Thursday, November 19, 2009


Big thanks to Anja for sending me this:

Handel's "Messiah" is very important and should not be a piece of music consecrated strictly to Christianity because that is not what it was meant to be. Handel was involved in the greatest secret societies on the face of the earth that propagated consciousness and energy into knowledge. Handel was a musician, and a brilliant one.

Why is this particular masterpiece a masterpiece? Because he used ancient knowledge handed down to him as an initiate to put together a masterpiece using sound and divine geometry. In propagating the science of the mind, Handel put together sounds that would work geometry into a spectacular symbol. The brain itself, working off of electromagnetic fields around the body, would do the same thing, which he learned in his initiation with the societies he was involved in.

For your investigation, there are tests that were done to Handel's "Messiah" in which the vibrations of the music were run through a metal plate, with probes on the plate that would run the frequency through it. Upon this perfectly and scientifically engineered flat surface were placed metal shards. As the frequency of this masterpiece was fed through this flat surface and the shards of metal were scattered in random chaos, there was an organization coming out of the chaos, a distribution of these shards all through this masterpiece. In the last great part of Handel's "Messiah", in test after test after test, what became apparent towards the last sequence of this masterpiece was that these random shards, chaotically disturbed by frequencies from the music on the plate, created an astounding symbol, a star, the pentagram.

Jesus Christ said, "I am your bright and shining morning star." The morning star was there before the birth of Yeshua ben Joseph. He conformed to become its meaning. Christianity, in its absolute ignorance, considers this symbol a devil. This masterpiece is played at the height of their Christian celebration, yet unbeknown to them the pentagram is forming in their brain.

These are tests that are scientific in nature. They are accessible to all of you. The master of this masterpiece used the frequency of sound to create a propensity of triangles. The sound was based upon the organization of triangles, because triangles are at the heart of the cosmos, all universes, and all dimensions. It takes triangles put together to give the definition of pi in a ratio of circumference. Circles do not just become circles. They are triangles, proportionately designed equally, that when put together at their points create the circle.

Handel, a great master in his studies in his secret society, was way ahead of common composers. He knew that this life gave him a talent for the composition of music and would be his life's work and destiny to take his gift, applied with knowledge and initiation, to produce the greatest piece of music. In order to pass an initiation in a secret college, he created the "Messiah" which would undoubtedly produce a star in the brain of all who would ever hear it.

Did Handel pass his test and take his talent, his destiny in this life, and apply it to the greatest resource of truth? Yes, he did. This masterpiece stands in all time as the greatest, most touching music and attribution to God. It was exactly meant for God. Jesus Christ said, "I am your bright and shining morning star. I was born under a star." He is talking to common people, but to a specific group they understand that it is not some random star in the sky. All of you know the morning star is Venus. But he wasn't referring to Venus. He was referring to a broader context, to Point Zero. He also said, "I am the alpha and the omega. I am the beginning" ¾ the star ¾ "and I am the end." He is speaking about the God who is speaking through him. That is how powerful he knew this knowledge, and it was transformative knowledge. It was knowledge that required him as a man to girdle his loins, come up to that star - Point Zero - and live his life accordingly: "I was once the beginning. I shall be the end. I have girdled my loins. I have sought the highest revenue of the source of my being and have applied that in my life."

Yeshua is but one of many who had that same opportunity. He was born to bring that message, no matter the cost. Handel is the same kind of entity. Handel was born with a talent of words and music. The secret college would say to him, "This is your opportunity in this life. This is your greatest gift. This is your greatest genetics. This is your greatest Spirit, your greatest soul, and in that you must take your great gift and pass the standard of an initiation." Handel composed this work in a time when there was no electronic music being played. There were no probes or perfectly engineered pieces of metal in which sound could travel invisibly over wires without the absolute apparentness of an orchestra that would affect shards of metal and organize that chaos into meaning. He did it when none of this electronic equipment was around.

