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Old 24-09-2007, 12:42 PM   #1
synergy777
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Default Mothership Landing

Mothership Landing

http://mothershiplanding.blogspot.com/

When the Mothership Lands:

Secrets of the CIA’s Psi-Plasma Vortex

By

Drew Hempel, MA

Anti-Copyright

Fall, 2007


TABLE OF CONTENTS:

PREFACE: Herculean Hubris is Tetrahedral Zero-point Alchemy

PART ONE: Mutations of Illumination: Introduction

Chapter One: The Actual Matrix Plan

Chapter Two: The Biomusic conspiracy: Asymmetry, Alchemy and Arboreality

Chapter Three: The Solar Dynasty Liars: Cutting Out the Third Eye

Chapter Four: Secret of the Freemasonic Greek Miracle

Chapter Five: Secret of the Snake: The Nine and Kepler

Chapter Six: Spooky Activists At A Distance: Gastrula Genies

Chapter Seven: The Surplus Value of Consciousness

PART TWO: The Natural Resonance Revolution: Interlude

PART THREE: Where’s My Red Pill? Updates on the Actual Matrix Plan

Chapter Eight: Updates on the Actual Matrix Plan

Chapter Nine: Why Doubling the Cube was for Freemason Catapult Technology

Chapter Ten: The Perimeter of Patriarchy: Science as Mass Ritual Sacrifice




PREFACE: Herculean Hubris of Gastrula Genies

In the NY Times best-seller, Black Swan: The impact of the highly improbable author Nassim Nicholas Taleb notes that a study on the right-brain determined it often chose the correct answer while the left-brain incorrectly compartmentalized information based on previously learned concepts. I have a right-brain writing style that mixes up information in an attempt to keep things hopping, something like John Keel’s amazing book Jadoo. Psychiatrist Dr. David Weeks did a 10 year study of eccentrics, along with Jamie James, author of the book Music of the Spheres. Weeks, at a hospital in Scotland, advertised his study in media throughout the U.S. and Britain. Out of a test size of about 40 million people Weeks and James stated, in their book 1995 Eccentrics: A Study in Sanity and Strangeness, that Minneapolis-St. Paul (the Twin Cities, my hometown) had the highest level of eccentrics! Weeks states that eccentrics are extraordinarily happy visionaries (who have bad handwriting and bad spelling). Another well-known British writer, John Michell, in his book Eccentrics, praises Minnesotan radical Ignatius Donnelly as the greatest unsung genius of the U.S. I met Michell at the Charles Fortean INFO conference in 1997 and he enjoyed my writing! The state bird of Minnesota is the loon and our motto is the “land of 10,000 lakes.” All the tetrahedral water pyramid power resonance creates stronger amplitude at a lower frequency. This is the secret reason, explained in this book, why Minnesota has so many eccentrics and is considered an intellectual powerhouse for national political and corporate leaders. Most importantly Minnesota is known for its music: Bob Dylan, Prince, the hit songs “Funky Town” and “Surfin’ Bird” were produced in Minnesota, the grunge 1980s bands the Replacements and Husker Du in Minneapolis launched the national “alternative” music scene. The music show of Garrison Keilor was launched in the Mississippi river. All this great music is simply a reflection of the natural resonance from the tetrahedral water power.

The secret of this book, written in such dense jargon, is that spontaneous free energy is created by an asymmetric resonance from the sine waveform. In science this alchemy is hinted at when the radiation is called “spontaneous” transmutation and when quantum chaos self-organization occurs “spontaneously.”

PART ONE: MUTATIONS OF ILLUMINATION: Introduction

“The New Orthogenesis?” (evolution due to some vaguely defined force) was the Nature review title of Cambridge University Professor Simon Conway Morris’ 2003 book Life’s Solutions: Humans in a Lonely Universe (2004). Orthogenesis is from the early days of evolutionary analysis when eugenics (“improving the man-crop”) was considered progressive. Pedigree of the Human Race (Smith College Professor Harris Hawthorne Wilder, 1926) is so cutting-edge that it’s “worked out to the satisfaction of a hypothetical Martian scientist with no Caucasian prejudices” (reviewer CA Kofoid). Social evolution monism (all is one) from the orthogenetic force was the mass movement in Germany that led to Nazism (The Scientific Origins of National Socialism by Professor Daniel Gasman, 1971). As I will detail, leading scientists, up till the 1970s, thought that social engineering with radiation or radio-eugenics would bring forth the next form of humanity. Radio-eugenics social evolution may be reemerging with radiopharmaceuticals. (“Progress in Gene Therapy: Seeing Is Believing,” Journal of Nuclear Medicine Vol. 42 No. 8, 2001.)

Mainstream evolutionary biologists have shunned Professor Conway Morris’ evolution analysis because he rejects the fundamental framework of randomness. But quantum chaos or coupled oscillators of synchronicity, has shown that life, and even the universe, self-organizes in a way that is not random. Or as quantum chaos Professor Ian Stewart asks: “So is nothing truly random? Until we understand the roots of the quantum world, we can't say for sure.” (New Scientist, 2004) This synchronicity, coming from “spontaneous symmetry breaking,” is best known as a recursive form or fractal of feedback resonance, created by multiplying a constant through different levels of scale. Some scientists think this nonlinear form that creates all other form is the Golden Ratio (i.e. “The golden ratio in special relativity,” Sigalotti, LD, Mejias A, Chaos, Solitons and Fractals 30 (3): 521-524 Nov. 2006). Mutations of Illumination is a central phrase from the below actual Matrix plan (like the movie) for Golden Ratio orthogenesis, arising from quantum chaos synchronicity.

The Golden Ratio is the most central equation for Freemasonry, from which modern engineering arises (for a list of the premiere science institutions directed by top Freemasons see The Religion of Technology by Professor David F. Noble, 1996). The evolutionary biologist and founder of UNESCO, Julian Huxley, coined the orthogenetic term transhumanism. But transhumanists ignore Huxley’s technospiritual collaborations with Freemason-theosophist and CIA mind-control scientists Professor Oliver L. Reiser and Dr. Andrija Puharich, among other technospiritualists (Jesuit biologist Teilhard de Chardin, the social evolutionary guru Sri Aurobindo, all part of “The Rainbow Swastika,” a term coined by Hannah Newman). The central concept of the actual Matrix plan is the “music logarithmic spiral” converging to the Golden Ratio which relies on quantum chaos vortex energy to convert the whole planet Earth into a superconducting holograph.

For example new research (Nature, 2007) on superconducting quantum chaos states that room-temperature free energy is created through a vortex, just as the music logarithmic spiral models (the below discovery is considered to be as great as the invention of the transistor):

Note that a vortex liquid phase is believed to extend well above the irreversibility field, beyond our highest field of 62 T, which may explain why Rxy is negative at these low temperatures, as opposed to positive at temperatures above Tc. Nevertheless, quantum oscillations are known to exhibit the very same diagnostic characteristics of frequency and mass in the vortex state as in the field-induced normal state above the upper critical field Hc2(0) (for example, ref. 7).

Another psi-plasma vortex example (CIA mind controller Dr. Andrija Puharich’s term) is Brian Greene and Jean Charon’s contention that electrons are created out of mini-black holes, which explains the 720 degree electron spin of relativistic quantum mechanics. Another “music logarithmic spiral” example is that the brain actually runs by quantum chaos sound-waves: “A Shocking Idea: Nerves Might Run on Sound, Not Electricity,” WIRED Brandon Keim, 06.11.07.

The actual Matrix plan has recently resurfaced, indirectly, in such technospiritual books as John Casti’s One True Platonic Heaven (2003) and George Johnson’s Fire in the Mind (1996) — both science writers are in Santa Fe and work with the top military-science quantum chaos think tanks: Los Alamos, Santa Fe Institute and Sandia Labs. Professor Ralph Abraham is another quantum chaos mathematician who has promoted the techno-spirituality of machines. Abraham emphasizes that the early pivotal scientist Kepler transferred Pythagorean harmonics of the Soul into magnitude as Force. Just as Kepler, Newton and Galileo relied on Pythagorean harmonics, so too is all of science unified by music as a model. Several analysts advocate using music to provide the formal language of science: Nobel physicist Brian Josephson, Professor Arnold Pacey, Dr. Howard Bloom, NY Times science writer Edward Rothstein, and quantum chaos Professor Alain Connes, among others.

Biomusicology is a new science discipline based on the empirical evidence of animals and plants using the same acoustic structures for communication as humans. Some scientists believe that biomusic is due to a quantum chaos fractal called 1/f noise, also modeled by the Golden Ratio, which creates strong alpha waves for natural euphoria or physiological harmony. Musical instruments are among the oldest form of technology used by humans and were even played by earlier hominids. The older human language gets the more musical it becomes, giving rise to the term “musilanguage.” Dr. Daniel Levitin’s book This is Your Brain on Music (2006) discusses how motion control by the cerebellum is tied with the change by music of emotions or electrochemicals. Quantum chaos synchrony is now studying the circadian rhythms of the electrochemicals for each main body organ to create better drugs connecting the mind-body dynamics.

Sony recently announced that ultrasound ionization is the key for a new Matrix technology in development. (“Sony patent takes first step towards real-life Matrix,” 07 April 2005, New Scientist, Jenny Hogan and Barry Fox). The inner ear transduction which also uses ultrasound is now considered a “sixth sense” for new technologies (i.e. the Brain Port) already enabling paranormal realities – 360 degree night vision, seeing with the tongue, and exchanging information directly through the atmosphere from the brain – telepathy. (WIRED, March 2007, “Mixed Feelings, See with your tongue. Navigate with your skin. Fly by the seat of your pants (literally). How researchers can tap the plasticity of the brain to hack our 5 senses — and build a few new ones,” by Sunny Bains). As the article states: “There's a reasonably well-accepted sixth sense (or fifth and a half, at least) called proprioception. A network of nerves, in conjunction with the inner ear, tells the brain where the body and all its parts are and how they're oriented.”

Meditation and trance healing has also relied on the “inner ear” method which converts electrochemical heat into electricity through sound and pressure waves, also a recently proven technology created by Professor Orest Symko (“A Sound Way to turn Heat into Energy,” June, 4, 07). I will give details of how this natural resonance synchronization (alchemy) is optimized by understanding the principles of nonwestern Pythagorean music harmonics.

The quantum chaos 1/f noise of biomusicology, modeled as the Golden Ratio, is frequency change while an adjustment of the amplitude maintains the same form, thereby self-organizing reality. Professors Harold Weiss and Volkmar Weiss in their 2003 article, “The Golden Mean as Clock Cycle of Brain Waves” Chaos, Solitons, and Fractals 18 (2003), No. 4, 643-652, give the following description:

“Datta [39] showed how a sense of time and evolution is intrinsically defined by the infinite continued fraction of the golden mean and its inverse. The real number set gets replaced by an extended physical set, each element of which is endowed with an equivalence class of infinitesimally separated neighbours in the form of random fluctuations. Time thereby undergoes random inversions generating well defined random scales, thus allowing a dynamical system to evolve self similarly over the set of multiple scales. These random fluctuations generate 1/f noise, which is one of the footprints of complexity at the critical border between predictable periodic behaviour and chaos.”

(citing: [39] Datta DP. A new class of scale free solutions to linear ordinary differential equations and the universality of the Golden Mean (Ö5-1)/2. Chaos, Solitons & Fractals, 2002; v1 11 Sep 2002.)

The Matrix form that enables this universal Golden Ratio evolution is nothing less than the Tai-Chi symbol of Taoism or the Oroborus of alchemy and now called the twisted scroll ring, Kuramoto Model or double torus in quantum chaos science, a continuation of the psi-plasma vortex by CIA mind-control scientist, Dr. Andrija Puharich. In the actual Matrix plan this “form of the formless” is called the “music logarithmic spiral” and now in current supersymmetry the Matrix music model is mass squared inversely proportional to energy frequency distance. (Professor Gordon Kane’s book Supersymmetry). Superstring theory relies on strings having no mass yet creating the heaviest mass particles through the tension of the higher frequency string (Barry Parker’s Search for a Superstring). This is also the Pythagorean concept behind Newton’s gravity – 4 times the weight on a string stretches it to twice the frequency.

Science is based on symmetry, with one-to-one correspondence of number and symbol, while Taoism and Pythagorean harmonics are based on vortex asymmetry. The results of science are asymmetric, just as science has determined that Nature is asymmetric. I will be giving detailed analysis of the connection between the two – asymmetric natural resonance and symmetric-based Freemasonic science, thereby explaining why science structurally creates “deep disharmony” (math professor Luigi Borzacchini) for ecology and non-western cultures. Noam Chomsky pondered in Chomsky and His Critics (Hornstein and Antony, 2003) that science may just be the cycling of the elements. Such was also the contention of the Babylonians in their practice of alchemical magic based on the Golden Ratio pentagram of the elements. Asymmetry is the key to understanding how alchemy is achieved through inner ear transduction of the elements (fire, earth, water, metal).

