clusters of complex forms that de ne function with clockwork precision. The Mereon Matrix shows how all geometric forms unite into a single pattern, each informing a unique function. Forms include the Platonic, and Kepler solids, as well as their subsets, the Archimedean and Catalan solids.

fi

fi

Platonic Solids

The Mereon Matrix can also be imagined as a 'water world containing re'; inherent within this process are all the elements, forms and functions, necessary to provide a unitive connection between living and social systems.

It is a robust model for the Gaia theory/ principle formulated by scientist and environmentalist James Lovelock in the ‘60s and co-developed by microbiologist Lynn Margulis in the 1970s. [Lovelock 2003] proposed that all living systems, including humans and by extension, the social systems and organizations they build, interact with the inorganic matter on and around Earth

.

fi

fi

fi

This theory supposes that together, we form a self-regulating, complex system that participates in sustaining the environmental conditions necessary for life on our home planet. The First Principles of the Mereon Matrix show that energy, materials and resources of all kinds must be received and distributed equally within a system. It makes it clear that if any part of the organism or

organisation suffers, the entire system is at risk. Stasis characterises a suffering system; the ecosystem of the aged Earth is held in an exquisitely delicate balance and humanity is already experiencing shifts in its equilibrium.

In the epilogue, the authors assert that it is time for humanity to individually and collectively become positive and proactive allies, changing as needed to keep up our end of the reasonable and tacit agreement that we are custodians of Gaia with a duty of care, not only to Lovelockʼs ʻliving Earthʼ, but to our children and our children's children who are already inheriting the Future.

The Mereon Matrix is showing us how to do so.

Positive change requires a new kind of thinking; a scienti c model with a rigorous and meaningful methodology the Mereon Matrix is already helping unlock and remove the shackles that we have worn too long, most de ned by neediness and greediness.

Exchanging “Normal” for Natural

.

fi

.

.

.

The Mereon Matrix reveals a connection between the pulse of the Earth and the pulse of life. While there are boundaries, there are no borders between the cosmos, the universe, Gaia, a continent, a country, and your community. The beat of your heart works in harmony with the 100,000,000,000 (thatʼs 100 billion) nerve cells in your brain that let you walk and talk and function

Everything is wired, connected and partaking in a cycle of cycles The sequential nature of the geometry in the Mereon Matrix weaves two expressions of the trefoil knot; one, the rst Celtic knot, is identical to the knotted structure that is found the world over, while the other, the geospherical Mereon trefoil is, unique. It was unknown to knot theorists until it was presented in 1994

“We are made of stardust.”

Science is the investigation of natural systems; it explores what they are and how they work and provide a foundation for comprehending and understanding our environment and all life

The Matrix we call the Mereon The article is by Louis Kauffman, Professor of Mathematics, University of Illinois, Chicago Patterning found in the Mereon Matrix and the Mereon Trefoil is similar to knotted structures found the world over. Mereon is more than pure mathematics; it is a tool that we can use to help transform our lives and the planet.

In the illustration on the right is a view of the usual trefoil knot, illustrated in such a way that one can imagine it going around a torus twice in one direction and thrice in the other winding direction on that torus. The central illustration is a view of the trefoil that is moving in the direction of the Mereon geometry.

Here we show how it is woven on the surface of a Rhombic Triacontahedron, which is one of seven forms it weaves on naturally.

The most well recognized aspect of our unitive story relates to the manner in which the Mereon geometry and the Mereon Trefoil naturally appear in a complex relationship to the dynamics of an orchestrated cluster of ‘Jitterbugs’ as modeled by R. Buckminster Fuller. This dynamic is the motion of an Icosahedron with some edges removed that transforms within the boundaries of a cube and moves through an icosahedral position to an octahedral position before ‘collapsing’ back into its cubic context. The knotted topology and the geometry of the Mereon Matrix can be de ned as a complex array of Jitterbugs; this ‘dance’ is the common denominator found in two geospheres with one inner and the other outer.

fi

Notice how quickly we are arriving at these patterns from the generation of a circle: of a distinction. There is an abstract level underlying all this where we note that the creation of the circle itself is an act of self-reference: the act of the drawing returning to itself.

Both the knot and the re-entrant form de ne themselves through circularity. Notice how an in nite nest of boxes re-enters its own indicational space and thereby becomes ‘knotted’.

It now becomes possible to understand how the “knot” of the re-entrance is produced by this interaction as shown in the bottom image. As this equation reveals, the knot is the interaction of the two spheres. I like to think that this story about the interface of the gremlins is what lies behind all of the geometric appearances of the weavings between two spheres. This is the structure of all mythologies of creation of heaven, earth and the creatures in between. This is the creation from polar opposites, the eaten and the eater. They are the same and are identical with their offspring.

In this sense, the Matrix we call Mereon stands at the heart of creation.

The motto of our work was well-stated by Gregory Bateson: “The pattern that connects is a Pattern of patterns.” We would like to see the patterns we discover in Mereon match patterns in physics and biology. There is progress in this direction; however, it is at an early stage.

fi

fi

Louis Kauffman and Lynnclaire Dennis

Why a Rainbow The rainbow colours in the Mereon Matrix are a scienti c artefact. The colours arise within the system’s context, a watery geospherical structure that oscillates and scales from 120 to 180 faces. Contained within this 'bubble' is a dynamic and ery diamond-like core that structurally uctuates and scales, expanding from 144 faces to 300. The interaction between the context and core produces the Mereon Trefoil, a rainbow coloured knot, the Pattern, in the interstices between the two.

When viewed in motion, then entire structure would appear to be a pulsating sphere of light, its colour dependent upon multiple causes that include the perspective of the observer

fi

fi

.

.

fl

The rainbow is also meaningful as a social commentary, as in this context is makes it beautifully clear that it is representative of how a simple unity arises through profound diversity

“We

are dreaming a new dream to life.”

Pure Gold

.

“We are the gold and diamonds that make our world a shiny place.”

The relationship of the Mereon Matrix to the Golden Ratio is leading to many new ideas and investigations regarding where this symmetry is found in natural systems. Phi is a proportion found to guide the structure of growth in nature and the human body. Its ratio guides the smallest small elements into a precise relationship with larger elements, the whole resulting in something that is extraordinarily pleasing to the eye. Natural and enduring manmade structures profoundly lift the mind toward heavenly matters. Of equal interest is how artisans have long sough to approximate this ratio in art, architecture and music. The reason seems to be that this dynamic proportion seems to call forth a heightened perception of resonance both inside and out; of the link between harmonics and beauty

Essence Illumined In a London hotel room in August 2012, the principle investigators met with John Stuart Reid who is well known to readers of Science and Sage. As he tuned the CymaScope to the Mereon frequency, all watched expectantly as one team member, Dennis, had predicted what they would see; the geometry she anticipated was not intuitive; it was based on her understanding of the Matrix, how a particular frequency mathematically translates as musical ratios and into geometry. The excitement in the room was understandably high as it was acknowledged that if the CymaScope generated this dynamic structure and did so with suf cient accuracy, it would be a new day for Mereon, making it observable in a natural medium. It would also be the day that cymatics began to lift from an art into an appreciable science. What appeared on the

instrument's output screen was exactly what was predicted and exceeded everyone's anticipations.

In the months that followed CymaScope.com and Mereon team began intensive explorations in the UK laboratory. The rst milestone was imaging a cymatically tied trefoil knot. In January 2013, after years of work using advanced computer modeling programs and techniques designed by Robert W. Gray, and exploring the mathematics, the team was able to observe the Mereon geometry and topology (knots) in pure water.

The pattern matching between the computer modelling and the cymatic experiment using the Prime Frequency determined by the mathematics is astonishing. It takes your breath away and then gives it back! http://www.cymascope.com/cyma_research/ mereon_research.html

fi

fi

Images courtesy of John Stuart Reid

CymaScope Dials in the Mereon frequencies

fi

fi

fi

.

.

fi

The story of that rst glimpse, pattern recognition and the earliest years of exploration were told in “The Pattern”, a book authored by Lynnclaire Dennis, and published in 1997. This book reads like science

fi

fi

On January 15, 1987, the dynamic structure we now know as the Mereon Matrix was rst glimpsed. At that time, the geometry, its knot, the name, and the rami cations and impact it would eventually have, were unknown. Like a dream, the vision almost immediately began to dissolve, however a deep internal knowing catalyzed a profound intent to remember

ction, an action packed adventure told with humour and humility that recounts the beginning of what continues to be an amazing adventure. The facts are all true, the witnesses many.

The scienti c investigation has been continuous since 1998, however it has purposely remain unpublicized to a wider audience until the details were veri ed, demonstrated as precisely accurate and applicable, and the publication of the Elsevier book. A version for the lay reader is in the works along with books on the applied science

“We colour Mother Earth with our Love.”

The

Mereon

Matrix:

Unity, Perspective and Paradox Order your Book at AMAZON mereon.org

”

s

Vision, Illustrations and photography by Lynnclaire Denni Illustrations with titles are from the book “Dancing Like Stardust Images and copyrighted material used in this article are the property of The Mereon Institute and have been reprinted with permission.

john telfer A Focus on the Patterns of Sound I am a freelance musician living in London For as long as I can remember music has de ned my life. I sang and played the ute throughout my school years and then whilst at Cambridge reading English I took up the saxophone. I have just about made a living from music ever since, playing with a diverse hotchpotch of different groups ranging from the Sun Ra Arkestra to the BBC Symphony Orchestra via umpteen jewish wedding bands

.

fl

.

.

.

fi

The germ of this project was seeded in the early ‘90s. I was then involved in the London free-improvisation scene, where exploring the

outer reaches of saxophone playing kindled an interest in alternative structuring of tonal space based on harmonics.

I came across the lambdoma matrix in Jocelyn Godwin’s Music, Mysticism and Magic and have since worked to develop it as a musical resource In tandem with my musical efforts, I worked for several years in a stained-glass studio, and it was whilst foraging in a library for interesting glass designs that I discovered Hans Jenny’s Cymatik and sensed the possibility of bringing my musical and visual interests together

Introduction Musical Fundamentals Harmonicism I Consonance Harmonicism II Colour Harmony Lambdoma String Concords Harmonic Instruments Rhythm Harmony Proportion Cymatics Water Experiments

There is a bewildering leap of complexity from the patterns created by single sine waves to those produced by polyphonic sound. Figure 56 shows a lm of water vibrated by orchestral sound (Mozart’s Jupiter Symphony). We perceive these patternings as textures rather than geometric forms. Clearly, to understand the structural principles of cymatic polyphony we need to simplify the tonal input

fi

.

fi

fi

fi

fi

If two sine waves whose frequencies are related by a simple number ratio are fed into an oscilloscope in such a way that the harmonic motion of one tone is perpendicular to the other, the electron beam traces symmetrical shapes known as Lissajous gures. The gures produced by the simple number consonances of the Lambdoma are shown in gure 57. Here, nally, we encounter a visual, geometric counterpart to musical consonance in the physical realm. How these consonances are manifest in the more complex symmetries of cymatic phenomena is the problem which confronts the research worker.

wonderful Video >Overview Website

Coincidence NO

If You Only Knew The Power Of The 3 6 And 9 You Would Have The Power Of The Universe At Your Disposal’ – Nikola Tesla

“The desire that guides me in all I do is the desire to harness the forces of nature to the service of mankind.”