Handel was indeed a master who created a masterful work. Only in recent technology and science has it been found and put to the test that it cannot be coincidence that his music can organize a thousand shards of metal thrown randomly into a specific symbol without any human hand. The symbol is the pentagram. Handel produced a piece of music that will be played for centuries to come and appreciated even more for the insightful, spiritual, brilliant being that he was. He took his science and talent and left a legacy.

Handel went by another name in his secret college. Creating this music was his initiation. This is a man who passed a test to bring about the extraordinary in his talent. In his initiation, Handel's legacy was to have this completed in one year. He passed the initiation. From his time he has reached our time. His music stands as a symbol of the high holidays. The high holidays represent the highest form of life, a time when we are asked and indeed allowed to live to our greatest accomplishment. The high holidays ring of an ancient truth that were set into being before the foundations of the world were laid.

Excerpt adapted from: Ramtha, I Am Your Bright and Shining Morning Star. Christmas Evening with Ramtha. Ramtha's School of Enlightenment, December 8, 2000.

Copyright © 2008 JZ Knight

Tuesday, November 17, 2009

All Life Depends on the Oceans

~ David Suzuki and Faisal Moola, of the David Suzki Foundation

It's often said that we know as much about Mars and the moon as we do about our oceans. Considering that Earth is 71 per cent ocean, this should be cause for concern. At the very least, we should be doing more to protect our oceans from the negative effects of human activities, even if we don't fully understand all that is happening under the seas.

One thing we do know is that oceans are changing - and the changes aren't for the best. For centuries, we've thought of our oceans as stable. But ocean currents, upwellings, oxygen levels, acidity, and temperature are changing in ways we haven't seen before. Assumptions we once held about the seas are no longer valid.

We've always assumed that oceans would provide us with an endless bounty of food. We rely on our oceans for transportation,.... recreation, and numerous resources. And oceans provide almost half the oxygen we breathe.

The collapse of Canada's Atlantic cod stocks was just one of many warnings we should have heeded. Many West Coast salmon stocks have also disappeared and many are returning in increasingly lower numbers. Even the survival of the very base of the marine food chain, plankton, is being threatened.

Some threats to our oceans are easier to pinpoint than others. Swirling masses of plastic garbage in the oceans - one of them in the North Pacific estimated to be bigger than Quebec - are obvious artifacts of our disposable societies. "Dead zones" are showing up in our oceans around the globe. These are areas where oceans are starved of oxygen because of a nitrogen overdose from agricultural runoff.

Many fish stocks are dwindling, in part because of our appetite for seafood. This is spurring more development in aquaculture - but most fish-farming practices are putting added pressure on oceans and wild fish.

On top of the many direct threats to ocean health we also have climate change to contend with. We know that global warming is causing the oceans to become more acidic. This is a worrisome trend.

As with our atmosphere, too much carbon is resulting in dangerous effects. Carbon dioxide is necessary for photosynthesis,.... which is how plants grow and develop. But when we burn fossil fuels or clear-cut forests, we release too much carbon dioxide into the atmosphere, upsetting the balance. This creates a heat-trapping blanket around the Earth, which contributes to global warming.

The oceans absorb carbon dioxide, keeping some of it from the atmosphere. But while oceans help slow the pace of global warming, they too are absorbing too much carbon dioxide, resulting in disruption of the ocean's pH balance. This increasing acidity causes calcium carbonate to dissolve, affecting life forms including corals, shellfish, and several species of plankton that rely on calcium for their very structure.

Science is confirming that our old assumptions are no longer valid, and we find ourselves in a situation of escalating risk. As a result, we need to look at our oceans in an entirely new way. We can't continue to exploit ocean resources on false assumptions. We need to know more about what's going on. That means investing in science that will help explain the interactions between changing ocean conditions and the species that depend on the seas.

We need a new way to manage our oceans in the face of uncertainty and elevated risk facing marine life. A comprehensive marine-....planning initiative that considers new and evolving science and the evidence of what is actually happening to marine ecosystems would be a good start. This process must be based on a precautionary approach that recognizes increased uncertainty and the fact that our oceans will continue to change as global warming and other human-induced factors continue to affect them.

