THE SACRED GEOMETRY IN HANDEL’S MESSIAH

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

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.


Source

David Wilcock - 2012 Enigma

The Music of Atomic Shapes

taken from the article: Geometry,Music and Healing by Ani Williams


Five basic three dimensional geometric forms are found to represent the five elements in creation: The tetrahedron–fire, the cube–earth, the octahedron--air, the dodecahedron–ether, and the icosahedron–water, as shown in order here:


These five Platonic solids comprise the constantly changing dance of creation, the alchemical dance of the elements. "In bringing order to the universe the Creator gave geometric forms to the atoms….interacting with human senses to produce appearances and feelings." John Michell

I was able to experience the ‘musical proportions’ of Platonic solids many years ago, when I was studying with Michael Helios, who I consider to be a reincarnated Atlantean wizard. Helios’ early pioneering research in music, mathematical proportions, astronomy and healing became one of my areas of study in sound healing during the early 1990’s. Helios had discovered the musical proportions and corresponding tone scales of the each of the Platonic shapes, which included tuning his keyboard to specific frequencies to achieve the exact proportions.

During his presentations Michael would play the scales and geometries of each shape and the participants would meditate on the five different musical pieces, without his disclosing which geometric shape he was playing. After each piece, the listeners would describe which of the shapes they experienced. It was quite extraordinary, that every Platonic solid was directly perceived, felt, and ‘seen’ with the inner eye during each of the five musical meditations. This was my first experience of realizing the power of musical transmission and its potential to specifically re-order creation. This is exactly what the ancient mystics and scientists were telling us!

I was especially profoundly affected by the Dodecahedron, and while Helios played the musical proportions, I felt as if I ‘became’ this geometric solid, and this shape and I became the Great Mother matrix of the universe. The dodecahedron can be seen to represent the order of the heavens and also the perfect shape of mediation between the infinite and the finite, the sphere and the cube.

The dodecahedron is comprised of twelve pentagonal (five-sided) faces, and represents the fifth sacred element, ether, or divine potentiality. Recently, quantum physics researchers in the US and France have said that based on measurements of cosmic waves left over from the ‘big bang’, it appears that the shape of the universe is a Dodecahedron. This is fascinating, considering there are five platonic solids and the corresponding five basic elements of life. The entire human race is joined in these same basic sacred proportions of the physical body as it is overlaid in a pentagram, with the arms and legs spread to make a five-pointed star, with the reproductive organs at the exact center. And there are five appendages from the human torso, five appendages on each leg and arm, five openings on the face, and five senses of physical perception.

If we can imagine the dodecahedral-pentagonal shape of the uni-verse (meaning one song), and see the human body pentagram geometry, we find in both a divine proportion and potential for harmonic perfection, inherent in physical embodiment and the harmony of the spheres. We embody the geometry of the cosmos! And we find that the Golden Mean proportions of the cosmos and our body temples are closely aligned with the harmony of the musical ‘fifth’, or stated another way, the universe and humanity are geometries singing!

"One of the properties of the pentagram is that the lines bisect each other according to the Golden Section …the ideal human proportions lie in the canon defined by the Golden Section or PHI." Nicholas Mann’s ‘Sedona Sacred Earth’.







full article

BUCKMINISTER FULLER

If success or failure of this planet and of human beings depended on how I am and what I do... HOW WOULD I BE? WHAT WOULD I DO?—Buckminster Fuller

The Temple Was the Teaching

Magical Ancient Egypt
4-1

"The temple was the teaching". A look at the ancient Egyptian temple as an interactive repository of ancient teaching. After more than 17 years onsite at Luxor Temple, the enigmatic mathematician, philosopher and modern-day alchemist R. A. Schwaller de Lubics discovered a key that unlocks a timeless teaching encoded in stone. Does Luxor temple conseal an ancient teaching about the metaphysical anatomy of man? West explores the controversial findings of Schwaller de Lubics and the biometric data he discovered hidden in this remarkable temple.




..


An obscure and very ancient ruin in the deep Egyptian desert is found to contain an accurate sculpture of our Milky Way galaxy as well as 23 of it’s neighbors. It also shows the trajectory and ACCURATE DISTANCES to significant stars in the constellation of Orion. Could this be an alien artifact? Astrophysicist and archeo-astronomer Thomas G. Brophy presents his bombshell discovery.





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Old Kingdom and Older Kingdom Still John Anthony West explores architectural anomalies and other evidence of an advanced civilization predating the ancient Egyptians. Across Egypt, the many architectural, engineering, artistic and scientific wonders still defy explanation.

The mysterious Oserion appears to already have been an ancient ruin when it was “uncovered” by Seti I during the construction of the Temple of Abydos in first Dynasty. New developments in the “age-of-the-sphinx” debate. In the Cairo museum is a stella which describes reparations to the great sphinx performed by the Father of the traditionally credited builder. Does the great sphinx conseal its own date of construction in the age of Leo?


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A growing body of evidence is suggesting a missing chapter in human history. Symbolist author and Egyptologist John Anthony West explores evidence of a sophisticated science behind the unexplainable accomplishments of Ancient Egypt. Was Ancient Egypt the inheritor of a body of scientific and spiritual knowledge from an even earlier civilization?

Author and mathematician Michael S. Schneider discusses organic geometry and the role of the fibonacci number series in growing life. West then demonstrates the presence of the fibonacci series in the stages of construction of the temple of Karnak - also known as the “House of Life”.




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Nassim Haramein - Fractal Structure Of The Universe

Turning Your Senses Inwards Connects You With Your Infinate Nature.


Infinate Division Leads Towards Singularity.


If the Universe Is Expanding It Must Also Be Contracting In Order To Remain In Equilibrium.


The External Part Of Our Existance Is The Expansive Part. Everything We See As Reality Is Illusionary And Appears Convex Due To The Radiating Electromagnetic Emmisions Of Energy Into The Vacuum.


The Vacuum Is The Constractive Side Of The Structure Of Reality. This Concave Part We Dont See Because It Is Contracting Towards Infinity And Moving Away From Us. This Is Why It Appears As The Vacuum. We Live Inside A Black Hole. It Is The Internal Part Of Our Existance Heading Towards Singularity And It Generates The Gravitational Field.

