Posts Tagged ‘Pattern’

About Perspective

Thursday, February 2nd, 2012
File:Reconstruction of the temple of Jerusalem.jpg

Medieval Perspective

When we Look with our Eyes and not with our Mind we can See that Space looks very different from what we Think it is. In Our Space Parallel Lines meet at Infinity.

Around 1400 during the Renaissance Painters started to look at Space with their own Eyes and discovered the Rules of Perspective Drawing.

Between 1600-1800 Perspective Theory changed from a Theory of Art to a Theory of Mathematics called Projective Geometry.

It took 400 Years before a few Mathematicians realized that Projective Geometry was the Foundation of Mathematics and it took another 100 years before Projective Geometry started to influence Physics.

In 1908 Hermann Minkowski discovered that Einstein’s Theory of Special Relativity could be analysed using Projective Geometry. Minkowski created a 4D Space-Time Metric Geometry in which he added one Time Dimension.

Many experiments now show that 4D-Space-Time  is not sufficient to incorporate what Time Really is.

The essence of Our Universe is Movement, Expanding Space,  and Movement = Space/Time (Space Divided By Time).

Both Time and Space are 3-Dimensional and represent a Different,  Reciprocal, Complementary (Dual), View on Movement.

We can move independently in Time OR Space and in Time AND Space (The Chronotope).

The Future is Expanding Space with Infinite Potential.

Time moves behind Space and Scales Space.

About Perspective Drawing

A Mathematical Theory of Perspective Drawing could only be developed when the Renaissance freed painters to depict Nature in a way closer to what they Observed.

In the Middle Ages Social Status was very important. Important People or Buildings were always emphasized.

In the Renaissance the Artists started to look with their own Eyes and Created Pictures where the Viewer looked through the Eyes of the Painter.

The Florentine architect Filippo Brunelleschi (1337-1446) studied Greek Geometry, developed a theory of perspective and undertook painting just to apply his geometry.

The first treatise, Della pittura (1435) by Leone Battista Alberti (1404-72) furnished most of the rules.

Alberti regarded mathematics as the common ground of Art and the Sciences. “To make clear my exposition in writing this brief commentary on painting,” Alberti began his treatise Della pittura, “I will take first from the mathematicians those things which my subject is concerned”.

Alberti stressed that “all steps of learning should be sought from nature“. The ultimate aim of an artist is to imitate nature.

Perspective Machine designed by Albrecht Durer

Alberti did not mean that artists should imitate nature objectively, as it is, but the artist should be especially attentive to beauty, “for in painting beauty is as pleasing as it is necessary“.

The work of art is according to Alberti so constructed that it is impossible to take anything away from it or add anything to it, without impairing the beauty of the whole.

Beauty was for Alberti “the harmony of all parts in relation to one another,” and subsequently “this concord is realized in a particular number, proportion, and arrangement demanded by harmony“.

Alberti’s thoughts on harmony were not new – they could be traced back to Pythagoras – but he set them in a fresh context, which well fit in with the contemporary Aesthetic Discourse.

IMAGE: Leonardo's perspectograph

The Perspectograph of Leonardo Da Vinci

One of the earliest Artists to produce a book on how to draw in perspective was Albrecht Dürer. As well as discussing geometric methods, he also illustrated his book with a set of woodcuts showing practical tools for accurate perspective drawing. Other Artists like Leonardo Da Vinci developed comparable tools.

About Projective Geometry

Projective Geometry formalizes one of the Central Principles of Perspective Drawing and of Human Perception: Parallel Lines Meet at Infinity.

In Euclidean geometry, constructions are made with Ruler (Line) and Compass (Circle). Projective Geometry only require a Ruler.

In Projective Geometry one Never Measures Any Thing, instead, one Relates one Set of Points to another by a Line.

Two projections of the same object.

Different Points of View

Alberti was the first to ask what two pictures have in common if two drawing screens are interposed between the viewer and the object, and the object is projected onto both resulting in two different pictures of the same scene.

The basic idea behind Linear Perspective is simple: in every painting an artist creates a “floor” or area of the painting where the figures and/or objects will be placed. The floor ends at a horizon line, and the horizon line has a Vanishing Point or Point of Convergence on it.

The artist then draws parallel lines radiating from the vanishing point outward. Images closest to the vanishing point should appear smaller and closer together, and images farthest from the vanishing point should appear larger and farther apart, giving the impression of depth and space in the painting.

Pappus of Alexandria ( 290 – 350), one of the last great Greek mathematicians of Antiquity, proved that that given one set of points A, B, C on a line, and another set of points a, b, c on another line, then the intersection points X, Y, Z of line pairs Ab and aB, Ac and aC, Bc and bC are also on a Line. This line originates at the Vanishing Point.

Pappus' Theorem

Later Desargues (1591-1661) proved Pappus Theorem for Triangels. He proved that the three vertices of one triangle a, b, and c, and those of the other A, B, and C meet in a third point, and that these three points all lie on a common line called the Axis of Perspectivity.

Desargues' theorem

Later Blaise Pascal (1623-1662) proved Pappus Theorem for Conics (Circles, Parabola, Hyperbola) in his  ”Essay on Conics” (1640) when he was 16 years of Age.

Pascals Theorem

About the Four Points of the Cross-Ratio

Finally 400 years later in 1803 Lazare Carnot found the answer to the Question of Leone Battista Alberti.

In his book “Géométrie de Position” he proved that the so called “Cross-Ratio” is always preserved in a Projection with One Point of View.

The Cross-Ratio

The Cross-Ratio is the Ratio of the Ratio of the Four Points A,B,C,D lying on a Line that intersects the Four Lines defined by a,b,c,d that orginate at the Vanishing Point O.  Carnot  proved that (AB)(CD)/(AC)(BD) = (A′B′)(C′D′)/(A′C′)(B′D′).

The Cross Ratio is not only the Cross-Ratio of the Four Points A,B,C,D. It is also the Cross-Ratio of the Four Lines  and the Three Angles that originate out of the Vanishing Point. In this case (AB)(CD)/(AC)(BD)=Sin(AB) x Sin(CD)/Sin (AC) x Sin (BD).

This principle is called Duality. In 2D-Projective Geometry Connected Points and Lines, called an Incidence, are interchangeable.

There is a corresponding Duality in three-dimensional Projective Geometry between Points and Planes. Here, the line is its own Duality, because it is determined by either two points or two planes.


The Cross-Ratio k is dependent on the Order of the Four Points. It converges to 0 and infinity when k=1 and to -1/2 and 2 when k= -1.

Two examples: 2D: Two distinct Points determine a unique Line and two distinct Lines determine a unique Point. 3-D:  Three distinct Points not all on the same Line determine a unique Plane and three distinct Planes not all containing the same Line determine (meet in) a unique Point.

The 24 Permutations of A,B,C and D produce 6 possible values of the Cross-Ratio, depending on the order in which the points are given. If k = 1, the other Cross-Ratio’s are 0 and infinity. This happens when point A = point D. In this case the Geometric Entity is an Equilateral Triangle.

If k = -1, the other Cross-Ratio’s are -1/2 and 2. This is called a Harmonic Cross-Ratio. This happens when the Internal Ratio of AC determinated by B is Equal to the External Ratio of AC determinated by D. When k=-1/2 and 2 the Geometric Entity is a Square.

If the Four Points of the Cross-Ratio are on a Line or a Circle, then the Cross Ratio is a Real Number, otherwise the Cross-Ratio is a Complex Number.

Ruler (Space) and Compass (Time): The Tools of the Geometer

About the Four Layers of Geometry and the Four Points of the Cross-Ratio

In 1872 Felix Klein, published a new Mathematical Research Program called the Erlangen Program under the title Vergleichende Betrachtungen über neuere geometrische Forschungen.

In this program Projective Geometry was emphasized as the Unifying Frame for all other Geometries.

Although lines in the Projective Plane meet in one point of Infinity Klein argued that there could be two points of Infinity if the Projective Plane was a Surface Closed in Itself.

When we look at the Origin of Projective Geometry, the Artist painting A Sphere, Earth, on a Flat Surface, it is not difficult to realize that this Closed Surface is a Sphere.


Geometry is now divided into Four  Layers. Each Layer adds a set of Assumptions that creates certain Invariants for that Layer.

An invariant is a property of a configuration of Geometric Entities that is not altered by any transformation belonging to the specific layer.

A transformation is an operation applied to a Geometric Entity. The most common transformations are Translation, Rotation and their Combinations (Reflection).

What we will see is that the Four Points of the Cross-Ratio are highly related to the Four Layers. In Every Higher Layer One Point of the Cross-Ratio is moved to the Internal Landscape, the Mind, of the Observer. This principle is called “As Within so Without“.

The First and most fundamental Layer is the Layer of Projective Geometry. This is the Layer of Human Perception and is invariant under the Cross-Ratio also called a Moebius Transformation.

The Second Layer is called Affine Geometry. In this layer Parallel Lines are preserved and the Assumption of a Plane at Infinity, the Horizon,  is created.  This Plane generates Parallel and Orthogonal Relationships between Geometric Entities by placing One of the Four Points of the Cross-Ratio in the Plane at Infinity.

Affine Geometry is Euclidean Geometry with congruence (something is the same when Shape and Size are the Same) and a metric (a definition of a Distance) left out. An affine transformation preserves straight lines and ratios of distances between points lying on a straight line.

This the layer of  the Emotions, “the harmony of all parts in affinity to one another” of  Leone Batista Alberti.  In Affine Geometry the Frame of Reference of the Painter, the Floor,  is created. On this Floor,  the Horizon, the Plane at Infinity is drawn.  From the Point of View of the Observer, it is not possible  to Judge Distance or the-Sameness because a given Visual Object may be Large and Far away or Small and Close.

In Eucludian Geometry A Ruler contains a Fixed Scale

The Third Layer, Metric Geometry, adds the concept of Distance (Metric, Scale) to the Affine Layer. A Distance is a relation between Two Points of the Cross-Ratio. This is the Layer of the Painter, Creator, Observer, who creates his own Distance to the Distances he is Painting in the External Frame he is looking at.

Since Projective Space is the Space of Actual Perception, the true function of Metric Space is the Coordination of Various Perspectives. This is illustrated in Perspective Drawing, in which there are always Two Perspectives being Coordinated—the Vanishing Point and a Point just behind the Eyes of the Observer.  Each of these is an instance of the One Point at Infinity.


