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Rabbi Yitzchak Ginsburg Shlita on 137, 256 & 512
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Optimist777



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PostPosted: Wed Mar 07, 2012 12:07 am    Post subject: Reply with quote

Quote:
Skywalker 9:

If you go around the Yinyang with an equilateral triangle you get some relevant number groups.

Firstly, the only place I could think to put the reduced set of 24 fibonacci numbers was on the YinYang symbol because of the way it balances itself out. Maybe it goes here, maybe not or maybe nowhere at all. Maybe its better plotted onto the Torus skin along with the circuits. This would show a shearing of chromatic scale where you have the shearing of the 1,2,4,8,7,5 --- 5,7,8,4,2,1.

Shearing music is interesting, and might be relevant to the fact that you can cancel out a sound with its mirror opposite. They make silent helicopters like this, the acceleration sound is recorded in an on board computer reflected and then blasted out speakers built into the outside of the chopper body to cancel out the sound of the chopper as it starts and flies.

Maybe its the signature resonance of the stone block that needs to be reversed and played back to it with a small orchestra of horns,pipes and flutes, basically instruments that generate nice logarithmically vortexed sound like didjeridoos maybe. Might have to calculate the atomic resonance of the stones atoms, maybe choose a nice resonant slab of red granite, find the resonance, multiply it by the geometric volume of the slab atoms, convert it to chromatic scale, reverse it, start the tune and see if it gets lighter??

Makes you think, if nature is manifested, it must be a type of balanced imbalance, or else it would all just balance as 9. Maybe that's why the Buddhist Dorje (in tibetan) or Vajra (Sanscrit) are uneven little sceptors, those things humanities lamas use in religious spiritual ceremonies, vajra means diamond-thunderbolt. Anyway, sidetracked again, should look better at how the individual numbers are emanated or left standing in the torus skin by the 9.

The C's of each octaves frequency rates do logarithmically progress as 1,2,4,8,7,5. Maybe it simply fits into it like that?




The groups that come up with the rotating of the triangle with their chromatic notes are...

1) 9,3,6 C G* E (This is the Beginning and the End of this particular chart, sounds Alpha and Omegaish)
2) 1,7,4 C* A F
3) 1,1,1 D A* F*
4) 2,8,5 D* B G
5) 3,9,6 E C G*
6) 5,8,2 F C* A
7) 8,8,8 F* D A
8 ) 4,7,1 G D* B
9) 3,6,9 G* E C
10) 7,4,1 A F C*
11) 1,1,1 A* F* D
12) 8,5,2 B* G D
13) 9,6,3 C G* E (This marks the end of the 3 side/first half and beginning of the second/6 side of the Yinyang with apex at low 9)
14) 8,2,5 C* A F
15) 8,8,8 D A* F*
16) 7,1,4 D* B G
17) 6,9,3 E C G*
18 ) 4,1,7 F C* A
19) 1,1,1 F* D A*
20) 5,2,8 G D* B
21) 6,3,9 G* E C
22) 2,5,8 A F C*
23) 8,8,8 A* F* D
24) 1,4,7 B G D*

I went round pretty quick so it might have one or 2 numbers out of place, looks ok.

You could rotate the whole star around and find weird combinations of 6 notes too, that could be tried. Maybe rotate the triangles at the same time but in opposite directions?

A pro muscian should see if it fits with Pythagoras' Circle of Fifths.

Could fit the Lo Shu Tones.

I think it would be awesome to play these chords on a keyboard, just holding them down with delay for 1 or 2 seconds, recording the progression through the 24 combinations of chords you will find in 2 octaves of keyboard keys, remembering that each chord will come from 2 octaves because the triangle is on notes from a lower and an higher octave. Then you could just progress this tune in higher and higher octaves and see what it sounds like.

You would probably need an ultra sound machine from the hospital to play the whole lot, which could have some Solfeggio type healing properties in itself.