We can't rely on governments alone to protect the health of our oceans. Industry, nongovernmental.... organizations, First Nations, coastal communities, and governments at all levels must come together to plan and monitor conservation efforts based on science and local community knowledge.

After all, one thing we've learned about Mars and the moon is that we can't move there if we destroy our home on this beautiful and generous planet - in part because they don't have oceans. Neglecting the health of our oceans, where all known life began, is a risk we cannot afford to take.

David Suzuki is a scientist, broadcaster, author, and chair of the David Suzuki Foundation.
Faisal Moola is the director of science at the foundation.

Published by the CBC News, Wednesday, November 11, 2009 | 12:47 PM ET

Monday, November 16, 2009

Earthship Biotecture

Earthships can be built in any climate,
anywhere in the world.
Earthships will keep you comfortable in any climate in the world with little to no utility bills / fossil fuels.

The following can help youunderstand the Earthship concept and how to proceed with it...

Make sure you understand what makes an Earthship an Earthship.

An Earthship is defined by the following 6 principles:

* Thermal/Solar Heating & Cooling
* Solar & Wind Electricity
* Contained Sewage Treatment
* Building with Natural & Recycled Materials
* Water Harvesting
* Food Production

Comfort in Any Climate
The concept of thermal mass buildings works both to cool and to heat a home. Earthships keepyou comfortable in any climate, anywhere in the world.

Earthship Biotecture design principle: 'Thermal/Solar Heating & Cooling' details how earthships maintain comfortable temperatures in any climate.

Earthship Biotecture on CBS. 10/9/08

The Universal Music System (patent pending)

Our minds develop from the information we gain through our senses. Since our sense use the natural language, then the development of our mind is dependent upon the natural language. Our perception and interpretation of all things is based on the natural language. The goal of metaphysics is to knowledgeably unify the developments in our mind, with the natural structures of our senses, and the natural structures found in the physical universe. We then have a clear path to follow. If we want to truly understand these connections we will need to do more than simply think about the relationships - we will need to experience them. This is where music metaphysics shines. The study of the metaphysics of music allows the individual to physically experience the natural structures of the natural language and gain new insights and meaning.
The most fundamental element of music metaphysics is its language. The proper music language must perfectly describe the natural language found in our senses and in our sensory developed minds. It must be properly tuned to the natural structures upon which the material and spiritual world are formed. If the language is not so tuned, the metaphysic experience will be greatly diminished for, although we may be able to appreciate music, we will not be able to understand it, and we will not be able to receive the full mind, body, spirit effect.
The first step in developing the natural music language is to understand that music is a system of sound frequencies which are fundamentally described by numbers. If we hit a piano key, the key moves a lever which hits a string inside the piano. The string vibrates at a fundamental frequency we might arbitrarily call 1. As it naturally vibrates it naturally produces a frequency we would then call 2. If the first note we played was called ‘C’, then the frequency we called 2 will also be called ‘C’. This is a first principle of the music language called identity. Each multiple of 2 is recognized as an identity of the fundamental 1. So, in order to properly identify this property of identity, we form a musical staff and a keyboard that reflects this property of identity. On the staff we mark octaves as octave 1, octave 2, 3, 4, 5, and so on. Next to the octave number, we can place a design with a short line running through it to identify an octave note. Since we perceive each octave as a perceptually equal step, then we separate the octaves by visually equal amounts.
The next step is to identify the natural musical tones. It turns out that the natural language defines unique musical tones by multiples of the number 3. If we begin with 1 and continue to multiply by 3’s we will generate 12 unique tones before we repeat the first tone at the 12th multiple of 3. Thus there are 12 fundamental tones.
How are we going to identify the 12 fundamental tones? We could identify them by number, but numbers easily get complex and unwieldy, and do not transmit as much information as we would like. We could identify them by their structural order, but what order? Since we are trying to come up with some visual means of identification, then the most fundamental and natural language device we could use will be the language of our sight. Our natural visual language is the language of color. The fundamental relationship between color and musical notes is the relationship between consecutive colors and multiples of 3.