It’s to the advantage of the reading public to practice “inner ear” natural resonance in order to better adapt to the influx of Matrix technologies that are coming online due to the structural cycling of the elements in science – the “music logarithmic spiral” creating an increase in technology tension. Henri Poincare, the founder of quantum chaos science, states in his classic Science and Hypothesis that all of science is based on variations of the sine-wave. The Oxford biologist J.S.W. Pringle stated that all of evolution is based on variations of the sine-wave (Mind and Brain, ed. Sir John Eccles). Dennis Gabor’s creation of the “time-frequency uncertainty principle” has revolutionized the understanding of the sine-wave. (Barry Truax, “Music and Science Meet at the Micro Level: Time-Frequency Methods and Granular Synthesis” Presented at the Music Viva conference, Coimbra, Portugal, Sept. 2003 states:

One of the most striking developments in this encounter has been to push the frontiers of models of sound and music to the micro level, what is generally becoming termed ‘microsound’. At this level, concepts of frequency and time are conjoined by a quantum relationship, with an uncertainty principle relating them that is precisely analogous to the more famous uncertainty principle of quantum physics. Dennis Gabor articulated this quantum principle of sound in 1947 in his critique of the ‘timeless’ Fourier theorem. Gabor illustrated the quantum as a rectangular area in the time and frequency domain, such that when the duration of a sound is shortened, its spectrum in the frequency domain is enlarged. In other words, a sine tone whose duration is less than 50ms becomes increasingly a broadband click as its duration becomes shorter.

Quantum chaos has shown that the “hidden correspondence” of “ghost resonance” reveals a formless awareness of harmony self-organizing the sine-wave. Mutations of Illumination gives the reader the ability to put this universal truth of biomusic evolution into practice – a step ahead of the Freemasonic techno-spiritual scientists.

Chapter One:

THE ACTUAL MATRIX PLAN


My source on the World Institute that promotes Matrix radio-eugenics is the book, published in the mid-60s, Evolving Mankind’s Future by Julius Stulman. In 1975 the World Institute published University of Pittsburgh philosophy of science professor Dr. Oliver Reiser’s book Cosmic Humanism and World Unity. It is a follow up to an earlier “Master Synthesis” as Dr. Reiser describes it: Cosmic Humanism published in the mid 1960s.

Cosmic Humanism and World Unity still quite openly promoted radio-eugenics. This plan is not just for radio-eugenics — it is for the creation of a multidimensional “World Brain” (an extension of Freemason H.G. Wells’ concept) — evolution of life based on the unified field theory or applied superstring theory —exactly as described in The Matrix films. This conversion of Earth into a superconducting holograph is what Dr. Reiser means by “mutations of illumination.” Cosmic Humanism published in the mid-1960s promotes and justifies the following on radio-eugenics:

“1) Using atomic energy (radiations) to initiate the genic (or chromosome) changes which cause mutations; and 2) doing this under the guidance of a psychosocial field to control the course of the biological changes so that the form of emergence is determined.” (pp. 528-9)


“The study of the biological effects of the atomic explosions in Japan indicates that the radioactivity thus produced can cause sterilization and death in those exposed, and possible malformations in subsequent generations of those born of the generation that lived through the baptism of fire to reproduce themselves. But we also know, on the other hand, that nature has always in the past exacted a high price for biological ‘progress’—which means that for every mutation that is beneficial many more mutations are harmful, and it is possible that the same ratio would be maintained on the human level. But we underline the possible. Perhaps the beneficial use of atomic energy (outside its uses in medicine) is a matter of selecting the right types and dosages (frequency and duration) of irradiation, plus the controlling influence of a mental guiding field. This latter would be a kind of psychokinetic effect on the level of biological causation.” (p. 533)


I would like to dismiss this as a crackpot plan except for the following reasons:

1) The World Institute was created with the support and guidance of the ruling elite (by Domhoff’s, Chomsky’s or Mill’s standards).

2) Dr. Reiser, quite simply, is a very brilliant, in fact the most brilliant theorist I’ve ever read. He was very prolific and his earlier book World Philosophy was supported by Einstein as the closest model to the Unified Field Theory. Reiser was, from what I can tell, not only the first scientist to discover what is now called the superstring theory, but he traced the validity of that theory all the way back to ancient Sumeria. He is very openly a user of Freemason ideology and he relies on the work of other Freemasons.

3) I discovered Dr. Reiser’s work after I had finished my masters thesis (published on the internet as “Epicenters of Justice,” 2001, linked at http://nonduality.com/hempel.htm ) My research is based on the premise of resonance science as taught by Pythagoras. Pythagoras taught the unified field theory as an infinite spiral of harmonic energy-information, modeled by basic music theory. Plato, in Timeaus, wrote down this theory but repressed the infinite spiral into a closed materialist system called the “circle of fifths” in music. This model was Plato’s World Soul and it enabled the averaged quantification of infinity—mathematical examples of this inaccurate average are the “irrational number,” the “derivative,” the “logarithm,” “spherical harmonics,” and “systems theory.”

Dr. Reiser calls this Freemasonic concept “Taming the Infinite” and his Ph.D. was called “Creative Monism” as he also calls “Nondualism in Action.” My Masters thesis, written before I had read Oliver L. Reiser’s work, was called “Sound-Current Nondualism.” In other words the basis of the Freemasons is a path back to nondualism (the unified field theory) through technology aka “techno-spirituality.” The difference is that Pythagoras was a yoga master, trained in Egypt for 22 years. Pure consciousness or formless awareness is the only way to achieve the pure resonance required to achieve nondualism. This truth is eternal—traced back to the Vedas, the Kabbala, and supposedly, according to the Freemasons, to Atlantis, and Lumeria, etc. Pythagoras’ teachings were oral transmission of harmonic energy-information. The recent Oxford Ph.D. by Peter Kingsley, Ancient Philosophy, Mystery, and Magic: Empedocles and Pythagorean Tradition (Oxford: Oxford University Press, 1995) proves the Plato and Aristotle consciously denigrated the nondualism of Pythagoras. Our logic (based on the subject-object structure of phonetic language) is dualistic. This quite simply is the drive of the Freemasons—a destructive pursuit of nondualism through unbalanced dualism. The theory of nondualism is that everything returns to its source.

4) Dr. Reiser’s proposals not only predict but fully explain the motivations and developments of today’s destructive technology. Even the internet—he predicted in the 1970s as “Project Prometheus and Krishna.” He called for a Planetary Democracy or Federation so that individuals, through the internet, would respond to problems no matter where they happened throughout the world. The whole process would be monitored and controlled from above.

5) Project HAARP in Alaska mirrors exactly the ionospheric guidance field promoted by Dr. Reiser. All the conscious policies of genocide are motivated by “good intentions” of the elite (i.e. the thousand points of light of George Bush, Sr.). This Matrix plan explains the good intentions behind the grotesque experiments in genetic engineering, the cancer epidemic from synthetic and electro-magnetic pollution, etc. Professor David F. Noble shows the direct connection between today’s technological projects, modern science and the Freemasons.


The Freemasonic Skull and Bones secret society member, George Bush Sr., received eight personal energy-work or qigong treatments by China’s “National Treasure” of qigong, the very powerful yoga master Dr. Yan Xin. George Bush declared Dr. Yan Xin to be today’s world’s greatest spiritual leader. In a western scientific published study (the journal Material Innovations Dr. Yan Xin has slowed down the decay rates of nuclear particles—technically impossible, unless the superstring theory is true.

The University of Minnesota was the world’s leading institute in eugenics previous to the Nazis. But, as well documented in Bertram Gross’s book Friendly Fascism (South End Press) and in other words, the U.S. corporate-state elite were poised to side with either the Nazis or the U.S. government. In other words the corporate-state elite funded the Nazis and enabled their policies. On this basis mutlidimensional radio-eugenics is the next logical step of development for late capitalism.

It is in his article “Cosmecology: A Theory of Evolution” published in the Journal of Heredity, 1937, that Dr. Oliver Reiser proposes: Radio-Eugenics—more glibly described as “mutations of illumination.” In 1975 radio-eugenics was much further refined and still being promoted by the secretive World Institute Council. As its primary spokesman Professor Reiser states: “new DNAs and new fields of force are parts of the Archetypal Guiding Field which is the Cosmic Imagination.” (p. 445, Cosmic Humanism)

So who is behind the promotion of radio-eugenics at the World Institute Council? Only the top ruling elite of the U.S. Its founder Julius Stulman was, “one of the most important manufacturers and wholesale distributors of forest products.” Stulman operated Lumber Industries, Inc. and controlled the Lumber Exchange Terminal. Julius Stulman first proposed the World Institute to the grand capitalist economist Alexander Sachs, who in 1939, converted Roosevelt into supporting the Atomic Project.

Stulman was then invited to present his ideas to scholars at the Institute for Advanced Studies in Princeton. Stulman discussed the World Institute with John Van Neumann, Walter Stewart, Robert Warren, and Albert Einstein, all while the bomb was being developed. In 1944 Stulman published an article called “Energy Theory as Applied to Human Relations.” It was this article that caught the eye of Dr. Reiser, the promoter of Radio-eugenics in the Journal of Heredity.

In 1963 the U.S. proposed a clearinghouse to provide world-wide scientific information and guidance. Julius Stulman offered his concept of the World Institute. He was recommended to the U.S. by the former Director General of Technical Administration Assistance of the United Nations, Hugh L. Keenleyside. The World Institute was established across the street from the U.N. The World Institute was instigated as a “Great Society” vision for the evolution of humanity beyond the Cold War. The World Institute is described as being integrated with resource centers all over the planet and Julius Stulman consulted with presidents from all over the world.

Under the vision of the World Institute’s Cosmoecology, “Planet Earth” is seen as an egg that is developing an embryo which will give birth to a World Brain or the World Sensorium (Newton’s term) — a paranormal existence beyond space-time integrated with the Unified Energy Field of the universe.

Dr. C. Hilton Rice first proposed this vision of Planet Earth, again back in the 1930s:
“The world-mother [MATRIX] nourishes its embryo from the materials of the earth-egg. He [Dr. Rice] saw the plant and animal divisions of the earth-organism as being in functional complementarity, precisely like the two layers of gastrula.” (p. 48, Cosmic Humanism and World Unity, 1975). Animals are the Entoderm and Plants are the Ectoderm of the EGG—resources to be used for the development of the World Brain. The human race is the neuroblasts (embryonic nerve cells) of the World Brain or World Sensorium.

From radioactive “harmonic” mutations, guided by the Logos Field or Cosmic Imagination, humans will evolve, whereby they will be merged into a paranormal reality beyond space-time. “It was suggested that we might create and utilize an artificial ion blanket.” (p. 453) This is now a reality through Project Haarp, the huge ionosphere control project in Alaska.

“If then, we humans are cells in the great cortex of a world organism, would it not require a super-observer (extra-terrestrial) to scan the cultural movements of humanity and recognize them as planetary brain waves?” (p. 449, Cosmic Humanism) “This Logos Field would be able to integrate the action-patterns of the human neuroblasts of the ‘world sensorium’ into a meaningful drama.” (p. 472) “We need to fabricate radiation belts of spiritual consonance around the earth in a manner analogous to the Van Allen radiation belt which encloses the earth.” (p. 472)


Thought-belts of the planetary cortex control the DNA-RNA—“the program of the integration of knowledge concerning the cosmos from top to bottom.” (p. 47) “Organizing fields of energy as guiding agencies” (p. 34)

The actual Matrix plan is coordinated by Freemasons. Dr. Reiser’s associates included Major J. K. DeLoach, a mysterious civil engineer who promoted the connection between the great eye of the pyramid (seen on the dollar bill) and resonant energy-information. DeLoach specialized in studying ancient Egypt and India. Reiser relied on Dr. Herman Von Baravalle, a mathematician who specialized in Ancient Egyptian and esoteric math. Another associate was Dr. Royal Frye, the nuclear physicist at Boston University who, besides writing standard text books, specialized in the connection between harmonic energy-information and radiation. He conducted his studies with Esther Watson Tipple, daughter of Thomas A. Watson, coworker with Alexander Graham Bell, inventor of the telephone. Watson revealed his Freemason inclinations in a monograph entitled From Electrons to God.

The Actual Matrix Plan, Cosmic Humanism and World Unity, was written in close collaboration with CIA mind control scientist Dr. Andrija Puharich who also worked with UNESCO founding director Julian Huxley. Current quantum chaos transhumanist Dr. Ervin Laszlo edited the World Institute publication of the actual Matrix plan. Dr. James Hurtak, who worked with Dr. Andrija Puharich, has been a promoter of the Nine, the Pythagorean Tetrad of ancient Egyptian extraterrestials supposedly channeled for CIA consultation. James Hurtak is continuing Puharich’s mind control E.L.F. research through Project Haarp, the huge ionosphere control project in Alaska. Hurtak, according to Dan Eden’s (or Gary Vey of http://viewzone.com) meeting with James Hurtak about Project HAARP, works with the Pentagon directly through the Defense Intelligence Agency.

What will the New Human be like according to the World Institute? There will be a “heart-head synthesis.” There will be Cosmic Consciousness—the ability to hear and see with the whole body. There will be the ability to communicate with intelligent beings of the universe. Cosmic Imagination (the Unified Field Theory) becomes moral in “man” as the Inner Messiah (p. 45) Reality will exist in a higher dimension than the fourth dimension. The phenomena of super-light phase wave speeds are possible.