It would be interesting to see the geometrical Cymatic pattern these chords make in different liquid mediums or sand on a pain of glass. Might get some crop circle type stuff happening, or 64 tetra grids and 9 point stars?? Maybe a progression of polygonal like geometry.


http://forum.davidicke.com/showthread.php?t=61370&page=21


Masonry seems to be (symbolically and literally, theoretically and applied) about construction, design, engineering and relationships between elements or things. So mathematical principles are likely to be in harmony with masonic beliefs (particular when you consider both who developed the theories of maths and the history of science and the meaning of the scientific enlightenment or revolution's). A revolution is a circle, a full turning or revolution.

The orderliness of the circle and it's measurement in degrees (among other measures of same) the measurement of arcs, I think is probably one way of ensuring everyone "has/knows 'their place'" as well as illustrating abstractly the rise up the hierarchy or the rise up the pyramid as masonic candidates go up the degrees as and when they are promoted in the organization.

360-180-90-45-22.5-11.25-5.625-2.8125-1.40625-0.703125-0.3515625

360/360=1
360/180=2
360/90=4
360/45=8
360/22.5=16.............

I like the idea of resolving numerologically the 360 to 9. I think this is significant too. Also, a quarter of a circle is 90 degrees or "9"; and an eighth of a circle is 45 degrees or 9 numerologically, and one sixteenth of a circle is 22.5 degrees or "9" once again.

And, one-thirty-second of a circle - 11.25 - is also 9! And half of this - one sixty-fourth - is 5.625 or 9 (And one sixty-fourth - 1/64 - or 64 => 6+4 => 10 or 1. Expressing unity again here, as 360 seems to once we look at the numerology and other factors.)

Using the numerological method, each fraction of a circle produces a part of a recurring pattern of numbers:

1 - 1
2 - 2
4 - 4
8 - 8
16 - 7
32 - 5
64 - 10/1
128 - 11/2
256 - 4
512 - 8
1024 - 7
2048 - 5
4096 - 10/1

....and so on.

Three things are apparent to me from this:

1. The fractions of the circle cited above resemble the segments or allotment of memory found in digital storage and other measurements in computing.

2. The numerological values are a recurring pattern of 1- 4 - 7 and 2 - 8 - 5, which reminds me of the physical and emotional groupings or planes of experience in numerology: 1, 4 and 7 are physical numbers and 2, 5 and 8 are associated with emotions or feeling. I wonder why 3 - 6 - 9 (the remaining numbers of the set that make up the integers, the basis of maths) are not found in this pattern?

Is it because they are "mental numbers" or numbers of the mind, and are too sacred for the Masons (who are driven by the mind and the ego) to be included in the patterns which form only a part of a whole circle, the circle being the Master, the one, the whole which is 360 degrees - 3 + 6 + 0 = 9 + infinity -> 0 and one -> 1 = 10/1?

The Masons must be the directors and the planners, not the workers or the mere males or females, symbolized respectively by the physical and emotional planes and their numbers (Which, incidentally, are intertwined in each cycle, as noted above, ie. 1 - 2 - 4 - 8 - 7 - 5)?

3. As seen below each numerological cycle totals to the same result, which is a 9!

1 - 1
2 - 2
4 - 4
8 - 8
16 - 7
32 - 5

= 9

64 - 10/1
128 - 11/2
256 - 4
512 - 8
1024 - 7
2048 - 5

= 9

4096 - 10/1
8192 - 2
16384 - 22/4
32768 - 8
65536 - 7
131072 - 5

= 9

...and so on.

In nature cell division follows 1, 2, 4, 8, 16, 32, 64, 128, 256, 512, etc.... These are also octaves of the note of "C" in the A=432Hz scale. This is just one example to illustrate how the 432Hz tuning has over and undertones as well as direct notes in a direct relation to nature.

All classical music by Bach, Brahms and so on and Verdi is composed and performed with the use of this standard, an A at 432Hz. This standard is the C 512Hz or 256 Hz octave lower, but still lower octaves (512-256-128-64-32-16-8-4-2-1), the C at exactly 1 vibration per second, the so-called "groundtone".
This mood is also called "science mood" because this mood conforms scientifically with the universe.