Nikola Tesla

NO

BY ANTHONY MORRIS

Academia Has Been Railroaded Not To Ask The Question WHY?’

‘Science maintains that it is pure coincidence ... that we are here and that, for example, there are exactly 20 amino acids utilized to form biology, and not 21, or 19, or any other number.

I have discovered that in fact there is No Coincidence in the Universal structure. This is the title of my thesis. The Universe is in fact entirely congruent and interconnected, only giving the illusion of chaos because of our lack of perception.

It is, for example, No Coincidence that there are 64 codons that code for the 20 Amino Acids that make up Life. As a hint, each of these codons may occupy a square on an 8 x 8 Chess Board. According to the rules of Chess, a wonderfully Universal game I now see through new eyes, there are only 20 Possible Opening Moves.

It is also No Coincidence that the Mean Diameter of the Earth is 7920 miles, and that 7920 is Exactly the Number of Protons and Neutrons Used in the Formation of the Amino Acids that Make Up All Life when you look at the Game of DNA – Unpacked in the way that I described above.

I hope to reveal a Complete Numerical Congruence to the Universe which will serve as a Foundation of Information to be used as a springboard such that Man Might Know Exactly How Creation Happens, and Happened, and gain Complete Control of Physical Reality and Banish the Illusion of Scarcity Forever.

How? Well it all comes down to Mod 9 and the fact that we have 9 numbers only, and to correctly understanding the qualities of each of these Numbers and how they inter operate to produce the system of Physical Reality.

know, not guess at, how everything works, everywhere in the Universe.

I hope to o er such a weight of evidence herein, to make any rebuttal argument impossible to the fact that the universe is unfolding according to a mathematical algorithm generated by the 9 numbers themselves.

My work is in the Pythagorean and Platonic tradition though I have not studied either extensively as I have chosen to cut my own path All we need do is work out the probabilities according to my intuitive sense for the direction involved with that which follows, and we shall of my research.

learn the Truth.

The reason I was able to appreciate the value of Mod 9 Analysis which will be explained a little further on is because of the way I have been analysing markets for the last 20 years using a Harmonic Grid to time global market turns. See www.marketharmony.com for more details.

When you look at a chart of price history for a market there is nothing really to describe any sort of rhyme or rhythm to it. When you introduce the Harmonic Grid over the chart and tune in to that market such that the highs and lows occur on the lines of the Grid, you can then get information that isn’t otherwise available.

Mod 9 does exactly the same thing – it illuminates so much information (in formation) that we cannot see ordinarily!!

‘If You Only Knew The Power Of The 3 6 And 9 You Would Have The Power Of The Universe At Your Disposal’ – Nikola Tesla

September 1st 2010 was the day I happened across the above quote.

ff

Tesla’s quote seemed to infer to me that Numbers are real in some way, and that it is in understanding the archetypal properties or ‘personality’ of each Number 0 to 9, that we can

There is No Coincidence.

‘A concept of the physical world can only be accurate to the degree permitted by the contemporary state of mathematics – a fact well known to all major thinkers of previous centuries.

Today almost nobody is aware of it.’ – Peter Plichta, God’s Secret Formula.

Modular Arithmetic 101 – Inspired by Marko Rodin ‘Mathematics and logic are the basis of all thought. If the basis of thought is rife with errors, tragic consequences for our ideas of the cosmos and for our philosophical and theological precepts are inevitable.’ Peter Plichta, God’s Secret Formula

To illustrate Modular Arithmetic very simply, let us take the number 12, for example.

In Mod 9, 12 is 3 because 9 goes into 12, leaving a remainder of 3, so we say 12 = 3 Mod 9.

35, for example could be expressed as 8 Mod 9 as 9 goes into 35 three times, leaving a remainder of 8.

Number Pairs To create the geometries you see above, we simply go from result to result for each number’s multiplication table and join the lines up.

a positive / negative, clockwise/anti-clockwise, relationship.

1 and 8 2 and 7 4 and 5

We can see the geometric qualities exhibited by 3 and 6 0 and 9 each of the rst 8 numbers when we apply Mod 9 to multiplication results, so for example the 4 Mod 9 is the only modular base system that times table goes 4, 8, 12 is 3 (Mod 9), 16 is 7, 20 displays this kind of symmetry where all the is 2 (Mod 9) etc. It produces a 9 pointed star numbers in our number system are paired o geometrically to form 5 pairs. owing in a clockwise direction.

The 8 times table goes 8, 16 is 7 (Mod 9) 24 is 6 (Mod 9), 32 is 5 (Mod 9), 40 is 4 (Mod 9) etc. –

Notice the 8 shares the same geometry as the 1, except it is owing anticlockwise.

Similarly for the 7, 5 and 6 which produce the same geometry as the 2, 4 and 3 respectively.

n

ff

fl

fi

We can see clearly that the numbers are paired geometrically and in what could be described as ff

fl

Modular Arithmetic 101 – Marko Rodi

Two Circuits You can see from the visual that there are 2 distinct ‘circuits’ at work here by noticing that the geometries of the numbers 1 2 4 5 7 and 8 all touch each of the 9 numbers around the circle, whereas the 3 6 and 9 keep to themselves.

Seeing numbers pictorially had a very profound e ect on me as has all of this work.

Cellular Mitosis Sequence- Marko Rodi When we apply Mod 9 to this sequence, again using the circle as our control, we see a repeating sequence emerge

Cellular Mitosis Sequence –

124875

Inspired by Marko Rodi Essential To Life – How Our Cells Divide And Replicate.

Cellular mitosis is essentially the process of cell division that allows humans to grow and for cells to repair themselves.

It gives the following sequence:

n

Cells simply double and double and double.

n

Very interestingly, this point divides the diameter of the circle perfectly into a ratio of 2 is to 1 or one third diameter to 2/3 diameter.

Look at that shape. Eyes, ears, nose, hand, feet, lungs?…..

1,2,4,8,16,32,64,128,256,512,etc

The VBM guys refer to this as the ‘Doubling Circuit’. They are calling the point at which the line 4 8 crosses the line 1 5, the Vortex, or Zero point.

Family Number Groups and the Structure of Reality

The 1 4 7 and 2 5 8 Family Number Groups are Electric and Controlled by Prime Numbers

- Anthony Morris & Tim Farrel

The 9 is the Central Axis –

According to my understanding so far, the entire structure of reality is generated by the only ten digits there are:

The 3 and 6 are the boundaries –

0123456789 1 4 7 2 5 8 3 6 9

The 3 6 9 Family Number Group is Magnetic.

The 9 FORMS.

The 3 and 6 CONFINE. The 1 4 7 and 2 5 8 Family Number Group spiral, from opposite directions, around the Central Axis, the 9, within the con nes of the 3 and 6.

l

fi

Central Axis = 9, Boundaries = 3 & 6, Primes = 1,4,7, & 2, 5, 8

Numerical Structure of Reality in terms of and Apple.

So it is with all ‘things’ in Physical Manifestation The 3 6 and 9 are the conduit for the 1 4 7 and 2 5 8 in the same way as the pipework in your house is the conduit that causes water to be available to you at different locations within it. In this case though, the pipes are obviously not carrying water to all points, they are carrying, or providing the potential for, Electricity, to play out its dance I provide this metaphor mainly so that you may appreciate that the plumbing has nothing directly to do, or in common, with, the water, per se, other than its ability to provide a conduit for its delivery

The 9 is represented by the core and the attachment to the tree.

The 3 and 6 are the boundaries that determine the size of the apple

.

.

fl

.

.

.

fi

.

.

The 1 4 7 and 2 5 8 make up the esh of the apple as it is formed by spiralling from opposite directions around the central axis / core 9 within the con nes of the 3 and 6

It is sort of the same with Electricity except that Magnetic Light and Electricity, it turns out, are the reciprocal of each other, which, of course, pipes and water are not This reciprocal or inverse relationship is shown by my analysis of Walter Russell’s assertion that there are currently 3 ½ octaves that are imperceptible to man and 5 ½ octaves that are not, ie, we can perceive them directly and know without guessing

I looked at it like this:

Sensed Spectrum e.g. Visual, Aural 5.5 Octaves or 5.5 x 12 = 66 notes

Undetected Spectrum 3.5 Octaves or 3.5 x 12 = 42 notes

Total Spectrum

de nition, contained at all times by the magnetism.

The Electric Numbers are exclusively the domain of Prime Numbers and Prime Composite Numbers. This therefore is where we should be placing all of our attention if we would like to better understand the truth about the predicament we nd ourselves in and gain a mastery over such as we nd.

5.5 + 3.5 = 9 octaves = 108 notes

Division 5.5 / 3.5 = 11 / 7 = 1.571428 R 3.5 / 5.5 = 7 / 11 = 0.636363

Electric Numbers 1 2 4 8 7 5

Magnetic Numbers 3 6 When we understand the role that each number plays we can clearly see that Electricity is the inverse, or reciprocal, of Magnetism!

Please see my short paper here for more information.

Morri In order to properly understand the system of Numbers it is crucial that each number be classi ed correctly.

I am asserting that this is not currently the case and is one of the many fundamental errors to be found in Science today.

It is thought that Numbers may easily be divided into two groups, those that are called Prime and those that are called Composite.

Magnetism is the unseen force which contains and provides the basis for what we understand or perceive as Time. Without it, nothing can physically exist because everything that exists must be electric by

As we shall see, this is not the whole story or the right way of looking at the picture.

fi

A Prime Number is recognised as a Number that has factors of itself and 1 only.

fi

Everything down here in physical reality is absolutely and exclusively to do with Electricity.

fi

s

fi

fi

Physical Reality = Electricity

The Re-Classi cation of Prime & Composite Numbers by Anthony

A Composite Number is recognised as a Number that has more than these 2 factors.