1+1=1

One of the most central of ideas of objective knowledge is the idea of unity of everything, of unity in diversity. From ancient times people who have understood the content and the meaning of this idea, and have seen in it the basis of objective knowledge, have endeavored to find a way of transmitting this idea in a form comprehensible to others. The successive transmission of the ideas of objective knowledge has always been a part of the task of those possessing this knowledge. In such cases the idea of the unity of everything, as the fundamental and central idea of this knowledge, had to be transmitted first and transmitted with adequate completeness and exactitude. And to do this the idea had to be put into such forms as would ensure its proper perception by others and avoid in its transmission the possibility of distortion and corruption.... Realizing the imperfection and weakness of ordinary language the people who have possessed objective knowledge have tried to express the idea of unity in "myth," in "symbols," and in particular "verbal formulas" which, having been transmitted without alteration, have carried on the idea from one school to another, often from one epoch to another....

The symbols that were used to transmit ideas belonging to objective knowledge included diagrams of the fundamental laws of the universe and they not only transmitted the knowledge itself but showed also the way to it. The study of symbols, their construction and meaning, formed a very important part of the preparation fro receiving objective knowledge and it was in itself a test because a literal or formal understanding of symbols at once made it impossible to receive any further knowledge....







The understanding of symbols can be approached in the following way: In studying the world of phenomena a man first of all sees in everything the manifestation of two principles, one opposed to the other, which, in conjunction or in opposition, give one result or another, that is, reflect the essential nature of the principles which have created them.







This manifestation of the great laws of duality and trinity man sees simultaneously in the cosmos and in himself. But in relation to the cosmos he is merely a spectator and moreover one who sees only the surface of phenomena which are moving in various directions though seeming to him to move in one direction. But in relation to himself his understanding of the laws of duality and trinity to the permanent line of struggle with himself on the way to self-knowledge.







In this way he will introduce the line of will first into the circle of time and afterwards into the circle of eternity, the accomplishing of which will create in him the great symbol known by the name of the Seal of Solomon.









The transmission of the meaning of symbols to a man who has not reached an understanding of them in himself is impossible. This sounds like a paradox, but the meaning of a symbol and the disclosure of its essence can only be given to, and can only be understood by, one who, so to speak, already knows what is comprised in this symbol. And then a symbol becomes for him a synthesis of his knowledge and serves him for the expression and transmission of his knowledge just as it served the man who constructed it.









The more simple symbols:




or the numbers 2, 3, 4, 5, 6, which express them, possess a definite meaning in relation to the inner development of man; they show different stages on the path of man's self-perfection and of the growth of his being.









Man, in the normal state to him, is taken as a duality.







He consists entirely of dualities or "pairs of opposites." All man's sensations, impressions, feelings, thoughts, are divided into positive and negative, useful and harmful, necessary and unnecessary, good and bad, pleasant and unpleasant. The work of centers proceeds under the sign of division. Thoughts oppose feelings. Moving impulses oppose instinctive craving for quiet. This is the duality in which proceed all perceptions, all the realizations, the whole life of man. Any man who observes himself, however little, can see this duality in himself.













But this duality would seem to alternate; what is victor today is the vanquished tomorrow; what guides us today becomes secondary and subordinate tomorrow. And everything is equally mechanical, equally independent of will, and leads equally to no aim of any kind. The understanding of duality in oneself begins with the realization of mechanicalness and the realization of the difference between what is mechanical and what is conscious. This understanding must be preceded by the destruction of the self-deceit in which a man lives who considers even his most mechanical actions to be volitional and conscious and himself to be single and whole.









When self-deceit is destroyed and a man begins to see the difference between the mechanical and the conscious in himself, there begins a struggle for the realization of consciousness in life and for the subordination of the mechanical to the conscious.







For this purpose a man begins with endeavors to set a definite decision, coming from conscious motives, against mechanical processes proceeding according to the laws of duality.







The creation of a permanent third principle is for man the transformation of duality into the trinity.









Strengthening this decision and bringing it constantly and infallibly into all those events where formerly accidental neutralizing "shocks" used to act and give accidental results, gives a permanent line of results in time and is the transformation of trinity into quaternity.







The next stage, the transformation of quaternity into quinternity and the construction of the pentagram has not one but many different meanings even in relation to man. And of these is learned, first of all, one, which is the most beyond doubt, relating to the work of centers.












The development of the human machine and the enrichment of being begins with a new and unaccustomed functioning of the machine. We know that a man has five centers: the thinking, the emotional, the moving, the instinctive, and the sex. The predominant development of any one center at the expense of the others produces an extremely one-sided type of man, incapable of further development. But if a man brings the work of the five centers within him into harmonious accord, he then "locks the pentagram within him" and becomes a finished type of the physically perfect man. The full and proper functioning of the five centers brings them into union with the higher centers which introduce the missing principle and puts man into direct and permanent connection with objective consciousness and objective knowledge.









And then man becomes the six-pointed star, that is, by becoming locked within a circle of life independent and complete in itself, he becomes isolated from foreign influences or accidental shocks; he embodies in himself the Seal of Solomon.













In the present instance the series of symbols given ---2, 3, 4, 5, and 6--- is interpreted as applicable to one process. But even this interpretation is incomplete, because a symbol can never be fully interpreted.







It can only be experienced, in the same way, for instance, as the idea of self-knowledge must be experienced....

As was mentioned earlier, in symbology, as represented, numbers are connected with definite geometrical figures, and are mutually complementary one to another.







In the Cabala a symbology of letters is also used and in combination with the symbology of letters a symbology of words.







A combination of the four methods of symbolism by numbers, geometrical figures, letters, and words, gives a complicated but more perfect method.












Then there exists also a symbology of magic, a symbology of alchemy, and a symbology of astrology as well as the system of the symbols of the Tarot which unites them into one whole.









Each one of these systems can serve as a means for transmitting the idea of unity. But in the hands of the incompetent and ignorant, however full of good intentions, the same symbol becomes an "instrument of delusion.