Consider the fact once upon a time you were one single cell. Next splitting up and forming 1-2-4-8-16-32-64-128-256-512-1024-2048...cells. In fact this cell division process is a cascade of coherent musical octaves, also connected with our brainwaves and consciousness itself. A432 Hz is the 6th note in the octave starting with C=256 Hz. Wink

http://wonderinspirit.files.wordpress.com/2011/10/432hz-vs-440hz-water.jpg
http://www.projects8.com/sedona/index.php?option=com_content&view=article&id=40&Itemid=95

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Optimist777



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PostPosted: Wed Mar 07, 2012 11:48 am    Post subject: Reply with quote

Walter Russell & Dale Pond deserve honorable mention.



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PostPosted: Wed Mar 07, 2012 1:39 pm    Post subject: Reply with quote

Quote:
Do 1 : 1 432

Re 8 : 9 486

Mi 4 : 5 540

Fa 3 : 4 576 the middle tone

Sol 2 : 3 648

La 3 : 5 740

Si 8 : 15 810

Do 1 : 2 864

The wavelengths of every tone from the cosmic ground-tone of 432 vibrations per second or in other words 432 Hertz, not the 440 hertz now used which disconnects us. So, how do we know that this base tone of 432 is in harmony with the cosmos ? Simply by using the golden ratio, the tone Fa, the middle tone is precisely on the point of the golden ratio. The second proof can be found when we look at the note C.

When the “ pure” musical note A is played in 432 Hz then the “ pure” musical note C vibrates precisely 512 times a second. A note is therefore not equal to a tone “ tone – note” the musical note C does not vibrate at the same frequency as the musical note Mi. The relationship for the musical notes A and C are 27 : 32, seen from notes C is the first note and therefore the beginning and end of the notes “ octave”. When we go back from C in 512 we get

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

The cosmic Base C in the very first Octave, vibrates precisely 1 time a second. Our second is therefore equal to the length of the vibrational wave of the cosmic C.


http://www.truth-revelations.com/?p=328

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PostPosted: Wed Mar 07, 2012 4:30 pm    Post subject: Reply with quote

Any harmonic series or scale has a base frequency from which all its harmonics are derived. This base tone is called its fundamental or key note. In the chart a subharmonic of the musical note "C" is used as the fundamental or foundation upon which are self-generated a series of harmonics. This note has a frequency or rate of vibration of 256 cycles per second (cps) or a suboctave harmonic of middle "C". The little squares contain a number representing the relative amplitude or power of this note compared to the other notes soon to be introduced.

As a natural process of creative force this fundamental tone will vibrate and this vibration will divide itself into its own superharmonic of 512 cps (2 X 256) which will in turn divide ad infinitum according to natural law. Concurrently the number will also resonate and be sympathetic with subharmonics of 128, 64, etc. This process of dividing into smaller and smaller wavelengths is creative and evolutionary and according to the Law of Harmonic Vibrations:

"All coherent aggregates are perpetually vibrating at a period-frequency corresponding to some harmonic ratio of the fundamental pitch of the vibrating body; this pitch is a multiple of the pitch of the atomole [a subatomic unit]." John Keely



This new frequency of vibration is the octave harmonic of the fundamental (2 X 1) and is shown placed in the 2nd octave row directly above the first "C1" vibrating on the 1st octave row. The same process continues to unfold for virtually uncountable octaves creating higher and higher frequencies in ever more rising octaves. We will refer to this second "C" as "C2" and so forth for each octave.

So far so good, we have a harmonic series born from the lone "C" stretching into infinity both above the progenitor as super harmonics and below it as subharmonics. So in the beginning there was One.... C1 is the creator of C2 which is the created and so forth. This family of "Cs" are all related by number and this relationship of number can be discovered by factoring and multiplying.

256 factors into: 1X2X2X2X2X2X2X2X2. With this it can be seen the "C" family "gene" (factors) is constructed of a 1 and eight 2s or reduced to simply 1 and 2. The number 1 will be seen to be shared by all other numbers since all numbers contain 1. One is the ultimate Progenitor having its essence in every thing that was created from it. Therefore One permeates all vibrations equally everywhere and is sympathetic to them all equally.