First we will examine the Prime Numbers and then the Composite Numbers.

What is Mod 9 Analysis?

By Mod 9 analysis, I am referring to the conversion of a given number sequence into its Mod 9 counterpart sequence. This has the e ect of unearthing congruence and incongruence in sequences so we may see where we have gone wrong.

Examples of this have already been displayed.

Prime Numbers – Mod 9 The rst thing I did was to simply apply Mod 9 to the rst 65000 Prime numbers.

This revealed the surprise that the results exclusively returned 1 2 4 5 7 or 8 for all Prime numbers greater than or equal to 5.

ff

fi

fi

The 72 Number Sequence that I discovered in Music, being 6 octaves of 12, led me to arrange the Numbers 1 to 72 and place them into 6 columns as laid out on the next page.

Prime Numbers in Red The layout above quickly shows why Prime numbers will exclusively return these remainder values in nitely because the Prime numbers only occur in Column 1 and Column 5 which simply repeat 7 4 1 and 5 2 8 respectively.

I haven’t been able to nd this information anywhere else in the public domain.

By removing Columns 2, 3, 4 & 6, leaving only Columns 1 & 5, as displayed below, we are left with only primes (in red) and some ‘other’ numbers (in black).

By removing Columns 2, 3, 4 & 6, leaving only Columns 1 & 5, as displayed below, we are left with only primes (in red) and some ‘other’ numbers (in black).

Products of Prime numbers themselves: Leaving the 1 aside for the moment, these ‘other’ numbers are immediately identi able as either:

Example 5 x 7 = 35, 5 x 11 = 55, 5 x 13 = 65 etc. or Prime Exponents of Prime numbers, for example 5^2 = 25, 7^2 = 49 etc.

These ‘other’ numbers are currently classi ed as Composite Numbers but should rightly be re-classi ed as Prime Composites and thought of exclusively as part of the Prime Number system, not the Composite Number system as it currently is.

It is critically important to get this right if we are to properly understand the whole system of Numbers.

My friend, Alex Syed kindly produced a Flash programmed representation of this process here: http://update.pixelami.com/drop/primes/ Main.html

Key for Link Image Small numbers are the Mod 9 result

Bold Black are the ‘other’ numbers 25, 35, 49 etc

fi

fi

fi

fi

fi

White with grey background are the numbers traditionally thought of as Prime.

Prime Number Reclassi cation Prime Numbers, by virtue of their indivisibility, are the building blocks of all material phenomena, or matter.

In my structure of the Universe, the Prime Numbers represent Electricity as de ned by the numbers 1 4 7 and 2 5 8, while the 3 6 9 are the magnetic infrastructure upon which Electricity plays out her dance.

We live in an electric universe, mathematically unfolding with great precision and accuracy through Time, that is totally governed by Prime Numbers and therefore it is Prime Numbers that we must understand thoroughly if we are to master the universe and everything in it.

fi

fi

fi

fi

fi

fi

ff

I want to argue vigorously that these previously referred to Prime Composite numbers, identi ed above, are really no di erent at all to these traditionally thought of Prime numbers, and actually hold the key to

better understanding how Prime numbers and the whole number system works.

The numbers in question are created exclusively by combinations only of each other.

They are all, therefore, inherently Prime, in and of themselves, and nothing else.

They are simply iterations of the Prime number sequence itself and all the possible combinations thereof.

This allows and accounts for the in nite complexity of Physical Reality.

Reality is created by an in nite fractal expansion of Prime numbers that creates a grid, much like a spider that spins its web…. I think that if we are to deny the above, it is surely like saying that what comes of a union between two human beings is not human somehow and that it could be de ned as anything else.

Visual Evidenc

e

As proof of the validity and worth of the above analysis and conjecture, please consider the following. Below is a Square of 9 Number Spiral – drawn simply by placing the 1 in the middle, the 2 to the left 3 above the 2, 4 to the right of the 3 etc. Spiraling around and around.

If we highlight only the prime numbers traditionally thought of as Prime then we arrive at something called Ulam’s Spiral - http:// en.wikipedia.org/wiki/Ulam_spiral

Ulam’s Spiral shows a preponderance by the Prime Numbers to appear on certain clear diagonals.

Now, if we add in the Prime Composites and Exponents as I suggest, then we shall see something much more de ned and quite incredible….

Cellular Mitosis Sequence- Marko Rodi

n

fi

fi

If Ulam’s Spiral is important, then the amazing coherence and congruence displayed above must surely be of signi cant worth?

pyramids are built to exhibit this precise e ect at solstices and equinoxes….

The 12 around the 1 perhaps?

Prime Numbers & The Number 7

The South West diagonal is dominated by the dimension expansion phase for numbers, and 12 numbers are shared with other adjacent is announced by the presence of the Prime sectors and 13 numbers could be considered Exponent Numbers in the form of 5^2 for to be ‘contained’, one of which is a single 25, 7^2 for 49, 11^2 for 121, 13^2 for 169, Prime or Prime Composite and that I have 17^2 for 289 etc. on up through the powers, coloured pink.

for example 5^3 for 625 and on and on.

Each diamond is constructed as either a pair of Golden Triangles or a Golden Rhombus.

Each diamond contains a single Prime, that I have coloured pink, which strangely occurs in each diamond at the location of an eye, with the e ect that the diamonds look like little sh swimming in a shoal, in an anti-clockwise direction.

Assuming I am correct about my reclassi cation of Prime Numbers as described above, then the rst 6 Prime Numbers in Physical Reality total 72.

Clearly delineated are 4 de nite quadrants.

These can be visualised as the interacting 4 vortices or 2 pairs of poles that can be found in Walter Russell’s cosmogony.

And, extraordinarily, their Mod 9 Digit Sum adds to its mirror, or re ection, 27.

Next, please notice, on the South West diagonal, an intriguing and mysterious absence of this coherence, so striking elsewhere.

This will make even more sense when you see the Partition Theory paper and the Music Paper.

Here we nd a curious bunch of numbers highlighted in pink also, yet with a demonstrably even and predictable periodic occurrence.

fi

2

fi

fl

fi

fi

ff

fi

fi

ff

If you join these dots you would conceivably have the e ect of a snake slithering up or down a pyramid edge. We know that some

ff

fi

The grid or lattice is made up of diamonds that consist of 4 by 4 prime number nodes along the sides and 7 on the diagonals, containing a total of 25 numbers in each.

5 + 7 + 11 + 13 + 17 + 19 = 72…

5 + 7 + 2 + 4 + 8 + 1 = 27….

Interestingly, when you take the rst and last, second and fth and third and fourth terms and add them together, each adds to 24, the number of terms in the Mod 9 sequence generated by the Fibonacci numbers…..

5 + 19 = 24 7 + 17 = 24 11+13 = 24

Fibonacci Sequence The Organising Structure Found Throughout Nature. Evident In Every Living Thing.

Having more than a passing acquaintance with Fibonacci and the Golden Mean through my work on nancial markets, I immediately looked at the sequence in a new light.

For those that do not know, the Fibonacci sequence begins:

0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987 etc.

It is the organizing structure found throughout Nature and Evident In Every Living Thing and Physical Phenomena.

The interesting thing about this sequence is that by adding the previous 2 terms to get the next term in the series, the numbers adjacent approximate to a Phi / Golden Mean relationship of 1.618.

More unusually the numbers once removed are in a relationship of 2.618!

The higher up in the sequence, the closer two consecutive numbers of the sequence divided by each other will approach the golden ratio or what is called PHI, which is approximately 1: 1.618 or 0.618: 1.

The Golden Ratio is found throughout the human body, even in our DNA. The DNA molecule, the program for all life, measures 34 angstroms long by 21 angstroms wide for each full cycle of its double helix spiral.

fi

fi

fi

I discovered to my amazement that if you go far enough out you soon realise that the Fibonacci

sequence with MOD 9 applied, produces a repeating 24 number sequence:

112 358437189 887641562819 I couldn’t believe it! I thought, nobody will have found that, but research unfortunately revealed that I was not the rst to see this recurring pattern but it seemed that it had only recently been discovered.

Upon further investigation I noted that if you take the second 12 numbers of the sequence and place them under the rst 12 numbers we can see the beautiful symmetry in the MOD 9 sequence produced by the Fibonacci Series, where top and bottom numbers are Number Pairs as described in the Introductory paper

Even more interesting is when we write the Fibonacci sequence, Mod 9, like this, showing a four fold congruence in 4 columns of 6

1123 5843 7189 8876 4156 2819 Column 1 shows the Doubling Circuit Numbers of the 1 2 4 8 7 5 Column 2 shows 1 and 8 Number Pair.

Column 3 shows the Doubling Circuit Numbers again.

Column 4 shows the 3 6 9 Family Number Group (more about these later).

Fibonacci & Other Important Integer Sequences – Mod

Also please note an arrangement of the 24 numbers in 8 columns of 3 clearly exhibiting the Family Number Groups when read vertically

Lucas Sequence – Mod 9 24 digit recurring sequence Mod 9 with symmetry

Pell Numbers – Mod 9 24 digit recurring sequence Mod 9 with symmetry

Jacobsthal Numbers – Mod 9 18 digit recurring sequence Mod 9 with symmetry

Other Integer Sequences Showing Repeating Sequences Mod 9

Padovan Sequence No symmetry here but something else altogether!

Recurring Mod 9 Sequence Sum is 171

1 9 9 1 9 1 1 1 2 2 3 4 5 – Sum is 48 = 3 Mod 9 7 9 3 7 3 1 1 4 2 5 6 7 2 – Sum is 57 = 3 Mod 9 4 9 6 4 6 1 1 7 2 8 9 1 8 – Sum is 66 = 3 Mod 9 Instead of the customary binary symmetry we see this extraordinary type of trinary, number systemic, congruence, as we see the columns beautifully displaying the Family Number Groups so prominently. 1 4 7, 2 5 8 and 3 6 9.

This is very special.

previous systems of architectural proportions in several fundamental ways.

Its derivation from a cubic equation (rather than a quadratic one such as that which de nes the golden section) is a response to the three-dimensionality of our world.

It is truly aesthetic in the original Greek sense, i.e., its concern is not ‘beauty’ but clarity of perception.

Above the spiral of equilateral triangles with side lengths follows the Padovan sequence.

Background Informatio The name plastic number (het plastische getal in Dutch) was given to this number in 1928 by Dom Hans van der Laan. Unlike the names of the golden ratio and silver ratio, the word plastic was not intended to refer to a speci c substance, but rather in its adjectival sense, meaning something that can be given a three-dimensional shape.