The Expectation looks through a Small Hole.

The last, Fourth,  Layer is the layer of Euclidian Geometry. In Euclidean Geometry Distance is Fixed (not Relative) and Scaled to a Unity (Meters). This leaves us with just One Point of the Cross-Ratio, the Unity, the One.

Between  1926 and  his death in 1983 Alfred Tarski worked on the Axiomatization of Euclidean Geometry. In Tarski’s system there is only one type of Object: the One, The Point.

There are just two Geometrical notions between Points: the Ternary Relation of “in-Betweenness” and the Quaternary Relation of “Equidistance” or Congruence.  Betweenness captures the Affine aspect of Euclidean Geometry; Equidistance/Congruence, its Metric aspect.

This is the Layer of the Human Expectation who has not Distanced Itself and is Looking Outside Through a Small Hole at the Future. The Expectation considers the Future as an Extension of the Past (Memory).

In Euclidian Geometry we have to Move Outside to the Objects to Measure their Distance and the Sameness with a Pre-Defined Unity.

If we don’t move to the Object we will measure an Illusion.

About Space measured by Time and Space measured by Space

The Ancient Sumerians  knew that the Length of one side of a Hexagon is the same length as is the Radius of the Circle that circumscribes this Hexagon (See Pascals Theorem).

They also knew that the Stars of the Constellations of the Zodiac shift Counterclockwise, at the rate of 72 years/degree, because of the Precession of the Earth’s axis. One Wobble takes 25.920 years.

The length of one side of the Earth Hexagon is therefore the Distance traveled by the Constellations of the Zodiac along the horizon during 25.920/6=4,320 years.

They then subdivided this distance by 7,200  which produced the Royal Mile that was subdivided into 1,760 Royal Cubits.

Before 3.117 BC the complete Earth was covered with a uniform Geodesic System that was based on the Rotation and Precession of the Constellations of the Zodiac. This System was implemented in the Megaliths.

At that Time Space was measured by Time.

The Physical System of the Megaliths was destroyed by the Great Flood of 3.117 BC but the Metric System survived thousands of years until the French Revolution.

On the 8th of May, 1790, Charles Maurice de Talleyrand at the end of the French Revolution, proposed before the National Assembly in Paris a Change to a Decimal Measurement System.

The Academy of Science recommended that the new definition for a Meter be equal to 1/10,000,000 of the distance between the North Pole and the Equator, and this was accepted by the National Assembly in 1791.

From that Time on Space was measured by Space.

Why the Future contains Infinite Possibilities

A Painter or a Human always looks Forwards in Space. If there are Parallel Lines visible they all Converge to a Vanishing Point at The  Horizon. The Horizon is a Parallel Line at Infinity.

We all know that the Parallel Line of the Horizon is caused by the fact that the Earth is a Moving Sphere. This Moving Sphere moves around other Spheres that move around other Spheres.

The Rotation of the Spheres in Space is used as a Clock. Every time when the Cycle of the Spheres repeats itself we add one unit to a standard Time-Measure. One Sun Cycle is named a Year. One Cycle of the Precession takes 25,920 Years.

We Measure our Time by the Cyclic Movement of Objects in Space. The Cyclic Movements caused by the Rotations of Objects around Objects (around Objects) is really a Rotating Rotating Rotation, a Spiraling Spiral.

We don’t live in the Sphere but we live and Move on the Surface of a  Moving Sphere. That is why our Geometry is an Elliptic Geometry (or Projective Geometry).

Euclides and Pythagoras were aware of Projective Geometry (See also Pappus) but the Scientists of the Enlightenmentstarted to interpret their Theory with a Different Eye. They saw Numbers in a completely different way the Greek did.

The Scientist disconnected Number from Magnitude (Form) and created an Abstract Static Number Theory and an Abstract  Static Theory of Physics. The Movement of our Universe, the Ether, came to a stilstand.

The Theory of Perspective Drawing, based on our Real Perception of Reality, is the same theory that generated Projective Geometry. We are now back to Normal again.

In the blog about Geometric Algebra I wrote about a very Independent Thinker called Dewey B. Larson.

He reinvented Physics and Projective Geometry in his own way, Calculated all the well known Physical Constants and based his Theory on a simple well know Assumption that Space and Time are Reciprocal (A Ratio of Ratio’s , the Cross-Ratio) because Velocity= dS(pace)/dT(ime).

Moving Movement is the Essence of our Reality.

What Larson calls “Motion” is the Ether Wind (or the Higgs Field) the Velocity which was measured in the North-South (Z) direction at 208 km/s in 1933 by Dayton C. Miller.

Einstein believed the results of the Michelson-Morley Experiments in 1887 that “proved” that the Moving Ether was non-existent. Now we know that the experiments were wrong.  Einstein also did not believe that Space was Expanding. At this moment the Expanding Universe is confirmed by many observations.

When Space Expands,  Time Compresses and fills up the Space to Keep Balance. Time Scales Space.

Space moves to Infinity. Time Moves to the Inverse of Infinity, Zero. Space is measured by the Linear Visible Scalar Number-System. Time is Measured with the Rotational Invisible Imaginary Number System.

Expanding Space is Linear Motion. Time is the Spiraling Motion of the Vortex.

golden mean spiral2

The Spiraling Spiral of Time

Space is Yang and Time is Yin. Yin is feminine, Curved, Rotational, smooth or cold. Yang is masculine, Straight, Linear, rough or hot.

Space and Time are Complementary Duals that Move Around the Void.

If we look at the Human Perspective we now are able to understand what Time and Space Really are.

When we Look Forward we Experience Space. Time is always Behind our Back.

Human Senses and Conventional, Scientific Equipment can only Look Forward and therefore Measure Space (Distance) and the Change of Space (Velocity, Acceleration).

This is a Limitation of our Physical Sensory System, which evolved to measure Space, Scaled by Time, to produce what we Perceive as Causality–a Linear Ordering of Events.

Without the Cause-and-Effect System, the Sensory World of Space would just become Chaos.

Time, History, is Always Behind Us and Space, The Future, The Adjacent Possible, with Infinite Possibilities, is Always in Front of Us.

Let’s Move.


About Pythagoras and Heliopolis (Egypt)

About Pythagoras

Paul Dirac: About Physics and Projective Geometry

About the Middle Ages

About Expanding Space and Not-Euclidian Geometry

About the Renaissance

About Resistance and Mass

About the Mathematics of Perspective

About the Ether

About Clean Space

About Projective Geometry

Pictures of the Projective Plane

About Geometric Algebra

About As Within, So Without

About the Reciprocal Theory of Dewey B. Larson

A Video about Mobius Transformations

About Projective Geometry and our Senses

About Projective Geometry and Geometric Algebra

About the Cube of Space

About Time and Paranormal Experiences

About Geometry

A Textbook about Metric Geometry

About the Four Points of View

About the Void

Why the Future is Open Space

About Alchemy and the Klein Bottle

About the Human Sensory System

Stuart Kaufmann: About the Adjacent Possible

About the Vedic Square

Monday, December 19th, 2011

This blog is about the Cycle of Nine implemented in the Digital Root or Modulus 9-Function. The Digital Root generates many Patterns that were used in Ancient Architectures.

One of the most important Digital Root Patterns is the Vedic Square. It is the Digital Root of the Multiplication Table of the numbers 1 to 9.

This Table contains the Harmonics of the Numbers 1 to 9. These Harmonics are highly related to the Harmonic Pattern behind the Cycles in our Universe.

The first part of this Blog is about the Digital Root. It contains the patterns that are behind the Cycle of Nine.

This part is very technical but it makes it possible to show that there is a deep structure  behind the Modulus-9.

This pattern has to do with just two numbers, 2 and 3. They generate the Spirals of Expansion and Compression of our Universe.

2 and 3 and their Sum 5  are also the Numbers behind the Harmonics of our Universe.

The Second Part is about the Vedic Square. It is called the Vedic Square because this Square is one of the most important tools in Ancient Vedic Mathematics.

Vedic Mathematics was used in many Ancient Cultures (China, Egypt, Greece) with different names. The Chinese art of Feng Shui was called Vaastu Shastra in India.

Pythagoras, trained in Egypt (Heliopolis),  used the same principles and used the same  Patterns the Ancient Vedic Scientists were using.

The last part is about the Game of Chess. This game is  just like many other Ancient Games a Simulator of the Game of the Universe.

This blog contains many links to other Blogs and Resources on the Internet. These references make it possible to dig deeper into this fascinating subject.

About the Digital Root

When  you divide a number X by a number N the Remainder of the division is called X Modulus N.  22 mod 7 = 1 because 22 = 3×7 + 1.

The Modulus-function N maps the Set of the Natural Numbers to the Numbers 0, 1, 2, ….,N-1.

One of the most famous and ancient Modulus-functions is called the Digital Root. The Digital Root is the Modulus 9 function.

Because 10 mod 9 = 1 every Power of 10 has a Modulus 9 of 1. Therefore (a10**X+ b10**Y+…) mod 9 = a + b, the Sum of the Digits of the Number. 62 mod 9 = 6+2 = 8.

Digital Roots have been recorded for thousands of years, formalized by Pythagoras in 530BC and even earlier in Indian Vedic Mathematics (Vaastu Shastra).

Digital Roots are used in Numerology. In Numerology Numbers have a Meaning.

In Gematria Letters and Words are transformed into Numbers which have a meaning.

In Ancient Languages like Hebrew Letters are also Numbers. Numerologists believe that Words with the same Digital Root have the same Meaning.

The numbers 0 to 9 of the Digital Root are the Points of the Tetraktys of Pythagoras.

The Tetraktys of Pythagoras

The Modulus 9 pattern contains 2 number groups (3,6, 9) and (1,2,4, 5,7,8).

Later we will see that the last group contains 2 subgroups (1,4,7) and (2,5,8).  Together with (3,6,9) we can map these 3 Triangels on the Modulus 9 Circle.

4 is the Middle of 1+7=8, 5 is the Middle of  2+8=10 =1 and 6 is the Middle of 3+9=12=3. 5 is also the Middle of the Middle.

The group (1,2,4,5,7,8 ) is called the Ring Z/9 in Mathematics. Z/9 is isomorphic with the Sequence 2**N mod 9 where N is positive and negative. The sequence 1,2,4,8,16(7),32(5),64(1),128 (2),256 (4),… repeats itself until infinity.

