Month: January 2021

The Geocentric Planetary Matrix

Harmonic Origins of the World inserted the astronomical observations of my previous books into an ancient harmonic matrix, alluded to through the harmonic numbers found in many religious stories, and also through the cryptic works of Plato. Around 355 BC, Plato’s dialogues probably preserved what Pythagoras had learnt from ancient mystery centers of his day, circa. 600 BC.

According to the late Ernest G. McClain*, Plato’s harmonic matrices had been widely practiced by initiates of the Ancient Near East so that, to the general population, they were entertaining and uplifting stories set within eternity while, to the initiated, the stories were a textbook in harmonic tuning. The reason harmonic tuning theory should have infiltrated cosmological or theological ideas was the fact that, the planets surrounding Earth express the most fundamental musical ratios, the tones and semitones found within octave scales.

* American musicologist and writer, in the 1970s,
of The Pythagorean Plato and The Myth of Invariance.

Ancient prose narratives and poetic allusions were often conserving ancient knowledge of this planetary harmony; significant because these ratios connect human existence to the world of Eternity. In this sense the myths of gods, heros and mortals had been a natural reflection of harmonic worlds in heaven, into the life of the people.

In the Greece before the invention of phonetic writing, oral or spoken stories such as those attributed to Homer and Hesiod were performed in public venues giving rise to the amphitheaters and stepped agoras of Greek towns. Special performers or rhapsodes animated epic stories of all sorts and some have survived through their being written down.

At the same time, alongside this journey towards genuine literacy, new types of sacred buildings and spaces emerged, these also carrying the sacred numbers and measures of the megalithic to Classical Greece, Rome, Byzantium and elsewhere, including India and China.

The Heraion of Samos, late 8th century BC. [figure 5.9 of Sacred Geometry: Language of the Angels.]

Work towards a fuller harmonic matrix for the planets

In my first book, called Matrix of Creation, I had not yet assimilated McClain’s books, but had identified the musical intervals between the lunar year and the geocentric periodicities of the outer planets. To understand what was behind the multiple numerical relationships within the geocentric world of time, I started drawing out networks of those periods and, as I looked at all the relationships (or interval ratios) between them, I could see common denominators and multiples linking the celestial time periods through small intermediary and whole numbers: numbers which became sacred for later civilizations. For example, the 9/8 relationship between the Jupiter synod and the lunar year could be more easily grasped in a diagram revealing a larger structural network, visualized as a “matrix diagram” (see figure 1).

Figure 1 Matrix Diagram of Jupiter and the Moon. figure 9.5 of Matrix of Creation, p117.

One can see the common unit of 1.5 lunar months, at the base of the diagram, and a symmetrical period at the apex lasting 108 lunar months or 9 lunar years (referencing the Maya supplemental glyphs). In due course, I re-discovered the use of the Lambda diagram of Plato (figure 8.7), and even stumbled upon the higher register of five tones (figure 2) belonging to the Mexican flying serpent, Quetzalcoatl (as figure 8.1), made up of [Mercury, the eclipse year, the Tzolkin, Mars and Venus], Venus also being called Quetzalcoatl.

Figure 2 My near discovery of Quetzalcoatl, in fig. 8.1 of Matrix of Creation

These periodicities are of adjacent musical fifths (ratio 3/2), which would eventually be shown as connected to the corresponding register of the outer planets, using McClain’s harmonic technology in my 5th book Harmonic Origins of the World (see figure 3).

Probably called the flying serpent by dynastic Egypt, Quetzalcoatl’s set of musical fifths was part of the Mexican mysteries of the Olmec and Maya civilizations (1500 BC to 800 AD). This serpent flies 125/128 above the inner planets – for example, the eclipse season is 125/128 above the lunar year: 354.367 days × 125/128 = 346 days, requiring I integrate the two serpents within McClain’s harmonic matrices in Harmonic Origins of the World (as figure 9.3).

  • Uranus is above Saturn
  • The eclipse year is above the lunar year
  • the Tzolkin of 260 days is above the 9 lunar months of Adam
Figure 3 The two harmonic serpents of “Heaven” and “Earth”

By my 6th book, Sacred Geometry: Language of the Angels, I had realized that the numerical design within which our “living planet” sits is a secondary creation – created after the solar system, yet it was discovered before the heliocentric creation of the solar system, exactly because the megalithic observed the planets from the Earth. Instead of proposing the existence of a progenitor civilization with high knowledge** I instead proposed, as more likely, that the megalithic was the source of the ancient mysteries. Such mysteries then only seem mysterious because; a kind of geocentric science before our own heliocentric one seems anachronistic.

**such as Atlantis as per Plato’s Timaeus: an island destroyed by vulcanism, Atlantis and similar solutions have simply “kicked the can down the road” into an as-yet-poorly-charted prehistory before 5000 BC, for which less evidence exists because there never was any. In contrast, the sky astronomy and earth measures of the megalithic are to be found referenced in later monuments and ancient textual references. That is, megalithic monuments recorded an understanding of the cosmos then found in the ancient mysteries. A geocentric world view was a naturally result of the megalithic, achieved using the numbers they found through geocentric observations, counting lengths of time, using horizon events and the mathematical properties of simple geometries.