The Nerve Nets of the New Human will be integrated into One Great Circuit — a condition Dr. Reiser compares to the state of Samadhi in yoga. Consciousness will be in higher dimensions guided by the Logos Field and senses will be psychic. The leaders need to “exploit the possibilities of such action currents of thought.” Nodes of overlapping waves—superlight waves—show group waves where to go and their product is light and matter. Magnetic fields are the ganglia of the World Brain. (p. 55)

The actual Matrix plan is the inherent structural drive of the musical-mathematical spiral being quantified into a circle by Plato. The music logarithmic spiral is the basis for resonance science and is applied to genetics, chemistry, physics, astronomy, etc. throughout the work of Dr. Reiser. Top ivy-league scientists published technospiritual academic research for the theosophist journal, started by Fritz Kuntz, Main Currents in Modern Thought. One of their top writers was Yale physicist Henry Margenau (see “Negotiating the Boundaries of Science and Religion: The Case of Henry Margenau,” in Zygon, Volume 34 Issue 1, March 1999 by William A. Durbin). Here’s how the Union of International Associations (1976) describes Julius Stulman’s role: The World Institute Council, largely through its president, Julius Stulman, has contributed since 1949 to a number of activities associated with integrative education, such as the journal Main Currents in Modern Thought, and more recently the Institute's own journal Fields within Fields within Fields. The World Institute, proposed in 1949, is envisaged as a scientific institute devoted to research and action for the integrated human and economic development of the world.” Such New Age luminaries launched by Main Currents in Modern Thought include Dr. Jose Arguelles (who went back forth to the University of Chicago (Platonist stronghold) and was teaching at Princeton in 1967 where the World Institute was chartered), Dr. Fritjof Capra, Ken Wilber, and Willis Harman, author of the CIA-Freemason-S.R.I. report, “Changing Man’s Future.”

One current researcher promoting the ties of the Pythagorean Matrix to cellular automata quantum chaos is Barbara Hero. (Barbara F. Hero and Robert M. Foulkrod, "The Lambdoma matrix and harmonic intervals, the physiological and psychological effects on human adaptation from combining math and music," IEEE Engineering in Medicine and Biology Magazine, Vol. 18 Number 2 March/April, pp. 61 – 73, 1999).

Here’s the definition of the Music Logarithmic Spiral, the central concept of the Actual Matrix Plan:

“a field of electromagnetic force is built up to the place where the never-ending spiral [of fifths] approaches the radii [of octaves], and the cycle can be rounded off to a circle, which provides equal interval measurement so that all the tones involved are infused with vitality.” (p. 214)

Dr. Andrija Puharch, mentioned by Reiser as the co-author of the actual Matrix plan, Cosmic Humanism and World Unity, wherein the plan is labeled “the Matrix” numerous times, gives further details in his final book, Beyond Telepathy: “The high electrical fields plus the slow nerve frequency will result in a lowering of the gravitational potential in the decreased thickness of the plasma membrane of the nerve.” (p. 185). Normally the brain nerve impulse is a spike, but under the ELF-induced Matrix plan, the spike smoothes to a sine-wave and the slowing of the nerve period creates a vast increase in the angular momentum of the magnetic charge.

If the angular momentum is increased so is the mass but this is paradoxical since the gravitational potential is also lowered. The answer is the increase in tension, due to the slowing of the nerve pulse period, from the ELF waves, with a subsequent increase in the magnetic moment. The intensity then corresponds to the decrease in time period. Previously tension, under Newtonian mechanics, was defined under the inverse square law and then under quantum mechanics intensity was no longer the number of particles creating greater amplitude, but the higher frequency energy. The new element from the Psi-Plasma Vortex is intensity caused by the slowing of the time period with an inverse of the orbital magnetic momentum lowering the gravitational potential. We can see that this paradox of intensity is still a puzzle for Puharich:

“The abrupt termination of the shaman’s carefully built-up intense excitement just as he reaches ‘ecstasy,’ by a stage of ‘exhaustion,’ and the Yogin’s transistion to peace and relaxation presents us with the greatest of paradoxes.” (p. 164)

For CIA mind-controller Puharich the answer was in Mutations of Illumination: “Just as individual elements disappear by radioactive disintegration to the extent of one-half of their mass within a given period for each element, so we must consider the opposite possibility, namely that empty holes in the psi plasma have a positive half-life of their own with respect to being filled.” (p. 201-2)
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Old 24-09-2007, 12:43 PM   #2
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What is this about before I read? It's quite long!
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Old 24-09-2007, 12:45 PM   #3
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Chapter Two:

THE BIOMUSIC CONSPIRACY:

ASYMMETRY, ALCHEMY and ARBOREALITY

“Tell the sorcerers to curse that day, those who know how to command Leviathan.”
– Job (Tried and True: Job for Modern Man wherein it states magicians were thought to cause
an eclipse of the sun).

We’re taught that the ancient city-states did not have axiomatic logic and this is true but in fact their system was based on the Logos— alchemical resonance. Axiomization is the merciless Freemasonic logic of machines that started with the “symbolic revolution” of 9,000 BCE, when anthropocentric hierarchical artwork was created to enforce a philosophy of containing infinity through rectilinear housing. (Jacques Cauvin, author of The Birth of the Gods and the Origins of Agriculture, Cambridge University Press, 2000) “The sun is sick” is a phrase taken from the Turkana, a Nilotic East African tribe who practice an early form of animal domestication. The undigested food from the animal entrails must be sprinkled on newly killed goats whenever there is an eclipse of the sun. This ritual sacrifice is called “atona” and maybe one of the earliest forms of organized religion. The shamanic music of the Turkana is similar to the Bushmen healing, with the men stomping around in a circle and the women in a circle surrounding the men. The Bushmen culture, going back 80,000 years, has been traced to have close genetic connections with the Ethiopians as well.

My contention is that this belief that the “sun is sick” during an eclipse is actually a psychological projection of the early creation of patriarchal society whereby the “son is sick.” For 90% of human history, the Bushmen practiced matrifocal control of land and the men have to provide for the women’s family before consummation of marriage is allowed. This is in contrast to the female exogamy practiced even by chimps where the female chimps use hunting weapons, probably as a strategy to avoid male chimp rape. The reliance on music shamanic healing in

the Bushmen culture is an ancient carry-over from when prosimian primates, while living in the trees (arboreality) used the perception of sound over vision. Females control the land when females control the nest, as is most common in Nature. (See Significant Others: The Ape-Human Continuum and the Quest for Human Nature by Professor Craig B. Stanford). The symbolic revolution, or the true “missing link,” is the first institutionalization of visual hierarchy in hominids through domestication of cattle.

I discussed with Stanford Professor Robert Sapolsky his pondering of the mystery behind the males leavingtheir kin network to go out into a hostile territory, for seemingly no evolutionary advantage, called“the voluntary exclusion principle.” The key mechanism is the hormonal conflict between the femalesand males within the same family – the Oedipal Complex. This hormonal tension and injustice can not besolved through visual-based hierarchical land control through technology but it can be solved throughshamanic music healing. Justice is blind but it can be heard. When humans perceived the control of thesun by the female lunar power as a sign of sickness this was a projection of the “son” being sick from theoedipal struggle.The ratio two-thirds resonates asymmetrically (with C to G as 2:3 and G to C as 3:4) while Western science is based on symmetry using Freemasonic “containment of infinity” through phonetic, alpha and omega symbols. This alchemical harmony is only based on the truth that humans exist within nature and can not control it. For example from, “Vibrational frequencies that heal – Shorts Townsend Letter for Doctors and Patients,” May, 2002 by Jule Klotter:

Scientists at North Carolina's Fauna Communications Research Institute
have found that the vibrations of feline purring strengthens and heals
the animals' bones and organs. Housecats purr at a frequency of 27 to
44 hertz (cycles per second), and wild cats, such as the puma, ocelot,
serval, cheetah, and caracal, purr at frequencies of 20-50 hertz.
Interestingly, studies with humans have found that frequencies of
20-50 Hz help human bones grow, heal, and strengthen.

Technology is just the right-hand parallax to left-brain axiomatic logic which progresses through logarithmic powers—“the music logarithmic spiral.” Consider this new breakthrough using sound at Cambridge: “High-frequency acousto-electric single-photon source”, by C. L. Foden, V. I. Talyanskii, G. J. Milburn, M. L.Leadbeater, and M. Pepper, June 2000:

We propose a single optical photon source for quantum cryptography
based on the acoustoelectric effect. Surface acoustic waves (SAWs)
propagating through a quasi-one-dimensional channel have been shown to
produce packets of electrons that reside in the SAW minima and travel
at the velocity of sound.

The mad scientists are attempting to contain the natural alchemy of biomusic, consider this breakthrough: “Nonlinear Amplification and Automodulation of Sound in Piezoelectric Semiconductors,” by V. L. Gurevich, R. Katilius, and B. D. Laikhtman, Institute for Semiconductors, Academy of Sciences, Leningrad, U. S. S. R., 1968

We develop a quantitative nonlinear theory of sound amplification by
carrier drift in piezoelectric semiconductors and predict an effect of
sound automodulation, i.e., quasi-periodical variation of the
intensity of monochromatic sound due to the nonlinear interaction of
the sound with its own acoustoelectric field.



Humans, through the “music logarithmic spiral” of the Matrix, are turning themselves into machines (iron) as left-hand directed carbon-based life (earth) is replaced by right-hand directed silica-based life (fire). Water is the pivot point and evolution is just a cycling of the elements. As Noam Chomsky speculates science may just be the cycling of the elements.

Sir Thomas Heath’s commentary on Euclid and Proclus (Dover Press) argues that Plato’s reference to “the section” is for the Golden Ratio. The Golden Ratio is the “most irrational of all irrational numbers” (Professor Mario Livio) because it has the slowest convergence rate of any nonlinear form. Only geometry of Euclid can be used to solve its proportions. Heath acknowledges that Euclid’s source for the Golden Ratio is Eudoxus who converted the continued harmonic proportions which diverge into magnitude as converging dimension, thereby avoiding infinite regression of pure Number. Eudoxus, like Archytas, was building on Philolaus, the Pythagorean in Plato’s Academy, who broke the sacred rules of Pythagoreanism, by leaving Pythagoreans and then writing down what he had learned. For the Freemasonic Plato “geometry is God” and the Golden Ratio was central to the building of the Freemasonic Gothic Cathedrals in NeoPlatonic Europe (Professor Arnold Pacey’s The Maze of Ingenuity).

Proclus was commenting on Euclid in the 4th C. A.D. but even the early Platonist, Plotinus, misunderstood the true teachings of Pythagoras, in the 2nd C. A.D. As for Plato’s understanding, G.E.R. Lloyd argues in his latest book, Principles And Practices in Ancient Greek And Chinese Science (Variorum Collected Studies Series, 2006) that the letter from Archytas is a forged attempt to hide Plato’s dependency on Pythagorean teachings. Math professor Luigi Borzacchini has argued that music played a pivotal role in the transition to magnitude-based geometry and he asks if it was the “secret of the sect” for Plato’s Academy.

It is extremely difficult for the Western-trained thinker to understand that harmony is actually formless awareness, heard as the resolution of beats from inverse inference of natural overtone Number. In contrast to Plato and Euclid, the Pythagoreans taught that true understanding is formless – from Harmonia and that proper understanding of Number enables resonance with this formless awareness. Number resonates asymmetrically, independent of visual form, so that the string notes C to G, the Perfect 5th music interval, are the ratio 2:3 (or Yang in Taoism) and they resonate into G to C, the Perfect 4th music interval, as 3:4 (or Yin in Taoism). The ratio C to G as 2:3 continues to resonate into higher overtones so that all 12 notes of the octave are created. The process to measure these overtones is done through Number only, using inference as listening, with no need for space or string or substance or magnitude. The overtones do not stay as sound but continue in an asymmetrical resonance transducing through the full energy-mass spectrum.

Here’s a historical description of music as the basis for Pythagorean-Taoist shamanism. In fact the historical origin of music in China is equivalent to Pythagorean theory as noted by scholar J. A. Van Aalst, who also documents the important structural connection between the fourth/fifth and yin/yang relations:

Between heaven and earth, they say, there is perfect harmony. Now, 3 is the emblem of heaven, 2 is the symbol of earth. If two sounds are in the proportion of 3 to 2, they will harmonise as perfectly as heaven and earth. On this principle a second tube was cut measuring exactly two-thirds of the length of the first tube, and the sound rendered was the perfect fifth, which in our Western music is also expressed by the ratio of 3 to 2. The second bamboo, being treated on the same principle, produced a third tube measuring exactly two-thirds of the length, and giving a note a perfect fifth higher than that of the second tube. This new sound seeming too far distant from the first or fundamental note, the length of the producing tube was doubled (that is four-thirds of the second tube's whole length was taken instead of two-thirds), and the note became an octave lower. All the tubes were cut on the same principle, .... The lüs [notes] were divided into two classes the yang lüs and the yin lüs.... Everything in Nature belongs to one of these two grand categories, from whose combinations and reciprocal action results all that exists or takes place in the universe.


Citing: J.A. Van Aalst, Chinese Music (Shanghai: Chinese Imperial Customs Service, 1933), p. 8. For further proof on the deeper meaning of music for alchemy see Seihin Yamanouchi, A New Theory on the Mode. Extracts: The oriental mode construction of the compass of a fifth and the monism. (Tokyo: Tokyo Liberal Arts University, 1951). John Hezedel Levis, Foundations of Chinese Music Art (Shanghai: Henri Vetch, 1936), p. 65. Walter Kaufmann, Musical References in the Chinese Classics (Detroit: Information Coordinators, Inc., 1976). Jan Yun-hua, "The Bridge Between Man and Cosmos: Philosophical Foundation of Music in the T'ai P'ing Ching," in Pen-Yeh Tsao and Daniel P.L. Law, eds., Studies of Taoist Rituals and Music of Today (Hong Kong: Chinese University of Hong Kong, 1989), p. 17. And finally Taoist Yoga: Alchemy and Immortality trans. by Charles Luk.