" The reason for this consists in the fact that a symbol can never be taken in a final and definitive meaning. In expressing the laws of unity of endless diversity a symbol itself possesses an endless number of aspects from which it can be examined and it demands from a man approaching it the ability to see it simultaneously from different points of view.











Symbols which are transposed into the word of ordinary language become rigid in them, they grow dim and very easily become "their own opposites," confining the meaning within narrow dogmatic frames, without giving it even the very reflective freedom of a logical examination of a subject. The cause of this is in the literal understanding of symbols, in attributing to a symbol a single meaning. The truth is again veiled by an outer covering of lies and to discover it requires immense efforts of negation in which the idea of the symbol itself is lost. It is well known what delusions have arisen from the symbols of religion, of alchemy, and particularly of magic, in those who have taken them literally and only in one meaning.













At the same time the right understanding of symbols cannot lead to dispute.







It deepens knowledge, and it cannot remain theoretical because it intensifies the striving towards real results, towards the union of knowledge and being, that is to the Great Doing.







Pure knowledge cannot be transmitted, but by being expressed in symbols it is covered by them as by a veil, although at the same time for those who desire and who know how to look this veil becomes transparent.










{Excerpt from P.D.





Oupensky's, In Search of the Miraculous: Fragments of an Unknown Teaching}

Sacred Geometry - by Bruce Rawles

In nature, we find patterns, designs and structures from the most minuscule particles, to expressions of life discernible by human eyes, to the greater cosmos. These inevitably follow geometrical archetypes, which reveal to us the nature of each form and its vibrational resonances. They are also symbolic of the underlying metaphysical principle of the inseparable relationship of the part to the whole. It is this principle of oneness underlying all geometry that permeates the architecture of all form in its myriad diversity. This principle of interconnectedness, inseparability and union provides us with a continuous reminder of our relationship to the whole, a blueprint for the mind to the sacred foundation of all things created.

The Sphere

(charcoal sketch of a sphere by Nancy Bolton-Rawles)

Starting with what may be the simplest and most perfect of forms, the sphere is an ultimate expression of unity, completeness, and integrity. There is no point of view given greater or lesser importance, and all points on the surface are equally accessible and regarded by the center from which all originate. Atoms, cells, seeds, planets, and globular star systems all echo the spherical paradigm of total inclusion, acceptance, simultaneous potential and fruition, the macrocosm and microcosm.

The Circle

The circle is a two-dimensional shadow of the sphere which is regarded throughout cultural history as an icon of the ineffable oneness; the indivisible fulfillment of the Universe. All other symbols and geometries reflect various aspects of the profound and consummate perfection of the circle, sphere and other higher dimensional forms of these we might imagine.

The ratio of the circumference of a circle to its diameter, Pi, is the original transcendental and irrational number. (Pi equals about 3.14159265358979323846264338327950288419716939937511...) It cannot be expressed in terms of the ratio of two whole numbers, or in the language of sacred symbolism, the essence of the circle exists in a dimension that transcends the linear rationality that it contains. Our holistic perspectives, feelings and intuitions encompass the finite elements of the ideas that are within them, yet have a greater wisdom than can be expressed by those ideas alone.

The Point

At the center of a circle or a sphere is always an infinitesimal point. The point needs no dimension, yet embraces all dimension. Transcendence of the illusions of time and space result in the point of here and now, our most primal light of consciousness. The proverbial "light at the end of the tunnel" is being validated by the ever-increasing literature on so-called "near-death experiences". If our essence is truly spiritual omnipresence, then perhaps the "point" of our being "here" is to recognize the oneness we share, validating all "individuals" as equally precious and sacred aspects of that one.

Life itself as we know it is inextricably interwoven with geometric forms, from the angles of atomic bonds in the molecules of the amino acids, to the helical spirals of DNA, to the spherical prototype of the cell, to the first few cells of an organism which assume vesical, tetrahedral, and star (double) tetrahedral forms prior to the diversification of tissues for different physiological functions. Our human bodies on this planet all developed with a common geometric progression from one to two to four to eight primal cells and beyond.

Almost everywhere we look, the mineral intelligence embodied within crystalline structures follows a geometry unfaltering in its exactitude. The lattice patterns of crystals all express the principles of mathematical perfection and repetition of a fundamental essence, each with a characteristic spectrum of resonances defined by the angles, lengths and relational orientations of its atomic components.

The Square Root of Two

The square root of 2 embodies a profound principle of the whole being more than the sum of its parts. (The square root of two equals about 1.414213562...) The orthogonal dimensions (axes at right angles) form the conjugal union of the horizontal and vertical which give birth to the greater offspring of the hypotenuse. The new generation possesses the capacity for synthesis, growth, integration and reconciliation of polarities by spanning both perspectives equally. The root of two originating from the square leads to a greater unity, a higher expression of its essential truth, faithful to its lineage.

The fact that the root is irrational expresses the concept that our higher dimensional faculties can't always necessarily be expressed in lower order dimensional terms - e.g. "And the light shineth in darkness; and the darkness comprehended it not." (from the Gospel of St. John, Chapter 1, verse 5). By the same token, we have the capacity to surpass the genetically programmed limitations of our ancestors, if we can shift into a new frame of reference (i.e. neutral with respect to prior axes, yet formed from that matrix-seed conjugation. Our dictionary refers to the word matrix both as a womb and an array (or grid lattice). Our language has some wonderful built-in metaphors if we look for them!

The Golden Ratio

The golden ratio (a.k.a. phi ratio a.k.a. sacred cut a.k.a. golden mean a.k.a. divine proportion) is another fundamental measure that seems to crop up almost everywhere, including crops. (The golden ratio is about 1.618033988749894848204586834365638117720309180...) The golden ratio is the unique ratio such that the ratio of the whole to the larger portion is the same as the ratio of the larger portion to the smaller portion. As such, it symbolically links each new generation to its ancestors, preserving the continuity of relationship as the means for retracing its lineage.