Geo-centrism was the current world view until superseded by the Copernican heliocentric view. This new solar system was soon found by 1680 to be held together by natural gravitational forces between large planetary masses, forces discovered by Sir Isaac Newton. The subsequent primacy of heliocentrism, which started 500 years ago, caused humanity to lose contact with the geocentric model of the world: though figure 4 has the planets in the correct order for the the two serpents, of inner and outer planets, this is also (largely) the heliocentric order, if one but swaps the sun and the moon-earth system.

All references to an older and original form of astronomy, based upon numerical time and forged by the megalithic, was thus dislocated and obscured by our heliocentric physical science and astronomy of the modern day – which still knows nothing of the geocentric order that surrounds us.

Figure 4 The Geocentric Model by 1660

The geocentric model entered Greek astronomy and philosophy at an early point; it can be found in pre-Socratic philosophy … In the 4th century BC, two influential Greek philosophers, Plato and his student Aristotle, wrote works based on the geocentric model. According to Plato, the Earth was a sphere, stationary at the center of the universe.

Wikipedia: “Geocentric model”

Agni, the Indian God of Fire

Those new to Ernest McClain and his The Myth of Invariance, should know this book was a seminal work for anyone in my generation, that opened up a Pythagorean vision; of how number operates in the domain of harmony. This world of harmony can be numerically defined in a quite extraordinary and specific way and we, as human beings, can receive it through our mind whilst also through the senses. This relates to the unusual fact that, whilst all notes can be doubled in frequency through the number two, with a perfect consonance, a new population of notes is then opened up, within an octave, of intervals that are also harmonious, through the use the two next prime numbers: three and five. Thus music, so effective upon the human heart, can build a world of meaning, sometimes referenced in myths as sacred numbers, written through understanding harmony as fundamentally generated through numeric transitions within music.

In 2008 I prepared a summary of Ernest McClain’s statements about Agni because, in the midst of the perfect symmetry of musical harmony lies something new, born to the world opposite its beginnings and endings. I originally made the pdf below for my friend Anthony Blake, part of our attempt to study the origin of creativity within the existing world. It appears that something important comes into being at the centre of this issue of octaval harmony, just as we ourselves come into existence in the middle of the universe, as conscious beings, conscious then of our incompletion.

It occured to me to include this in an email to Ernest and, all in, he said in reply “I can’t imagine anyone improving on your few pages” and “Put it out now on your own website stamped with my approval”. Please enjoy this transmission from the centre of the octave:

What Ernest McClain says about Agni in The Myth of Invariance:

Visit Ernest McClain website: Musical Adventures in Ancient Mythology. In the section of online documents, his books are available for your to study as links to pdf downloads.

Sir Francis Bacon and Codes

from Digital Codes and Converters, the 1961 Ph.D. Thesis of F.G. Heath at the Victoria University of Manchester. Read optically for a colleague many years ago, it is provided here as interesting; touching upon the authorship of Shakespeare and other Elizabethan texts and poems. It also shows how cryptography then awaited the computer to create the modern digital world of information.

1.2 Sir Francis Bacon

There are reports going back to 200 B.C. (Polybius: a semaphore) for instances where combinations of symbols having only a few alternatives have been made into an alphabet. The man who undoubtedly wrote the first proper description of such a code was Sir Francis Bacon.

Bacon was primarily interested in ciphers, and in 1605 wrote “Of the Advancement of Learning” which describes vaguely a cipher termed OMNIA PER OMNIA, the best possible, and mentions that it is quintuple infolded but gives no useful details. In 1623 he described this cipher precisely in “De Augmentibus Scientiarum” written in Latin. Fortunately, a contemporary English translation exists, prepared by Gilbert Wats in 1640, and facsimiles of the important pages are shown in Figure 1.1.

Bacon claims that he invented this cipher himself, observing that if a binary property is used, then five symbols give 32 alternatives (25) which is sufficient for 24 letters of the alphabet (v and j were not separate at that time). He then constructed two slightly different type fonts, assigning to each type font one of the binary alternatives. Then, by using these two separate sets of type he made each five letters of an innocent message carry five binary digits which identified one letter of the ciphered message. It will be noticed in Fig. 1.1 that if we replace a by 0 and b by 1 that the simple binary sequence is obtained.

Figure 1.1 Code of Sir Francis Bacon. (a) above and (b) below

This might seem to be the point where Sir Francis Bacon leaves the story, having provided a binary code for the early telegraph engineers. Such is not the case. Bacon used another cipher (where a keyword indicates significant phrases) and in 1894 Dr. Orville W. Owen in the U.S.A. prepared the second volume of his book” The cipher story of Sir Francis Bacon” about this system, assisted by Elizabeth Wells Gallup. In the winter of 1895-6 Mrs. Gallup studied the binary cipher which has already been described, and found that it was incorporated in the first folio editions of Shakespeare’s plays. She naturally set about deciphering messages and a summary of the career of Sir Francis Bacon as revealed in them in Ref. 2. If the deciphered messages are true, then history books need a complete revision for the period of Elizabeth 1.