The Golden Ratio is the founding lie of the West because it formalizes the “alpha and omega” technospirituality or gematria of one-to-one symmetric correspondence between letter and number. The “music logarithmic spiral” of the actual Matrix Plan converges to the Golden Ratio but the equiangular Golden Ratio spiral can be approximated through the sine-waves of the Law of Pythagoras which diverges. (John Sharp, “Spirals and the Golden Section,” Nexus Network Journal, Vol., Number 1 / February, 2002) The Golden Ratio is a continued fraction of one, yet in geometric form, A:B::B:A + B, the numbers become the Fibonacci series with an irrational limit. The Golden Ratio itself is solved through the quadratic equation that depends on changing the order of the letters, A + B to A – B, in relation to harmonic ratio so that infinity is contained though visual symbols, as per Freemasonry.

Why can’t the order of the symbols be changed when converting the Fibonacci Number Series into the Golden Ratio? The symbol of the Golden Ratio is the Pentagram, the sacred symbol for the harmonic cycling of the elements in Pythagoreanism and also in Babylonian magic. The 5-pointed star is from the 60-based number system of the Babylonians where, like the Chinese and Egyptians, there is an infinite resonance of two-thirds which completes the 12 note octave through Perfect Fifths. The scale, as created by the Pythagoreans, was unequal, but if the scale is continued through the overtones of two-thirds, and then mathematically converted into the octave, a 60 note scale has equal-spaced or equal-tempered tuning, as the Chinese taught. The idea is not to make an actual octave with that many notes, although the Vedic sruti system also attempts to do this, but the extension of two-thirds is based on understanding the deeper harmony of Pythagorean Tetrad (Thomas Váczy Hightower).

So Archytas converted the Pythagorean Tetrad to the Freemasonic geometric mean, by utilizing the Babylonian development of quadratic symmetry, in contrast to the earlier right-brain use of asymmetry with symbol (Ernest McClain, “Musical Theory and Ancient Cosmology,” The World and I, 1994). By relying on reversing the order of the natural number ratios, so that the minor sixth was 8:5 and the major third was 5:4 – not the major third as 4:5, the natural extension of the Tetrad there was a crucial switch from Pythagorean shamanism to the Freemasonic Golden Ratio behind science. This amazing secret of the Greek Miracle is detailed in “The Minor Sixth (8:5) in Early Greek Harmonic Science,” by Alan C. Bowen, The American Journal of Philology, 1978:

Any who doubt that the musical ratios are all of greater inequality, i.e., that the antecedent or first term in each is greater than the consequent or second term, should consult Archytas DK 47 B 2. This Fragment…requires that the ratios be of this form if the assertions about the three means [arithmetic, harmonic and geometric] are to be true. Accordingly, the ratios assigned to the octave, fifth, fourth and minor sixth, must be 2:1, 3:2, 4:3 and 8:5, and not 1:2, 2:3, 3:4 and 5:8, respectively, as Mosshammer and others would have them….Indeed, there is early proof deriving from the Pythagorean school that intervals, such as the fifths, which are represented by superparticular ratios cannot be partitioned into any number of equal subintervals because the terms of these ratios admit no number of geometric means….Consider now the question of the status of the ratio (8:5) in the Pythagorean harmonic science that dates from the late fifth century B.C. to the time of Apollodorus. One should not expect that this ratio was recognized as melodic by every school of Pythagorean musical theory. For example those who sought to derive all the musical ratios from the Tetrad of the decad by compounding and dividing the ratios of the primary and most familiar intervals, the concords of the octave, fifth and fourth, would find the minor sixth unascertainable….There is reason to believe that these were supplied by Archytas in the early fourth century B.C.

The Golden Ratio change from A:B::B:A + B to A:B::B:A – B for Plato’s Academy fails to satisfy the algebraic solution of B squared even though it can provide the Fibonacci number series. For example quantum chaos Professor Ian Stewart in his new about on how all of science is based on symmetry, Why Beauty is Truth: A History of Symmetry (2007) states that the order of the symbols can be changed around in solving the quadratic equation, if there is no concern about negative or positive values. But in music ratios, based on asymmetry, changing the order of the symbols has a direct consequence on the meaning of the terms since C to G is 2:3 while G to C is 3:4. Kepler understood and rejected this changing of the order of infinity because A + B is converted to A- B even though the two expressions have a different square value. Plato and Euclid relied on this concept of negative infinity, using the quadratic zero, to justify the changing of the order, but in the Pythagorean natural overtones – the Law of Pythagoras - the female principle comes first and one is therefore not a number. For Kepler, the method of exhaustion, derived from “Plato’s Theory of Numbers,” (for the square root of two, the ratio of the triangle diagonal to the side as an infinite fraction series converging on the irrational, by alternately greater and less ratios) exposes the inherent Pythagorean complimentary opposites of evolution – the male and female principles. (“Plato's Theory of Number,” by Ivor Bulmer-Thomas, The Classical Quarterly, 1983). So for the Golden Ratio of A:B::B:A-B the result is A(A-B) equals 2, 3, 10, 24, 65, 168 while B squared equals 1, 4, 9, 25, 64, 169 creating the male-female (complimentary opposite) convergence. (“Kepler’s Celestial Music,” in Studies in Musical Science in the Late Renaissance, 1975, Warburg Institute, Oxford University).

The Golden Ratio change does satisfy the switch to irrational geometric-based fractions which are not ratios based on the asymmetric Law of Pythagoras overtone harmonics (again with C to G as 2:3 and G to C as 3:4 in violation of the commutative principle of symmetry). So the changing of the order of the letter symbols of the Golden Ratio from A:B::B:A + B to A:B::B:A - B is in order to convert the Tetrad to the Freemasonic symmetric geometric mean of the Golden Ratio. The Fibonacci Number Series 1,1,2,3,5,8 with 8:5 as the Minor Sixth and 5:4 as the Major Third is the “vanishing mediator” from music theory so that now the Major Third or 5:4 equals the geometric mean as the cube root of two, from Archytas’ “doubling the cube” proof that creates similar triangles. For example H.E. Huntley’s book The Divine Proportion (Dover) analyzes music ratios for the Golden Ratio but erroneously considers 8:5 to be the Major Sixth, not the Minor Sixth.

Professor emeritus Ernest McClain has cited six Plato essays to argue that Plato’s marriage allegory was really a method of genetic social engineering whereby each citizen was given the value 9:8, as based on Archytas’ use of means. From the “original sin” of establishing the Golden Ratio, “each citizen must compromise for the good of the state” through the equal-tempered tuning harmonics. (“Musical ‘Marriages’ in Plato's ‘Republic,’by Ernest G. McClain Journal of Music Theory, 1974 and his book The Pythagorean Plato). McClain began publishing this work in the technospiritual theosophist academic journal Main Currents in Modern Thought.

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Chapter Three:

The Solar Dynasty Liars: Cutting out the 3rd Eye resonance


“In his arms he held his invention, the lyre. And of course the hypocrite knew how to lie like the truth when the sun-god, undeceived by his wiles, taxed him with the theft.”

Joseph the Provider by Thomas Mann (1944), p. 113.


The crucial fact about transcendental ∏ (“pi” – the symbolic attempt to square the circle) is that (8d divided by 9) squared is the ancient Egyptian definition for obtaining the circle area. 8/9 is the mean of the ratio two-thirds, from 6:8:9:12, the Babylonian tetrachord, as detailed by Ernest McClain. The Egyptians reduced their numbers to two-thirds plus a unit fraction (the harmonic series). In “An Ancient Name of the Lyre,” Professor Vyacheslav V. Ivanov traces the early Indo-European word for the hand-held harp or lyre from the Hittites to Egypt, stating,

The spread of the term to the Southern part of the civilized world of the II mil. B.C. is seen in Egyptian knrr, attested after the Amarna period. As shown by Leopold Vorreiter in his study on Riesenlyren des Altertums, all of the Egyptian large lyres similar to the earlier Ancient Oriental ones are found in Amarna at the time of Amenophis IV (Akhanayatin), i.e. 1350-1333 B.C. They may be considered one of those numerous elements of the new monotheistic Sun cult that can be connected with Near Eastern (probably Western Semitic-Canaanite and/or Hurrian) influence.

UCLA Program in Indo-European Studies, Vol. 1, 1999.

The major tone interval 9/8 cubed approximates the square root of two — the Power Axiom Set -- as the Tritone — the Devil’s Interval, not allowed to be played in the West until after Freemasonry was instituted. Professor Abraham Seidenberg traced the origin of the Pythagorean Theorem to ritual sacrifice altar geometry that was then applied, as an early attempt to square the circle, for centering the wheel of chariot war machines. Mathematicians also have repressed the true reason for the 360 degree system that has to be converted to decimal based radians. The 60-based number system was originally tied to right-brain ideograms (and the harp lyre as a memory recording device), relying on the ritual sacrifice shaman-priests. As Professor Vyacheslav V. Ivanov notes,

“A separate existence of specific zones with predominantly musical functions in the relictal nondominant hemisphere may be explained causally by the ancient social role of music and singing as a most important method of preserving and transmitting information. It seems that for many thousands of years the memory of culture was mostly connected to songs accompanied by music. Only step by step did the word and the verbal text as such establish their independence.”

In “The Semiotics of Sound Texts: The Diachronic Dimension,” Elementa: Journal of Slavic Studies & Comparative Cultural Semiotics, May2000, Vol. 4, Issue 3.

We are taught that subtracting the Lunar from the Solar calendar, 365-354, is too complicated with ideograms but is easy with left-brain phonetic symbols (David E. Duncan’s book Calendar). But again the 12 sections of the zodiac used to measure the solar and lunar cycles are not considered by scientists to be part of the 360 degree system yet, just as with the 360 system of 12 x 30, the solar and lunar calendar were measured by right-brain harmonic overtones resonating as an infinite spiral of two-thirds. This system is the early sruti mantras of the Brahmins and the tonal Afro-Asian languages (with the Bushmen language being the most sophisticated and hardest to learn).

When Pythagoras taught that One is not a number that means the 360 degree angles using sine and cosine squared equaling one are not valid as an early attempt to square the circle – because of the inherent asymmetric attraction of One to the formless awareness of Harmonia. For example mainstream math teaches that the square root of two, as the first example of incommensurability, was discovered by the continued proportions in the Pythagorean Theorem. In fact the irrational number was first discovered through the application of rational numbers to the 60-based number system of the circle, using the Pentagram. For the 8:5 Pentgram as the true origin for the discovery of incommensurability, via "mutual subtraction" of side lengths (and not the continued proportion Pythagorean Theorem proof in Euclid) see, "The Discovery of Incommensurability by Hippasus of Metapontum," by Kurt Von Fritz, The Annals of Mathematics, 1945. The continued fraction of One as the Golden Ratio is therefore inherently asymmetric and the source of the One is female – the Womb-tomb term used by Camille Paglia. The Tetrad as an equilateral triangle is the same as the Tai-Chi symbol – a complete process of creation arising from the inherent complimentary opposites of asymmetric Number, without dependence on form as magnitude.

Physicist Roger Penrose states that the real reason for elliptical planetary orbits is due to the tidal effect of gravity. Kepler achieved this insight of elliptical orbit by extending the Tetrad to 4:5, the Major Third, though its harmonic conversion of 5:4 as the cube root of two. Stuart Isacoff, in his book Temperament, details how only when the Pythagorean Tetrad was extended from 1:2:3:4 (octave, Perfect Fifth and Fourth) to the Major Third as 4:5 as the Renaissance enabled. Professor David F. Noble details how the NeoPlatonist John Scotus Erigena, in the 9th C., was instrumental in advising the Carolingian Holy Roman Empire in instituting the new role of technology for the creation of a garden of Eden, based on separation of heaven and earth using magnitude. Music professor Joscelyn Godwin has detailed how Erigena’s work focused on the 4:5 Major Third harmonic ratio between Saturn and Jupiter as a means to bypass the sublunary imperfect realm.

The Babylonian tetrachord 6:8::9:12 was turned into the continued proportion a:x as x:y as y:2a for a geometric proof of doubling the cube through similar triangles. The conversion of 4:5, the extension of the Tetrad, into 5:4 for the cube root of two, ignores the asymmetric complimentary opposites of order in Number (i.e. C to G is 2:3 while G to C is 3:4). Gravity does not just create an ellipse, nor even curve into a black hole, even more so, it resonates from formless awareness. Newton got his concept of gravity directly from Pythagoras with a string stretched by 4 times the weight creating twice the frequency. The differential quadratic equation based on zero is just an extension of the use of ritual sacrifice analysis. Both the chariot and catapult technology were created by the demand of spirits who claimed the attempt to square the circle would end the plague. Newton’s work was of the same nature.

This lie about zero as symmetry through rectilinear symbols started with the solar and lunar connection with the right-brain knowledge systems. Professor Michael Corballis notes, in his book The Lop-Sided Ape, that when people use their hands for rhythm the left-hand is the basis for the background measurement, as arithmetic. This steady beat of the left-hand then activates the right-brain resonance with the cerebellum and the solar-lunar circadian rhythms of the pineal gland as the 3rd Eye. The Buddhists argued with the Brahmins that the “ring of fire” around the solar eclipse by the moon does not mean the eternal existence of form through phonetic language – the “alpha and omega” as “I Am that I Am.” Plato passed on this Freemasonic “containment of infinity” through Solar form as his Parable of the Cave. Justice is blind but it can be heard through Metis or Ma’at but Plato changed this meaning of female-based skill with no words into the use of cunning lies for imperial order (Professor Bruce Lincoln).