This Sequence is the Expansion and Compression Pattern of the Number 2.

The Ring Z/9 is part of the Tetraktys and forms a Hexagram. This Hexagram is a 2D-projection of the Cube of Space. When we combine the (3,6,9)-pattern with the Hexagon a (4×4) Triangle is created.

The number 2 is the Container, the Cube, inside the Tetraktys. That is the Reason why the Second letter in the Hebrew Alphabet Beth means Vessel or Container.

(3,6,9) is a Triangular Cycle that repeats itself until Infinity.  The Number 3, the Trinity, is the Mover of the Container of 2. This Rotation moves With and Against the Clock.

This is the reason why the 3th Letter of the Hebrew Alphabet, Gimel, means Camel. The Camel of Gimel carries the Water into the  2 Containers of Beth.

The Number-2-pattern contains 3 Binary Groups (called Polar Pairs) with a Sum of Nine (1,8), (2,7), (4,5). The Number-3-Pattern contains 2 Polar Pairs (3,6) and (0,9). The Polar Pairs represent the Lines of the Tetraktys.

(0,9) maps unto Itself and represents The Beginning and The End, The Now. (0,9) is a Point and a Line.

The Polar Pairs of the Z/9 create a Cyclic Pattern that contains two Squares, (1,2,4,0) and (5,7,8,0). Both of them Share the Zero, The Void.

The Sum of the Opposite Numbers of the Z/9, (4,8 = 12=3), (1,5 =6 ), (2,7=9) of the Tetraktys shows the 3,6,9-pattern again.

Lo Shu Magic Square

There are 8 Ternary Groups ((1,5,9), (1,6,8), (2,6,7), (2,5,8),(2,4,9),(3,4,8),(3,5,7),(4,5,6)) with a Sum of 15. This Ternary Group represents Triangels. All of them are part of the famous Lo Shu 3×3 Magic Square.

The 3 Triangles of (1,4,7), (2,5,8) and (3,6,9) copied from the linked Website.

When we use the number 3 as a generator 3 Triangles are created (1,4,7), (2,5,8) and (3,6,9).

The 3 Triangles move With and Against the Clock ((1,4,7) and (7,4,1)).

It takes 3 rotations to get every Triangle back to its original position. (1,4,7) becomes (7,1,4) and (4,7,1). This means that there are 6 permutations of every Triangle.

Every addition of two Triangels produces another Triangle.   An Example:  (1,4,7) + (2,5,8) = (3,9,6).

When we create a Matrix to find all the combinations a new group of 9 transformations ((1,1,1),(2,2,2),(3,3,3),(4,4,4),(5,5,5),(6,6,6),(7,7,7),(8,8,8),(9,9,9)) appears. They are the Triangels that are a Line and a Point. An Example:  (1,4,7) + (1,1,1)=(2,5,8).

There are now (18 +9=27) x27 = 729=3**6 = 9**3 possibilities.

The same 27×27 Matrix appears when we Multiply the 3 Triangels. An Example:  (5,8,2)x(5,8,2)= (25,64,4)= (7,1,4) and (3,6,9)x(5,8,2)=(15,48,18)= (6,3,9).

Another interesting patterns  becomes visible when we look at the Opposite Numbers of 3 Triangels (1,5), (2,6), (3,7),(4,9) en (5,9) in the Picture above.  They recreate the Triangels. An Example: (5+9=5, 2+6=8 ,8+3=11=2).

About the Digital Root of the Golden Mean

The 27×27 Matrix pattern also emerges out of 24 repeating numbers (1 1 2 3 5 8 4 3 7 1 8 9 8 8 7 6 4 1 5 6 2 8 1 9) of the Digital Root of the Fibonacci Sequence (The Golden Ratio).

this solution gives the densest
lattice packing of spheres in 24 dimensio

When we group the Golden Ratio pattern in 2′s (2×12) the Polar Pairs appear. The 12 pattern has  a Sum of 108 = 0 Modulus 9. 108 and 24 are related to the Gayatri Mantra.

1 1 2 3 5 8 4 3 7 1 8 9

8 8 7 6 4 1 5 6 2 8 1 9

When we  group the pattern of 24 numbers (3×8) of the Golden Ration into Trinities the Triangle Pattern appears again.

1   2  3  4                  -3 -2 -1 -4 (Pattern-number)

1   1  2  3  (7)           5   8   4   3   (2)

7   1  8  9  (7)          8   8   7   6   (2)

4   1  5  6  (7)          2   8   1    9   (2)

The Pattern of the Pattern is (1,2,3,4,-3,-2,-1,-4). The last part of the Pattern (-3,-2,-1,-4) can be transformed into the first part (1,2,3,4) by adding 4.

The Digital Sum of the first 3×4 numbers is 7 and the Digital Sum of the last 3×4 numbers is 2.

When we rearange the 24 cycle in 6 groups of 4 digits another pattern shows itself: (1,4,8,5), (1,3,8,6), (2,7,2,7),(3,1,6,8), (5,8,4,1), (8,9,1,9).

The pattern of the Golden Mean copied from the Linked Website

When we combine all the different rotations of the 3 Triangels a Cyclic Flow Pattern appears that looks like the Jitterbug of  Buckminster Fuller.

The Jitterbug is a 3D projection of the 4D 24-Cell (again 24!) also called the Hyperdiamond.

The 24-cell is self-dual and is the regular polytope with no analogue among the five Platonic solids of 3-space.

The 24-cell also called the Hyperdiamond

About the Vedic Square

One of the Simple Structures of Numbers that contains a lot of patterns is the Vedic Square. The Vedic Square was called the Eight Mansions in China. The Vedic Square is the Digital Root of the Multiplication Table of the numbers 1 to 9.

The Multiplication Table is a subset of the 27×27 Matrix of the 3 Triangels.

The Multiplication Table contains the Harmonics of the Numbers 1 to 9.

The Sistine Chapel is designed with the Vedic Square. Click on this picture to see a 3D version.

The Vedic Square was used to build the Pyramids, create the Chinese I Ching, the Game of Chess, Dante Alighieri used it to structure his trilogy La Divina Commedia, the Sistine Chapel was build and the frescoes and symbols were arranged according to its concepts and the first chapter of Genesis was written and imbued with its numerous concepts graphic images.

File:Michelino DanteAndHisPoem.jpg

La Divina Comedia of Dante with the Tower of Babel on the background. This Ziggurat is a Geometric Structure highly related to the Vedic Square.

Scholars and Artists discovered that the various lines of the Vedic Square could be used to direct a design. By selecting a line of numbers, and using a constant angle of rotation, various designs could be produced. These designs are visible in abstract Islamic Art.

The Patterns of Islamic Art are created out of the Vedic Square

The Vedic Square is a Symmetrical Structure because AxB=BxA. This is called the Associative Property of Multiplication.  The Square is a combination of Two Triangels and contains 45 distinctive numbers.

Vedic Square

The Vedic Square repeats itself until infinity when you extend the Square to a NxN Square.

The number pattern of the diagonal of the Vedic Square, 1,4,9,7,7,9,4,1,9,  is the Digital Root Pattern of the Square Roots. This patterns repeats itself until Infinity.

The Vedic Square contains the 5 Polar Pairs, the 8 Lo Shu Ternary Groups and the 3 Trinity Patterns ((1,4,7), (2,5,8), (3,6,9). It also contains the Star of David, The Zodiac, the Tree of Life and many other Mystic Patterns.

It is possible to transform the Vedic Square to the Lo Shu Magic Square.

The patterns of the Vedic Square Rotate. The End of a Horizontal and a Vertical Pattern connects with the Beginning of the Pattern. This means that the Vedic Square is a Torus.

This Torus is called the Rodin Torus. The Rodin Torus is a Coil that produces a Uniform Electro-Magnetic Field.

The Rodin Modulus 9 Number Torus

The 3-6-9 and 6-3-9 Cycle in the Vedic Square can be thought of as Clockwise and Counter-Clockwise, or as Electricity and Magnetism. They are transport-channels.

The ((3,6,9),(6,3,9)-Matrix divides the Vedic Square in 9 2×2 Squares.

The 9 2×2 Squares have a Sum of 9,18 and 27 which is 1×9,2×9 and 3×9. If we leave out the (3,6,9)-Matrix and divide by 9,  a 3×3 matrix results with 1,2,3 on the Outside  and a Cross of 2′s in the middle. This 3×3 matrix shows the Expansion of the 2 into the (1,2,3).

Patterns in the Vedic Square

The Rows and Colums of Ring Z/9 add up to 45. The Rows and Colums of the Number 3-Pattern add up to 54 which is a Mirror of 45. The (4,5)-pattern generates the Star of David and the Zodiac.

About Indian Vastu Science

The Vastu-Mandala

The Game of Chess originated in India. It was passed on to the medieval West through the intermediary of the Persians and the Arabs.

The form of the Chess-Board corresponds to the Vastu-Mandala, the 9×9  diagram which also constitutes the basic lay-out of a temple or a city.

Hindu mythology has it that Vaastu Purusha was born of Lord Shiva’s sweat when he fought the deadly demon Andhakasura.

Vaastu Purusha himself became uncontrollable and destructive and the heavenly gods finally subjugated him and brought him down on earth with face down, with his face in the Northeast and his feet in the Southwest.

45 deities stayed there, 32 of them in the outer enclosure and 13 of them in the inner enclosure holding him in place at various points or locations on his body.

32 =64/2 and the Number of the 32 Paths of Wisdom of the oldest book of Hebrew Mysticms the Sepher Yesirah (the Book of Formation or Book of Creation, ספר יצירה).

64 is the Number of the I Tjing. 45 (5×9) is the Sum of the Lo Shu Magic Square and the Number of the Vedic Square.

All these Mystic Structures come from the same Source and are different Views on the same Pattern, the Tetraktys, the Triangular Numbers created by the Meru Prastara or Sri Yantra also known as the Pascal Triangle.

The Vastu Jain Symbol is a version of the Tetraktys

The Vastu Mandala is an expansion of  a Point (the Bindu) into the Line(2), The Trinity (3) and the Rotating (With the Clock and Against the Clock) and Expanding Square (4), represented by the Symbol of the Swastika. The Swastika is a Fractal Generating Pattern.