Vibrations are dynamic things not unlike living things. They are creative and evolutionary simultaneously. They are active and prolific in their dynamics as are their harmonic offspring. These discrete tones of the harmonics interact with each other as they intermingle. Being primarily number oriented they will, in a very natural way mix, merge and divide among themselves just like living cells as detailed in the Law of Cycles already mentioned, the Fibonacci series or Golden Mean and according to the Law of Harmonic Pitch:

"Any aggregate in a state of vibration develops in addition to its fundamental pitch a series of vibration in symmetrical sub-multiple portions of itself, bearing ratios of one, two, three, or more times its fundamental pitch." John Keely

C1 will add its numerical value to C2 and create a third number: 768 cps, which in terms of "Cness" means little. But in relative terms it can be seen the 768 is 3 times the original C1 of 256 cps while 512 cps is 2 times the Creator pitch. These terms of degrees of relativity are then 3 is to 2 as 768 is to 512 . The 3:2 (768:512 reduced to their least common denominators) ratio is a musical ratio of a Perfect Fifth. In this first ratio of spontaneously created harmonics we can see how a base tone gives rise to a naturally occuring harmonic that is identical to two musical notes representing a perfect musical interval of a Perfect Fifth.

768 factors into: 1X2X2X2X2X2X2X2X2X3. The "G" family "gene" is contructed of a 1, eight 2s and a 3. Reduced down we see a Fibonacci connection to the "C" family being 1 + 2 = 3 thus deriving all three "genes" or originating substance of the family. The Fibonnacci series was developed as a result of analysis of the reproduction rate of rabbits, living things. And in these musical notes we see the same genre of self-replicating activity playing throughout the universe.

Taken from: http://www.svpvril.com/musicuni.html

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PostPosted: Wed Mar 07, 2012 7:15 pm    Post subject: Reply with quote

Did the Egyptians know about this natural re-appearing magical sequence, and does it link harmonically with the Pi Ra Mid's? David Jay Jordan makes some very good points on his webpage. The tri-tone F# sharp may be the magical key that unlocks the mystery's of antiquity, Lui Di Martino would surely agree. Maybe Raphael was right about sound all along, and it's been heavily tampered with because of it's available balanced connection with light and to our cellular structure & DNA? David even includes some thoughts on 137. Wink

Quote:
The Khufu Pyramid Stone Quartz Frequencies ... In the 1920's it was discovered that quartz crystals resonate at 32,768 khz. Seeing that the Great Pyramid of Khufu or Cheops Pyramid, is made mostly of limestone, which stone crystal matrix is mostly quartz, I developed a premise that the whole pyramid was set to resonance with some unique technique I named in the file We find that the quartz frequency 32,768 khz is a multiple of 2.

We can then use base 2 and make two separate interpretations about the resonant frequencies of vibrating quartz. Moreover, we have an insight into what the operators of the Khufu pyramid might have experienced: Source of frequencies Divided down, we find the base number is 2 Multiples of 2 are 4, 8, 16, 32, 64, 128, 256, 512, 1024, 2048, 4096, 8192, 16384, 32768, the fractal frequency of quartz. So we might conclude that quartz resonates as a binary crystal, meaning that its resonant frequency is a multiple of its base 2.

An engineer named Tom Danley who has an interest in sonic phenomena made some intriguing discoveries relating to the great pyramid, especially the Kings Chamber. He measured its dimensions and those of five rooms, (the so called relieving chambers) located above the Kings Chamber. He then installed powerful amplifiers and speakers inside the Kings Chamber, created sounds and measured the resulting standing frequencies generated within the five chambers. The frequency measured within the rooms was 16Hz, which is below the range of human hearing; from this he created a fascinating theory.

This was: the dimensions of the pyramid, plus the materials from which it is made, combined with the empty sarcophagus within the kings chamber were designed for one specific purpose. This was to amplify whatever sounds were made within the Kings Chamber....Tom detected a distinct pattern to the frequencies; this pattern was identical to the tonal structure of the F-sharp chord. The ancient Egyptians in their texts tell us that they believed F-sharp to be the harmonic frequency of our planet.

The Kings Chamber in the great pyramid resonates very strongly to an F# chord, and the Kings Chamber coffer resonates to A, which is the Minor third of F#.