The lunar calendar used to be 13 months of 28 days based on the 7 day cycle of Tetrad harmony, as discussed by Stan Gooch. This arithmetic-based calendar is also the central propaganda for the “scalar” quantum chaos agenda of Matrix planner and New Age guru Jose Arguelles. But since Western science is inherently based on magnitude – not harmonic ratios – then Arguelles is working from a false foundation of deep disharmony. The same CIA assimilation of Mayan cultures has occurred through anthropologists so that imperial genocide could be more easily obtained, as discussed by U of Chicago anthropology professor Bruce Lincoln (specifically anthropologist John Gillin, funded by OSS-CIA-Carnegie front-man John Gardner, detailed in Lincoln’s essay, “Revisiting Magical Fright,” American Ethnologist, 2001).

Again the 12 notes of the octave continue to resonate as an infinite transduction of energy through the ratio 2:3 as Yang. Freemasonry converted this into a “divide and average” or “divide and conquer” tactic with the lunar cycle as 29.5 days in a 12 month Solar calendar of 360, that then is converted into the decimal system. Even though the original 360 degree system was based on the Tetrad of 12 notes through the 60-based number system, with each ratio as a God, this connection between the zodiac and the 360 degree system is repressed by the scientists. The same conflict occurred between the Essenes use of the solar calendar against the semitic reliance on the lunar calendar for pastoralism. This is why the Levant means “Sun-Riser.”

The problem with phonetic-based symmetric gematria magic (Freemason rituals) is that it’s not empowered unless it’s tied to a lineage of living masters who have strong amplitude. So a masters name is a wave-form—a phase signature—that resonates as frequency to entrain with the amplitude – but only as asymmetric resonance. This is why knowing people’s names is crucial (see Favret-Saada, L, Deadly Words: Witchcraft in the Brocage, Cambridge University Press, 1981). But mantras have to be part of a living tradition, kept empowered. Freemasonry would do this to some extent but basically it’s just empty mumbo jumbo because they don’t practice yoga seriously—they don’t achieve amplitude. Instead the amplitude is expressed through technology—missiles and movies, etc. Full-lotus, pyramid-power yoga is considered the highest form of Freemasonry though. (see Professor Hugh b. Urban, “Elitism and esotericism: Strategies of secrecy and power in South Indian Tantra and French Freemasonry,” Numen-International Review for the History of Religions 44 (1): 1-38, 1997).

A fundamental principle of circuit theory is the concept of “leading phase angle” as detailed in Cable Television by John E. Cunningham (1980): “The sharper the change in the amplitude response as a function of frequency, the more drastic the change in phase shift.” (p. 225). What biology professor emeritus Brian Goodwin discovered is that a significant increase in amplitude occurs through the natural resonance of frequency, enabling cellular transduction. In biological transducers atmospheric pressure compared to blood pressure is critical when working with a sealed container similar to the full-lotus yoga position. Potassium thins the blood by causing the cells to collect water and the potassium then creates acetylcholine which turns into serotonin and then into melatonin to activate the DMT-vision of the pineal gland (Parable of the Beast by John Bleitru and Beyond Telepathy by Dr. Andrija Puharich). Pressure just means an exerted force and sound is just a type of pressure. Dark energy is considered acoustic oscillations and can also be a type of pressure. As the nerve pulse slows then the gravitational constant decreases via the magnetic moment, which causes an expansion of the psi-plasma vortex. The neurons of the brain communicate with faster-than-light signals as a “standing wave” of the Tai-chi symbol – just like protozoa:

“Washburn (1917) concluded that the reactive responsivity of various motile protozoa just before physical contact with objects in their path was based on turbulence reflected back to them from these looming surfaces and caused by their own movement – a kind of self-generated liquid sonar.”

(pp. 98-9, On the Nature of Consciousness by Professor Harry T. Hunt).

The pineal gland causes expansion of the “amoeba-like cells (chromatophores), and in mammals the pituitary continues to produce high-levels of chromatophore expanding hormone. (From Fish to Philosopher by Homer William Smith, Harvard physiologist). The magnesium of chlorophyll then activates the pineal gland to produce bioluminescence for the spirit-body, composed of electrochemicals, and powered by electromagnetic fields. Spirochetes, spirulina and microtubules are all examples of form utilizing the psi-plasma vortex – the double torus of quantum chaos synchronization. This proton-electron transduction also releases gamma ray radiation as “mutations of illumination.”

My emphasis is on resonance of the “small universe” or microcosmic orbit — the 12 nodes along the outside of the body (belly, bladder, bottom of torso, tip of tailbone, small of back, between the kidneys, top of spine, base of skull, top of head, forehead, neck, and heart) are the most important and most powerful practice in non-western mind transformation (see the book Taoist Yoga: Alchemy and Immortality trans. By Charles Luk for details)

Resonance is the most important concept in science yet it is not mathematizable (physics professor Robert McCauley at Austin) and for this reason resonance is not focused on — astronomy professor Seymour Pierce pointed this out in a letter to the journal Nature — a letter that was censored and republished in a book on astrology by John Anthony West..

The “sublime kernal” of ideology in western science is the “monad” of Leibniz versus the “monism” of Newton. The term “sensorium” for the World Sensorium of the Actual Matrix Plan comes from Newton by the way. The Bournellis supposedly “disproved” Pythagoras and then created statistics. The fundamental difference is that statistics is based on “the equi-partition principle”—from the equal-temperament of music theory. (The Eternal Return by chemist Donald E. Carr) But real music theory—the Law of Pythagoras or the overtone series—is based on the fundamental asymmetric resonance of Number. All science is derived from equal-division of number switched to phonetic symbols or one-to-one correspondence.

So the Greeks taught that A is to B as B is to A plus B. That’s the Golden Ratio, the most important equation of Freemasonry and used to build the Gothic cathedrals — the Golden Ratio is the least converging dynamic equation that governs black holes and all nonlinear systems. But the Greeks were wrong. 1 is to 2 as 2 is to 3 meets the Golden Ratio but in music theory—the Law of Pythagoras 2 is to 3 equals C to G and 3 is to 4 equals G to C. In other words the numbers 1:2:3:4 are not equi-partitioned but are asymmetric complimentary opposites.

This is a very simple yet very deep assumption of science and the violation of equi-partition in the photoelectric effect that then became quantum mechanics then turned into the paranormal synchronicities of Wolfgang Pauli. The equi-partition principle was killed by the Black Box radiation so that energy is now tied to natural number factors of Planck’s constant times frequency. But even still general relativity and the superstring theory are still based on an extension of logarithmic algebra so that noncommutative geometry still relies on a one-to-one correspondence: Freemasonic “containment of infinity” through “alpha and omega” symbols.

Pythagorean resonance states that all matter is a resonance of universal mind that is a fourth dimension of space—you can not partition this mind. We exist within it—science will destroy matter but the mind always-already exists as formless awareness. So the elites naturally converge to this Matrix truth as political ideology driven by the math logic of music-based logarithmics.

OK let’s be real concrete here: Yale U computer science professor David Gelernter. He was bombed by the Unabomber. Hard to get more concrete than that. Then Gelernter published a book called The Muse in the Machine: Computerizing the poetry of human thought (1994) The goal is a “spiritual computer” through FGP software: Fetch, Generalize, Project.

The idea is to use feedback combining circuits with analog networks so that 1) robotic computers learn on their own 2) computers express emotions as subtle as humans. The central concept of FGB software is what Gelernter calls: “The Spectrum”—logical thought is high frequency low amplitude while “dream logic” is low frequency high amplitude (i.e. high creativity for spiritual consciousness)

Gelernter ends his book with an in depth biblical analysis to show how the stories in the bible were just low-focused spectrum thinking and can be recreated in computers. The origin of axiomatic logic in western science is the definition of God: “I am that I Am” but in reality I is One and Am (Amen, Aum, Om) is the Tai-Chi/Tetrad as 2:3:4.

So you have, as the essence of axiomatic logic, a triadic structure 1:2 and 2:3 and 3:4. FGP software uses “fuzzy logic”—averages without axioms—to resonate signals (i.e. waveforms) as frequency and amplitude. If a waveform aligns with another waveform then entrainment occurs and the overtones and undertones of frequency resonate to cause a significant increase in amplitude. Robo Sapiens are currently being designed utilizing these “beats” of light.

This is the secret to both magic and science—as biologist Brian Goodwin explains in detail. The secret of “I Am that I am” is that the most efficient “driver” of creativity is the sine-wave. (the Tai Chi-Tetrad-Om symbol) Tesla knew this and now it’s called “autoionization” enabling previously “forbidden transitions” in quantum mechanics so that Self-organized criticality can occur aka “complexity.” Complexity is the buzz-word for the real matrix plan—it’s the focus of the top science think tanks that then get funded by the NeoNazis.

Bush, for example, made a special stop to ovonics. This is a company that uses self-organized criticality for new nano-engineered solar cells that are already in over-demand from overseas sales.
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Old 24-09-2007, 12:49 PM   #4
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Chapter Four:

The Secret of the Greek Miracle: An Analysis of the Harmonics in Archytas' Doubling of the Cube



In his July 2005 MAA Monthly article "How Euler Did It: Finding Logarithms by Hand," Ed Sandifer gives details from Euler's 1784 book, Introductio in analysin infinitorum on converting geometric mean to arithmetic mean for calculating logarithms. One of the two word problems that Euler presents is based on creating the equal-tempered music scale, now the standard for all Westernized music. Sandifer states, "If we vibrate two strings of equal density and equal tension, where one string is 1.5 times as long as the other, then the notes they sound will differ by what musicians call a ‘fifth.’ The scales built on this ‘perfect fifth’ are called ‘Pythagorean,’ for reasons that are interesting but too lengthy for this column." Logarithms were considered by Euler to be harder to solve than square roots yet the connection between logarithms and the irrational square root of two is found in the geometric and arithmetic means of Pythagorean harmonics. I present a hitherto unknown harmonic solution to Archytas’ discovery of the irrational continuum, the basis for the Greek Miracle.

Professor K Saito in his essay "Doubling the cube : a new interpretation of its significance for early Greek geometry," Historia Math. 22 (2) (1995), 119-137 notes that "Strangely enough, in contrast to the abundance of solutions for inserting two mean proportionals, we have little testimony on how Hippocrates' reduction was proved in antiquity." Saito establishes that the usual proof presented for doubling the cube ( i.e. WR Knorr) is not accurate since the technique used was actually a process Saito calls "reduction to linear ratio." Saito warns against the usual projection of modern mathematics onto Archytas' proof: "At any rate, one should be wary of invoking the use
of the multiplicate and compound ratios in reconstructing early Greek geometry, since these methods appeared to have been developed later and are not directly supported by pre-Euclidean documentary evidence."

The proofs given for doubling the cube have thus far relied on techniques that leave out the connection between the continued fraction of Hippocrates and the multiplication of ratios as magnitude, discovered by Eudoxus and used by Archytas. For example Professor Barnabas B. Hughes in his essay "Hippocrates and Archytas Double the Cube," The College Mathematics Journal, 1989: "Unfortunately, Hippocrates did not say how the two mean proportionals were to be found." Even Saito, while giving the geometric foundation for Hippocrates' continued proportion proof, does not elaborate on how the continued proportion, A:X::X:Y::Y:2A was then used algebraically for doubling the cube. This later technique of continuum, based on dynamics, is nothing less than the "Greek Miracle" itself, yet there remains a vital missing link. Math Professor Luigi Borzacchini notes on the Historia Matematica listserve: "In other words when music theory paved the road toward the discovery of incommensurability the idea of geometric magnitude was too clumsy to develop and even to understand such discovery, and it was exactly the possibility of the geometric drawing of a not-existent music interval to foster the development of the Aristotelean continuity." (that's his unedited Italian to English comment from "Music and Incommensurability", Luigi Borzacchini, Wed, 18 Aug 1999).

Professor Borzacchini introduced online his research on music and incommensurability, what he called the possible "secret of the sect." There followed a very engaged discussion of this issue, including David Fowler, author of The Mathematics of Plato's Academy, with one mathematician, Robert Tragesser, noting that Karl Popper starts a book by emphasizing the central role of music in the discovery of incommensurability (more on that later). To understand the importance of this music "vanishing mediator" for science we should consider that, in contrast to the relatively modern dynamic continuum relying on irrational magnitude, the use of infinitesimals, for calculus, has been traced by Professor Abraham Seidenberg back to 1800 BC, in Egypt, India, Babylon and China. (A. Seidenberg, "On the Volume of a Sphere," Archive for History of Exact Sciences, 1988, published posthumously). Professor Saito, in a follow-up analysis, goes so far as to debunk the mainstream interpretation of pre-Eudoxan analysis of proportions in his "Phantom Theories of pre-Eudoxean Proportion," Science in Context (2003). In other words Heath and all the other science commentaries on Euclid are wrong. Saito states: "Heath's...position could be more consistent if he extended this argument to the whole of Books V and VI. In fact, these books can be better understood as description and justification of techniques in geometry concerning proportion, not as presentation of theorems about ratio and proportion in the abstract."

But it is recognized that the main technique used for the "reduction to linear ratio" proof was the use of music ratios yet the details has thus far been ignored, although Professor Luigi Borzacchini raised the issue and he responded, by mail, to a preliminary music proof I sent him back around 2001. Professor Michael Allen in his book Nuptial Arithmetic: Marsilio Ficino's Commentary on the Fatal Number in Book VIII of Plato's 'Republic' (1994) gives direct evidence for how music ratios were the central idea in launching modern science. Stuart Isacoff's book Temperament details how the ratio 5/4, as an extension of the Pythagorean Tetrad, was the key for the Renaissance, since 5/4 approximates the value cube root of two. This conversion of music ratios to irrational fraction is further analyzed by music Professor Emeritus Ernest McClain in his book The Pythagorean Plato as well as Burkert who emphasizes the "reduction to linear ratio" technique: "The important thing in Pythagorean musical theory was not the function of the proportion but the meaningful numbers," Professor Walter Burkert (Lore and Science in Ancient Pythagoreanism , 1972:400).