In one single step, by using the 12 fundamental colors to represent the 12 fundamental musical notes and the 12 fundamental numbers, we can instantly imbue notes with their natural recognizable meaning. For example, if you see the note identifications A and E, can you naturally understand anything about them? But if you see the note yellow-orange and yellow, you instantly understand that they are closely related notes because they are also closely related colors. In the same way, if you see the notes yellow and violet, you will instantly recognize that they are distantly related colors. And this is just the beginning. With just a little more knowledge of color and color relationships, the entire system of music opens up to us like a blooming flower. We call this opening vision a crystalization because the natural structures of the universe crystalize to perfection before our very eyes.
The next step is to understand the natural harmonic development of color. Clearly frequencies or numbers do not develop simply by multiples of 3. In other words, before we count the numbers 1, 3, 9, 27, 81, ...., we count the numbers 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, .... It turns out that the natural harmonic pattern of color, called the chromatic color circle, is a series of alternating colors.
In the chromatic color pattern, consecutive notes are distantly related. What is then needed is some kind of visual pattern that identifies this distant relationship. The most fundamental visual definition of opposites is black and white. Therefore, we will identify consecutive chromatic colors by a black and white grid pattern. Of course octaves still need to be identified so one of the black segments is converted to gray.

Using the black and white pattern, it is now possible to design a notation grid that perfectly corresponds to the natural chromatic pattern. Each of the 12 fundamental chromatic notes has a uniquely placed white space or black line. The reference octave note has a short line through it to emulate the gray grid position. Each of the 12 fundamental chromatic notes has a unique color to properly identify it.

Because of the perfect correspondence between the keyboard, the musical staff, and the natural language, the keyboard and staff system are the perfect system to learn about music metaphysics, or about music generally. Although we will not go into details here, we can discuss some of the general principles of this natural system and its implications.
One of the most fundamental applications of color is musical key. Natural groupings of consecutive colors form natural groupings of musical notes into keys. This property allows the metaphysical student access to much greater insight into the structure and relationships of musical key (see essay on musical key). Although not historically understood, it is the properties of color that composers use to create music. Simply put, the more we understand color, the more we understand music structures and by extension the natural language.
The black and white grid pattern is all about symmetry. Unlike traditional music systems, in this natural system a musical key will have the same pattern no matter which note it starts with. For example, the major musical scale will always be either 3 black keys followed by 4 white keys, or 3 white keys followed by 4 black keys (the gray key is associated with the black keys). Once you have this pattern it is a simple process to run the pattern through the many inversions and mirror images that naturally occur within the natural language and within our physical and spiritual self (see the scale ring below).
Finally, the system design incorporates principles of energy flow which we call color current or music current. Well designed musical compositions have intuitively applied cycles of current which we can easily feel as energy flowing through our bodies. The natural music system incorporates the natural energy flow within its design so that it becomes much easier to understand and knowledgeably use.
When all of these principles and many more, discovered by studying music metaphysics, are incorporated into our lives, we enter a level of understanding and experience that far surpasses what has previously been available to us. The study of music metaphysics is literally the key to unlocking the secrets of the universe.

Musical Key

The use of the word key is not arbitrary. Key means a device that unlocks secrets or makes the inaccessible become accessible. Musical key is the highest level of natural language organization and, when understood, gives the greatest insight into how and why the universe works so perfectly.
One of the most profound uses of musical key is to describe and mark the passing of time. Musical keys and colors were used prominently in ancient cultures for the ritual of timekeeping. It gave individuals the ability to feel and understand the natural differences between hours, days, months, seasons and years.
But time keeping is only the tip of the iceberg. The natural rhythms of time really describe the natural vibrations of our solar system, our planet, our society, our family, and ourselves. They define the very nature of the astrological signs and their meaning and system of relationships. The system of musical notes and musical keys helps us understand these natural rhythms and their system of relationships.
The simplest explanation of musical key comes from the color circle. Any circle is a wave, and with any wave, we can only perceive half of the wave at any given time. Otherwise we experience a phenomenon called destructive interference. When we consider half of a 12 tone color circle, we find that it is composed of 7 consecutive colortones which form the tones of the fundamental musical keys. For example, the key of E Major contains the scale A, E, B, F sharp, C sharp, G sharp, and D sharp.