This is because, according to Padovan, the characteristic ratios of the number, 3/4 and 1/7, relate to the limits of human perception in relating one physical size to another.

Its basic ratios, approximately 3:4 and 1:7, are determined by the lower and upper limits of our normal ability to perceive di erences of size among three-dimensional objects.

The lower limit is that at which things di er just enough to be of distinct types of size.

The upper limit is that beyond which they di er too much to relate to each other; they then belong to di erent orders of size.

According to Van der Laan, these limits are precisely de nable.

The mutual proportion of three-dimensional things rst becomes perceptible when the largest dimension of one thing equals the sum of the two smaller dimensions of the other.

ff

n

ff

ff

fi

fi

fi

fi

ff

ff

The plastic number, discovered by Dom Hans This initial proportion determines in turn the van der Laan (1904-91) in 1928 shortly after he limit beyond which things cease to have any had abandoned his architectural studies and perceptible mutual relation.

become a novice monk, di ers from all

Simply add the last three numbers to get the next number in the sequence.

Very interestingly the Tribonacci Series returns a 39 digit recurring sequence Mod 9 which is the same number sequence as we found in the Padovan Sequence.

Here we see the same e ect, perhaps even more so, as the columns show the Family Number Groups

9 9 1 1 2 4 7 4 6 8 9 5 4 – Sum is 69

9 9 4 4 8 7 1 7 6 5 9 2 7 – Sum is 78

9 9 7 7 5 1 4 1 6 2 9 8 1 – Sum is 69

ff

Digit Sum for Mod 9 sequence is 216…. (3×72)

www.newunderstandings.co

The Numbers section of my website at www.newunderstandings.com, which is really an online book in production, covers my early journey starting with Mod 9 Analysis and showing some of the basic Vortex Based Maths work, pioneered by Marko Rodin, and progressed by Randy Powell and others, before moving on to the work I am advancing.

Numbers Pairs & Cellular Mitosis Numbers & Structure of Reality

Dividing Space Fibonacci and Other Important Integer Sequences Anthony Morri

Music

Chief Executive Of ce

Reclassi cation of Prime and Composite Numbers

Market Harmony Lt

DNA & Amino Acids - The Game Unpacked

www.marketharmony.co

My newly released paper on DNA & Amino Acids has been endorsed by the leading expert in the numerical analysis of the Human Genome – Jean Claude Perez, and o ers brand new and incredible insights into the true structure and relationships evident therein which I hope will have extraordinary rami cations for our understanding of Chemistry and Biology.

Partition Theory & the Hologram Projector of Physical Reality The very latest work which remains under construction, is even more astonishing. Here I describe Physical Reality using Number, Geometry and the Partition Table only.

m

m

fi

r

d

fi

s

fi

ff

Members get Full Access to all of My Work and the Have the Ability to Comment and Take Part in the Collaboration.

r

.

u

John Martinea Managing Director/Editor/Designer/Autho Wooden Books Ltd www.woodenbooks.com

The Well-tuned Universe There’s a lot going on in the universe.

fact that the whole universe seems

We can now see as many stars within

special. There is exactly enough

our space-time horizon-bubble as there

material in the universe to make it, and

are grains of sand on Earth. Our planet

the ratios between the fundamental

and we ourselves are made from

forces seem speci cally tuned to

reorganized smoky stardust, a fact long

produce an amazingly complex,

taught by ancient

beautiful and enduring

c u l t u r e s . We n o w

universe. Fiddle with

know that stardust

any bit of it, even

itself is made simply

slightly, and you get a

from

universe of black

zzballs, highly

organized

ickering

holes, insubstantial

whirlpools of light,

zzballs, or other

long ago squeezed

lifeless set-ups. Is this

together deep inside

design

stars. We ourselves

coincidence

or

live in between the little and the large, in

The story of the

a time and a place in

s e a r c h f o r o r d e r,

the universe where things have

pattern and meaning in the cosmos is

condensed, crystallized, built up and

very old. The planets of our solar system

settled down

have long been suspected of hiding

We still have no evidence as to whether

of such things pondered the Music of the

conscious life is rare or common in

Spheres, today they experiment with the

galaxies. Just how special are we and

simple precision of Kepler’s, Newton’s

our Earth? Funnily enough, scientists

and Einstein’s laws. Who knows what

are currently puzzling over the strange

will come next?

fi

.

fl

?

secret relationships. In antiquity students

fi

fi

excerpts

tHE sECRET OF sEVENS planets, metals and days of the week A short four hundred years ago the

(top right). In English, older names for

diagrams opposite formed the

the planets (or gods), were used, thus

cornerstone of cosmological scienti c

Wotan’s day,Thor’s day and Freya’s

and magical thought across the

day

western world, as they had done for many thousands of years. Today these

In antiquity seven metals were held to

emblems of the seven-fold system of

correspond with the seven planets,

antiquity appear as quaint reminders

their compounds giving rise to colour

of an alchemical cosmology now

associations. Venus, for example, was

buried beneath newly discovered

associated with the greens and blues

planets and physical elements

of copper carbonates. Students of alchemy would often ponder these

There are seven clearly visible

relationships as they forged ever more

wandering heavenly bodies, and they

subtle things. Incredibly, the ancient

may be arranged around a heptagon

system also gives the modern order by

in order of their apparent speed

atomic number of these metals! Follow

against the

xed stars. The Moon

a more open heptagram to give Iron

appears to move fastest, followed by

26, Copper 29, Silver 49, Tin 50, Gold

Mercury,Venus, the Sun, Mars, Jupiter

79, Mercury 80 and Lead 82 (lower left

and Saturn (top left). Planets were

after Critchlow & Hinze). The electrical

assigned to days, still clear in many

conductivity sequence also appears

languages, and the order of the days

round the outside starting with Lead.

fi

.

fi

.

was given by the heptagram shown

kEPLER’S dISIONS ellipses and nested solid Kepler noticed three things about planetary

In recent years, far from diminishing Kepler’s

orbits. Firstly that they are ellipses (so that a

vision, Einstein’s laws actually showed that

+ b = constant opposite below), with the Sun

the tiny space-time effects caused by

at one focus. Secondly, that the area of

Mercury’s faster (and therefore heavier and

space swept out by a planet in a given time

time-slowed) motion when nearer to the Sun

is constant. Thirdly, that the period T of a

create a precessional rotation of the ellipses

planet relates to R, its semi-major axis (or

over thousands of years, thus reinforcing

‘average’ orbit), so that T2/R3 is a constant

Kepler’s shells.

throughout the entire solar system Looking for a geometric or musical solution to the orbits, Kepler observed that six heliocentric planets meant ve intervals. The famous geometric solution he tried was to t the

ve Platonic Solids between their

fi

.

s

.

fi

fi

spheres (opposite, and detailed below)

tHE mUSIC OF THE sPHERES planets playing in tun

In ancient times the seven musical notes were

and Mars’ relative mean orbits

assigned to the seven heavenly bodies in

space between Mars and Ceres

various symbolic arrangements (opposite top).

nested pentagons (below right) de ne the empty

With his accurate data, Kepler now set about

space between Venus and Mars

precisely calculating these long imagined

Ceres and Jupiter’s mean orbits (99.6%).

Harmoniae Mundi. He particularly noticed that the ratios between planets’ extreme angular velocities were all harmonic intervals (opposite centre, after Godwin). More recently, work by Molchanov has shown that the entire solar system can be viewed as a ‘tuned’ quantum structure, with Jupiter as the conductor of the orchestra Music and Geometry are close bedfellows and Weizsacker’s theory of the condensation of the planets (opposite after Murchie &Warshall) throws yet more dappled light on to these elusive orbits. It might appear fanciful were it not for the fact that two nested pentagons (below (99.4%),

fi

e

.

fi

space between Mercury and Venus

the empty (99.2%),

Earth

left) de ne Mercury’s shell

(99.7%),

and the

(99.8%).

(99.6%)

Three

and also

uNDERSTANDING THE pICTURES Seen from Earth, day or night, the Sun

Greeks also knew of a more accurate 46

moves slowly to the left against the stars

year, 145 synod cycle. Mercury and Venus

(right in the southern hemisphere), taking

are beautifully in tune after just 14 kisses

a year to return to the same star. The Moon swiftly circles around in the same

Shown opposite below is the Golden

direction every month,

Ratio, ␣or phi. It is

taking 27.3 days to

found throughout every

return to a star. Venus

pentagram and in the

and Mercury oscillate

Fibonacci series of

around the Sun, coming

numbers (shown

and going, as the Sun

opposite), which starts

itself slowly trundles

with 1, 2, 3, 5, 8 and 13,

around its yearly circle.

all numbers we will see

Imagine standing on

in the inner planets. The

Venus - the Sun moves

Golden Ratio is

faster against the stars

essentially 0.618, but

and Mercury is closer,

since one divided by it

whirling round the Sun

is 1.618 (which is the

like a fairground waltzer

same as adding one to it), and 1.618 times

Every pair of planets creates a single

1.618 equals 2.618 (the same as adding

dance. It doesn’t matter which of the two

one more), it often takes all these values.

you stand on, your partner’s dance around

The Golden Ratio is found throughout

you will be the same. It is a shared

organic life forms; it is the signature of life,

experience. Mercury’s evolving waltzes

and, as we shall see, highly accurately

with Earth andVenus are shown (opposite

present in the inner solar system too.

top). Earth and Mercury roughly kiss 22

.

.

times in 7 years, though the ancient

tHE sTARRY sIGNATURE circumstantial evidence for life on earth T h e a n c i e n t s , h o w e v e r, p o n d e r e d

way have something to do with ‘why we are

consciousness deeply, and held that life, or

here’, and if so could these techniques be

‘the soul’, was particularly akin to the

used to locate intelligent life in other solar

applied arts of geometry and music.

systems

Through these arts they carefully investigated the

If you ever need

relationship between ‘the

reminding that there

One’ and ‘the Few’, for in

may be a little more

music there are only so

magic to our origins

many notes in tune, and in

than modern cosmology

geometry only so many

can yet offer, then just

shapes that

t. More

remember the kiss of

recently, the equations of

Venus and the words of

Newton, Einstein and

John Donne

others have been continually re ned towards

“Man hath weav’d out a

simplicity and beauty

net, and this net throwne upon the Heavens, and

This book has shown

now they are his owne.

simple and beautiful

Loth to goe up the Hill,

examples of harmony and geometry in the

or labour thus

solar system. The Golden Ratio, long

to goe to Heaven, we make Heaven come to

associated with life, and conspicuously

us.”

absent from modern equations, plays lovingly around Earth. Does this in some

.

fi

fi

:

?

www.woodenbooks.com

www.woodenbooks.com

To Purchase Poster...