David Fowler notes in his Mathematics of Plato's Academy: "...the manipulations of music theory seem to depend fundamentally on the operation of compounding, an operation which seems to pose some serious problems for mathematicians. My purely speculative suggestion...is that music theory might plausibly give some help with this problem." (p. 146). Fowler certainly takes a close look at the connection between continued ratio and the concept of compounding proportions which later lead to incommensurability but again no direct music ratios are plugged into the equation. He states, "In the event, it will turn out that this contribution from music to mathematics is negligible or non-existent, but nevertheless the idea is worth trying." (p. 138).

So let's try again.

What we are given for the continued proportion are the phonetic symbols of the ratios, attributed to the sides of the cubes. So the online essay "Duplication of the Cube," from McGill University mathematicians, Francois Rivest and Stephane Zafirov, notes:

Hippocrates showed that the problem could be reduced to that of finding two mean proportionals: if for a given line segment of length a it is necessary to find x such that x cubed = 2a cubed, line segments of lengths x and y respectively may be sought such that a:x = x:y = y:2a; for then a cubed/x cubed = (a/x) cubed = (a/x)(x/y)(y/2a) = a/2a = 1/2. Pamela Brister in her 1995 online mathforum article, “Duplicating the Cube,” notes: "Hippocrates of Chino (a Pythagorean mathematician) in 440 BC ... declared that the problem could be solved if 2 successive mean proportional line segments were found between a given segment and another twice its length. He gave the equation a : x = x : y = y : 2*a. Hence if a is the side of the original cube, then x = cubic root(2*a) is the side of it's volumetric double. Unfortunately, Hippocrates did not say how the 2 mean proportionals were to be found...." University of St. Andrews math department gives the same description, again without the actual numbers plugged into the equation: "(i) To find a cube whose ratio to a given cube equals the ratio of two given lines. Now Hippocrates reduced the problem to the following: (ii) Given two lines, find two mean proportionals between them. i.e. given lines a, b find x, y such that a : x = x : y = y : b. Now it is easy with our modern understanding of ratio to see that (i) and (ii) are equivalent. For a cubed : x cubed = (a:x) cubed = (a : x)(x : y)(y : b) = a : b. Thus if we are given a cube with side a and want to construct a cube b : a times the volume, we need to construct the cube of side x." And finally, just to really clarify this trick business of compounding ratios, here's how Wilber Richard Knorr's The Ancient Tradition of Geometric Problems (1986) describes the equation: "Hippocrates' insight is of course not restricted to lines assumed in a 2:1 ratio. If for any two given lines, A and B, we can insert the two mean proportionals, X and Y, then A:X = X:Y=Y:B. Thus, by compounding the ratios, one has (A:X)cubed = (A:X)(X:Y)(Y:B), that is, A cubed:X cubed = A:B. Thus, X will be the side of a cube in the given ratio (B:A) to the given cube (A cubed)."

It's this key value in the continued proportion, A:X::X:Y::Y:2A with X as the cube root of two that gives the lead for the music ratio solution. Normally this connection between the harmonic proportions and the geometric solution is not made but Bruce Director in his online book Riemann for Anti-Dummies gives further elucidation: "As can be seen from the solutions to doubling the cube by Archytas and Menaechmus, the harmonic relationship among these powers reflects a characteristic curvature, that, when projected onto straight lines, produces the relationships the Pythagoreans recognized as the arithmetic, geometric and sub-contrary, (or harmonic) means. The arithmetic mean is three numbers related by a common difference: c – a = b - c, or, c = 1/2 (a+b). Geometrically, it is represented by the half-way point along a line; musically it corresponds to the interval of the fifth. The geometric mean is three numbers in constant proportion: a:b::b:c. Geometrically it is represented by the middle square between two squares; musically it corresponds to the Lydian interval. The harmonic mean is the inverse of the arithmetic mean: 1/c = 1/2(1/a+1/b). It is expressed geometrically in the hyperbola and musically by the interval of the fourth. These harmonic relationships are number shadows cast by the curved onto the straight. (See Riemann for Anti-Dummies 33. EIR website.)

When it's contended that the "Pythagoreans recognized" the harmonic, geometric and arithmetic means there must be the correction that in fact these means were the innovation of Archytas to create the Greek Miracle. Dr. Alan C. Bowen details how Archytas developed these means from Pythagorean harmonics (from "The Minor Sixth (8:5) in Early Greek Harmonic Science", by Alan C. Bowen, The American Journal of Philology, 1978:

"Archytas defined the genera of the tetrachord by a procedure involving the division of the fifth (3:2) into a minor third (6:5) and a major third (5:4), and of the fourth (4:3) into a septimal third (7:6) and a major tone (8:7)....The fifth is partitioned according to an arithmetic mean (3:2=6:5:4) and the fourth, according to a harmonic mean (4:3=28:24:21).

"In other words, the minor sixth is derivable from the fifth because it is a major third less than an octave [(2/1)/(5/4) = (8/5)] and a minor third more than a fourth [(8/5)/(6/5) = (4/3)]."


Archytas could not use 5:8 (the ratio of the minor Sixth as measured by frequency, not string length) because he had to extend the harmonic ratios to beyond the octave in order to derive the minor sixth and perfect 4th. As Bowen states, "For it was during this time that scales of a double octave magnitude, i.e. the Greater Perfect System, were constructed to facilitate the analysis of melody." The Greater Perfect System, using two octaves, was the extension of the ratios by Archytas as a transition to magnitude since now the middle of the octave, the geometric mean as the irrational square root of two or 9/8 cubed, could be turned into just 2:1 as the middle of the double octave.

Dr. Bowen clarifies:

"Any who doubt that the musical ratios are all of greater inequality, i.e., that the antecedent or first term in each is greater than the consequent or second term, should consult Archytas DK 47 B 2. This Fragment requires that the ratios be of this form if the assertions about the three means [arithmetic, harmonic and geometric] are to be true. Accordingly, the ratios assigned to the octave, fifth, fourth and minor sixth, must be 2:1, 3:2, 4:3 and 8:5, and not 1:2, 2:3, 3:4 and 5:8, respectively, as Mosshammer and others would have them. Indeed, there is early proof deriving from the Pythagorean school that intervals, such as the fifths, which are represented by superparticular ratios cannot be partitioned into any number of equal subintervals because the terms of these ratios admit no number of geometric means. Consider now the question of the status of the ratio (8:5) in the Pythagorean harmonic science that dates from the late fifth century B.C. to the time of Apollodorus. One should not expect that this ratio was recognized as melodic by every school of Pythagorean musical theory. For example those who sought to derive all the musical ratios from the Tetrad of the decad by compounding and dividing the ratios of the primary and most familiar intervals, the concords of the octave, fifth and fourth, would find the minor sixth unascertainable. There is reason to believe that these were supplied by Archytas in the early fourth century B.C."




At this juncture it should be pointed out that the interval of the fifth as the arithmetic mean, while representing geometrically the midpoint of a line, in fact is the value 2/3 -- not 1/2. Conversely while the geometric mean is represented as "the middle square between two squares," musically it is the midpoint of a line or string (what should be the arithmetic mean) -- the tritone interval or “Devil’s Interval,” between the fifth and the fourth. I clarify this incongruity because it appears that the Greek Miracle depends on a conversion, an actual changing of the number order from 5:8 to 8:5 so that symmetric phonetic symbols have commutative correspondence with number, at the expense of the actual asymmetric harmonics found in the Law of Pythagoras. Only when the interval of the ‘perfect fifth’ or C to G, as the arithmetic mean, is extended to the octave plus the fifth, is there a symmetrical reduction, as the interval twelve (1.5) of the line or string into thirds.

Here's how H. Steinhaus describes the difference in his Mathematical Snapshots: "Between F and G lies F-sharp (the black key in the very center of the octave): the ratio between C and F-sharp is the same as between F-sharp and high C, amounting to an augmented fourth. If we call x the ratio F-sharp:C, we get x squared = 2, hence x = square root of two, which is an irrational number." (p. 44).

To give further background for the derivation of the asymmetric Law of Pythagoras, the natural overtones, here's how Professor Michael Hudson describes the difference of arithmetic and geometric progression in music:



"Archytas emphasized that there were different kinds of proportion. Simple arithmetic proportion is characterized by the progressions 1, 2, 3, 4, or 2, 4, 6, 8. Each number in the series stands an equal distance from the next. On a graph this progression appears as a straight line.... But this is not how musical scales work. Whatever the key or clef, the relative proportions among the intervals and string lengths remain constant as they are transposed higher or lower. Each octave is double the frequency (or half the string length) of the tonic ( i.e., from C to C' or from G to G'), while the interval of the fifth (C to G, or C' to G') sounds always in the ratio of 3:2. Musical intervals rise by a process of multiplication (and descend by division). Thus, the proportions between the intervals remain constant, being doubled or otherwise multiplied in the ratio 2, 4, 8, 16 and so forth. This is known as geometric proportion. On a chart, this exponential series looks like an ascending wave."



Professor Michael Hudson continues: "An octave can be doubled by multiplying by twos, but this will only generate the same note on every higher frequencies. To generate the entire scale by means of the Circle of Fifths (3/2), the number three is needed. The musician proceeds from C to G, and then to D, by multiplying 3/2 by 3/2 = 9/4. The octave of "4" is 8; hence, 9/4 (D'/C) = 9/8 (D'/C'). The entire circle of fifths may be generated by keeping even powers of 2 (i.e., 2n) in the denominator, while the numerator is expanded by 3p." From "Music as an Analogy for Economic Order in Classical Antiquity" by Dr. Michael Hudson, in Jürgen Backhaus (ed.), Karl Bücher. Theory, History, Anthropology, Non-Market Economies (Marburg:Metropolis Verlag, 2000): pp. 113-35

So we can see that the ratio 9/8 was created only after the octave was doubled for the purpose of geometric mean. Although the later Pythagoreans used the ratio 9/8 for tuning it must be emphasized that the early Pythagoreans did not use the D' above the octave. Why? Because the ratio 9/4, reduced to 9/8, is not of the Tetrad. As Professor Andre Barbera notes: "Orthodox Pythagorean theory recognizes five consonances: fourth, fifth, octave, twelfth, and double octave; and these are represented by the multiple and superparticular ratios from the tetrad. The number 8 obviously does not belong to the tetrad." from "The Consonant Eleventh and the Expansion of the Musical Tetractys: A Study of Ancient Pythagoreanism," by André Barbera, Journal of Music Theory, 1984.

Barbera does note that Archytas used the Babylonian tetrachord, an extension of the tetrad, 6:8::9:12 whereby 8 is the geometric mean and 9 is the arithmetic mean between 6 and 12. We see further confirmation that this use of 9:8 is an innovation of Archytas and Eudoxus in "Pythagorean Mathematics and Music," by Richard L. Crocker, The Journal of Aesthetics and Art Criticism, 1963. Crocker notes that R. P. Winnington-Ingram's, "Aristoxenos and the Intervals of Greek Music," (1932) as an article "admits that the pre-Platonic theorists used the tone 8:9 to construct a scale, but for some reason is reluctant to attribute this construction to the pythagoreans."

We can see a close analogy between the Hippocratic continued proportion used for doubling the cube, A:X::X:Y::Y:2A and the tetrachord from Babylonian math, 6:8::9:12. It is in this analogy that the original symmetry between phonetic letters and number arose because in "orthodox" Pythagoreanism C to G is 2:3 while G to C is 3:4, in violation of the commutative prinicple. And indeed Archytas applied his equation hereby the Arthmetic Mean times the Harmonic Mean equals the Geometric Mean squared in order to double the cube. Plugging in the values 1 and 2 for A and B the GM is the square root of two, approximated as 9/8 cubed, giving a music interval proof for incommensurability.

For further clarification let's quote a Truman State University review on Scriba, Christopher J. "Mathematics and music." (Danish) Normat 38 (1990), no. 1, 3--17, 52:



"The author discusses the relationship between mathematics and music
from Pythagorean through modern times. His story begins in Pythagorean times, and as he explains, the notes of the musical scale were then determined by the ratio of a perfect fifth, i.e. 3:2. Twelve intervals of a fifth are roughly equal to seven octaves, but are in reality slightly more than seven octaves, the discrepancy being the "Pythagorean comma" of 312:219, or roughly 74:73. Whole steps in the scale were in the ratio 9:8, and half steps were in the ratio 256:243. Thus two half steps were slightly less than one whole step. In fact, Philolaus noted that one whole note is equal to two half notes plus a Pythagorean comma. Archytas showed that intervals like the octave 2:1, fifth 3:2, fourth 4:3, and whole tone 9:8, or any other interval in the ratio (n+1):n cannot in fact be divided with rational numbers into two equal intervals. However, he noted that the product of the arithmetic mean and the harmonic mean is equal to the square of the geometric mean, so this gave a way of dividing the fifth of 3:2 into the product of 5:4 and 6:5. 5:4 can be thought of as a major third, and 6:5 can be though of as a minor third. So the ratio 3:2 is divided as 6:5:4. Similarly, the fourth of 4:3 can be divided into the product of 7:6 and 8:7, so the ratio 4:3 is divided as 8:7:6. The interval 7:6 can be though of as a shrunken minor third and 8:7 can be though of as an enlarged whole tone. Scriba suggests that the germs of the idea of making this division lie with the Babylonians."