The golden ratio (phi) has some unique properties and makes some interesting appearances:

• phi = phi^2 - 1; therefore 1 + phi = phi^2; phi + phi^2 = phi^3; phi^2 + phi^3= phi^4; ad infinitum.
• phi = (1 + square root(5)) / 2 from quadratic formula, 1 + phi = phi^2.
• phi = 1 + 1/(1 + 1/(1 + 1/(1 + 1/(1 + 1/(1 + 1/...)))))
• phi = 1 + square root(1 + square root(1 + square root(1 + square root(1 + square root(1 + ...)))))
• phi = (sec 72)/2 =(csc 18)/2 = 1/(2 cos 72) = 1/(2 sin 18) = 2 sin 54 = 2 cos 36 = 2/(csc 54) = 2/ (sec 36) for all you trigonometry enthusiasts.
• phi = the ratio of segments in a 5-pointed star (pentagram) considered sacred to Plato and Pythagoras in their mystery schools. Note that each larger (or smaller) section is related by the phi ratio, so that a power series of the golden ratio raised to successively higher (or lower) powers is automatically generated: phi, phi^2, phi^3, phi^4, phi^5, etc.

• phi = apothem to bisected base ratio in the Great Pyramid of Giza
• phi = ratio of adjacent terms of the famous Fibonacci Series evaluated at infinity; the Fibonacci Series is a rather ubiquitous set of numbers that begins with one and one and each term thereafter is the sum of the prior two terms, thus: 1,1,2,3,5,8,13,21,34,55,89,144... (interesting that the 12th term is 12 "raised to a higher power", which appears prominently in a vast collection of metaphysical literature)

The mathematician credited with the discovery of this series is Leonardo Pisano Fibonacci and there is a publication devoted to disseminating information about its unique mathematical properties, The Fibonacci Quarterly

Fibonacci ratios appear in the ratio of the number of spiral arms in daisies, in the chronology of rabbit populations, in the sequence of leaf patterns as they twist around a branch, and a myriad of places in nature where self-generating patterns are in effect. The sequence is the rational progression towards the irrational number embodied in the quintessential golden ratio.

This most aesthetically pleasing proportion, phi, has been utilized by numerous artists since (and probably before!) the construction of the Great Pyramid. As scholars and artists of eras gone by discovered (such as Leonardo da Vinci, Plato, and Pythagoras), the intentional use of these natural proportions in art of various forms expands our sense of beauty, balance and harmony to optimal effect. Leonardo da Vinci used the Golden Ratio in his painting of The Last Supper in both the overall composition (three vertical Golden Rectangles, and a decagon (which contains the golden ratio) for alignment of the central figure of Jesus.

The outline of the Parthenon at the Acropolis near Athens, Greece is enclosed by a Golden Rectangle by design.

The Square Root of 3 and the Vesica Piscis

The Vesica Piscis is formed by the intersection of two circles or spheres whose centers exactly touch. This symbolic intersection represents the "common ground", "shared vision" or "mutual understanding" between equal individuals. The shape of the human eye itself is a Vesica Piscis. The spiritual significance of "seeing eye to eye" to the "mirror of the soul" was highly regarded by numerous Renaissance artists who used this form extensively in art and architecture. The ratio of the axes of the form is the square root of 3, which alludes to the deepest nature of the triune which cannot be adequately expressed by rational language alone.

Spirals

This spiral generated by a recursive nest of Golden Triangles (triangles with relative side lengths of 1, phi and phi) is the classic shape of the Chambered Nautilus shell. The creature building this shell uses the same proportions for each expanded chamber that is added; growth follows a law which is everywhere the same. The outer triangle is the same as one of the five "arms" of the pentagonal graphic above.

Toroids

Rotating a circle about a line tangent to it creates a torus, which is similar to a donut shape where the center exactly touches all the "rotated circles." The surface of the torus can be covered with 7 distinct areas, all of which touch each other; an example of the classic "map problem" where one tries to find a map where the least number of unique colors are needed. In this 3-dimensional case, 7 colors are needed, meaning that the torus has a high degree of "communication" across its surface. The image shown is a "birds-eye" view.

Dimensionality

The progression from point (0-dimensional) to line (1-dimensional) to plane (2-dimensional) to space (3-dimensional) and beyond leads us to the question - if mapping from higher order dimensions to lower ones loses vital information (as we can readily observe with optical illusions resulting from third to second dimensional mapping), does our "fixation" with a 3-dimensional space introduce crucial distortions in our view of reality that a higher-dimensional perspective would not lead us to?

Fractals and Recursive Geometries

There is a wealth of good literature on this subject; it's always fascinating how nature propagates the same essence regardless of the magnitude of its expression...our spirit is spaceless yet can manifest aspects of its individuality at any scale.

Perfect Right Triangles

The 3/4/5, 5/12/13 and 7/24/25 triangles are examples of right triangles whose sides are whole numbers. The graphic above contains several of each of these triangles. The 3/4/5 triangle is contained within the so-called "King's Chamber" of the Great Pyramid, along with the 2/3/root5 and 5/root5/2root5 triangles, utilizing the various diagonals and sides.

The Platonic Solids

The 5 Platonic solids (Tetrahedron, Cube or (Hexahedron), Octahedron, Dodecahedron and Icosahedron) are ideal, primal models of crystal patterns that occur throughout the world of minerals in countless variations. These are the only five regular polyhedra, that is, the only five solids made from the same equilateral, equiangular polygons. To the Greeks, these solids symbolized fire, earth, air, spirit (or ether) and water respectively. The cube and octahedron are duals, meaning that one can be created by connecting the midpoints of the faces of the other. The icosahedron and dodecahedron are also duals of each other, and three mutually perpendicular, mutually bisecting golden rectangles can be drawn connecting their vertices and midpoints, respectively. The tetrahedron is a dual to itself.

The Archimedean Solids

There are 13 Archimedean solids, each of which are composed of two or more different regular polygons. Interestingly, 5 (Platonic) and 13 (Archimedean) are both Fibonacci numbers, and 5, 12 and 13 form a perfect right triangle.