A 440 hertz lower octave 110 ratios 44 22
F sharp 740 hertz 185 ratios 74 37


http://www.davidjayjordan.com/SonicStoneLevitation.html


440 vs 432

-8 vs +8 ??

I hear that 110 is the yoking number, I see this occurring at the cellular level and in sound frequency. We can see that 440 & 110 are numerically and harmonically compatible, more proof that not only hands can yoke ya, but the freq frets will as well. Laughing

But why did they set the King's granite (110 Hz) coffer to that dreaded frequency?

Quote:
The outer width and length are in ratio 7 : 3, which can be expressed in another manner as a square of 3 units aligned with the Pythagorean triangle 3-4-5. The module that fits 3 and 7 times in the width and length of the coffer is as represented on the illustration is 13/3 of a palm or a seventh of 13/3 of a royal cubit. This module is dividing the royal cubit according to the Golden Section's ratio 1.618.



http://www.aiwaz.net/king-chamber-coffer/a22


32,768 khz seems to be another sacred frequency, the pyramids are made of limestone which primarily exists out of quartz.
The frequency of quartz is 32.768Khz. Finding the octave dividing by 2, you'll find it is a higher octave of the Schumann frequency which is 7.8125 Hz!

"Approximately 7.81 Hz corresponds with what is understood to be the rate of vibration of the electromagnetic field thrust upward from the earth." – Dr. Sheldon Lewkis
http://www.urigeller.com/content/research/houck2.htm

Quote:
The output can be fed to a 15 stage binary counter to obtain a 1 second square wave.
http://www.eleccircuit.com/32768-khz-oscillator-using-a-watch-crystal/


More then inclusive to the Egyptians, some ancient cultures believed that F# sharp (369.99 Hz) was a magical note. (scientists believe that F-sharp could somehow levitate the limestone structure) We can round this up to 370 Hz. Wink

http://musictheorysource.com/note/f-sharp

Maybe the balanced F#Sharp can be used for meditative purposes as well?
Also, 729hz is a perfect F# when A is tuned to 432hz. Wink

Quote:
Hawk123:

729 is related to the sun and (432 x 1000) is the radius of the sun in miles.

729 is explained on link:

http://www.revelation2seven.org/WebPages/Chapter9.htm

Search the word Cephas on above link and you find a cube of 9 x 9 x 9 and a square of 27 x 27

729 is both a cube and a square number.
Each year has 365 days and 364 nights = 729.
729 should be read in music as 729 Hertz.

The number 729 is found to be of great importance all through the Pythagorean system. Plutarch states that this was the number belonging to the sun, just as 243 was ascribed to Venus, 81 to Mercury, 27 to the moon, 9 to the earth, and 3 to Antichthon (the earth opposite to ours). These and many similar numbers were derived from one of the progressions of the Tetractys, 1 :2 : 14 :8 and 1 13:19 127. The figures of the above proportions were combined by Plato into one series, i, 2, 3, 4, 9, 8, 27. (Timaeus, 35). Plutarch in his "Procreation of the Soul," which is simply a commentary upon Plato's "Timaeus"



Arrow http://www.youtube.com/watch?v=jWkMhCLkVOg

So if 729 hertz makes the regular F sharp, then if via Pythagorus Constant or the constant that harmonizes the Sun and Moons rotations via their timing around the Earth 365.24/360 = approximately 1.014 then it yield's 739.26 Hz, so if taken to more exactness when we round up, it then exactly equal's 740 Hz and the 370, 37 and 74 Hz. Very Happy

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Optimist777



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PostPosted: Thu Mar 08, 2012 6:12 pm    Post subject: Reply with quote

Lui on the 4.5 axis cross-over.

Quote:
INSTANT COMPOSITION =245

This 245, for me, has always represented the two tritone positions either side of the mirror. This position is a 4.5 within the major scale. It also replicated itself along the 45 degree angle. The 245 also breaks down to an 11, and it is the 11th overtone either side of the mirror that contains the same invisible like axis at a tritone interval away from the fundamental tone.