Now finally we can proceed to the actual continued proportion proof using music harmonics. If the cube root of two is the value for X and if the cube root of two was approximated as the music ratio 5/4 then A:X::X:Y::Y:2A with A as 1 and 2A as 2 and X as the cube root of two gives the following result. By doubling the octave to 4, so that Archytas could apply his geometric mean, the continued proportion of Hippocrates can also be cubed so that A is 1 and 2A is 8 and the proportion is 1:2::2:4::4:8. Since the cube root of this equation means that X equals 5/4 then the cube root of four, as Y, gives the harmonic ratio of 8:5, the complimentary opposite of 5/4 (the major Third, 5/4, is inverted as the minor Sixth, 8:5). 1:5/4::5/4:8/5::8/5:2.

That's the secret of the Greek Miracle -- converting Pythagorean harmonics into the continuum.

It should be noted that the Golden Ratio A:B::B:A + B must have the order reversed to A - B for a quadratic solution using zero and similarly the Harmonic Mean also does not work if zero is used. For the 8:5 Pentgram as the original origin for the discovery of incommensurability, via "mutual subtraction" of side lengths using the 60-based number system (and not the continued proportion Pythagorean Theorem proof in Euclid) see, "The Discovery of Incommensurability by Hippasus of Metapontum," by Kurt Von Fritz, The Annals of Mathematics, 1945. The Fibonacci Number series, 1,1,2,3,5,8 must have its order reversed to 8:5 (see H.E. Huntley's Divine Proportion) to achieve the quadratic-based irrational Golden Ratio -- for the same reason that enabled Archytas to approximate the square root of two as 9/8 cubed, and to double the cube, using 5/4. Robert Lawlor's book Sacred Geometry gives further connections between music, Archytas, and the Golden Ratio.

The Golden Ratio, which "governs black holes" (Dr. Mario Livio), and is found in special relativity, can now be seen to arise from the inversion of the minor Sixth music interval, from 5:8 to 8:5. This simple harmonics analysis of the doubling of the cube reveals a paradox in symmetry that appears to be on the order of Heisenberg's discovery of uncertainty. As Guy Murchie describes in his book Music of the Spheres, Heisenberg considered extremely long radio waves but they would be blind to the position of the electron since energy is proportional to frequency. From uncertainty came Max Born's discovery of the violation of the commutative principle, just as in the Pythagorean Tetrad whereby C to G is 2/3 and G to C is 3/4. More recent applications of nonlinear resonance enables the creation of acoustoelectric energy from the pressure of bones. Maybe the orthodox Pythagorean shamans were correct after all.

Kepler's use of 3/5 (Major Sixth), from the Golden Ratio pentagram, and 5/4, based on sacred geometry applied to music, was then considered to the basis for his "major and minor modes" of the Solar System. The extension of his sacred circle-equilateral tetrad symbol to 5/4 creates an ellipse -- due to the inherent complimentary opposite principles that Kepler found in the Golden Ratio method of exhaustion proof. (for further discussion see, "Kepler's Celestial Music," by D. P. Walker, Journal of the Warburg and Courtauld Institutes, 1967).

Bruce J. Brackenridge sums up the mystery of asymmetry in his article, stating: "Thus the pentagon is the archetypal figure of generation itself." ("Kepler, elliptical orbits, and celestial circularity: A study in the persistence of metaphysical commitment," Annals of Science, Volume 39, Number 2, March 1982 , pp. 117-143).

Although I couldn't find which of Sir Karl Popper's 50 books kicks off with an ode to Pythagorean music as the key to incommensurability I did discover a kicker from one of his final speeches: "Of all Schrodinger's precursors, Kepler is the only one who foresaw that harmony - resonance - holds the world together." (from All Life is Problem Solving by Karl Popper, Routledge, 1999, p. 75).
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Chapter Five:

Secret of the Snake: The Nine and Kepler


Did you know that Kepler’s mom was prosecuted as a witch, that Kepler murdered Tycho Brahe, his mentor, and that Kepler was surrounded by Rosicrucians obsessed with the secret meaning of 666? As 2:3 the number 666 is at the center of the Pythagorean Tetrad and creates a free energy vortex through the full-lotus pyramid power.

My argument is that the conspiratorial nature of science is exposed if we understand the centrality of music as the pivot point between emotions and math. This special role of music has been the topic of analysis before, specifically the books of NY Times critic Edward Rothstein: Visions of Utopia (2004) and Emblems of Mind: The inner life of mathematics and music (1996) and more recently This is Your Brain on Music by Dr. Daniel Levitin. In contrast to Rothstein, my focus is on global music as a transcultural phenomenon that traditionally has been a unifying principle of harmony. Western natural science limited global music into a method of axiomatic deduction based on technological imperialism. This transcultural analysis has been similarly formulated by music professor Ernest McClain and then by a related scholar, philosophy of science
professor Oliver L. Reiser.

Most people end up buying into this techno-spiritual agenda which is really rooted in Freemasonry, as detailed in professor David F. Noble’s book “The Religion of Technology.” (1996) The modern engineering institutions were set up with the goals of Freemasons in mind and driven by leading Freemasons. Noble writes “If the Freemasons were among the earliest advocates of industrialization, perhaps their most lasting and important, and heretofore unexamined, role was as midwives in the birth of the latest incarnation of spiritual men, the engineer. For engineering emerged as much out of Masonry as it did out the military (indeed, the military itself was rife with Masonry).” Noble gives lots of names of prominent German, British and French Freemasons and the engineering institutes they founded which were the leaders in creating science. But that’s not the point these people are examples of a structural trajectory of technology from science based on Platonic mathematics.

Historian David F. Noble, former M.I.T. professor and Smithsonian curator, reveals that modern corporate-state science is driven by the concealed religious aim of recreating God’s dominion over the earth and reviving mankind’s original image-likeness to God. Noble traces the deeply troublesome origin of modern science and technology policy to the ninth-century Benedictine monks under the Carolingian Empire, as directed by court philosopher John Scotus Erigena. Professor Joscelyn Godwin has detailed how John Scotus Erigena was a Neo-Platonic cosmologist obsessed with music ratios.

Under Erigena, for the first time in western history “the mechanical arts” were lead by a materialistic millenarianism. As Noble records, according to the new view of the imperial controllers, “It was precisely power over nature [that] Adam had lost by original sin.” With this in mind, Man was envisioned as the universal co-creator with God, and as Noble points out, according to the elite planners: An exclusive “saintly existence” and a“new race of men” will follow the necessary and divine cleansing of Armageddon via the “redemptive powers of technology.” Noble describes how the final secularization of these scientific “spiritual men” occurred in the development of elite engineering institutions through the Freemasons and their offspring of positivism. Karl Marx even became a great proponent of the Freemasonic “Edenic respites from labor.” Space flight, nuclear weapons production, computer-based artificial life and genetic engineering are documented by Noble to be destructive symptoms of a mad goal to create the second perfect Adam. The “scientific saints” renounce responsibility for enacting escalation toward their self- fulfilling global end-times.

The real question is what are the means by which Freemasonic music-derived techno-spiritualism operates today, as the defining controlling factor for humanity? The answer lies in the definition of today’s most cutting-edge discipline—“self-organized criticality.” As stated in the book Frontiers of Complexity: The theory of self-organized criticality predicts that the energy released varies with the inverse of the frequency of that event. This principle simply states that the more powerful an event is then the less frequent
it will happen but the distribution is based on Pareto’s power law, commonly called the 80-20 model or also “the 1/f noise” model. For Pareto the 80-20 power law was applied to economics whereby 20% of the population controls 80% of the wealth and 80% of the population controls 20% of the wealth.

But this self-organized criticality is not limited in length and time scales and “two events are equally likely to act together, whether or not they occur close to each other in space and irrespective of how much time has elapsed between their individual occurrence.” Self- organized criticality is beyond spacetime and energy-mass which leaves only form as the defining trait for music-derived natural science—“the secret of the snake.” This critical “resonance form” issue of quantum chaos fractals is what brings us back to music as the controlling model for science, starting with the mystic shamanic Pythagoreans.

Pythagoras means “man of the snake” and this signifies the sine-wave form of music that creates all resonance. Science is based on deviations of the sine- wave, as Henri Poincare emphasized in his book Science and Hypothesis. The Law of Pythagoras defines the resonance of the sine-wave so that the wavelength amplitude decreases by natural number increases in frequency, the same definition as self-organized criticality. So the interval of
the fourth is three-fourths of a string length, the interval of a fifth is two-thirds and the octave is one-half. This cycle, called the Pythagorean Tetrad, of the ratios 1:2:3:4 (nonlinear 4 to 1 instead of nonlinear 80 to 20) is an infinite spiral. The Tetrad is just a transcultural representation of the Tai Chi symbol, as well as the Ouroborus, the snake eating its own tail, a Freemasonic “chaos out of order,” symbol found world-wide.

Several recent studies have determined that the sine-wave is the key factor for quantum chaos science, another term for applied superstring theory. Nobel physicist Brian Josephson, whose claim to fame is a macro-quantum chaos device, has recently published online essays on how music is the key to science. See for example “Music and Mind—a Theory of Aesthetic Dynamics: On Self-Organization” (Springer series in Synergetics Vol. 61, 1994) Heidelberg: Springer, 280-7. Autoionization, a new technique that enables previously forbidden transitions in quantum mechanics, thereby violating the Pauli exclusion principle, enacts alchemy through resonance of the sine-wave. Adaptive Resonance Theory, a sine-wave meta-algorithm based out of cognitive science, is now used for neural network robotics in dozens of different industries. Similarly, “the spectrum” concept in A.I. software utilizes the law of Pythagoras to incorporate emotions into computers that learn to adapt. In his book The Muse in the Machine (1994) Yale computer science professor David Gelernter, victim of the Unabomber, discusses the “Zombie” illusion behind humans’ amazing capability to “tune” their brains for the sense of I-awareness. Under “the spectrum” logical syntax is high frequency, low amplitude resonance while strong emotions are low frequency, high amplitude resonance. So the home-tone in music has more power, strong emotion of resolution, while the less powerful tension occurs in the higher frequency, lower wave-length tones.

Professor Brian Goodwin in his book Temporal Organization in Cells (1963) discovered the secret of the snake: “the subharmonic oscillation always shows a considerable increase in amplitude over that of the fundamental oscillators so that a very appreciable amplification can occur.” This is called “self-sustainability” in nonlinear quantum chaos science and Goodwin’s principle is the key to pioneering digital biology research recently launched at M.I.T. The 1/0 operators are based on the on/off expression of genes that in turn act as 2:3:4 resonating transducers. Dr. James Narby also expressed this Tetrad concept as a resonance bridge across the transcultural divide in his book The Cosmic Serpent.

Goodwin relies on modeling the sine-wave as the Freemasonic Golden Ratio fractal. The Golden Ratio subdivides as a continuous fraction of 1 plus (1 divided by 1) plus 1 …. which logically is the I- thought derived from axiomatic reasoning. Consider that the formal definition of God, “I Am that I Am” is really 1:2:3:4 with “Am” being also “Aum” and “Amen.” The Gothic cathedrals that are the foundation of Freemasonry are constructed based on the Golden Ratio, as detailed by professor Arnold Pacey in his classic book The Maze of Ingenuity, 1974, reprinted by M.I.T. Press, 1992. In early Greek science the Golden Ratio was expressed as “A is to B as B is to A plus B.” So in music the Golden Ratio is “1 is to 2 as 2 is to 3.” The crucial difference between transcultural resonance in music and western science is that there is no “equi-partition principle” in global music. Number is inherently asymmetric in transcultural music with symmetric or harmonic results for Nature while in western science Number is symmetric and the results of experiments are asymmetric for promoting imperialism.

Proof for the Golden Ratio as imperialism has been recently documented. The article, “The nonlinear and scaled growth of the Ottoman and Roman Empires” by G. Gunduz in The Journal of Mathematical Sociology, 26 (3), 2002 provides the evidence:

“In nature, bacteria exhibit S-shaped growth patterns, and the growth rate obeys the so-called Verhulst equation that can lead to chaotic growth depending on the magnitude of the growth factor…..When the sum of the areas of lands and seas is used, one still gets a similar S-shaped curve. ..This biological phenomena turns out to be true for both the Ottoman and Roman empires. That is, the growth goes slowly at the beginning before sufficient accumulation is achieved….”

Growth then declines in acceleration—hence the nonlinear function which overall fits the “self-organized criticality” of the Golden Ratio. Why?

“The faster the convergence, the faster the stability is achieved. In a special case, the golden ratio is obtained as one of the most slowly convergent infinite sequences of rationals. This is seen from its continued fraction expansion, where [Phi = 1 + (1 divided by 1 plus 1)....].” In axiomatic math it’s assumed that phonetic, logical symbols are “equi-partitioned” based on Number being symmetric—this is the secret of Freemasonic gematria. Again “A is to B as B is to A plus B” applies to symmetric numbers with equal values between 1, 2, 3, 4, etc. In music, the interval between the logical symbol G to C is 3:4, while the interval between the logical symbol C to G is 2:3. Same letters, same interval, but as an inversion. So while “1 is to 2 as 2 is to 3” works for symmetric Number based on phonetic logic, in music theory “1 is to 2 as 3 is to 4” is also the same logical symbols as “A is to B as B is to A plus B” even though this violates “the
exclusion of the middle” logic of Aristotle.