Stellations of The Platonic Solids and The Archimedean Solids

This is a stellation of a dodecahedron where each pentagonal face is capped with a pentagonal pyramid composed of 5 golden triangles, a sort of 3-dimensional 5-pointed star.

Metatron's Cube

Metatron's Cube contains 2-dimensional images of the Platonic Solids (as shown above) and many other primal forms.

The Flower of Life

Indelibly etched on the walls of temple of the Osirion at Abydos, Egypt, the Flower of Life contains a vast Akashic system of information, including templates for the five Platonic Solids. The background graphic for this page is a repetitive hexagonal grid based on the Flower of Life.

visit http://www.geometrycode.com for more on sacred geometry

Chakras & Vortexes of Mother Earth

by Ai Gvhdi Waya
There are sacred spots all over Mother Earth; in fact, all of her is sacred. Just like our bodies and the energies surrounding them, Mother Earth has an aura, too.

The first layer of aura that surrounds our physical body is called the etheric body. This layer looks like cross-hatching or like a tightly woven web all around our form.

The etheric body is like a template or blueprint of the physical form; it holds all the information about how to make the physical body during this lifetime. Lodged within the etheric body, on the front and back, are seven major chakras, or power stations, that convert prana, the energy surrounding us, into energy that our bodies can eventually use. The Far Eastern religions all know about these energy-converting centers. In fact, the acupuncture system recognizes not only the major chakra centers but also the secondary ones. Our etheric bodies are like electric grids filled with power stations that are constantly sucking in prana. The chakras have propeller-like blades, or petals, that whirl and turn either clockwise or counterclockwise. The movement of these blades stirs up the River of Life (the cosmic soup, if you will), and the sub-molecular particles are drawn into the chakras where translation and change take place.

Energy can be changed but it can never be destroyed, and the duty of the chakras is to create a transformative process that can feed not only the physical body through the endocrine glands and the nerves but also the rest of the layers of the aura. The whirling motion creates a vortex of energy. The smaller chakras are located on the palms of the hands, the soles of the feet, the knees, the shoulders and so forth, and they whirl and turn, too. So the human body is literally a walking vortex of sorts.

Mother Earth's Etheric Body
Mother Earth, similarly, has an etheric body around her that acts as a layer of protection. However, at her North and South Poles, there are now holes in her etheric body that have been caused by humans. We too can get holes or tears in the etheric body, which then leaks and bleeds us of the vital life-force energy by which good health is maintained and harmony is kept in place. People who are alcoholics or drug-users often have an etheric body that literally looks like someone has taken a shotgun to it; the etheric body looks like a sieve.

Mother Earth has a major chakra system as well as a secondary system, just as we do. Each one is a whirling vortex spinning either clockwise or counterclockwise. She has an energy grid system that dowsers and other sensitive people can feel. Sometimes people can locate such an area by using a pendulum.

Ancient cultures, because the people were right-brained (that is to say, they were in touch with their intuition and their psychic/clairvoyant abilities and were believers in many aspects of metaphysics), often built their sacred temples on these Earth chakras in order to take advantage of the spiraling energy that reached skyward toward the cosmos or toward their goddesses and gods.

As times changed and one civilization fell to another, new temples or structures were built on these sites. Those who knew and understood the energies utilized them. Those who didn't would always come away from these sites feeling better somehow, inexplicably uplifted or perhaps healed on some level.

Christianity might pooh-pooh metaphysics, but the founders built their mighty religious centers right on the same sites that other ancient civilizations had used for their temples! At the highest levels, especially in the Catholic Church, the leaders knew about these sites -- what they were and how they operated. That is why so many of the beautiful European abbeys and churches, such as Chartres in France, feel so powerful. People feel moved when they enter these structures, but what they're really feeling is the power and energy of the chakra, moving and transforming the cosmic energy into another form that Mother Earth can digest and utilize. This is not to say that the power of people's prayers aren't present in those churches, because they are; they have a power of their own. But it can't match the power of one of these vortexes.

Druids and Energy Vortexes
The Druids had, perhaps, the most far-reaching and profound effects in working with Mother Earth's chakras. The priestesses and priests maintained the Mother Goddess worship, which included the caretaking of Mother Earth, for thousands of years. They were a living bridge between the old goddess religions and Christianity, carrying it forward despite the rise of patriarchy and the worship of male deities.

The Druids did something very special all over Europe, North America, and South America: they not only searched out and found many of the chakras of Mother Earth, they also created web-like lines of energy that would flow between these points across the globe to move energy and to keep our Mother in harmony and balance.

Druids sailed across the Atlantic. They met and taught the wise women and men of Turtle Island (North America). There they worked with the mound builders in the Mississippi Valley to create a series of temple mounds that were located on Earth chakras in order to keep those vortexes healthy and sound. These mounds extend from the Great Lakes all the way down toward Mexico. One of the greatest and most important of these mounds, called the Great Serpent Mound, is found in southern Ohio. If you ever have a question about what a vortex is, go visit this one. I guarantee it will change your life, blast open your closed chakras, and set you right with yourself. Those in the know always go to this mound for the solstice and equinox ceremonies --and they are Native Americans, Wiccans, and holy people from South America.

The mounds are a line of transmitter stations, which keep a very important north-south energy running at all times. If you draw a line down through Mexico and into South America, you will find that major Mayan, Aztec, and Incan pyramids were placed over these vortex points, too. Further, the Nazca Plain of Peru was, and is, a major beacon point/vortex for outer-space traffic to hone in on in order to find Mother Earth.

The powerful grid running north-south in this region isn't the only one. The Druids worked with peoples of all tribes and nations around the world, creating stone circles to denote places of power or vortex energy. That is not to say that peoples of other nations, particularly those who were close to the Mother anyway, didn't already know about these sites. They did. They erected their own kinds of ceremonial altars or stone circles to indicate sacred sites.

There are other places on Mother Earth that are extremely powerful but have no indicator such as a church, a stone circle, or anything else to bring our attention to them. The Native Americans would often disguise a site by not putting any indicator on the area. They knew most Anglos would never feel the energy, so they would not violate the site.