/

http://venusposter.com

www.woodenbooks.com

God is like a musician who creates the harmonies of the Cosmos and gives each individual his own particular part to play. If the music of life seems discordant to us, we should not blame the Master Musician, but ourselves.

We a r e t h e o u t - o f - t u n e instrument which mars the beauty of his composition.

Hermes reflects that when we devote ourselves to the spiritual

path,

we

mysteriously become perfectly tuned The earthly part of the universe would seem rude and savage without sweet melodies. This is why Atum sent down the choir of muses to live amongst humankind and inspire music, so that men could adore Divinity with hymns praise, in polyphony with

Hermes - The Principle of Rhythm “Everything flows, out and in; everything has its tides; all

the psalms of heaven.

things rise and fall; the pendulum swing manifests in

measure of the swing to the left; rhythm compensates.”

Wisdom of the Pharaohs

everything; the measure of the swing to the right is the

.

The Hermetica, The Lost

Shown in this engraving from Renaissance Italy are Apollo, the Muses, the planetary spheres and musical ratios.

fl

fi

http://en.wikipedia.org/wiki/Music_of_the_Spheres

fl

fi

the music of the spheres.

Musica universalis (lit. universal music, or music of the spheres) is an ancient philosophical concept that regards proportions in the movements of celestial bodies—the Sun, Moon, and planets—as a form of musica (the Medieval Latin name for music). This 'music' is not usually thought to be literally audible, but a harmonic and/or mathematical and/or religious concept. The idea continued to appeal to thinkers about music until the end of the Renaissance, in uencing scholars of many kinds, including humanists.

The Music of the Spheres incorporates the metaphysical principle that mathematical relationships express qualities or ‘tones' of energy which manifest in numbers, visual angles, shapes and sounds – all connected within a pattern of proportion. Pythagoras rst identi ed that the pitch of a musical note is in proportion to the length of the string that produces it, and that intervals between harmonious sound frequencies form simple numerical ratios.[1] In a theory known as the Harmony of the Spheres, Pythagoras proposed that the Sun, Moon and planets all emit their own unique hum (orbital resonance) based on their orbital revolution,[2] and that the quality of life on Earth re ects the tenor of celestial sounds which are physically imperceptible to the human ear.[3] Subsequently, Plato described astronomy and music as "twinned" studies of sensual recognition: astronomy for the eyes, music for the ears, and both requiring knowledge of numerical proportions.[4]

i n t h e w av e l i e s t h e s e c r e t o f c r e a t i o n The universe is a multiplicity of changing effects of but One unchanging cause.- Walter Russell

Diagram by Walter Russell

The Sea, the void of all the deep space, is a medium in which electromagnetic waves pulsate and bring aliveness to our universe

.

All matter = energy

vitruvian man in harmonic lattice

Each of the alchemical stages of transformation is associated

So important is music to the tradition of alchemy that the

with one of the tones on the Pythagorean scale. In addition,

creation of the

each of the seven planets known by the ancients to comprise

Hermes, the scribe of the gods and father of alchemy,

our solar system was thought to correspond to one of these

science, astronomy, language, and all subjects of higher

alchemical notes. In their dance around the sun, the planets

learning. This lyre was tuned to the golden mean, or

were thought to create a celestial symphony called the music

Pythagorean scale. Today, the only instruments that can

of the spheres. It was believed that each of these alchemical

produce these tones accurately are electronic music

notes had transformative properties when acting upon the

programs or instruments such as chimes and of course the

denser manifestations of physical matter and the human

lyre, which is speci cally designed to be tuned to that scale

rst musical lyre was attributed to Thoth-

body

.

fi

fi

.

By Richard Merrick see .nterencetheory.com

Harmonic Interference Theory represents a major breakthrough in our understanding of music and perception. Triggered by a moment of insight thirty years earlier, this theory explains how harmonics combine to form coherent geometrical patterns that our auditory system recognizes as simple shapes.

fl

fi

fi

fl

fi

But this is only the beginning. The author goes much further to show how everything in nature can be described as crystallized harmonics. Drawing on the latest scienti c research and cutting-edge theories in the elds of genetics, quantum physics and cosmology, a uni ed harmonic model is proposed for the study of coherence on both a micro and macro scale. Out of this emerges a grand scienti c musical theory that reintegrates ancient harmonic science with quantum physics to explore the deeper mysteries neither can answer alone.

Click Here to Download To save the high resolution e-book (52.4MB PDF), right click on the picture and select Save As. Touch here to purchase a paper copy on Amazon.

Using a spectral analysis of harmonic interference over an octave, the author shows how re ective patterns on vibrated surfaces can be found in the growth patterns of the human anatomy, particularly our ears and brain.

From this simple correspondence, perception of music is then explained as the natural process of anticipating and matching harmonic interference patterns against identical structures in our auditory system. When represented visually, music becomes organic geometries oating inside a harmonically structured space - exactly as our ears and brain understand it.

fi

Richard Merrick

Book

The Venus Blueprint makes the startling case that the orbital resonance pattern of Venus as seen from Earth was central to the development of early science, religion and government. Throughout recorded history, the pentagonal cycle of Venus has been repeatedly associated with the feminine aspect of God from Babylonian Ishtar and Indian Shukra to the Saxon goddess Eastre and Greek Aphrodite. New evidence now suggests that the orbital geometry of Venus, tracing out a rose pentacle between the Sun and Earth, was used as a sacred fertility symbol to design the world’s greatest temples. Revealed here for the rst time, this is the story of The Venus Blueprint.

The evidence begins with the discovery of a Vedic religious symbol known as Mount Meru etched into the sacristy wall of 15th-century Rosslyn chapel. This one symbol leads to a cascade of revelations suggesting this Roman Catholic collegiate chapel was actually designed to celebrate a much older Vedic cosmology known today as The Birth of Venus.

A step-by-step analysis explains how the Blueprint symbol was used to design the chapel’s acoustics, placement of architectural symbols and overall oor plan. More signi cantly, the same Blueprint pattern is shown to match the Great Pyramid of Giza, the Temple of Jerusalem, the Greek Parthenon, Roman Pantheon and St. Peter’s Basilica in the Vatican, among others.

Supported by an impressive array of historical research and scienti c analysis, the Venus Blueprint geometry is then used to unlock the original purpose of these temples. Used for its resonant properties, it had the power to enhance entheogenic ritual and help induce religious visions. As the ancient “temple template” for a global Vedic empire, this Blueprint was once the key to enlightenment, liberating the gods within.

In the end, the Venus Blueprint emerges as perhaps the single most important symbol in human history. Indeed, it is our best evidence yet that an ancient harmonic science did exist and became the inspiration behind the Vedas and many other religions. Through it, one can sense the light behind all religions straining to shine through--a beautiful musical light founded on celestial cycles and the universal harmonic principles of nature.

Touch here to read an article about the book.

Touch here to purchase on Amazon.

fl

fi

For more information and discussions, touch here to visit www.facebook.com/TheVenusBlueprint

fi

fi

"An exciting new theory of sacred art, sacred architecture, and the music and magic of the earth ... a fascinating journey into the mysteries of human consciousness and the lost wisdom of the ancients." - Graham Hancock, Author, Fingerprints of the Gods

Marko Rodin Matemáticas Vorticiales @ TED Charlotte 2010 Randy Powell

AeroDynaamic The Number 9 The Seal of Solomon Rodin Technology

Markorodin.com

http://ssheltonimages.com/ marco_rodin_Free-1.html

Rodin Coil

An Introduction to Vortex Base Math

Featuring the Rodin Coil

You have entered a place where Numbers are Real and Alive not merely symbols for other things.

Within, you will be taken on a spiraling tour through the toroidal roller coaster of our deterministic universe. Dark Matter, the vibratory essence of all that exists, is no longer on its elusive hide and seek trip -- it has been found! With the introduction of Vortex-Based Mathematics you will be able to see how energy is expressing itself mathematically. This math has no anomalies and shows the dimensional shape and function of the universe as being a toroid or donut-shaped black hole. This is the template for the universe and it is all within our base ten decimal system! You will

discover that the relationships between numbers are not random or man-made but that numbers are actually elementary particles of which everything is composed.

This lost knowledge was well known to our ancients and is now being uncovered for us today. Gradually you will come to see numbers in a simple yet profoundly perfect three-dimensional matrix grid pattern that forms the shape of a torus. The number grid reveals the calibration and timing for an engine that can take us throughout the universe and solve mankind's energy needs.

Interested? Delve in...

Want to find the answers to the unknown? Want to see a man-made black hole?

Using a new math that shows that numbers are not man-made symbols, but are actually real, you will see and understand the answers to these questions.

Learn about:

• A particle that does not bend, but causes everything in the universe to curve around it.

• The three toroidal number patterns that are the basis to all mathematics (the pattern of numbers traversing the toroidal surface in, out, and around).

The universe as an ecological system of • renewal.

Your body being made out of countless • stars of the past.

Proof of an omniscient supreme being.

• Making a coil that produces unlimited free • energy.

A number grid that shows the • underpinning geometry of the universe.

How everything is a torus.

• Making a propulsion source that can take • you anywhere in the universe.

Artificial Intelligence based on a binary • triplet.

The Aetheric Template in DNA that guides • evolution.

The repeating number pattern that solves • pi and demonstrates it to be a whole number.

• • • • • •

• • • •

• • •

• •

• • • •

A mathematics in which numbers do not move, but the functions move instead.

How numbers form a 3D solid geometric object.

The secret of a gyroscope -- why it vertically lifts itself upright.

Wormholes, nested vertices, portals, and doorways.

Why Dimensions are a result of how things move through space.

The preferred frame of reference to the universe is based upon the fixed constant number 9.

Number crunching and encryption compression done through cross addition.

The labyrinth maze of the Doubling Circuits where they invert in the center.

World boundary conditions and inversion seams of nested vortices.

The bilateral symmetry of the decimal system resulting in polar number pairs having parity by being perfect mirrors of one another.

The zero is always in the center in the form of the vortex hole.

•Multiplication series are unbroken rings from cross sections of the torus.

A number cannot be created or destroyed and zero does not exist on a number line or in any multiplication series.

The number 9 is the node and represents Spirit.

The numbers 3 and 6 represent the Yin and Yang in the form of magnetism and the number 9 is the S curve.

The base ten numerical counting system is triangulated.