Your Integrated Circuit is spot on!! That is how we should learn to build any machines in the future. A machine must contain a tonal fountain, have components at 45 degree angles, that are tuned to the star of David symbol that mirroring throws up.

Once it is clearly seen that there is only one mirror structure possible, and it comes to resemble a Star of David, it is amazing how many other ways there are of finding it. Numbers point to this same structure. Yet they must be numbers as reflected within an overall symmetrical picture. Here is an example of what will throw up the organic structure within nature:

5 = E
55 = A
555 = C#
5555 = F
55555 = A
555555 = C#
5555555 = F

The F A C# is one of the triangles that combines to make a star of David symbol.

55555555 = Ab
555555555 = C
5555555555 = E

Ab C E is another of the triangles. In all there are four triangles, and two Star of Davids. What has been unearthed so far is one triangle from
each of the two stars.

55555555555 = Ab
555555555555 = C
5555555555555 = E
55555555555555 = Ab
555555555555555 = B
5555555555555555 = Eb
55555555555555555 = G

B Eb G, is the third of the four triangles. Only the D F# Bb to go:

555555555555555555 = B
5555555555555555555 = Eb
55555555555555555555 = G
555555555555555555555 = B
5555555555555555555555 =- D
55555555555555555555555 = F#
555555555555555555555555 = Bb

And there it is.

Every number treated this way will produce the triangle frequencies in the same was as is produced when the major scale is mirrored. But that is not the same as putting music to a real physical mirror. One mirrors the formulas that build the scales. In fact all that is happening within these numbers are that the Phi portion equates to slightly less than a minor 6th. Using symmetrical number arrays gives access to the creative principle within Phi. That implies that the same process is evident on the mirror side of music scales and numbers.

This same Star of David structure appears within the zodiac chart, and can also be run in tandem with the Tzolkin grid. I have come to know it as the consciousness aspect within the Form.

Thanks for the coincidence anyway!

Lui

luigi.di-martino

http://www.greatdreams.com/five/five.htm




Quote:
Numbers/Frequencies Mirroring

1 2 4 8 16 32 64 128 (256*) 512 1024 2048 4096 8192

If we make middle C (256*) a central axis point we find that there is an increase of 256 to the right ( 512 ) and a decrease of 128 to the left. The difference between 128 and 512 is 384. 384 is then broken down to a number between 1 and 9. 384 = 3+8+4=15=1+5=6.

Now moving left by one and right by one from 128 and 512 respectively gives us 64 and 1024. The difference between these two numbers is 960. Again this total can be broken down to a number between 1 and 9. 960=9+6+0=15=1+5=6.

One to the left and one to the right again gives us 32 and 2048, a difference of 2016. This becomes the number 9 when broken down as above.

The whole sequence is 6 6 9 3 3 9 6 6. It is a very symmetrical sequence as you can see flowing true either left or right. This is only one way to uncover a number sequence which describes the relationship of the original numbers above in a different way. It is obviously possible to move the axis point and thereby uncover more number sequences and it will be dealt with after the next experiment in finding hidden number sequences which can be applied to a multitude of numbers in general. Another number sequence will emerge if all the above numbers are broken down cabalistically (numbers 1 - 9).

1 2 4 8 16 32 64 128 256 512 1024 2048
1 2 4 8 7 5 1 2 4 8 7 5

The number sequence 1 2 4 8 7 5 is repeated eternally. The other interesting thing with this sequence is that it works in reverse fashion if the number 1 is continually halved.

1 = 1, 0.5 = 5, 0.25 = 7, 0.125 = 8, 0.0625 = 4, 0.03125 = 2, 0.015625 = 1 etc


http://www.greatdreams.com/grace/99/99FFFelectrons.html

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PostPosted: Thu Mar 08, 2012 9:16 pm    Post subject: Reply with quote

Here is more regarding the harmonic number 729, I believe it to be very important in the grand scheme of things.
9 x 9 = 81, 81 x 9 = 729!

0 1 3 6 9 13 729

In the 9 x 9 x 9 cube (connected to the moon) the volume is 729 while the surface area is 486 (729 = 1.5 x 486). 729 is the number equivalent of Cephas (Aramaic for rock), the name given to Simon Peter ("You are Simon, the son of John. You will be called Cephas."), while 486 is the equivalent of rock (Greek petra), as in 'Thou art Peter, and upon this rock I will build my church'.