The Mayan Calendar & Time Shifts

With the work of Dr. S. V. Smelyakov and Y. Karpenko on the Mayan calendar, we may well have the "smoking gun" to prove scientifically that a fundamental energetic change is occurring throughout our entire solar system at this time, fostering a crucial link between the sun, Earth and other planets and their effects on human consciousness.

Since distant ancient times, these prophesied changes have been associated with the culmination of a 25,920-year master cycle known as "precession." In Shift of the Ages, we demonstrate how this cycle can be seen in the long-term activity of the sun as well as the rotation of Earth's axis. We also show how the Mayan calendar cycle, at 5,125 years, is exactly one-fifth of the precession. John Major Jenkins has demonstrated that on December 21, 2012, the end-date for this cycle, the long-term "precessional" orientation of Earth's axis is perfectly aligned with the center of our galaxy. And now, Smelyakov et al. have added dramatic new evidence to the case in their paper "The Auric Time Scale and the Mayan Calendar." The article you are now reading is the first account of this groundbreaking study to be published worldwide, other than the paper itself, which has remained completely obscure to the Internet-based metaphysical culture at large. This is due to its degree of sophistication, making it almost indecipherable to those not educated in physics and mathematics.

Smelyakov's discovery is based on his earlier investigations of the ratio known as "phi" or the Golden Section and how it unifies and correlates the following phenomena:
* fundamental biological phenomena (cellular and physiological rhythms);
* cyclical events in botany (vegetative cycles, etc.);
* cycles in zoology (counts of livestock, number of fishes caught, etc.);
* meteorological (weather) cycles;
* the physics of the movements of the sun and Earth;
* the ebb and flow of human emotion as seen in financial market activities (Kondratiev cycle and others);
* historical events such as wars and population levels;
* cycles of criminal behavior;
* earthquakes and other natural disasters; and
* cycles of sudden variation in Carbon-14 radiation content in tree rings.

Those who have studied sacred geometry or read my books and/or others on the subject are well aware of the importance of the phi ratio, which has a value of 1.6180339. This ratio can be easily seen in the relationships between common "Diatonic" musical frequencies as well as the natural proportions of growing bacteria clusters, plant and animal life, and the human body. When drawn geometrically, phi appears as the classic spiral shape that we so often see on seashells at the beach. Furthermore, the importance of phi was enshrined in many ancient structures throughout the world. As a ratio, it perfectly balances the forces of expansion and contraction, which can be demonstrated geometrically or mathematically, and its connection to music shows that it is a fundamental characteristic of the behavior of vibration.

"The importance of phi was enshrined in many ancient structures throughout the world. As a ratio, it perfectly balances the forces of expansion and contraction, which can be demonstrated geometrically or mathematically, and its connection to music shows that it is a fundamental characteristic of the behavior of vibration."

Smelyakov and others assert that the vibrations of phi ripple through the very "fabric" of time and space, owing to its innate harmonic characteristics. In The Divine Cosmos, we explain how Russian scientists have determined that what we call "space" is not empty, but rather is filled with an energetic medium that Nikola Tesla suggested "behaves as a liquid to solid bodies, and as a solid to light and heat." The mysteries of the universe, all the way from the "flat" formation of the known universe to the anomalies of galaxy formation, the structure and function of our solar system, and even the world of quantum physics, can all be unified in a single, coherent model once we reintroduce this medium, which the ancient Greeks referred to as "aether." As detailed in our book Convergence III, many other mysteries of consciousness, life and "psychic" phenomena are explained by aether-based models as well, and the above list of phi-related cycles certainly adds to what the research has already determined.

Solar-planetary Synchronism

If we were to vibrate a fluid, we would see wavelengths appear with the simple phi relationship occurring between them. Similarly, the phi relationship can be observed in the cycles of our solar system. It appears that we have "ripples" of energy in our galaxy that we move through in set intervals of time which are based on phi and of which the Mayans were well aware, as we shall see. Smelyakov has determined that the entire solar system operates in a unified, harmonic fashion that he terms "Solar-planetary Synchronism" (SPS), whose values are all related to each other by the phi ratio. This work allows us to predict the exact orbit of a hypothetical planet "Proserpine" past Pluto at 510.9 years in length, as well as unifying the movements of the Asteroid Belt and the various cycles of solar activity with all other known harmonics (orbits) in the solar system. Furthermore, as noted, the same cycles can be shown to affect human life and economic trends.
These connections between various celestial and terrestrial cycles are discovered by taking a basic time unit and then expanding or contracting it by various exponential powers of phi, where phi^0 is equal to 1, phi^1 is the classic ratio of 1.6180339, and phi^-1 is .618. Overall, Smelyakov calls the various powers of phi the "Auric series," and assigns this series the letter F. Thus, F is a geometric progression as follows: F = {âââ¬Ã¦phi^-2, phi^-1, phi^0, phi^1, phi^2, âââ¬Ã¦}. This cycle potentially can expand infinitely in either the negative or positive direction.

To see Solar-planetary Synchronism in action, we begin by taking a given cycle in our solar system and assign it to the center of the Auric series at phi^0. An example would be to take one Earth year for this basic cycle. Doing so, we discover that phi^5 is 11.089, which is very close to the established value of 11.07 Earth years for the basic "sunspot cycle." This example shows us that the standard 11-year sunspot cycle is what Smelyakov would call the "fifth phi-harmonic" of Earth's orbit. Obviously, most people would not expect any connection between these two cycles, since the sun and planets are supposedly "separate." In the new model, they are very much integrated by aether. This is but one of many examples that show how our solar system works as a miraculously unified system, but in mainstream physics models that exclude the existence of aether, these connections are left unseen or ignored.