Every Point is a generator from which the Swastika-pattern generates a new Swastika. The 2×2 Square is transformed by the Swastika Pattern into the 4×4 and the 8×8 Square.

As you can see the Vastu Jain Symbol is an Indian Version of the Tetraktys of Pythagoras.

The Swastika contains the Four Points of the last line of the Tetraktys that are related to the Tethahedron.

The Borobudur represents Mountain Meru, Pascal's Triangle.

About the Game of Chess

The Chess-Board symbolizes the Unfolding of Space by the Number-2-pattern and it synthesizes the Complementary Cycles of Sun and Moon.

The number 64, the sum of the Black & White (Yin/Yang) Squares on the Chess-board, is a divisor of the number 25920 (25920/64=405, 25920/9= 2880/9=320/5=72), which measures the Precession of the Equinoxes.

The Polar Pairs in the Modulo 9 Pattern are expressions of the Planets.

(1,8), the Castles, relates to the Planet Mars.

(2,7), the Bishops, relates to the Planet Venus. Venus is the Ruler of the Heart and the (2,7) is situated in the Middle of the Vedic Square.

When viewed from the Earth, the Planet Venus inscribes a near perfect five-pointed star (pentagram) around the sun every eight years. The points of a five-pointed star (pentagram) touch the circle of a pentacle every 72 degrees.  Likewise, many in Islam expect 72 virgins in heaven.

A full 360 degrees of procession takes 25,920 years, which is also seventy-two (72) 360-year cycles.

(3,6), the Knights relates to the Planet of the Messenger, Mercury. Mercury is Hermes, the Messenger God, with winged sandals. The moves of the Knights create a pattern that looks like the Swastika.

The (3,6)-number-lines are Transport-Channels (Gimel) as you can see in the Vedic Square and the Rodin Torus. The planet Mercury traces a Hexagram during its movement around the Zodiac.

(0,9) is the Planet Jupiter,  the Ruler of Modulus 9 who determinates the Rules of the Game. (0,9) is the Beginning and the End of the Game and is the cause of the Rotation of the Swastika related to the (3,6.9)-pattern.

The numbers 4 and 5 are the Moon (Queen) and the Sun (King). The Moon moves the quickest of all the planets, so does the Queen on the chessboard.

The Number 5 of the King is the Center of the 3×3 Lo Shu Magic Square and the Center of the Tetraktys.

The 8 Pawns represent  the number 2 and are connected to the Planet Saturn, the 2nd Son of the Central Sun and the Trinity (1+ 2 = 3). The Pawns start to move with 2 steps and later move 1 step. The 2 is the Center (The Son of the Sun) of the Trinity.

The 2 is also the Generator of the Expansion Pattern and the Polar Companion of the 7, the Center of the 3D-version of the Square, the Cube of Space.

The Pawn (2, Saturn) promotes into a Queen (Moon, 2×2) when he has reached the Other Side.


About the Multiplication Table of 9

About Genesis and the Vedic Square

About the Divina Comedia and the Vedic Square

About the Sistine Chapel and the Vedic Square

About the Tetraktys

About the Trinity

About the Vedic Square

About the Tetraktys and the Lo Shu

About the Lo Shu

About the Harmonics of the Universe

About the Hyperdiamond

About the Void

About Harmonics and Entrainment

About Good and Bad Vibrations

About the number 24

About the Jitterbug of Buckminster Fuller

A Simulation of the Jitterbug Pattern (CUBIC WONDER)

About the Game of Chess

About Plato and the Sri Yantra

About the Rodin Torus

About Vastu Science

About Gematria

About Vastu Science and the Borobudur

About the Sum of Things

Thursday, September 22nd, 2011

The Lo Shu is a Chinese Model for Time and was used to design Cities, Temples, Cycles and Calendars.


The Lo Shu is a 3×3 Magic Square created by Fu Xi, the Founder of Chinese Civilization. Fu Xi lived around the time of the Great Flood.

The Magic Square was carried by a Turtle. The Turtle is the symbol of the Constellation Orion. Many Ancient Cultures claim that our Ancestors came from this constellation. The Square of Lo Shu is also referred to as the Magic Square of Saturn or Chronos (Time).

The Chinese Pollen Path

The Duality of Fu Xi and his Sister, The Snake of the Kundalini contains 3.5 (7/2) Twists. 2x3.5 = 7. 7 = (-1,-2,-3,0,1,2,3).

According to Chinese Creation Myth  the world started with 無極 (wuji: nothingness), the Tao. Out of the Tao, the Egg of the Zero (0) and the Supreme Pure One (1) emerged. In the next step the Trinity (3), the Three Pure Ones, was created.

The Tao produced One; One produced Two; Two produced Three; Three produced All things (Lao Tsu, Tao Te Ching, 42).


The Sri Yantra contains 43 Triangels and is generated by the Bronze Mean.

The Trinity is represented by a Triangle. A combination of Two Triangels is a Square. The combination of Two (2) Triangels is also the Symbol of the Heart Chakra, the merge of Heaven, the Upper Triangel and Earth, the Lower Triangel.

The most complex Yantra (“machine”), the Sri Yantra, contains 43 Triangels. The Sri Yantra is determinated by the Bronze Mean. The Bronze Mean is a generalization of the Sequence of Fibonacci based on the Trinity. The Bronze Mean generates Quasi-Crystals and Penrose Tilings.

The Square is a combination of two Triangels. It is represented by the Of Star of David, the Symbol of the Heart Chakra.

The Square is a combination of two Triangels. It is represented by the Star of David, the Symbol of the Heart Chakra.

The Lo Shu Magic Square not only shows the Connection between the Four Forces that came out of the Two Forces, Expansion and Compression, it also shows the connection between Heaven and Earth.

In the Magic Square of Lu Shu the Even Numbers (2,4,6,8 = 2 x (1,2,3,4 = 2×2)) are Black(Yang, Male). The Odd Numbers (1,3,5,7,9 = 3×3) are White (Yin, Female). The Sum of all the Numbers is 15 (3×5).

The Even Numbers are situated at the Corners of the Square.

When the numbers of each row are multiplied (8x1x6; 3x5x7; 4x9x2) they together total to 225 ((3×5)x(3×5)) — as do those of the columns (8x3x4; 1x5x9; 6x7x2).

The Magic Square is dominated by two numbers (2**1, 2**2, 2**3)  and (3, 2×3, 3**2), It contains four Prime Numbers (1,3,5,7). It also contains the first Perfect Number 6 (1+2+3 =1x2x3). 6 is also a Harmonic Divisor Number and has a Harmonic Divisor 2. The Sixth Day in the week is the day of Saturn, the God of Time.

The sequence 1,2,4,8, 1, 3,6,9, 27 is called the Tetrad of the Pythagorians and was, according to Plato, used by the Demiurg, the Creator of our Universe, to create the Soul. The Soul is a mixture of the Same (1), the Different (2), and Existence (3). The Tetrad was used to define the Harmony of the Spheres.

When you connect the numbers of the Lo Shu a pattern appears that is called the Seal of Saturn or the Dance of Yu.

The Seal of Saturn or the Dance of Yu

The Sum of Magic Squares is a Magic Square and the product of a Magic Square M with a number a is again a Magic Square aM. Both Rules can be used to construct a Magic Square out of simple Binary Squares called Magic Carpets. One of these Magic Carpets is the Identity Matrix with One on the Diagonal.

Every Magic Square is related by Rotation and Mirroring to Eight other Magic Squares. This means that the central Lo Shu Magic Square with the Five in the Middle is related to Eight other Magic Squares with the other Numbers in the Middle. One of them contains the Nine and is called the Well.

The Lo Shu and the Well

The Sum of numbers of the Well is 18 (2×9) and the sum of all opposites across the 8 Spoke Wheel = 9 (9+0, 8+1, 7+2, 6+3, 5+4). 2×9 means that there are Two Complementary Magic Squares. One Magic Square is Rotating with the Clock and the other Against the Clock.

The Well is an Expansion and Contraction Cycle based on Powers of 2.

The Nine is the most important Number in the Magic Square. The Nine comes back in many ancient mythologies like the Egyptian Pesedjet and the Greek Ennead.

When you add the separate numbers of a number (54 = 5+ 4 = 9) the result is the Remainder when you divide the number by 9.  This number is called the Modulo 9 number.

The Powers of 2 (= Expansion) Mod 9 creates a pattern (1,2,4,8,(16)7,(32)5,(64)1,(128)2,…). This pattern is reversed when we divide by 2 (=Compression) (1/2 (0,5 =5), 1/4 (0,25 = 7), 1/8 (0,125 =8), 1/16 (0,625 = 4), 2,1).

The Expansion and Compression Pattern shows that the same pattern repeats itself when the Magic Square is expanded or compressed Six (6) Times. The 7th Step is the Same as the First Step.

After 2**6=64 (8×8) divisons of the cell a Specialized Cell is created, the stem cell. The same happens in Music.  The Game of Chess (Chiu King in China) with its 8×8 = 64 = 2**6 Playing Board contains every possible situation of the Game of Life.

The Two-Pattern does not contain the numbers 3,6 and 9. The number 9 is repeated every time when the pattern is expanded and compressed which means that Nine is the same as the Identity, the One (1+9 = 1). 3 and 6 Oscillate (1x2x3=6 and 1+2+3 =6) and  therefore represent the Duality (3+6 = 9, = the One).

If we combine the Expansion and Compression patterns a Torus (a Rotating Circle, The Wheel of Time) appears. The Zero (the Void) is in the Center and Contains the Vortex. The Vortex represents another Cycle (Black/White Hole, 3,6,9, the Wheel of Order) in which every structure/pattern is destroyed to start All Over Again.

Lo Shu Torus

If we subtract the numbers in the Square by the number of the Center, 5, a highly Symmetric Pattern emerges. This pattern shows that there are Two Mirror Universes both containing four Forces.

When we transform this pattern from Modulus 9 to Modulus 3 (the Trinity) we see that the number 4 equals 1 and represents a new beginning of the Cycle.






















The Magic Square with the Zero in the Middle is surrounded by two Sequences of 123(4) with different Signs. The Signs are arranged in a Cyclic Pattern (- -, + -, + +, – +) that contains the Four Permutations of – and +. The Sum of the ++ and the — is -3 and +3, the Trinity. The Sum of +- en -+ is the One.

The Cyclic Pattern of + and – represents the Prisoners Dilemma that is solved by the Strategy of Tit for Tat. This strategy is applied by the Trickster, the God of Paradox, a concept of God in which God creates games that create games.