729 is the smallest odd number greater than 1 that is both a cubic number and a square number (9 cubed and 27 squared). The smallest even number (greater than one) that works is 64 (4 cubed and 8 squared like the checker board).

3x3=9
3x6=18 1+8=9
3x9=27 2+7=9

6x3=18 1+8=9
6x6=36 3+6=9
6x9=54 5+4=9

9x3=27 2+7=9
9x6=54 5+4=9
9x9=81 8+1=9

9x9x9=729

The 27 by 27 magic square has been dubbed the Calendar Square, because it has the number 365 at the center (Enoch lived 365 years), and because 729 is said to represent 365 days and 364 nights. The Sum of the whole 27x27 square is 9,855 being the number of days in a 27 year period. The Sum of the inner and central 3x3 square is 1,095 being the number of days in a 3 year period. The Sum of the central 9x9 square is 3,285 being the number of days in a 9 year period. Note that there are nine 9x9 squares in the figure.

The cube is the 9x9x9 cube while the courtyard is 27x27, where the surface area of one is the volume of the other. The 4x4x4 cube occupies the center of the 8x8 square (the checkerboard) in the same manner.

The name Cephas was not chosen at random for, by gamatria, it amounts to 729, and represents the CUBIC foundation stone facing. This number was most important to Plato, and the Pythagoreans; not only is it a Cube (9 X 9 X 9), but it is also a Square (27 X 27), and is associated with the Solar year.

The gematria of Αρσιησισ, a Greek rendering of Harsiesis which means 'Horus Son of Isis', = 729.

http://homepage.virgin.net/vernon.jenkins/Cephas.htm



Could 729 Hz relate to 3,6,9 in any way? I believe it does. Let's also remember that 729hz is the resonant frequency of 432hz. Wink

Also the constellation Cepheus is right next to the north pole, and Alpha Cephei (Alderamin) is the right arm of King Cepheus which spins so fast that its equator whirls at more than half a million miles per hour. They found that the star is about 27 percent fatter through the equator than through the poles. No one knows for sure why Alderamin spins so fast. It will also because of precession, be the north pole star in 7500 AD.

Concerning astrology, the stars in the king are very, very good to have in ones chart, Alderamin in paran with Sol would be ideal. Alderamin was also Gandhi's heliacal setting star. Wink

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Optimist777



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PostPosted: Thu Mar 15, 2012 7:08 pm    Post subject: Reply with quote

In the book The Scientific Basis and Build of Music, Dougald Carmichael Ramsay describes the genesis of the notes of the chromatic scale. He agrees with Euler in designating the root of the scale to be F. The rest of the scale of notes is generated by primes 3 and 5. So F becomes 1, x3 C becomes 3, x3 G becomes 9, x3 D becomes 27.

By raising D27 by the harmonic octave of 2 several times we reach 432.

As shown above in the chromatic system D should be 432hz.

Quote:
At 432 the note 'D' resonates at 144000 times per second, so tempos of 36, 72, 108, 144 etc are in tune with the notes!

http://omegafoundation.siriuscomputing.net/Music/432.htm

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Raphael



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PostPosted: Thu Mar 15, 2012 8:49 pm    Post subject: Reply with quote

I am not a musician but 'F' strikes a chord with me, has for some time.

namaste

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Raphael



Joined: 20 Aug 2007
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PostPosted: Thu Mar 15, 2012 9:33 pm    Post subject: Reply with quote

Optimist777 wrote:
Did the Egyptians know about this natural re-appearing magical sequence, and does it link harmonically with the Pi Ra Mid's? David Jay Jordan makes some very good points on his webpage. The tri-tone F# sharp may be the magical key that unlocks the mystery's of antiquity, Lui Di Martino would surely agree. Maybe Raphael was right about sound all along, and it's been heavily tampered with because of it's available balanced connection with light and to our cellular structure & DNA? David even includes some thoughts on 137. Wink


So if 729 hertz makes the regular F sharp, then if via Pythagorus Constant or the constant that harmonizes the Sun and Moons rotations via their timing around the Earth 365.24/360 = approximately 1.014 then it yield's 739.26 Hz, so if taken to more exactness when we round up, it then exactly equal's 740 Hz and the 370, 37 and 74 Hz. Very Happy


Lui and me met and argued years ago on the Coral Castle site.
Surprised?