Smelyakov explains that most of the "phi-harmonics" that can be found in the solar system are based either on Earth's orbit of one year or the basic Sunspot cycle of 11.07 years. Either of these cycles can be used as the central point on which to calculate the harmonics of phi. When this is done, Smelyakov states that by taking various powers of phi or various powers of 2 x phi from these "seed" cycles of time, we get "most known basic periods in Nature and society from biology to geology, including economical cycles."
Smelyakov's literally Earth-shaking discovery involving the Mayan calendar cycle was found by a process similar to the above, where a given time cycle with a given start date is divided into "a sequence of intervals [within it that have a] duration decreasing [by phi]." Here it is important to remember that the entire cycle decreases to a certain final moment at the end of the cycle. Even though the phi-based series F can theoretically extend infinitely in either direction, when you are dealing with a series that is exponentially decreasing in duration, the cycle does converge on one end-point, simply representing smaller and smaller intervals of time in that moment. This would be the same as how the central point of the spiral on a seashell is theoretically infinite in its imploding "recursiveness," yet we nevertheless can clearly define the end of the seashell's spiral.

"Smelyakov applied the 'Auric series' F to the Mayan Calendar cycle. By doing so, the infinitely-converging end-point clustered around December 21, 2012. Thus, we see that the imploding phi cycle has clear effects on celestial objects in interplanetary space and the behavior of lifeforms in time. This might explain why the Mayans stated that 'time would collapse' at the end of their calendar cycle."

Smelyakov then applied the "Auric series" F to the Mayan calendar cycle. By doing so, the infinitely-converging end-point clustered around December 21, 2012. Thus, we see that the imploding phi cycle has clear effects on celestial objects in interplanetary space and the behavior of lifeforms in time. This might explain why the Mayans stated that "time would collapse" at the end of their calendar cycle. These connections have previously been intuitively suggested and explored by the late Terence McKenna in the "Timewave Zero" model, but there is still controversy over whether his discoveries are scientifically sound. With Smelyakov's additions, any remaining mystery is cleared away and a far more discrete, verifiable model is introduced to support the basic premise of an "imploding cycle" centering around 2012-13.

As mentioned, typically Smelyakov would take the value of Earth's orbit at one year or the value of the sunspot cycle at 11.07 years then plug it into the center of the Auric series [phi^0] to locate other cycles. With the Mayan calendar, the same process was performed, except that the total length of the Mayan calendar at 5,125.3661 years was used as the central time unit for the Auric series, and the various "harmonics" of phi, in years, were then calculated. The commonly-agreed start time of August 6-13, 3113 BC was used as the origin of the cycle. Smelyakov found "abrupt world-wide changes" at each of the cycle hit-points that were determined by this system. The categories Smelyakov correlated to the Auric series are:

* Global natural cataclysms [on Earth] and phenomena in space [supernovas of nearby stars within our own galaxy];
* The coming of great teachers of humanity, as well as outstanding philosophers and scientists;
* The origins of calendars (as systems for measuring time/space);
* Demographic trends (specified by the population of China as an indicator of world trends); and
* The formation and interaction of worldwide religious/philosophical systems and states.

Demographics

In order to give a complete background to his studies of history and show the overall ebb and flow of population levels and cultural centers, Smelyakov focuses on the population [demographic] statistics for China, since there is accurate census data that has remained unbroken for more than 2,000 years. He found that all of the most important demographic changes in China clustered precisely around the "hit points" as specified by the Auric Series of the Mayan calendar. The overall phases of civilization as seen in the Auric cycle include four principle phenomena:

1. Prolonged processes of condensation of centers of civilization;
2. Relatively short periods of founding of new cultures in some of these centers;
3. Violent flourishing and expansion of the new cultures separated from their "parents"; and
4. Rapid and unexpected decay and contraction or disappearance of the "parent" civilizations.

Since these effects are already well established, we can indeed expect a lot of global surprises in socio-political arenas in the next few years. Two "bifurcation points" of extreme change in 2003 and 2008 were established from ''studies of more local cycles of planetary movement as well as the statistically-estimated timing of the most significant population changes in China." There is no doubt that dramatic changes have already come into view since the publication of Smelyakov's work in 1999. The accuracy of his predictions is further enhanced by the fact that in December, 2000, he correctly pinpointed the September 11 date (within a ten-day window surrounding September 16) as an "extremely dangerous" time for humanity, associated with airplane or other crashes, economic failures, and warfare. Even the nations involved in the problem, including the USA, Israel and Afghanistan, were included in his prediction, which was mentioned in The Mountain Astrologer magazine

Higher Light

All is what it should be and every point of light shines forth from the Central Sun and every stream of energy follows the curve of evolution in the returning resolution. Unitary dimensional consensus creation proceeds blissfully under the guardianship of the Teachers of Light and their vanguard, the Wayshowers.

The physical brain has limits of awareness as the mind’s capacity is layered in densities and the fourth dimensional matrix. Grounded on the foundational base plane of sub-atomic quantum structure the first level consciousness is founded in connective core centrism. Microcosmic singularity provides the central anchor for the foundation upon which all being is tethered. The primal corner stone and functional negative ground is the gravitational component holding existence and that which establishes condensed mass.

It is essential to understand the major elements within Humanity and its vehicle for creation the billions of Human Bodies in physical incarnation. Following primal reductionism the life center of the body is the human heart which resonates as the nucleus for the Mind which holds itself as the gravitational center for the spiraling cellular threads of light streams which create and regenerate the human body. Dwelling within the earth are the collective hearts and emotional field of humanity and the Sun secures the Earth into firm dynamic spiritual planetary alignment with the Divine Mind and the Central Sun.

The earth in interstellar context is that component which humanity experiences as the collective home. The heart nucleus is empowered with life and light from the Sun bringing forth evolutionary energy to humanity’s expanding physical and non-physical being. The Earth provides the ground for the reception of fundamental electromagnetic, chemical and physical essences. Each entity or body is grounded with omni-centric conscious awareness and cosmic gravitational attunement. Each unitary life reality is pre-existent non-linear super-sensory holographic consciousness.

From the preceding passage understand the deepest level of essence is within the center, in condensed matter, condensed space, condensed time, concentrated thought, complete knowledge, emotional calm, zero vibration, stasis, silence, home, sleep, nothingness, rest, peace and it is that which is the origination point of the grand expansion, the first seed. The foundation of matter is primal pure singular substance of first dimensional strata giving birth to all that grows. Planted substance is essence sustained and eternally given opportunity to energetically expand through creation brought forth by universal divine spiraling intelligence.