Infinity has an epicenter .

The powers of ten occur by halving.

The torus skin models harmonic cascadence.

The Mathematical Finger Print of God As you begin to glide through this explanation of Marko Rodin's fantastic discoveries, please understand that you must set aside many commonly held belief systems of the way the world works in order to fully comprehend the completely new truths that are embodied in this discovery.

behind intelligence?" Due to his gift of intense focus or because it was time for him to know the answer, his stomach muscles turned to iron and as he was literally lifted forward he answered out loud, "I understand." What he had gleaned from his query was that all intelligence comes from a person's name. This led him to understand that not only do our personal names and the language they are spoken in highly affect our personalities but that the most important names are the names of God. This led Marko into a journey of thoroughly studying all the world's great religions. When he was introduced to the Bahai Faith he immediately became a believer. Literally days later Marko decided to take The Most Great Name of Baha'u'llah (prophet of the Bahai Faith) which is Abha and convert it into numbers. He did this in an effort to discover the true precise mystical intonation of The Most Great Name of God. Since the Bahai sacred scripture was originally written in Persian and Arabic, Marko used the Abjad numerical notation system for this letter to number translation. This was a sacred system of allocating a unique numerical value to each letter of the 27 letters of the alphabet so that secret quantum mechanic physics could be encoded into words. What Marko discovered was that (A=1, b=2, h=5, a=1) = 9. The fact that The Most Great Name of God equaled 9 seemed very important to him as everything he had read in both the Bahai scriptures and other religious text spoke of nine being the omni-potent number.

This math truly explains everything that ever was, is, and ever will be in the universe, perfectly, with no omissions. As Russell Blake, senior researcher from Microsoft, has said of Marko's work, "This fantastic coherence has existed since the beginning of time but has yet to be harnessed by mankind and the potential is truly mind-boggling." Thus, we invite you to charge forward with all your mind, heart and soul into the enchanting realm we like to call The Rodin Experience.

Mathematics as we know it today is only a tool to symbolize quantities. It simply and shamelessly helps the greedy king count his coins. Vortex- Based Mathematics (VBM) is completely different because it is a dynamic math that shows the relationships and thus the qualities of numbers rather than the quantities.

Within VBM numbers are not symbols that stand for something else, NUMBERS ARE REAL AND ALIVE. But what exactly does that mean you ask, well...

At the age of fifteen Marko Rodin projected his mind as far as he could across the universe and asked the question, "What is the secret

So next he drew out a circle with nine on top and 1 through 8 going around the circle clockwise. Then he discovered a very intriguing number system within this circle. Marko knew he had stumbled upon something very profound. This circle with its hidden number sequence was the "Symbol of Enlightenment."

This is the MATHEMATICAL FINGER PRINT OF GOD.

Follow along as the amazing properties of this symbol unveil themselves to you. Put your pencil on number 1 and without picking up your pencil, move your pencil in a straight line to number 2, then 4, then across the center to 8.

Notice that you are doubling. So next should be 16 and it is, but 1+6=7. So move your pencil to 7. Then 16 doubled is 32, but 3+2=5. So move your pencil to 5. Then 32 doubled is 64 and 6+4=10 and 1+0=1. And you're back to 1.

So move the pencil across the center and back

up to 1. The significance of the Mayan calendar is that 64 is one complete cycle of infinity. Then it begins again with 64 doubled is 128 and 1+2+8=11, then 1+1=2. And so on.

You will never get off this track as you keep doubling. Notice the infinity symbol has formed underneath your pencil, creating an everrepeating pattern of 1, 2, 4, 8, 7, 5. Amazingly, this number sequence stays intact as you half numbers as well. Start again at the 1 but this time go backwards on the infinity symbol. Half of 1 is .5, so move your pencil to the 5. Then half of .5 is .25, and 2+5=7. So move your pencil to the 7. And half of .25 is .125 and 1+2+5=8. So move to the 8. Next half of .125 is . 0625 and 0+6+2+5=13 and 1+3=4. So go across to the 4. And half of .0625 is .03125 and 0+3+1+2+5=11 and 1+1=2. So move to the 2.

Forever staying on the route of 1,2,4,8,7,5 even backwards.

As you replace the decimal numbers with their power (for example 0.5=10, .25=100, 0.125=1,000) you will see that the powers line up horizontally.

The number is on the left, horizontal addition result is on the right. Notice how the 1,2,4,8,7,5 number pattern repeats indefinitely.

At this point some of you might be thinking, "What in the world do these number patterns have to do with real world applications?"

These number groupings piece together into a jig-saw-like puzzle pattern that perfectly demonstrates the way energy flows. Our base-ten decimal system is not man made, rather it is created by this flow of energy.

Amazingly, after twenty years of working with this symbol and collaborating with engineers and scientists, Marko discovered that the 1,2,4,8,7,5 was a doubling circuit for a very efficient electrical coil. There was still one more very important number pattern to be realized. On the M A T H E M A T I C A L FINGER PRINT OF GOD notice how the 3, 9, and 6 is in red and does not connect at the base. That is because it is a vector. The 1,2,4,8,7,5 is the third dimension while the oscillation between the 3 and 6 demonstrates the fourth dimension, which is the higher dimensional magnetic field of an electrical coil. The 3, 9, and 6 always occur together with the 9 as the control. In fact, the Yin/Yang is not a duality but rather a trinary.

This is because the 3 and 6 represent each side of the Yin/Yang and the 9 is the "S" curve between them. Everything is based on thirds. We think that the universe is based on dualities because we see the effects not the cause.

When I say the oscillation between the 3 and 6 what I mean is that 3 doubled is 6 and 6 doubled is 12, but 1+2=3, and then 12 doubled is 24, but 2+4=6 and 24 doubled is 48, but 4+8=12 and 1+2=3. So the 3 and 6 go back and forth in their own separate dimension. This creates the other important pattern of (3,9,6,6,9,3,3,9).

Now lay out the number patterns on the 2D grid. Place the 3,9,6,6,9,3,3,9 number pattern in the center of the 1,2,4,8,7,5 number pattern going forward and the 1,2,4,8,7,5 number pattern going backwards this continuation creates an amazingly perfect number map.

The MATHEMATICAL FINGER PRINT OF GOD is a legend or blueprint for the torus and can be visualized in a 2D form below.

Nine demonstrates the omni dimension which is the higher dimensional flux emanation called Spirit that always occurs within the center of the magnetic field lines.

The last number left to be explained from The MATHEMATICAL FINGER PRINT OF GOD is the number 9. The number nine is Energy being manifested in a single moment event of occurrence in our physical world of creation. It is unique because it is the focal center by being the only number identifying with the vertical upright axis. It is the singularity or the Primal Point of Unity. The number nine never changes and is linear.

For example all multiples of 9 equal 9.

9x1=9, 9x2=18, but 1+8=9, 9x3=27, but 2+7=9. This is because it is emanating in a straight line from the center of mass out of the nucleus of every atom, and from out of the singularity of a black hole. It is complete, revealing perfection, and has no parity because it always equals itself. The number nine is the missing particle in the universe known as Dark Matter.

The number nine lines up with the center of the infinity symbol and it is from this center that the linear emanations we call Spirit emanate from the center of mass outwards.

Spirit is the only thing in the universe that moves in a straight line. Spirit is the inertia aether that Einstein postulated. Spirit is what makes everything else warp and curve around it. The perfect number patterns are actually created by this Spirit energy.

Without Spirit the universe would become destitute and void. Spirit flow is the source of all movement as well as the source of the non-decaying spin of the electron.

Numbers have temporal, spatial and volumetric qualities. For example, physics is the base ten number system. In other words numbers have bilateral or mirror symmetry and line up in stratified layers of horizontal planes. This is the same as physics' parity.

There are nine simple multiplication series (one series for each discrete number 1-9) in Vo r t e x - B a s e d M a t h e m a t i c s . T h e s e multiplication series are based upon reducing all products to single digits via horizontal addition forming meaningful number sequences.

Nature is expressing herself with numbers. The symmetry of our decimal system is a principle of nature.

In Vortex-Based Mathematic these multiplication series are based upon reducing all products to single digits via horizontal addition forming meaningful number sequences. The polar number pairs will be mirror images of each other, both flowing in opposite directions from the central axis.

Everything is starting from the c e n t e r o u t wa r d s , f r o m t h e singularity.

The 9 axis causes the doubling circuit and it is the point towards which matter converges and away from which it diverges or expands. Thus the polar number pairs will be mirror images of each other, both flowing in opposite directions from the central axis. There is perfect symmetry wrapped around a single point coiling outwards the way that petals are wrapped in a rose, or a nautilus shell spirals outward.

Markorodin.com

L. Shyama Permissio cc-by-sa-2.

The Infinitely

Expandable Fibonacci Planet Growth Matrix

5

l

n

Inspired by Marko Rodin and Vortex Based Mathematics

ABSTRACT. A daisy integer matrix has an unusual mathematical property; it serves as a simple and naturally efficient prime number sieve.The data reveal a mutual dependency between prime numbers and Fibonacci numbers, and the natural and central symmetry of prime numbers within threedimensional objects.

Botanical objects literally contain a natural prime number generating algorithm within their structural growth algorithms.

A hypothetical distribution of growth units on the surface of a cone, showing the distribution of the first 6 consecutive plant growth subunits on the surface of a cone (after Conway and Guy, The Book of Numbers). Figure (a) shows that the subunits have a specific position on the surface of the cone. Consecutive subunits (e.g., florets) diverge from each other in succession by the same angle in relation to center (b). This growth process produces sets of opposing spirals on the surface of the object and a botanical matrix of

integers in space and time (c).

AkkiDa

Chiswick Chap/3.0

http://pdphoto.org/PictureDetail.php? mat=pdef&pg=8232

http://commons.wikimedia.org/wiki/File:P8220094.JPG

Figure 1. Phyllotaxis growth patterns in flowering plants. Four plants, each with a reproductive structure exhibiting variations of Fibonacci phyllotaxis. From left to right: artichoke (a); water lily (b); sunflower (c); and cauliflower (d). Each floret or growth subunit lies at the intersection of two opposing spiral arrays of florets/subunits. Each floret, therefore, is a component of one clockwise and one counter-clockwise spiral of florets.

plant growth matrices are fractals.

The number of clockwise and counterclockwise spirals is always consecutive numbers in a Fibonacci sequence. This fact defines those plants as being governed by and having “Fibonacci phyllotaxis.” For the cauliflower (right), notice that the subunits are actually comprised of sets of spirals themselves, at a smaller scale.