I was investigating the 4 vs 5 archetype, he claimed 4.5 was the cross-over.
But he never could give me a specific frequency.

And yes I was right about SOUND all along. Wink

I claimed if they found the Higgs Boson it would be connected to SOUND.

I made that prediction (one of them) before (yes I have proof) they started applying sound signatures to Higgs.

But what I did NOT know when arguing with Lui and neither did he is that Frank Z. actually says the SOUND to LIGHT transfer occurs "Znidarsic's Constant" 1094000 m/s.

Quote:
“The quantum condition emerges at points where the electronic velocity of light equals the nuclear velocity of sound.”
Frank Znidarsic 2009

http://www.angelfire.com/scifi2/zpt/chapterb.html


Quote:
Fine Structure Constant: 1/137.035999074

Frank Znidarsic's number = z = 1094000 m /s
speed of light = c = 299 792 458 m / s

(z * 2) / c = 1 / 137.016662706

http://www.mail-archive.com/vortex-l@eskimo.com/msg59696.html


So how easy is it embed the speed of light in m/sec in the Great Pyramid?
Give me 1 chess board, we draw two 2 circles.
All you need to know or remember.
Thousands of years later AHA!
Wink




RaphaEL and ELvI5 are back in the building.
Did we ever leave?

namaste

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Optimist777



Joined: 12 Sep 2011
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PostPosted: Fri Mar 16, 2012 12:48 pm    Post subject: Reply with quote

Raphael wrote:
I am not a musician but 'F' strikes a chord with me, has for some time.

namaste


AUM, are you Sirius? Wink

http://aumstar.com/

Also, F in the hexi-decimal system = 1111 in Binary !!

In the regular decimal system, F would equal 15.

http://www.denalimultimedia.com/info/Articles.aspx?cid=02&topic=hexadecimalsystem

A threshold indeed.

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Optimist777



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PostPosted: Fri Mar 16, 2012 3:54 pm    Post subject: Reply with quote

Raphael wrote:
But what I did NOT know when arguing with Lui and neither did he is that Frank Z. actually says the SOUND to LIGHT transfer occurs "Znidarsic's Constant" 1094000 m/s.

Quote:
“The quantum condition emerges at points where the electronic velocity of light equals the nuclear velocity of sound.”
Frank Znidarsic 2009

http://www.angelfire.com/scifi2/zpt/chapterb.html


Quote:
Fine Structure Constant: 1/137.035999074

Frank Znidarsic's number = z = 1094000 m /s
speed of light = c = 299 792 458 m / s

(z * 2) / c = 1 / 137.016662706

http://www.mail-archive.com/vortex-l@eskimo.com/msg59696.html


So how easy is it embed the speed of light in m/sec in the Great Pyramid?
Give me 1 chess board, we draw two 2 circles.
All you need to know or remember.
Thousands of years later AHA!
Wink


Great find Raph, it seems that all the constant's in nature always have a connection to 137 some how, some way.
Gotta love it! Very Happy

Here's a good thread on the subject:
http://www.energeticforum.com/renewable-energy/6872-steorn-effect-successfully-reversed-engineered.html

Quote:
63 - 37 = 26. It should be obvious where the 63 and 37 came from.

26 / 23mH = 1.130

1.130 - 1.094 = 0.036

1.094 megahertz-meters is the quantum transitional speed. When the speed of light in the electronic structure matches the speed of the mechanical waves in the nuclear structure, then there is an impedance match which allows for a 100% transfer in energy (this is the reason for no BEMF when building the magnetic field in the coil). The speed of the mechanical waves in the nuclear structure is 1.094 megahertz-meters. The 0.036 difference is negligible and is more than likely due to the inductance varying slightly at the end of the pulse and because the 63 and 37 are the approximate values.

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