When you use the basic Addition and Multiplcation Rules of the Magic Square many important numbers and patterns  appear that are related to Ancient CalendersSymbols and Cycles.

About the Sum of Things

The Lo Shu Magic Square appeared a few years ago when I wanted to know more about Acupuncture.  Acupuncture is related to the Sheng Cycle and the Sheng Cycle is related to the Lo Shu. A Magic Square is the perfect way to visualize the Constraints that control the Four Forces in our Universe.

Soon after this discovery I found out the Lo Shu is related to the Trinity and the Bronze Mean which is an abstraction of the Fibonacci Sequence. The Bronze Mean generates the Sri Yantra and so called Quasi Crystals. Quasi Crystals explain Acupuncture.

A few weeks ago I started a discussion with Kim Veltman. Kim Veltman is the director of the Maastricht McLuhan Institute. He is researching Ancient Architecture and wrote a very interesting document called “Alphabets, Elements and Cosmologies”.

Ancient Alphabets are related to Numbers and Tones so Ancient Texts also represent Numerical Patterns and Music. You want be surprised to read that the Lo Shu showed itself in every Text Kim Veltman has analysed.

His document started a new inquiry into the pattern of the Lo Shu. During this research I detected the book “the Sum of Things” by Paul Martyn-Smith. Paul Martin-Smith worked together with Lee Burton.

This blog contains just a litte bit of the tremendous amount of information Paul Martin-Smith & Lee Burton have found about the essence of the I Tjing which is contained in just one simple 3×3 Magic Square.

If you want to know more the only thing you can do is to buy this book and start reading.


About the Book “the Sum of Things” (Free Download)

About the I Tjing

The Calculations  behind the Number of Things

The Relationship between the Lo Shu and the I Tjing

About the Lo Shu Torus

About Saturn, the Son of the Sun

About the Trickster

How to construct Magic Squares out of Binary Squares (Magic Carpets)

The Sistine Chapel (Rome) and the Seal of Saturn

About the Relationship between the Lo Shu and Music

About the History of the Lo Shu

About the Wheel of Eternal Order and the Wheel of Time

About the Relationship between the Lo Shu and Chinese Alchemy

About the Great Flood

About the Orion Myth

About Plato, Pythagoras and the Lo Shu

About the Nothingness

About the Trinity

About the Heart Chakra

About the Sri Yantra

About the Lo Shu Magic Square and the Chinese Domino Game

About the Mirror Universe

About Acupuncture

About Tit for Tat

About the Prisoners Dilemma

About the Bronze Mean

About the Sheng Cycle

Everything You want to Know about Sacred Geometry

About the Influence of the Lo Shu on Recent Art

The Lo Shu Square with Imaginary Numbers

About Addiction & Burn-Out

Monday, July 6th, 2009


When you are highly dependent on something, you are addicted to this something.

You can be addicted to chemical substances like Alcohol, Nicotine and Drugs but it is also possible to Addict to the feeling of Power, a Concept (Dialogues, Cycles), an Activity (Work (Burn-Out), Gambling, Sex, Games), an Emotion (Extacy, Power, Sadness), a Person (Being in Love) or a Group (A Sect).

This Blogs shows you what an Addiction really is about and how you can get rid of an Addiction.

In 2000 I became involved in all kinds of projects to Prevent People from Addiction (including Work-addiction, Burn-Out). To prevent addiction you have to start when people are young.

Young people are very dependent on (addicted to) others. When they are very young their parents are dominant but later and certainly when puberty starts young people are heavily influenced by their peers (peer pressure).

To help Young Adults to resist Peer Pressure we developed a Story Based Game that Simulated Real Life Situations. The Real Life Situations were found by interviewing (Depth Interview) Young and Old People that were able to stop their Addictive behavior.

The Whole Idea about this project called, Virtual Enjoyment, was that people Learn from their Mistakes. They share these experiences with others (Friends, Family) by Story-Telling.

The project was aimed at sharing these failures (and their solutions) with everybody. A very good example of this approach is the AA (Alcoholics Anonymous). The main feature of the System we developed was an Automated Story-Teller (A Simulator).

Later the same approach was used to help people that were Out-of-Work because of Work-Addiction (Burn-Out).

Children are for 50% determinated by their genes. The genes contain many factors that influence the ability to addict to something. A huge percentage of the human race is unable to use alcohol so they will never get addicted to this chemical substance. The other 50% is related to the Social Context they live in.

According to Judith Harris the Emotions contain three different modules for collecting and responding to information from the Social Environment, the Socialisation System, the Status System and the Relationship System.

The Socialisation system Adapts the child to his or her Culture. This involves acquiring the local language and accent, the appropriate behaviours and customs, and the prevailing attitudes and Belief-Systems.

Peer Group

Peer Group

The purpose of the Status system is to enable children to Compete successfully with their Peers.

The Relationship System motivates us to form new relationships, to maintain existing ones if they’re going well, and to find out as much as we can about new people we meet. It contains the Relationship Patterns of the Parents.

The majority of young adults want to be part of a group (a Tribe). They do almost everything that is necessary to make this happen. Some of these tribes are dominated by a small group, the bullies.

The leaders use all kinds of rituals to make sure that their dominant position is not at stake. When you want to become and to stay part of the tribe you have to show that you are not an asshole.

One of the ways to show is the intake of an excessive amount of alcohol and/or other drugs (Binge drinking).

Binge Drinking

Binge Drinking is the Nordic Way of taking alcohol and is controlled by Peer Pressure. To become and stay part of the group you have to prove you are capable of exceeding the limits.

It is very clear that one of the effective ways to avoid addiction is to help young people to resist Dominant Peer Pressure.

To make this happen they have to Learn to Accept Themselves As They Really Are.

The Personal Power to Resist Peer Pressure is highly related to the way parents Raise their Children. Humans are Copiers and one of the most important periods of copying is early childhood. In this period children copy the Relationship-Patterns of the Parents.

When the relation of the parents is a Dominant Relationship (Master/Slave) young adults are easily manipulated by others or manipulate others. A Dominant Relationship-pattern is sadly enough propagated from the Parents to the Children. Dominant Fathers breed Dominant Suns who Marry Dependent Females.

Addictions are highly Cultural Dependent. When you live in a state dominated by Muslim Culture, drinking alcohol is strictly forbidden. Binge Drinking is a normal activity in the Northern Countries (Sweden, Norway).

Moderate drinking of alcohol (mostly Wine) occurs in the Southern Countries of Europe (France, Spain, Italy,). In this case the drinking of alcohol is part of a Social Activity.

In the Italian Culture Alcohol is related to Food

In the Italian Culture Alcohol is related to Food and excessive intake is prohibited by the Social System

When you are Addicted you are Repeating a Harmful Pattern. This pattern was started somewhere in your life. It was copied from your Parents or copied when you were part of a Peer Group (A Status Group).

When a Pattern is not Accepted in a Culture it is very difficult to Start the Pattern.

When a Pattern is a Cultural Accepted Habit (a Status) it is very difficult to get rid of this pattern.

When the Body produces Negative Physical Sensations (Withdrawal) it is very difficult to stop a pattern.

What is Happening?

In the Beginning the Universe was just a Rotating Void. Suddenly the Void was Penetrated by the Force of Creativity, The Spirit. The Explosion of Creativity started a phase of Expansion and Desire came into existence.

Soon Desire was compensated by Control (Contraction) to makes sure that the Expansion would stop at a certain moment. That is why Control and Desire are Opponents.

In the last step of the first step of Creation Control (the Father) and Desire (the Mother) were Merged and the Emotions (The Child) were created.

In the First Step of Creation a Stable Pattern, the Trinity, came into existence. The Trinity is the Enfolding of Spirit and contains Desire, Control and the Emotions (Soul). The Trinity is the basic Fractal Pattern of the Universe. With the Help of the Trinity-Fractal, Spirit has enfolded itself into many levels.

The Force of Creativity wants to find out about everything. Especially young adults are therefore highly interested in drugs because they are forbidden and the forbidden has a huge attraction to young people. They want and have to find the Limits in Life.

Control stimulates Desire and Desire stimulates Control. When Others try to Control Desire, Desire is stimulated to the Extreme. Desire and Control can only be balanced by the Emotions. The Emotions, the Child, are looking for Shelter and Love.

When Love (Communion) is not happening or impossible because people are unable to connect, Control and Desire are in Control and and start their Eternal Fight to avoid the Void. When this happens the Contact with Spirit is Lost.

When you are no longer in Control of Desire, and when your Happiness depends on something Outside yourself, you are Addicted. When Desire takes over Control you are caught in a Rotating Addiction Pattern, The Cycle of Destruction.

The Highly Positive Emotions of Desire (Pleasure) are Voided by the Highly Negative Emotions of Control (Pain, Fear). To stop these Negative Emotions you need the Next Shot to Experience the Positive Emotions of Desire. This is called the Opponent Process Theory of Solomon.

The Emotions, are the Balancer of the Body. They always Take Care of the Body and will find a new Equilibrium. They start to compensate the negative effects. In this case the Body becomes Tolerant to the drug and needs more to get the same effect. The Downward Spiral of Addiction is on the Move. This is called the Allostatic Model of Koob.

What to Do?

When you are Addicted to Alcohol, Work or Power you have to find an e-Motivation (an Impuls from the Emotions, the CareTaker) to Stop the Pattern.

You could ask Spirit to help You.

When you Stop it will take a long time before you are Back to Normal. In this time the Downward Spiral is moving Up but the Negative Emotions will come back.The Negative Emotions, the Pain-Body, are the Negative Emotions of Control.

Control Fears the Future and has a very Nice Story to tell. It wants to convince you that the Drug is the Best Solution to Avoid the Pain. Just take a little bit and You will be Happy Again.

At a certain moment the contact with Spirit is established again. When this happens You will feel the Penetrating Power of the Creative Force. You will start to Explore the World and New Opportunities will show themselves every day.

The Emotion of Spirit, The Joy of Life, you Missed so long is back.