This fact illustrates the concept that plant growth matrices are fractals.

Phyllotaxis has attracted interest and research from a wide range of scientific disciplines, such as botanists, number and geometry theorists, mathematicians and physicists.

Phyllotaxis results in the growth of botanical shapes which closely resemble cones, spheres, cylinders, disks and toroids.

User:Solkol

Many natural objects exhibit various forms of Fibonacci phyllotaxis, expressing a range of geometric forms. The phyllotaxis growth patterns are not limited to plant life, but also are associated with the structure of animals.

l

Udo Schmidt/photo by

Figure 3. A hypothetical distribution of growth units on the surface of a cone, showing the distribution of the first 6 consecutive plant growth subunits on the surface of a cone (after Conway and Guy, The Book of Numbers).

Figure (a) shows that the subunits have a specific position on the surface of the cone.

Consecutive subunits (e.g., florets) diverge from each other in succession by the same angle in relation to center (b). This growth process produces sets of opposing spirals on the surface of the object and a botanical matrix of integers in space and time (c).

Figure 4. Divergence angle (L) for a flower with (21,34)-phyllotaxis and hypothetical phyllotaxis generative spiral (R).

LEFT: A simulated daisy capitulum numbered in modulo 9, showing the constant divergence angle of 137.5 degrees between consecutive growth elements (florets) added to the matrix. Floret number 1 (the first floret produced near center, but later pushed out to the edge by emerging florets) and Floret 2,

for example, are separated by 137.5 degrees in relation to the central axis of the flower.

RIGHT: A hypothetical phyllotaxis generative spiral, connecting the first 26 consecutive growth units on the surface of a cone or cylinder. The generative spiral on the right is not intended to correspond with the simulated daisy inflorescence on the left. The generative spiral is distinct from the two, opposing sets of Fibonacci spirals.

represented as a matrix of integers in two- or three-dimensional space. The generative spiral (Figure 4, right) reveals the geometric basis of such a matrix; the natural, nonlinear relationship of consecutive numbers. The relationship of adjacent numbers (florets) in their orderly, sequential appearance is linear in time, but is nonlinear in space. This spatially nonlinear growth process creates an interesting matrix of numbers that forms the basis of a natural prime number sieve.

fl

fl

fl

fl

fl

fl

fl

.

fl

fl

fl

fl

LEFT: A Simulated daisy in orescence (after Deborah R. Fowler). A daisy in orescence has orets arranged in two systems of spirals that radiate from a central axis. Although it appears to be symmetrical, the number of clockwise versus counterclockwise spirals is not equal.

There are 34 clockwise spirals and 21 counterclockwise spirals of orets. These spirals are referred to as parastichies. Many plants (e.g., pineapple, sun ower, pine cones) exhibit similar patterns of growth. There are usually two systems of orets, seeds, twigs, petals, etc., going in opposite directions, and the numbers of spirals in these systems are

fl

fl

fi

The generative spiral of plant growth can be

As demonstrated above, plants with Fibonacci phyllotaxis have organs or plant subunits arranged in two sets of opposing spirals. For example, a daisy or a chrysanthemum has 21 clockwise and 34 counterclockwise spirals.

This is referred to as (21,34)-phyllotaxis.

Individual florets exist as the point of intersection between 1 of 21 clockwise and 1 of 34 counterclockwise spirals. These two sets of opposing spirals are referred to as the F21 and F34 parastichies.

always consecutive Fibonacci numbers (1, 1, 2, 3, 5, 8, 13, 21, 34, 55...)

R I G H T: A n a c t u a l c h r y s a n t h e m u m in orescence, with orets also arranged in (21,34)-phyllotaxis. Each oret is at the intersection of two opposing spirals of orets (clockwise versus counterclockwise), numbering 21 clockwise and 34 counterclockwise, respectively. Florets near center are youngest, whereas outer orets are the oldest (oldest, most exterior are produced rst, and then pushed outward by the growth and expansion of the ower and the addition of new orets near center).

Chris 73 |

“Golden Mean” rectangles in phi proportion

The two sets of opposing spirals in the simulated daisy and in the chrysanthemum number 21 and 34. These are consecutive Fibonacci numbers in the (1, 3) Fibonacci sequence: (1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89...).

Phi (1.6180339...) is an irrational number defined by the ratio of consecutive Fibonacci numbers of higher and higher order. This ratio governs many spiral growth forms: Figure 6.

Left: “Golden Mean” rectangles in phi proportion, their corners connect by circular arcs to create an organic spiral form. Center: Nautilus shell with chambers in phi ratio.

Right: phi (1.618...), the Greek character which represents the ratio of consecutive numbers in the (1,3) Fibonacci sequence (1, 1, 2, 3, 5, 8, 13, 21, 35, 55, ....).

Figure 7. A numbered daisy capitulum (left) published by Conway and Guy (The Book of Numbers) and corresponding simulated daisy inflorescence (right) by Deborah R. Fowler, showing the two sets of 21 and 34 opposing spirals. The yellow diamonds (right) are the florets in the daisy seed head (capitulum).

The Botanical Integer Lattice For the past century, botanists have studied the emergence, over time and space, of plant organs and subunits. They observe and record the location of each emerging organ in relation to the stem or central axis. The goal is to gain an understanding of the nature of phyllotaxis and the mechanisms and geometry which govern plant growth patterns.

The elements of a daisy flower, the florets which eventually could become seeds, emerge one by one from the center of the capitulum. As they emerge, they diverge from each other by about 1317.5 degrees. As newer and younger

florets emerge from the center, the older florets assume a more distal location in relation to center; i.e., they are “pushed out” along spiral paths to the edge of the capitulum.

One can assign a number to each floret as it emerges from center. This process creates a botanical integer matrix. For plants with Fibonacci phyllotaxis, the integer matrix is governed by Fibonacci differences among adjacent elements of the matrix.

One can then represent the integer matrix on a plane or as a semi-infinite cylinder or other topographically congruent shape.

Many integer matrices have been recorded for a range of plants. This paper investigates a published daisy integer matrix.

Note that this algorithm creates a sloping, saw tooth array of numbers. As will be demonstrated, this type of sloping, Fibonacci phyllotaxis matrix is a highly efficient and elegant prime number sieve.

Spreadsheet version of the daisy inflorescence for the first n = 233 florets. The irregular, sloping array of numbers is unusual and has interesting numerical properties.

ABOVE: The four principal parastichies shown in a section of a semi-infinite cylinder represented by a 2-dimensional spreadsheet. Fibonacci number sequences determine the structure of the phyllotaxis growth lattice (daisy shown above) For example, the four parastichies (or spiral sets of florets) which intersect at or emanate from the number 5 in the daisy lattice are comprised of the following four integer sequences: *The F13 parastichy – [e.g., (5, 18, 34, 44, 57, 70, 83, ...)] Consecutive integers in the sequence are separated by the Fibonacci number, 13 The F21 parastichy – [e.g., (5, 26, 47, 68, 89, 110, 131, ...)] Consecutive integers in the sequence are separated by the Fibonacci number, 21 The F34 parastichy – [e.g., (5, 39, 73, 107, 141, 175, 209, ...)] Consecutive integers in the sequence are separated by the Fibonacci number, 34 The F55 parastichy – [e.g., (5, 60, 115, 170, 225, 280, ..)] Consecutive integers in the sequence are separated by the Fibonacci number, 55 *F stands for ‘Fibonacci’ Relationship of parastichy number series to Fibonacci numbers. The numbers (13, 21, 34 and 55) are consecutive numbers in the following Fibonacci sequence: [1, 1, 2, 3, 5, 8, 13, 21, 34, 55 ...].

These sequences define the entire growth process in terms of spatial and temporal location and occurrence of numbers (florets) in the matrix. The same Fibonacci differences are manifest at any point of origin within the matrix.

The completed daisy phyllotaxis prime

fl

fi

sieve for the rst n=233 orets.

This completes the sieving algorithm for primes for n-233.

Matrix Form of Growth Related to the Fibonacci The multiples of each prime number follow unique spiral paths along her surface of the ower from simple multiplication series associated with Fibonacci differences.

fl

Markorodin.com

… that Self Replicates, a Perfect Pattern Emerges, and Life Flowers

You can witness this unfolding within the construct of a fetus.

Vortex Based Math & the Flower of Life - Vide

This represents chemical elements and frequencies as it ts on the Cartesian grid.

o

fi

From a Single Idea,

Tiling the Universe and Copyright by Gene Webb

Gene Webb’s Note Book...continued Like any master plan it must have a builder and a frame in which to unfold the plan. But unlike "An Exceptionally Simple Theory of Everything" Gene Webb’s notebook, suggest this pattern as an Electro-Magnetic Pulse (EMP) which pushes the gravitation field. This EMP pattern also shows the nature of spin, add frequencies and you bring form to structure.

This intelligence is inherent in all nature which is electric and magnetic by design. This EMP pattern forms the atoms of each new element, the molecules, which are visible from the cells of your body, a pinecone, to the galaxy. Each nodal point acts like a light switch illuminating a DIFFERENT idea!

The Grid of the Universe Infinity; is it nothing or is it everything?

by Gene Webb

In mathematics infinity and zero are considered the same when used in calculations. A universe without infinity or

Our numbers can be as big as we want them to be. We call this idea infinity. Sometimes when we think of different concepts we think of an idea, not a number. The idea can go on forever, eternally, never ending, never stopping.

zero makes no sense, because we see both are possible. We depict a zero as a circle or as a ring to describe infinity. So if we put a ring inside a ring we have an infinity within an infinity. Just because infinity goes on forever doesn't mean it is always the same size. Some infinite sets are larger than others and exist side by side, whether they be numbers or objects. The concept of “greater” or “less than” can be used with infinity. We can speak of the value of a whole number itself, but a fraction of a number is considered “less than” the whole number, but a set of fractions can be infinite.

Two is the first number that is “a collection of things.” Things that become absolute unto themselves.

The Zero Centered Matrix by Gene Webb

The Zero Centered Matrix by Gene Webb

numbers 2468... or the odd numbers 13579.... they to go on forever outside the original set of infinite numbers.

This is not a new idea. I would like to use it to describe how we can have an infinite set of something in an infinite set of something with the parameters of a finite set we call the creation point.

Archimedes determined that the number “pi” (3.1415926535897...) lies between these two numbers 22/7 and 223/71. The outer boundaries are finite and in the middle we have an infinite number, called “pi”. Pi will always be between these two numbers no matter how many decimal places we expand it to.