Some examples of the historical and natural use of the 7 key tones are the formation of the 7 day week, and the use of the musical scale ring composed of 4 keys or 28 days to mark the woman’s menstrual cycle and the orbital period of the moon (272 days). At an advanced level, each 28 day cycle represents one color, and in a years time, 13 such cycles occur which means that each new year begins with a new color, and after 12 years, the color cycle repeats.
Musical key and its properties affect relationships. If you are born in a yellow month, you will have particular relationships with individuals in other months as defined by the harmonic key system. The greater knowledge one has of this key system, the more capable they will be at bridging the natural gaps between themselves and other individuals. And, in a general way, the more capable they will be at experiencing the fullness of each month and season.
In ancient times the study of musical keys was paramount. Entire societies would tie themselves to a specific tone and the specific organization of keys emanating from that tone. Thus everyone in the society would be in tune with the fundamental societal vibration. And, of course, the societal vibration would be in tune with their place in the material and spiritual universe.

The scale ring

One of the fundamental organizations of music takes place in the alpha wave, a foundation structure in the building of the material universe. Within the alpha wave, several groupings of four keys exist which we call scale rings. The purpose of the scale ring is to provide a path for energy to flow in and between the four sections of the alpha wave. In general, according to ancient sources, the scale ring property is meant to define the life cycle (birth, living, dying, and death), the daily cycle (morning, afternoon, evening, and night), and the seasons of the year (spring, summer, fall, and winter). In the menstrual cycle, it represents the birth of the egg, the life of the egg, the dying of the egg, and the death/disposal of the egg.
The primary scale ring is composed of an overtone major scale, an overtone minor scale, an undertone major scale, and an undertone minor scale, each composed of the same set of 7 notes, arranged in different order. For example, if the C overtone Major key is defined as the birth, then the A overtone Minor key is defined as the living, the E undertone Major key is defined as the dying, and the G undertone Minor key is defined as the death. So that you can understand the nature of the life cycle bound in this grouping of keys, we have transformed the song “Good Morning Merry Sunshine” into the four keys of the scale ring. The song begins in the key of C overtone Major, cycles through the four keys, and then ends by returning to the key of C overtone Major. What you should be listening for are not only the changes between consecutive keys, but between the first two overtone keys, compared to the second two undertone keys, and the perceived tension of the fourth key (the death key).

The Unification Key

In ancient China, a foundation tone was established to represent the vibration of the entire nation. This tone, referred to as the huang chung (literally translated as ‘yellow bell’), was considered to be the audible vibration of the cosmic energy, matter, and spirit. The vibration of the yellow bell was the foundation of Chinese music and was used to create resonance between individuals and the cosmos in a variety of ways. It is not known how the sound frequency of the yellow bell was determined but what is important is the measurable effect which it created for individuals within Chinese society. These effects are easily obtainable today through an understanding of the natural language and its application in music. For example, everyone has a specific vibration and color by which they are defined. Through music metaphysics, an individual can create music in the form of songs or meaningful patterns which are in resonance with the individuals vibration and color. One such example is the ability to create a key of tones where every tone of the key is the same color and the tonic of the key corresponds to the individuals vibration.
The unification key is founded on a fundamental principle of the universe which we might easily describe by the terms male and female. From the very beginning, and throughout the long journey of creation, male and female principles are united to form stability and greater complexity. At our advanced level of creation, our physical, mental, and spiritual beings are also composed of male and female sides, and the unification key is one way to unite these two halves into a single perfect entity.
The principle of the unification key begins with the fact that there exists two sets of 12 colors, one being male, and the other female. If we begin with the female colors we can find the male colors by looking at the exact center between each of the 12 female colors. For example, the exact center between the female yellow and the female red-violet, is the male blue-green-blue. The color or tone range between tones such as C and C# is called the microtone range and represents the synthesis or union of the male and female colors.