Core inner light sacred geometric principles allow all growth and expansion. Inner light is the synthesis of intelligence, energy and substance. It is the light of life itself operating both as centripetal magnetic force bringing to itself the energy and as centrifugal electric source radiating outward from its center. Through the spinning vortex, the wormhole, the galactic black hole where substance is condensed at the center of centers light is held and expands within itself. It grounds creation to the inner power of the light within into the emptiness of the attractive void. It is the other side of the gift of being; the essence of the internal desire, the point where all that is returns and goes forth. It is where the River of Heaven springs and flows.

Through the radiating expression of energy love streams forth in creative intelligence shining new forms into existence. Pulsations of Light energy shine forth into the infinite expanse of the macrocosm. Forwards and backwards, in an elliptic, spiral, fractal holographic universal stream within the spiritual ocean and inside the quantum soup reality magically appears and mysteriously disappears in the breathtaking cosmos. All is compressed and condensed into the last desire and surrendered into nothingness to be expressed again in creation. The end is the beginning, the Omega and the Alpha.

From this single point within a star, a planet, a human, a heart beats harmonic vibrations attracting and connecting other centers to consolidate atomic, chemical, physical, emotional, mental and spiritual unitary vibratory inclusion. Waves, particles, atoms, molecules, compounds are quanta of energy in vibration, which are thought forms, which are focused probabilities, which are creative intentions, which are sacred universal forms, which are pulsations of time waves, which are creations of the Divine Mind and agreements of Higher Intelligence.

The Divine Mind allows creation through the illuminations of higher intelligences of the celestial creators of this universe who are in tune with the Over souls. All that is thought, conceived, created and born is from supreme divine love from which there is continuous loving intention of inflowing and expressing spiritual energy which always comes forth to fulfill the void with the expansion of spiritual being.

In third dimensional mechanics reality is reversed into locality quadrants through developing membrane sequence templates. This causes multiplicity of manifestations into existence to coalesce into dimensional temporality where the coincidence of creation and expectation resolve the particle world of the third dimension. Mental formation of the accretions upon the elements of the second dimensional density is the method in which matter is formed. The elementals of the second dimension and the beings of the third dimension are engaged in holding of form converse to fundamental design.

Individual consciousness in second dimensional realms is limited to instinctual skills and group interactive dynamics. The entities on the physical plane are bonded to compounds and integrated into fixed uncompromising structures. At the non-physical correlative plane the elementals have more intelligence and interact with the upper dimensions in limited capacity still concretely bonded to the first dimensional earth plane.

The layered dimensional density design gives stewardship over the subordinate dimension to the one superior. This movement flows within operating design configurations and the stewards cooperate with lower vibratory density entities to achieve fruitful accomplishments. When a higher dimensional conscious being acts contrary of beneficial desires of lower dimension entities the drawing forth energy is reversed to appropriate flow. In the case of the second dimension where third dimensional beings utilize chemicals, resources and elements in opposition to the natural flow pollution, instability, toxicity and chaos in the second dimension results which affects negatively the physical world of the third dimension.

In a similar manner where natural individual human choice, predilection and desire function is compromised by fourth dimensional disincarnated entities who mine the mental and emotional fields to regain lower vibratory sensations it creates negative temporal desire loops and fourth dimensional psychosis. Aberrant behavior by fourth dimensional entities invading mental emotional fields of third dimensional humans cause emotional distress, mental chaos, cultural pollution, global disease, war, terror and fear.

The intricate mysterious relationship between the dimensional layers is that in each one above and below is interconnected in an infinite series of living hyper-tunnels and microtubules. Through aligned educated choice the active participants in superior dimensional mediums are inclined to be of service to beings in a lower dimensional place while continuing to seek ascendance into higher dimensional strata helped by the stewardship of superior beings in higher realms.

The laws of each of the dimension are following the rule of the upwards evolutionary organization principles of harmonic attraction. Space is formulated within higher dimensions in accord with harmonic field mathematics. In the case of the second it corresponds through the harmonic association from the fourth, sixth and eight dimensions. They are measured off first and tenth as dipolar realities, which are vibratory frequencies which are realms substance and energy contained within a field of intelligence. In the case of the third dimension it is grounded by magnetism within the planetary gravitational field of the first and attracted by the electromagnetism by the Central Sun in the tenth. The third to the fifth dimension offers immediate release to higher intelligences within the seventh dimension.

The conscious creation of reality is based upon humanity existing in the third dimension to manifest deliberately thoughts precipitated into existence by higher intelligences from the seventh and ninth dimensions through the medium of fifth dimensional awareness.
The active spaced electric light radiations are sequentially grounded by the concentration of Divine Mind pulsing vibrations into sixth dimensional sacred geometric space. The stream contains inherent points of power which manifest as universes, singularities, stars, planets to spherical energy chakra vortexes within the bodies. They are energy centers within the emotional body that project thought forms of the mental light body which creates a lower desire body projection on the fourth dimensional probability layering of the quantum waves and particles.

Third dimensional physical manifestation takes form through increasing condensation by adherence to third dimensional structures magnetized within the elements of the second dimensional transmuted essence. The Teachers of Light take power from the seventh and ninth dimensions to enter in service in this timeline of the third dimension to bring forth a lesson about the containment and direction of emotional energy. Emotional energy is being detached from the planetary grids by the reduction of global magnetism through a polarity adjustment. The purpose is to balance electro-magnetic physical streams and clear static interference between the active lines of quantum energy transmissions and infinite arrays of parallactic mental observation. The Teachers will then have a clear stream in alignment to channel higher emotional beacons to the hearts of their collective soul.

As the path of higher light is cleared the teachers of light will speak forth through the medium of the Central Strand being radiated forth by the Central Sun which is grounded to the earth. Joy returns upon the passion of the enthusiastic renewal of the Wayshowers to breathe in the Higher Light and express the creative desire of the universe. Wayshowers seek within to find the center of your being and see the shining Central Sun. See the Higher Light radiate out from your heart through your mind to the center of the Sky. Breathe in again the Higher Light deep to the core of your being and feel it.

Peace is Yours.