About the Project Virtual Enjoyment

Een Boek over het project Virtueel Genieten (in Dutch)

Het Projectplan Virtueel Genieten Fase 3 (in Dutch)

About Alcoholics Anonymous

About the Master/Slave-relationship

About the Human Social Context, Judith Harris

How to Manipulate Adults by Peer Pressure

Why Peer Groups are very important in the Development of Children, by Judith Harris

About Disconnected Children

About Dominant (Strict) Parents

About the Opponent Process Theory of Addiction of Solomon

About the Allostatic Model of Koob

About Plato and Harmony

Monday, January 5th, 2009

Sri Yantra

The teachings of Ancient Civilizations are often Self-Referential.

The same knowledge is showed on many levels.

What we see with our Senses is an Illusion. Behind this Illusion lies a deeper structure.

The last and deepest level of the ancient teachings is always related to Numbers, Geometry and the Trinity.

This blog is about one of the most important geometric structures of the Trinity called the Sri Yantra.

In the ancient teachings a problem is defined and the teacher gives a clue how to solve the problem.

If the pupil has solved a problem he is able to move to a deeper level.

The whole idea is that real knowledge, wisdom, is only discovered, when the pupil has solved the puzzle of life him- or herself.

Let’s have a look at a Deeper Level.

A deep level is related to a number called Phi. Phi is called the Golden Ratio or the Divine Proportion. It is the real solution of the quadratic equation x**2-x-1.

It is also a solution of the proportion a:b=b:a+b, the sequence of Fibonacci x(n+2)= x(n+1) + x(n), the geometric structure of the Pentagram, the Fifth Element (the Quintessence, the Ether) and the Logarithmic (Golden)Spiral.

Phi is the pattern behind the Egyptian Pyramids, the Stock Market, Harmony in Music and Architecture and many other fields of science including Physics.

Let us first have a look at the way the old teachers have hidden the knowledge of the Divine Proportion in their teachings.



A beautiful example is Plato.

Plato was an initiate of the Mathematikoi, the Secret Society of Pythagoras. Pythagoras was initiated in the Secrets Societies of Egypt.

What do you think of this problem-statement:

What are the most perfect bodies that can be constructed, four in number, unlike one another, but such that some can be generated out of one another by resolution? … If we can hit upon the answer to this, we have the truth concerning the generation of earth and fire and of the bodies that stand as proportionals between them (Timaeus 53e)”


Two things cannot be rightly put together without a Third; there must be some bond of union between them. …and the fairest bond is that which makes the most complete fusion of itself and the things which it combines, and proportion (analogia) is best adapted to effect such a union”.


“For whenever in any three numbers, whether cube or square, there is a mean, which is to the last term what the first term is to it, and again, when the mean is to the first term as the last term is to the mean – then the mean becoming first and last, and the first and last both becoming means, they will all of them of necessity come to be the same, and having become the same with one another will be all one [Timaeus 31b-32a]“.

In the last citation Plato is formulating a mathematical problem related to the four bodys A,B,C,D with the three proportions A:B = C:D = (A+B) : (C+D) = (C+D) : (A+B+C+D). This problem is unsolvable if you don’t have a clue where to start.

This problem is solved when you realize that the Divine Proportion has many strange relationships that are very useful to solve the puzzle.

These relationships can be found if you know everything there is to know about Triangles and Triangles are again related to the Trinity (“Two things cannot be rightly put together without a Third“).

The Trinity comes back in the structure of the Dialogues of Plato. They are divided into Three Parts (and an introduction).

The structure of the dialogues relates to itself.

movmetatronThe knowledge of the self-reference of the Dialogues is also a clue to solve more complicated puzzles about the Dialogues themselves.

Just like the famous book of Hofstadter (Goedel, Escher, Bach) the dialogues show a new layer everytime they are read with a new aquired Insight.

The dialogues of Plato are organized according to the model he wants to teach. There are seven layers (-1,-2,-3,0,1,2,3) related to the Seven Mirror-Universes (or Hells and Heavens) of Our Universe (Eight, the Whole) in our Multi-Universe.

The Seven is a combination of Two Trinities with the Zero (The Void) in the middle. The Eight (2**3) State is the Dialog, The Whole, itself.

The Seven layers are divided into Three Sections (the Trinity) so the total amount of clues is 7×3= 21 + 1 (the Whole) = 22.

22 divided by 7 is an approximation of the number π (Pi).

Pi relates the Square to the Circle.

The Square represents the Playing Board of the Universe. On this Board we, the Humans, play our Game of Free Will.

Our Free Will is an Illusion. We are controlled by the Matrix.

The Circle represents the Wheel of Fortune, the Matrix, that Governs the Seven Universes in our Multi-Universe and the Game of Life.

What is Plato Trying to Explain?

golden ratio

The Golden Ratio

The Divine proportion is the basic concept behind Harmony.

The Divine Proportion is Not Symmetrical so Harmony is not related to Balance.

If everything would be balanced the Universe was never created.

Harmony is Balanced Unbalance.

An Architecture is beautiful when there is a slight unbalance in the Design.

This Unbalance shows the Sign of the Creator.

The Universe is created out of an Unbalance between Two Forces, the Positive and the Negative, the Good and the Bad.

The Two forces (-1,0,1) are divided into Four Forces (-2,-1,0,1,2) with the One in the Middle (Five) and are expanded into Seven Levels (-3,-2,-1,0,1,2,3). The Four Forces are “the most perfect bodies that can be constructed, four in number“.

The Seven Levels are related to the Circle. The Four Forces are related to the Square. The Universe oscillates between The Square and The Circle.

When the Square, the Game We Play with the Four Forces and the Circle (The Five Fold Cycle, Our Destiny) are in Balance the Human is in the Tao and Magic happens.

Every division is a split of the Trinity into Trinities until a state of Balance is reached. At that time the process reverses.

mt meru

Mount Meru

The unbalance of the Good (+1) and the Bad (-1) is an Illusion. They Cooperate to Create Harmony (0).

Behind the perceived Unbalance is a balancing principle, the Divine Proportion. This principle brings everything Back into the Balance of the One who is the Void (0).

What we don’t know is to be known if we understand the progression of the Divine Spiral.

The Future, the Third Step, is a Combination of Two Steps in the Past (The Fibonacci Sequence), nothing more.

Is there a Deeper Structure Behind the Divine Proportion?

golden mean spiral2

Golden Mean Spiral

The Four Forces (Control, Desire, Emotion(Compassion) and the Whole of the Trinity, Imagination) and the related sacred geometry were a guiding principle for the Imagination and the E-Motivation of many Western Scientists.

They tried to Control the Chaos of the Desires of the Senses by enforcing the Rules of Scientific Falsification.

The Proces of Falsification destroyed the Human Intuition.

The Western Scientists forgot to look at the Source of Intuition, the Center, the Quintessence (The Fifth, Consciousness).

The principle behind the Quintessence (Ether, Chi, Prana) is related to higher order symmetries and is a solution of a generalization of the generating function of the Divine proportion X**2 -X – 1

This generalization is X**2-pX-q or X(n+2) = pX(n+1) + qX(n). The solutions of this formula are called the Metallic Means.

When p=1 and q =1 the Divine proportion comes back again.

When the p=3 and q=1 a new sequence X**2-3X-1 or X(n+2) = 3*X(n+1) + X(n), the Bronze Mean appears.

The Bronze Mean generates the pattern: 1,1,4,13,43, the pattern of the Sri Yantra.

continued fraction golden meanIt shows a very beautiful pattern of “3″s when the Bronze Mean is evaluated in a Continued Fraction. The Golden Mean is a continued fraction of “1″s.

There are many more “Metallic Means” (other p’s and q’s). They are related to all kinds of symmetries and fractal patterns.

The Bronze Mean shows that behind the Trinity of the Golden Mean lies another Trinity (and another Trinity and …).


Penrose Tiling

The Bronze Mean is the generator of so called QuasiCrystals.

Quasy Crystals play a very important role in the Electro Magnetic Structures of our Body, the Collagens.  Collagens are the most abundant protein in mammals,making up about 25% to 35% of the whole-body protein content. The Collagens in our body explain the Ancient Chinese Science of Acupuncture.

Quasi Crystals are “normal” Crystals with a very complex symmetry.

They are ordered AND not-ordered.

One of the most beautiful examples of the patterns behind Quasi Crystals are the Penrose Tilings.

They were developed by the famous physicist Roger Penrose. He used the tilings to show his insights about consciousness.

Penrose believes that Our Universe is just like our Body a Quasi Crystal, a Hall of Mirrors. We the Souls travel all the Paths of this Magnificent Fluent Crystal.

Was the Bronze Mean Known by the Ancient Architects?



The most important implementation of the Bronze Mean can be seen in the Sri Yantra (“Sacred Device”).

The Sri Yantra is related to the Red Triple Goddess of Creation, Tripura also named Lalita (“She Who Plays“).

The Sri Yantra is generated out of the FiveFold Pattern or Creation and the Four Forces of Destruction.

It contains  9 interlocking isoceles triangles. 4 of them point upwards and represent the female energy Shakti, while the other 5 point downwards, representing the male energy Shiva.

The standard form of the Sri Yantra  constitutes a total of 43 triangles. The centre of the Yantra has a Bindu which represents the Void.

The FiveFold Pattern of Creation moves with the Clock. A pattern that moves with the clock is a  generating pattern.

It moves away from the void and generates space. The FiveFold Pattern is the pattern of the Universe. It creates Universes, Galaxies and Planets. The Pattern moves around the Cellestial Center of Creation,  the Black Hole.

The FourFold Pattern moves Against the Clock and is a destructing pattern. It dissolves space and moves back to the void.  The FourFold pattern is the pattern of the Human Being and Earth.

The combination of both patterns is a Moebius Ring (the symbol of infinity) with the celestial Centre in the Middle. The FiveFold/Four Fold pattern resembles the Ninefold Egypian Pesedjet and the Ninefold Chinese Lo Shu Magic Square.

From the fivefold Shakti comes creation and from the fourfold Fire dissolution. The sexual union of five Shaktis and four Fires causes the chakra to evolve” (Yogini Hridaya (Heart of the Yogini Tantra)).

In Pakistan the Mother Goddess (Sharika) is represented by a diagram that contains “one central basic point that represents the core of the whole cosmos; 3 circles around it and 4 gates to enter, with 43 triangles shaping the corners“.

The Penrose Tilings and many other quasi crystals can also be found in Ancient Roman, Islamic and Christian Architecture (Pompei, Alhambra, Taj Mahal, Chartres). The tilings are an expression of the Game of Life and were used to build Educational Buildings (Pyramids, Cathedrals,..) to teach and show the old teachings.