This symmetry versus asymmetry issue is fundamental to how sinusoidal waves are effective in driving evolution—call “the forcing frequency” in Freemasonic engineering. The book Mind and Brain edited by Sir John Eccles’ details how while the sine-wave is the simplest frequency form and how similarly timed wave-forms easily become synchronized but only if there are nonlinear parameters does evolution occur. The crucial insight for the “secret of the snake” sine-wave is that in complex biological systems—like humans—the precise location in space of the oscillation becomes less important the more fundamental the source of wave-form information. So in the extremities of humans information must be very localized in how the oscillations are synchronized—say in the muscles of the feet—but in the brain this is not necessary. This is the principle behind how the new “brain port” technology can work that utilizes “sensory substitution.” Special Forces are using the “brain port” in order to have 360 degree night vision, not limited to space, with their tongues! The brain can easily adapt so that ears can see, etc. The same principle works behind telepathy and telekinesis: How focused synchronized sine-waves create strong amplitude feedback. The ultimate example is the holograph because information is no longer localized since it’s stored as a by-product of sine-wave interference. Holographic computer storage is just becoming commercially available and will be a huge qualitative leap in storage capability.

The crucial importance of the “secret of the snake” is detailed in the science book Control Theory and Biological Systems by Fred S. Grodins (Columbia U Press, 1963):


“The advantages of the frequency method in dealing with higher-order systems extends to their synthesis from simpler components. Thus we noted in Chapter 4 that there is no simple way of combining the known transient responses of the components to obtain the particular transient response of the combination. This is not true of the frequency response. In the steady state, the input to every component block is a sinusodial of the same frequency is the forcing frequency. Each block merely changes the amplitude and phase of this sinusoid. Hence all we have to do to obtain the over-all frequency response of the cascade combination is multiply the gain characteristics and sum the phase characteristics of the component blocks. (pp. 83-4.)

But this otherwise dry promotion of the “secret of the snake” makes some fascinating admissions: “the apparent simplicity of system synthesis by the frequency response method would thus seem to be something of an illusion to the control-system engineer…. there is no simple way to predict transient response from a knowledge of the frequency response.” (p. 98)

In other words if you want an asymmetrical sinusoidal system—“the secret of the snake”—the chaos resumes. As Henri Poincare discovered whenever there’s a three body system that has as one of its variables a diverging value then the system is chaotic. If the variable is infinite time, as is the case for the sine-wave “forced frequency,” then it is divergent and, just as Poincare discovered for the solar system, it’s chaotic.

Natural resonance, through sine-wave form, creates free energy from consciousness beyond spacetime. In quantum mechanics this same resonance paradox of logic was discovered as the “non-commutative principle” for quantum logic. The book Triangle of Thoughts (2000) by top French quantum chaos mathematicians Alain Connes, Andrew Lichnerowicz and Marcel Paul Schutzenberger (M.P.S.) ends with a promotion of music theory as the secret key to solving humanity’s problems. The argument by Alain Connes is that music transmitted aurally is currently in the same stage as when people read out loud—as they did until the 12th Century A.D. Connes states that if people could, as conductor Solti did, read music scores and hear multiple texts in their head “that is inscribed in a time that would no longer be sequential, because a score is a multitude of chords, a tangle projected onto physical time of course, but that manifestly evolves in an higher dimensional space, giving rise to a variability much more pertinent to the description of individual time.”

Alain Connes continues

“And it could be formalized by music….I think we might succeed in this way to educate the human mind to deal with polyphonic situations in which several voices coexist, in which several states coexist, whereas our ordinary logical allows room for only one. Finally, we come back to the problem of adaptation, which has to be resolved in order for us to understand quantum correlation and interrelation which we discussed earlier, and which are fundamentally schizoid in nature. It is clear that logic will evolve in parallel with the development of quantum computers, just as it evolved with computer science. That will no doubt enable us to cross new borders and to better integrate the mathematical formalism of the quantum world into our metaphysical system.”

The same “Quantum Triangle” is analyzed by quantum chaos scientists Ian Stewart and Jack Cohen’s book, Fearful Symmetry wherein Murray Gell-Mann’s Hadron QCD depends on symmetrical rotation of protons, neutrons and many more exotic particles. The rotation occurs literally through the equilateral Pythagorean Tetrad based on the imaginary number graph. The secret of the snake is that the Tetrad form “appears” to be equilateral but is really asymmetric Number resonating as two Pythagorean 3:4:5 triangles from beyond spacetime.

The “equi-partition principle” was found to be first violated in the black box photon experiments, leading to Schrodinger’s psi-wave equations based on de Broglie’s faster-than-light sine-wave called “the pilot wave.” Of course Telsa figured out this secret of the snake as the defining concept of his harmonic oscillator that he claimed could crack the Earth in two! Victor Schauberger also utilized only natural number resonance for his vortex generator based on “cycloid-spiral space-curve motion” whereby suction plus pressure equals reduction of resistance. Nick Redfern, author of Body-snatchers in the
Desert, corresponded with me about the validity of Nick Cook’s claims that Schauberger’s research lead to U.F.O. designed aircraft. Redfern confirmed that British documents show the continued use of esoteric German research.

Indeed in the summer of 1997, I had a very close encounter with an “autoionized” equilateral Pythagorean big black triangle. The new book The God Theory by the editor of the academic Journal of Scientific Exploration notes that Einstein’s theory for stimulated emission in lasers now depends on stimulated emission from the zero-point energy field—nonrandom results from beyond spacetime. Arthur Young, designer of the Bell helicopter and occult technology researcher also rediscovered the Law of Pythagoras by re-examining the i-1 grid of Gauss. “The cube roots of one are the points that divide the circle into three equal parts….But these roots can be expressed in terms of square roots,” Young states in his book Mathematics, Physics and Reality. So the cube root of three (really the Pythagorean ratio 5:4) in an equilateral triangle forces, through resonance, a higher dimension of volume, creating the illusion of a 3- D holographic matrix. John Wheeler, one of the H-bomb engineers, makes the same claim:

“It is marvelous that such simple Pythagorean geometry can display rules even of black hole dynamics,” Wheeler states in his 2000 book Geons, Black Holes and Quantum Foam.

Kepler made this Pythagorean secret the center of his research, as did Newton. When Francis Bacon studied the secrets of the octave he declared: “The Cause is Dark.” The equi-partition of the sine-wave as the “music logarithmic spiral” created “the devil’s interval” whereby the major interval 8:9 cubed approximates the square root of two, thereby connection the Pythagorean Theorem with the Law of Pythagoras. 8:9 cubed also equals the Tritone—the most dissonant interval in the major scale which also bisects the scale. Known historically as the “Devil’s Interval,” the Tritone as 8:9 cubed comes from 2:3 cubed cubed as the 666 principle of the Freemasonic secret of the snake. “In the Harmonice Mundi he [Kepler] reinforces the belief that the Golden Section [or Ratio] is the archetype of generation,” states the book Studies in the Musical Science in the Late Renaissance from the Warburg Institute. It’s commonly supposed that the Bournelli brothers disproved the law of Pythagoras when logarithmic-based statistics was created but Newton knew better.

Newton, an alchemist, realized that the overtones of sound transmute themselves into other types of energy, in contrast to what Galileo claimed. This was recently rediscovered in the article “Newton and the Pipes of Pan” from Notes and Records of the Royal Society of London, 1966. Mario Livio in his definitive book The Golden Ratio makes the crucial mistake of not including music analysis with the connection to the Pythagorean Theorem. So Livio reiterates Kepler’s backing of the natural number-based Golden Ratio but then Livio claims that there is a hidden unit of number underneath the hypotenuse of the natural number golden rectangle! This implies a fourth dimension of space as consciousness, which is indeed the answer to how the Golden Ratio works—through resonance beyond spacetime. Dr. Peter Plichta has figured out this 4th dimensional secret based on the Tetrad natural number resonance. Livio argues that the studies of the Egyptian pyramids prove definitely that there was no use of the Golden Ratio but Livio does not consider that the Egyptian definition for area of a circle used the Law of Pythagoras natural resonance with 8d divided by 9 based on the major tone interval.

Marsilio Ficino, funded by the Medici Dynasty, was the most prominent restorer of the secret of the snake. As discussed in “Ficino, Daemon Mathematics and the Spirit” by professor Michael J.B. Allen, in the book Natural Particulars (M.I.T. Press,1999), Plato’s cosmology is derived from the fact that the music ratio 4:5, the major third, approximates the cube root of three, modeled by the equilateral triangle. “Ficino clearly rejoiced in some at least of the figural extensions (with the puns this term implied) of the Pythagorean mathematics that Timaeus is propounding here. For his own Timeaus commentary explores the implications and arrives at an interpretation that identified the Soul itself as the exemplary triangle, its triple powers corresponding to the three angles and three sides of the archetypal geometric figure.” Allen emphasizes the structural nature of this Freemasonic control: “the notion of roots and powers—that is, of self-division and self-multiplication—suggests that daemonic agency is ever present in the realm of mathematics.” Allen concludes:

“An awareness of this mathematical Platonism (dominated by geometrical ratios) is surely called for if we are ever to establish with confidence the valencies governing early modern science, its artful exploration of Browne’s ‘things artificial.’”

For Kepler the equilateral triangle circumscribing and inscribing two circles was the secret key to modern science. The equilateral triangle is composed of two Pythagorean 3:4:5 triangles and the 4:5 resonance ratio of Saturn and Jupiter were considered to be the foundation for cosmic space-time. In mythology Jupiter is space and Saturn is time (the first planets) and in quantum chaos the 4:5 resonance allows comets and asteroids to periodically destroy all life on earth—life dependent on the 3-D holographic spacetime matrix. Buckyfullerenes are built of equilateral triangles and are the cutting edge technique essential to nanotechnology, considered the next great industrial revolution after steam and electricity. Nanotech is getting the full support of the Bush administration. Buckyfullerenes are not found naturally on Earth, except, as some scientists argue, right before the comet, ushered in by the 4:5 resonance of Saturn and Jupiter, destroyed 90% of life 280 million years ago. Saturn is Kronos as time and Chronos as consciousness beyond time, just as Kala is time in Vedic cosmology and Kali is consciousness beyond time.

Jupiter protects us from comets but quantum chaos cosmology has proven, in the article “Chaotic Heavens: Can mysterious wobbles in Jupiter and Saturn’s orbits spell doom for life on Earth?” of the Feb. 28th, 2004 issue of the magazine New Scientist that the ratio of 2:5 causes asteroids and comets to destroy all life on Earth. Since this is “Order Out of Chaos” it is cyclical (just read Rene Guenon’s anti-Freemason science book The Reign of Quantity) and will happen again but the precise time can not be known.

What gets left out of this cosmology analysis is that the Saturn-Jupiter ratio 4:5 comes from the secret Freemasonic equilateral 3:4:5 ratio for humanistic science that Marsilio Ficino discovered in Plato’s Pythagorean-based cosmological Timaeus. The Solar Dynasty Freemasonic Pyramid Power depends on a four-sided tetrahedral triangle with each side composed of two 3:4:5 triangles—the same structure of Lunar-controlled “free-energy” water molecules as documented in the Philosophical Transactions of the Royal Society of London by physics professor J.L. Finney in his article “What’s So Special about water?” (2004). Once “infinity is contained” by Freemasonic equi-partitioned “squaring of the circle” Solar geometry philosophy, proven by UC-Berkeley math professor Abraham Seidenberg to have an ancient ritual sacrifice history back to 3,000 B.C.E., then a logarithmic, equal-tempered music scale can develop—first created by Archytas for catapults and promoted in Plato’s Timaeus. A Pythagorean analytic geometry model was developed by Galileo for cannons. Galileo was funded by the Medici Dynasty because he argued, as Pacey documents, that his technology would cut down on labor costs. But the equi-partitioned ratios of western science are in dissonance with the Lunar-water free-energy natural resonance.

more chapters at the link

http://mothershiplanding.blogspot.com/
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Old 22-10-2012, 05:48 AM   #6
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Question Role of Comma of Pythagoras comma in creation

I am interested in your Thesis "Epicenter of Justice" Also your ideas on Comma of Pythagoras and symmetry in Gurdjieff law of 3 creation
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Old 22-10-2012, 07:55 AM   #7
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Something dodgy going on here.
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Old 22-10-2012, 11:50 AM   #8
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You know back in the 80s i brought 2 albums by dire straight and the police sting,

Alchemy by dire straights and synchronicity by the Police.

back then listening to the music i knew something wasn't right,

one of the songs on synchronicity by the police on the album was a song called "A little black spot on the sun today" and other songs that made me think about things that now relate to thing happening today,

makes you wonder if the music industry knew something back then or were orchestrating things to happen for now days.
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Old 22-10-2012, 11:54 AM   #9
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Only. Thing on that link is
Drew Hempel is nuts!
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Old 22-10-2012, 11:10 PM   #10
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Cool The Terror of the Situation

All this conspiracy stuff is reality as far as the fate of so called modern man.
What lack intellengence or consciousness does it take to trash a beautiful creation for trinkets and toys and self importance.
The skeptics on man derived contrbution to climate change have lulled the ignorant public into self comforting and worshipping the thermostat so we are probably beyond the tipping point as far as reversing the fate of evolution to date. Hot, Flat ,Crowded and Broke. Only by somehow breaking the C02 or CH4 bond will we be able to pass our genes on to future generations. It may be that the experiment starts over and in a few hundred million years something better evolves. So all the wiseacrering and printing counterfit money by the beaurocrats to passify our anthropocentric greed takes away from the fostering real Work as to living harmoneously with Nature. Well, we engineered ourselves into this situation and maybe collectively we engineer ourselve out. I feel that Drew may be on to something that can't be understood but possibly outside the box higher counscious unpolarized approach? One has to be schizophrenic though(Sci. Am. Oct.12). Hazardous fate or accident though, where is Drew?
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