Let's use a logic example from mathematics. George Boole believed that all logic is numbers. Descartes thought in numbers. He said, “with me everything turns into mathematics.” Numbers may describe the universe and form it but the “whole” will always be more than the sum of the parts, even though numbers are what make it all.

George Cantor demonstrated that some infinite integers cannot be paired one to one with each other, such as portions of an original set that can also be infinite, showing that one must be bigger than the other set of integers, even though both sets are infinite. An example of this is 123456789... but if we use the even

We use “pi” (3.1415926535897....) to understand the unending circumference of a circle that encloses an area that appears to be finite. “Pi” is a constant that has an infinite number of random integers, but is self contained. These random numbers will always be in the same order each time we calculate “pi”. Yet the formula for “pi” will continue to generate randomly selected numbers that go on in this random order forever.

Torus Shell by Gene Webb, Copyright by Gene Webb

Conical Torus Shell by Gene Webb

“Leonhard Euler Created and developed several branches of mathematics. One of those branches is called combinatorics, which deals with ways to arrange things and how to count such arrangements.

Combinatorics has become a major area of mathematics with real world applications.” Ian Stewart Reports

A very important constant number is refereed to as “e” (2.718281828459045...) so named after the great mathematician Leonard Euler. The originator John Napier developed the table of logarithms that made it easier to do exponents. Jacob Bernoulli expanded the phenomenal number and called it the logarithmic spiral used for many forms of exponential growth.

Another number is “phi” 1.6180339887498.... it is used in physics as a constant to explain much of the geometric formation of life. It is called the “golden ratio” and it too has decimals that go on forever.

New Science Magazine, March 2007

Conical Torus Shell by Gene Webb

Numbers act like scaffolding holding up our universe and giving it the right form and shape. We know something is happening by the result we get. Everything in the universe is measured by it vibration, or frequency, which becomes its geometry.

Something doesn't have to have a beginning to have been in existence forever, but it can have a creation point. We are always looking for parameters to define something. It gives us a reference point, a nodal point from which to work.

We use the “point” in physics to explain a beginning of creation. A series of points then make a line and a group of lines make geometry that create objects such as elements of the cosmos, the earth, you and me. We can also see the pixel points in computer animations to create a multitude of forms including geometric forms.

Universe Expanding by Gene Webb

Universe Expanding 5 Fold by Gene Webb

We teach that these elements of matter and energy have been in existence forever (an infinite concept). We teach that the smallest point particles of matter can not be created or destroyed, but they only change in their “collective excitation form” from one object to another.

EMP Shell Electromagnetic Pulse Pattern

by Gene Webb We have atomic energy bound within atoms and atoms bound in each element.

We have atoms and elements bound in the molecules that bond to create amino acids that bond to give direction to the DNA helix in nature.

An atom can affect another atom a million atoms away, instantly. Infinite knows itself and responds as one unit.

Once things become physical the physics becomes a limitation or boundary with which we must work. We have created physical stopping points or completion points of confinement. Not that they cannot be changed; because we made it, we can change it.

So to describe our universe in terms of objects of finite particles we use definitions as our boundaries (confinement points).

Shape of a growing fetus

Shape of your ears, kidneys

Spiral of Life 0/5 by Gene Webb

Shape of the two hemispheres of the brain and other human anatomy

Shape of the your heart, shoulders, and wings

We are and live with infinite sets in finite boundaries every day. We live with infinitely common things, like the harmonic frequencies within an octave, and the sets of frequencies in music scales. We have infinite number sets like the set of phone numbers or the license plates for cars. We have broad band spread spectrum (frequencies) for television and communication systems. Our lives are filled with infinite sets of numbers within infinite sets of numbers like “pi”, “phi” or “e” that we use to define things and how they work.

One of these confinement points is the electron. It has mass and doesn't move at the speed of light, therefore it is a slower form of light. It interacts with matter very readily with its charge through the electromagnetic force.

This interaction is the scaffolding of atomic and molecular structure, chemical interactions, macroscopic particles and observable behavior.

knowing how to move to the infinite set of sets in the universe. To be different we must think differently. We really are more infinite than we are finite. But finite may be the greater state of existence, because it is the organized particulates of intelligences that make this beautiful earth, you and me and it has given me this collective excitation. So what is the POINT? When you have two of a kind you have a pair,which is more than just two, with an infinity between them.

EMP Shell by Gene Webb Electromagnetic Pulse Pattern

The neutrino is another example of a confinement point classification. It is a massless particle moving at the speed of light. It has no electric charge so it doesn't interact electromagnetically.

Quantum Chromodynamics states that quarks and gluons can never exist as free particles or in a free particle state.

This is “quark confinement” where there are bound states of quarks held together by gluons.

fi

We may be limited by this space-time continuum because we are bound in this infinite set of circumstances we call time. It may be possible to transcended (time) by

If we add all of the in nite sets of frequencies that are represented by this pattern we begin to see that the whole is equal to way more than the sum of the parts. In this case we can see that the whole is in everything, and everything is in the whole.

The Theory of Everything

Articles by Gene Webb as seen in Science to Sage E-Magazine.

How Self Unfolds

Holographic Universe

Male/Femal Unive-VERSE

Scaffolding of the Universe

e

The Smallest Particle of Intelligence

Peter Plichta Check out his book, it cross disciplines.

http://www.plichta.de/pp24/index.php?option=com_frontpage&Itemid=1

Archetypal Language of

the Watchers & The Hieroglyph of the Human Soul

These images reveal in process the transformative energies awakening within the creative mind of the species.

This is an invitation to visual philosophy and the search for true knowledge and wisdom.

by Leigh J. McCloseky

The Watcher language is visual archetypal philosophy. Its story is told and composed entirely from the repeating weave of Watcher entity within Watcher entity.

Each Watcher rhythmically returns to its point of origin emanating itself again slightly larger or longer, but always arising as a whole unto itself. Within the Hieroglyph of the Human Soul all that is becomes inseparable from everything else. This forms a visual basis and holographic model of consciousness based upon multidimensional entity and fullness.

The Watcher language is Oroborsian, named after the ancient image of a snake swallowing its own tail, the Oroborus.

Watchers are defined herein as the repeating form (s) images that constitute the larger context and identities of the mythic, sacred, and religious iconography in the

work Hieroglyph of the Human Soul.

Original writing, artwork, and knowledge of the mythic, sacred, and archetypal are fundamental to human meaning and creativity.

This work represents the artistry, beauty, and imagination inherent in the philosophic waters of true knowledge. It brings to light visually much of what has been hinted at in quantum physics and string theory but now adds entity based upon ever emerging patterns of wholeness into the crucible of art, science, myth, and religion.

Hieroglyph of the Human Soul establishes in deed rather than theory the basis of its visual philosophy and reclaims for human creativity and hieroglyphic selfknowledge the much overlooked and undervalued role of beauty and spontaneity when seeking to understand the physics of consciousness and the deeper nature of reality. The rhythmic and organic geometries of the Watcher language weave ever-more complex entities,worlds, and multidimensional tonalities into stable and stationary forms revealing the beauty of

hieroglyphic mind made manifest.

Watcher language is a seeable trans-dimensional weave.

Archetype is neither a literary invention nor a primitive belief.

The Watchers embody, make actual, and

abstraction or theory that archetypal

signify the awakening of archetypal

knowledge emerges spontaneously

philosophy. The multidimensional reality

through creative adventure and

of the Hieroglyph of the Human Soul

imaginative daring.

proclaims in beauty rather than through

Watchers build universes within universes

belong to duration and self-reflective

without technology and form a stable or

worlds wherein life is measured only by

fixed platform for the imagination and

the spin of atoms and the gravity of time.

mind to adventure into depth. It is a

Whole numbers belong to the present

counter balance to the moving and

moment and life, for all that is, is whole, is

changing narrative of the motion picture,

holy and never partial. The Watcher

television, and technological sciences.

language reveals that everything,

There are no fractions in the archetypal

ourselves included, emerges from the

language of the Watchers and the

waters of fullness, not emptiness and

Hieroglyph of the Human Soul, only

depth of multidimensional mind, not

whole numbers, i.e. entity. Fractions

simply time.

Archetypal knowledge is the fount, source, and origin of true self-awareness and the necessary a priori ground in human imagination for any lasting philosophy of consciousness.

The cartouche spreads within the horizontal grid patterns of time, probability and incarnation like a net across the surface of s h a r e d r e a l i t y. I t represents the binary world of time, memory, history and association, visually articulating the I-thou patterns of awareness within the prevailing mental gravitational field of Piscean Mind.

Whole, Holy & Holographic

Awakening of the Energetics

The

of Perception & Aquarian

The Christ-Sophia image is composed of the Watcher language.

Its larger face and figure arise from the weave as a composite unity, born from the smaller Watcher figures that function in the overall image much like cells forming and sustaining

a greater organism.

Leigh J. McCloskey is a modern Renaissance Man. His interest, knowledge, study and learning ranges from art, acting, music, history, religion, mythology, philoSophia and esotericism to string theory, quantum physics and the multidimensional nature of consciousness. He has deeply studied Hermeticism, Alchemy and Kabbalah and has hosted twice weekly philosophical salons at his home, Olandar, for over thirty years.

He has written, illustrated and published six books. He lectures both nationally and internationally and has given numerous talks and presentations of his holographic art and visual philosophy. Leigh’s site has links to many his talks on the front page of his website, www.leighmccloskey.com as well as visual essays and more.

Mothership: Revelations in Pink You-tube link The goddess Kwan Yin who is composed of a weave of lesser Watcher figures, all necessary to the tapestry that constitutes her composite entity. The weave of the Watcher language creates an inseparable whole wherein everything is necessary to everything else.

Thus the language and worlds of I and thou become little more than points of location in time, ratio, and circumscription. The Watchers express visually that all qualities of mind and matter are aggregates of consciousness, intelligence, and entity from the subatomic to the galactic and all are necessary to the whole. We are the weave of infinite universes and I submit that this work proves it.

By Leigh J. McCloseky

Our Drive to Bond Human beings are not meant to live alone.

When we start living in harmony with Nature (and with ourselves), we can move on to creating The Honeymoon Effect in our lives, where relationships are based on love, cooperation, and communication.

If you’re a survivor of multiple failed relationships, you may wonder why you keep trying. I can assure you that you don’t persist just for the (sometimes short‐lived) good times. And you don’t persist because of TV ads featuring loving couples on tropical islands. You persist, despite your track record and despite dismal divorce statistics, because you are designed to bond.

www.brucelipton.com

D

Check Out the New Book by Bruce H. Lipton, Ph.