Keplers Model of the Solar System

Kepler (1570-1640), a German Mathematician and Astronomer (The Cosmographic Mystery) and Albrecht Durer (1471-1528), a German Painter, knew about the Penrose Tilings but until the discovery of the Penrose Tilings nobody knew that they knew.

The new scientists (re)discovered old patterns that were known by the old scientist

What is the Meaning of the Bronze Mean?

The Bronze Mean shows the effect of a continuous division of the Universe in Trinities.

It shows that the Universe (and other levels) is suddenly moving from an ordered state to a chaotic state.

This chaotic, not predictable, state is not chaotic at all when you understand the patterns behind chaos.

In our Universe chaos is always ordered. Chaos is an effect of something that is happening in a higher (not Sensible) Dimension or A Higher Consciousness.


The Two Brains of Paul Steinhardt

The writer of an important article about Penrose Tilings and Islamic Art, Paul Steinhardt is like Roger Penrose a well known physicist.

He has created a new theory about the Universe based on Four Forces AND the Quintessence.

In this theory the Universe is Cyclic. It is expanding and contracting.

The expansion of the Universe ends when the Two Major Structures (-1,0, 1) in the Universe, called Membranes or Branes, are in Balance with the Center (0, the Void).

The membranes are higher dimensional Squares that are in parallel.

The Braines at both sides split into many similar cell-like structures. We live in one of the Cells of the Universe.


Adam Kadmon

The Others, our Twins, live on the other membranes and are not aware of our existence until the Brains are getting into Balance.

At that moment the Twin Universes are Connected.

Scientists don’t know when this will happen but the Old Scientists who could travel the Multi-Universe with their United Brains knew.

It would happen at a very special Alignment of the Five Fold Center of Creation of the Milky Way with the FourFold Cross of the Destruction of Earth.

The Bronze mean is the Master-Pattern of our Multi-Universe.

The pattern 1,1,4,13,43 is in its 42nd enfolding and soon we will experience the 43th step, a Merge of the Left and the Right Brain of the Super Conscioussness, Adam Kadmon.


About the Divine Trinity Pattern

How to Raise the Djed

About the Nine-Fold Pattern of the Egyptian Pesedjed

Everything you want to know about the Divine Proportion

About The Indefinite Dyad and the Golden Section: Uncovering Plato’s Second Principle

About the Self-Referential Structure of the Dialogues of Plato

About the Law of Three of Gurdjieff

About Sharika, the Mother Goddess

About the Metallic Means

Paul Steinhardt, About Penrose Tilings and Ancient Islamic Art

About Penrose Tilings and the Alhambra

About the Geometric Patterns in Ancient Structures

An interview with Roger Penrose about the relationship between Conscioussness and Tilings

A lot of information (including simulations) about the Cyclic Universe of Paul Steinhardt

A simple model for the formation of a complex organism

How life emerged out of one Quasy Crystal

About Quasy Crystals and Sacred Geometry



About the War of Words

Monday, May 12th, 2008

The amount of people that are confused or are creating confusion is growing. It all has to do with Language. New words are created. Languages and Cultures are mixing. New Inventions and Theories are Created and Destroyed. We are in a highly creative phase, the End Game of Time Wave Zero. Is it possible to find the pattern behind this pattern?

The Encyclopedia Britannica is the oldest English-language encyclopedia still in print. It was first published between 1768 and 1771 in Edinburgh and quickly grew in popularity and size. The Brittanica expanded from 3 volumes in 1768 to 32 volumes today.

In France Diderot created the first French encyclopedia in 1745. It started as a translation of the English Cyclopedia of Ephraim Chambers. When he and his co-editor, mathematician Jean d’Alembert, were finished, they created a new work, the ‘Encyclopedie’. At that time it contained everything that was necessary to known about the Western World.

Its aim was “to collect all the knowledge that now lies scattered over the face of the earth, to make known its general structure to the men among we live, and to transmit it to those who will come after us,” to make men not only wiser” but also “more virtuous and more happy“.

Denis Diderot was one of the originators and interpreters of the Age of Enlightenment. This 18th-century movement was based on the belief that Reason could find True Knowledge.

During the Enlightment many scientists hoped that it would be possible to find the Eternal Truth, The Simple set of Rules that would Explain Every Thing. It was just a Matter of Time.

What they did not realize was that Truth is Highly Context Dependent. It is dependent on the Spirit of the Time, the Knowledge and Interpretation of the Writer of the Context, The Status of the Writer and the Genesis of Science.

Not only Knowledge changes but also Words change their meaning all the time. Everything Changes and the only thing that is left is to accept this Fact of Life.

The awareness of the problem of the Eternal Truth has created Cynicism. Scientists especially in the Social Sciences (Post-Modernism, Deconstruction) don’t believe it will be possible to find any objective general accepted pattern or explanation. They are fighting the goals of the highly rational Enlightment with very complicated rational arguments of their own.

When the exponential rise of Novelty predicted by Time Wave Zero (and other comparable models) reaches the Point Omega we will be literally lost in Space. Innovations that took centuries to happen in history will happen in a few days.

It is really true that there are no general Explanations possible? Is Everything Context Dependent?

The problem that the Eternal Change of our primary communication vehicle, Language, is creating is analyzed by many great minds in history. Perhaps the greatest genius was Wittgenstein. At the end of his life his students put all his Observations (he did not believe in Theory) in something called The Blue and Brown Books. In these books he is teaching the Art of Clarification.

Wittgenstein invented a new way of looking at the world called a Family Resemblance. If we gather together members of the same Family, they probably Look Alike, although there is no Distinctive Feature that they all share in Common. A brother and a sister might have the same dark eyes, while that sister and her father share a slightly turned-up nose.

They share a group of features, some of which are more distinctly present in some members of the family, while some features are not present at all. Wittgenstein argues that the different uses of one word and rules share the same Family Resemblance.

A Family is a Vague Set of Relationships that have something in Common but the parts of the set are Different. A Family is a unique set of permutations of distinctive features.

The only way to recognize a Family is to meet the members and create an intuition, a feeling. To do this we have to leave our study room and walk around in Reality. We have to move into the Context instead of floating above The Context.

Floating above the Context is called Imagining. There is nothing wrong with imagining. The imagination (Spirit) is the Mother of Art. Changing Art into a Science Destroys the Beauty of the Work of Art. Just like a Family a Piece of Art shows a pattern but is also shows exceptions of the pattern. The exceptions show a pattern but this pattern also contains a pattern. The world is a self-reference, a Fractal.

Scientists don’t realize that they are creating Fiction. When they would realize that they are producing Fiction they would certainly improve their Style. Scientific Fiction (a Genre) is mostly unreadable for other Scientists and especially for “Normal” people like me.

There are Many Families and there are even Families of Families. Some people have been born with a Talent to Observe one Family. Others are aware of completely different Families. All of them share features but it will never be possible to find The Set of all Sets of features. Finding the set of sets created a huge problem in Mathematics. It was the main reason why Wittgenstein changed his “theory”. He left the field of Mathematics, spend years in complete isolation (he was a teacher) until the people of Cambridge begged him to come back.

It does not help to spend a lot of time to discuss a joint Family. It only creates a War of the Words or a nicer term of Wittgenstein, A Language Game. A major part of Scientific Fiction is about the Quest to find the general Definitions of the set of all sets, The Holy Grail of Science… When we spend too much time to Fight we will never See.

The quest of Objectivity shows itself in the Use of Statistics. Scientists are unable to find the right Context (a Family) but they are also unaware of the Fractal Structure of the Universe. They are also completely unaware about the boundaries of Statistics. They accept the General Truth of Statistics without any awareness of the background.

What is the solution to all these problems?

The fist step is to accept the Spiraling Spiral and Self-Reference as the fundamental Fractal of the Universe. It is really a simple clarifying explanation.

The next step is to determine the Level and the Phase of the Spiral You are in (Style, Chronotope, Family, Network, Field of Reference, Bias). It determines what You are able to See and Do. It defines the Place in Time/Space you are Watching. If You want to move to another Level or State change the State of Your Awareness.

The last step is to feel the Movement of the Force of Life, The Tao,  and connect to this Movement. If you have accomplished this all the Clarifications you are looking for are given to you by the Great Force of Creation, Inspiration.

About the Chinese Domino Game and the Magic Square of Lo Shu

Tuesday, April 29th, 2008

Old Games always contain a Mystical meaning. They contain a Code. Over and over again the same Code is implemented in many games.  This blog is about the Chinese Domino Game.

The Old Chinese Masters made a distinction between the Square and the Circle. The Square was related to Human Creativity (Playing the Infinite Game of Life). The Circle was related to the Cycle and the Spiraling Spiral, the Fundamental Laws of the Universe.

The meeting of the Square, The Game,  and the Circle, Fate, generates Luck, Coincidence or Synchronicity.

The Chinese Domino Game Set is created by a throw of two six-sided dices. There are therefore 21 unique patterns. The 22nd pattern , the whole, closes the circle.

A tile is divided into two suits called Military and Civilian. The Civilian tiles are the Upper Triangle in the Matrix generated by the 36(6X6) throws of the dice. We find the same division in the Old version of Chess. The Civilian tiles are named and ranked according to their Level (Heaven, Earth, Human).

Each civilian tile has a Chinese name : The 6-6 is tin (天 heaven), 1-1 is dei (地 earth), 4-4 is yan (人 man), 1-3 is ngo (鵝 goose or 和 harmony), 5-5 is mui (梅 mei, flower).

The six symmetrical tiles (1-1, 2-2, ..) are the Basic Powers in the Universe (Earth, HuMan, Fire (Growth), Heaven, Center,..). The other Tiles are Connectors between the Powers and the Levels.

Chinese language is a Pictorial language. The Pictures are related to Sounds (morphemes). The oldest version of Chinese consisted of only Four Tones. The meaning of the language is highly Context-Dependent.

Numbers are also Context-Dependent. You have to know the modulus to understand what a number means. In the West we are accustomed to the use of 10. The number 13 means 10+3. In the “Old Days” other numbers where used.

When we move back to the Domino-Game we see that the base-number is 6. 1-3 (meaning Harmony) is really 6+3=9 in our notation based on 10.