The natural division of the microtone range is by 7 microcolor steps. This division clearly identifies one of the sexes and only indirectly identifies the opposite sex which means that it keeps the sexual identity intact while allowing the two systems
to interact or bond.

Using the seven step microcolor range between consecutive chromatic tones, a series of same color tones can be identified. Starting with the female E (yellow) tone, a total of seven yellow tones are identified before they repeat at the octave or replicate of the female E tone. These seven tones form the yellow microtone key or the yellow male:female key, or the yellow unification key.
The unification key allows us to transcend our normal patterns of operation as either male or female, and experience the unity of the universe. This is not an asexual experience but a true union of being that opens inner doors that might otherwise be difficult to find and pass through.
At a much deeper level, this key provides a means of following paths of energy that naturally transit back and forth between the male and female sides of the universe. The ancients described such motion as riding the light.

Click here to hear the C (red) unification scale.


Music Metaphysics

Metaphysics, as Aristotle asserted, is founded on the belief that there is a supreme science, wisdom, philosophy, or theology which seeks to explain the origin, nature, and structure of being and the material universe. Within the universe there are three natural languages which perfectly describe the supreme science - music, color, and numbers. Music Metaphysics is the study of these natural languages through the medium of music which enables one to explore, understand, and tangibly experience ideas of science, wisdom, philosophy, and theology while enjoying the affections that music provides.

The study of music metaphysics is achieved through a variety of resources. These include; musical instruments, notation systems, and songbooks which implement the combined languages of color, number, and sound; and a working knowledge of the various elements of music which are revealed by the natural language. Through study, the individual will learn that the structures which underlie music composition are the same structures that are found within ourselves and our environment. This knowledge allows the individual to musically create and mimic these natural structures which provides understanding as well as an intimate interconnection, attunement, and resonation with natures life force.

Friday, November 13, 2009

Reality Shift

by Sandra Sayahda Viola

How many times have you wanted to change something
in your life but no matter how hard you tried you always
fell back into old patterns? We always start out with good
intentions but in the end our old beliefs and habits return.
This can be very frustrating. The more we try and fail the
more insecurity sets in. Insecurity paralyzes our creative
process and limits our true capabilities. How can we change
our reality if we are unable to break out of old habits?

As we grow older our brain becomes hardwired and fixed
on specific thoughts and ideas. These thoughts and ideas
represent our experiences both past and present. The brain
holds onto those fixed thoughts. It's difficult to rewire our
brain to accept new ideas because the brain likes
repetition. We can continue to use new affirmations
and hope the brain will eventually accept them. If an
idea has been present in your life for a very long time
don't expect the brain to release that idea quickly without
changing other things in your life first.

In order to change thoughts, habits or patterns, we need
to change the environment that houses that old energy.
The idea of change means we are going to do something
differently. New creations need a "new" support system.
Bringing new ideas or situations into an old environment
doesn't work. Our personal environment needs to undergo
a change to compliment what we are trying to create.

The simple act of removing or adding something in
your personal environment sets the stage for change.
The more you add or subtract objects in your environment
the more you enable the changes you are trying to attain.
All objects hold energy to a larger or lesser degree.
The bigger the object is doesn't necessarily mean the
more energy it holds. When you are adding or subtracting
objects pay attention to its color as well as the objects
shape as all of these things influence the result.

Adding an object that wasn't there before changes the
energy of that particular space. The same is true of
taking something out of that space. As different energy
begins to filter into your environment old ideas and
patterns no longer have the support system they once
did. Without the old support system the brain must
update its data as it unplugs itself from the old.
This process allows new ideas and thoughts to enter.
When your environment is stagnate change cannot occur.

Update, rearrange and modify your personal environment
before you implement change through your thoughts and
ideas. In this way you will find that changing your reality
will be easier and more creative.