A Magic Square is combination of numbers where the numbers in all rows, all columns, and both diagonals sum to the same constant. One of the oldest Magic Squares is the Lo Shu Square. It was given after the Great Deluge to the Mythical Emperor Lo Shu by a Magical Turtle. The Turtle is the Symbol of the Star System Orion.

4 9 2
3 5 7
8 1 6

The Lo Shu Square is a Code. If you follow the “numbers” 1-9 a Pattern emerges called the (generating) Sheng Cycle. When the numbers are added the number 15 (3X5) appears. The number 15 represents Three Times the Center which again indicates that there are Three levels. The three levels enfold into 7 levels when we apply the movement, the Spin, of the Cycle (Left-Handed, Right Handed).

The Sheng Cycle

The Sheng Cycle

The Left-Handed cycle is called the Destructive Woe Cycle. The Generating Cycle is voided by the Destructing Cycle (-1 + 1 = 0). The number 7 is 2X3+1 (-3,-2,-1, 0, 1, 2, 3).

The division of the numbers 22 and 7 generates an approximation of the number pi, the Squaring of the Circle. It binds the Game of Life (Square) to the Laws of the Universe (Circle).

The 5 represents the Center and is called the Force of Life (Chi). Chi was called Ether in the West and Prana in India. Ether is called the Vacuum in Modern Physics.

The Magic Square is a representation of a Topological Structure called the Moebius Ring. The Ring is a Cyclic Structure without a Boundary. The Ring is the Basic Fractal pattern. The Universe is a Closed Self-Referencial structure, a Spiraling Spiral. The Ring enfolds in a Ring and the Enfolding is a Ring.

The Magic Square can be expanded to the 64 (8X8, the Checker Board) hexagrams of the I Tjing.

In the Game of Chess the Pawns are moved along the lines of The I Tjing. They create a Pattern just like the Game of Domino creates a pattern.

Both Games were played by Four Players, The Four Forces. The Games are a simulation of Life (or Earth or the Universe).

The Seven Heavens

The Seven Heavens represented by the Tower of Babylon

The Magic Square is also the basic pattern behind Acupuncture, Feng Shui and Astrology. The Magic Square Forces the Forces to Cooperate. They have to stay within the Limits of 15, the Upwards Spiral.

To move back to the Center (The Void) they travel back by the Downward Spiral. The Up/Downward Spiral is the basic Fractal Pattern of the Universe.

Again we move back to the game of Domino.

The Domino Stones can be seen as Numbers with a base 6, Characters with a meaning (1-3 (=9, the end state) means Goose and Harmony), Sounds, Colors and connectors in the Magic Square. In this case there is a relationship to the Human Body, The Living Context (Feng Shui), The Planets and the Galaxy.

The 21 unique throws of the two six-sided dices can be rewritten in a combination of two Lo Shu 3×3 Magic Squares in which one square is the negative of the other and the zero is in the middle ((-1,-2,-3,0,1,2,3) x (1,2,3)). It represents a combination of a left- and righ hand turn of the Cheng Cycle.

The Old Masters believed in a self-referential Universe. The “Fractal” pattern repeates itself on every Level. At this moment Scientists start to believe the same.

Thoth and the Human represented by the Ape. The Ape uses the Eye of Horus (the third Eye) to look at Thoth

Thoth and the Human represented by the Ape. The Ape uses the Eye of Horus (the third Eye) to look at Thoth

The Magic Square was given to mankind after the Great Deluce by a Mythical Entity, Half Man, Half Serpent. He came from an old civilization that was situated in MU. His Knowledge came from the Star System Orion (The Turtle).

The Egyptian name of this Magical Entity is Thoht, Tehuti or Djehuti. The Greek named him Hermes “Three Times Great” (Trismegistus) which relates him to the number 15 (3X5) of the Magical Square. Thoth was the keeper of the Secrets of Osiris (The Planet Sirius). Thoth was the Moon-God and is represented in old paintings as ibis-headed with the disc and crescent of the Moon. Hermus Trismegustus inspired the Magicians in the Middle Ages (John Dee) and new “mystical” groups like the Rosecrusians and the Free Masons.

Thoth came to Earth to teach mankind. He made all kinds of calculations about the Heavens, the Stars and the Earth. When he was finished he returned to Heaven (Orion?). When Earth is in a huge crisis he will come back. His knowledge and calculations were put into the Sacred Books of the Temple put unto 36535 scrolls that were enclosed in the Hall of Records. The Keys of Thoth were put into a Calendar. The Egyptian calendar was based on the Moon Cycle. They synchronized the Moon Cycle with the Cycle of Sirius. Sirius in the star system Orion rose every 365 days. The Egyptian Year started when Sirius appeared (June 21th).

The Playing Board of the Egyptian Game Mehen

The Playing Board of the Egyptian Game Mehen

Thoth came from Sirius (Al Shira, The Shining One). Interesting enough all the other Serpent-Kings came from the same Star System. All the Serpent Kings created Pyramids (even in China!) and the Pyramids are a “Simulator” of the Orion System.

Thoth will Return. We will be warned about the Rebirth of Thoth when something happens with Sirius. In a Hopi Myth Sirius is called the Blue Kachina. When the Blue Kachine drops its mask (or veal) the Fifth World will appear.

Let us move back to the Game of Domino.

Vladimir Pakhomov wrote a book called the Message to the Unborn. He used the Game of Domino to encrypt the Code behind the Code. The book contains more than 500 pages to explain his theory.

When he placed the Chinese Domino game in a Magic Square of Lo Shu and used the Orion System as the Central Code the code behind the code showed itself.

He named his book Message to the Unborn because he shows that our Ancestors from the Stars not only gave us a warning. They also gave us Tools to Save Mankind. The Tools are Magical Incantations (Tones and Sounds). Perhaps it is Very Easy to Save Mankind!


A website about the Lo Shu

About Mehen, the Spiral Game

About Thoth

About the African History of Ancient Egypt

About the Djed-Pillar, the Egyptian Serpent

About the Nine Spiritual Bodies of Egypt

About Egyptian Physics

About Heliopolis, the Ancient University of Egypt

How we Walked Around for Thousands of Years with Our Eyes Blinded

Thursday, April 24th, 2008

Pi or π is one of the most important mathematical constants. It represents the ratio of any circle to its diameter. The quest for the value of π is very old.

The oldest way to determine the value of π is to inscribe a circle within a regular polygon.

Archimedes of Syracuse (287-212 BCE) determinated that the value π was between 3 + 1/7 (22/7) and 3 + 10/71. He started with a hexagon and worked his way up to a polygon with 96 sides.

The numbers 3, 22 and 7 play an important role in the calculations of the old mathematicians. They found a relationship with music, colors and of course the planets.

The 3 stands for the “Law of Balance“, the Trinity. Two forces (Yin/Yang, Male/Female) expand and compress the center (-1, 0, 1). Everything expands and compresses.

The number 22 symbolized the circle and the cycle. This is reflected in the twenty-two letters in the cyclic Hebrew alphabet or the twenty-two cards in the cyclic Major Arcana of the Tarot.

There are 7 cycles and they are according to the law of balance divided in expansions and compressions on a “higher and lower level”.

(Mirror (-4),-1(-3(-1, 0, +1), -2(-1, 0, +1), -1(-1, 0, +1)), 0, +1(1(-1, 0, +1), 2(-1, 0, +1), 3(-1, 0, +1)), Mirror (+4)).

The 0 or the Void is the Mirror of the Mirror, the Self-Awareness, the Area, the Boundary, where the Cycle “Bounches Back“.

The relationship with music can be found when you have a look at the “Tones“. There are 7 “intervals” in an Octave (8) and 22 is the number of notes in three consecutive octaves.

The octaves contain a “deeper” pattern. Other numbers appear.

4 is the number of base-notes (Do), in three consecutive octaves. 8 is the number of fundamental notes in a single octave. The 3 octaves are each sub-divisible into 3 octaves apiece, giving an inward formula of 9 octaves, or 64 notes. So 8 is the constant and 64 is the square of it.

The deeper pattern can be understood if we look at a well-known measure, the Golden Measure. This measure can be written as F(n) = F(n-1) + F(n+1). As you see it shows the fundamental Law of Balance again.

The Golden Mean is called the Fibonacci series. The Fibonacci series can be seen in almost every part of Nature. The numbers of Fibonacci can be put into a spiral pattern (the logarithmic spiral).

Is there a Pattern that Explains Everything?

The most important concept to understand is the principle of Self-Reference. Self-reference can be seen in a Fractal but is also visible in the formula of the Golden Mean.

If “Everything is Fractal” we are able to explain everything with just two “laws”, the Pattern of the Fractal and the Enfolding of the fractal-patterns on different Scales. The Enfolding of the Fractal has to behave like the Fractal Pattern. It this way we have reached perfect Symmetry.

At this moment many scientists are looking for the “Basic Fractal Pattern“, the Grail of Science.

In essence they are rediscovering the knowledge of the “Old Mathematicians”. Many of them are aware of this. Old examples are David Bohm (“the Implicate Order”) and of course Einstein (“God is a Geometer”).

New examples are Luciano Pietronero and Laurent Nottale. They use the Logaritmic Spiral to explain the Fractal Structure behind Nature.

In February 1971 NASA (Pioneer 10 and 11) send a message to other civilizations in the Galaxy. The message was engraved on a gold anodized aluminum plague. Scientist tried to envision how they could show “What we are” and “Where we are”. They used fundamental laws to show a correlation between US and the Universe.

At this moment scientists are encrypting the message of old civilizations. More and more they discover that “The Old Ones” knew more about the fundamental laws than we know at this moment.

The idea to send a message to civilizations in the Time/Space-continuum is also not new. It was one of the major activities of the people that knew that their civilization would end by a cosmic catastrophe. They were the inhabitants of Mu and Atlantis.

They build huge structures like the Pyramids and engraved their message on Mother Earth. For thousands of years we just walked around and were unable to see them. Now finally just four years before the next catastrophe we are able to understand a little bit of what they wanted to tell us.

All of their knowledge was Encrypted and Stored in thousands of artifacts and stories. They were warning us but they also gave us entrance to their tools to survive, the Tools of Creation. They are hidden in the “Music of the Spheres” and can be translated into powerful magical incantations.

Those incantations can only be used by Magicians who have Cleaned themselves.

They have to be “Pure”, just like the White Light of the ONE hat emanates out of the SEVEN Colors of the Rainbow that are constructed out of THREE Basic Colors.