The various ciphered messages may be summed up as follows:-

Elizabeth, while imprisoned in the Tower, married Leicester secretly and gave birth to two children, the first Francis Bacon, the second Richard Deveraux, afterwards Earl of Essex.  Francis was cared for from birth by Mistress Ann Bacon, and was reared and educated as the son of Nicholas Bacon (Lord Keeper of the Great Seal of England). At sixteen he found out his true parentage, and was sent to France, returning two years later. In Mrs. Gallup’s own words, “The proofs are overwhelming and irresistible that Bacon was the author of the delightful lines attributed to Spencer – the fantastic conceits of Peele and Greene – the historical romances of Marlowe – the immortal plays and poems put forth in Shakespeare’s name, as well as the Anatomy of Melancholy by Burton”.

There is no point joining the argument* as to the truth or otherwise of Mrs Gallup’s decipherment: in Vol. III her publishers give a summary of her career and show that she was not a person to promote false knowledge lightly. During one spell in the British Museum she damaged her eyesight, partly by overwork and partly by the poor lighting. Three things are worth noting however.

*However, the news is not so good, since The Shakespearean Ciphers Examined: An analysis of cryptographic systems used as evidence that some author other than William Shakespeare wrote the plays commonly attributed to him, OUP, William F. Friedman 2011 suggests (I believe) that the notion of a typographical code in print was impractical given the state of typesetting in Elizabethan England.

CIPHERS

Bacon, from childhood, was intended for a public career. At that time all diplomatic, and much personal correspondence was committed to cipher. Among the substantial benefits incurred upon mankind by Bacon was the invention, while in France, of what is known as Baconian or Bi-lateral Cipher, which is adaptable to a multitude of means and uses. It may not be generally known that this Cipher is the basis of nearly every alphabetical code in use in telegraphy, and in the signal service of the world. It is in brief, an alphabet which requires only two unlike things for its operation. These may be two slightly differing fonts of type on a printed page, as illustrated in the example given at length in his De Augmentis, published not long before his death; or it may be a dot or a slight disfigurement in a single font, or the alternating dot and dash or short and long sound space of the Morse telegraphic code, or the alternating long and short flash of light as in the heliographic system; the “wig-wag” of a flag or signal light, or two coloured lights alternately displayed; in short any means whatever alternating two unlike or unequal signs, sounds, motions or things. Under the rules of of arithmetrical progression almost innumerable alphabets can be constructed, by these means undecipherable without its particular key. It has no limitations upon its usefulness, and has never been surpassed in security, ingenuity or simplicity. Bacon himself called this the Omnia-per-omnia, the all-in-all cipher, and the name is completely descriptive [though bi-literal in now used-ED].

(Extract from Ref. 2)

The second point of interest is a forward in volume 3 by Mrs Gallup’s publishers which contains the statement “she has either deciphered it from the labors of Francis Bacon, or it is a creation of her own. There is no middle ground”. The idea of signal/noise ratio would not be familiar in 1910, and we ought to just check that the deciphered messages have a low probability of being “noise” generated between two different type fonts used at random.

It turns out that the publishers were correct, since Mrs Gallup deciphered 500 pages, all intelligible and consistent, giving perhaps 30,000 letter (coded) or 150,000 letters in the original plays. this situation can only arise once in 2150,000 or 1050,000, and it is obvious that lopping off a few 0’s for various reasons will not make the noise hypothesis tenable.

It may seem strange that Mrs Gallup’s work has left such a small impression: her name will not be found in its alphabetical place in the Encyclopedia Britannica for instance. It appears that her work is considered erroneous by scholars because one of her decipherments was a particular translation which did not exist in Bacon’s time3. Whatever the truth of this, Mrs Gallup’s book is interesting, the fascinating part of the story (to an electrical engineer) being that all this evidence in the Bacon v. Shakespeare controversy was written down in five digit binary code.

Although direct evidence is hard to find, there seems little doubt that Gauss was the man who applied Bacon’s code to a telegraph system, date around 1833. It does not seem that Gauss deviated from his other work for long enough to describe this work in detail: reference 7 states that Gauss and Weber proposed the five-digit code for telegraphy, and 1833 is given as the date, but the only paper published by Gauss and Weber at that time was on Terrestrial Magnetism

…..

A Yoga drawn from Celestial Metaphor

  • The sun of the mind at dawn rises from the grip of not knowing.
  • The sun of the mind at dusk drops into exhausted non-attachment.

This “metaphor” was all too real in the India that gave birth to Yoga, since the light of the sun illuminates the objects conceptualized by the mind. Through the illumination of objects, the mind attaches the desire to participate, own, use and identify with objects and scenarios concerning them and other persons.

Continue reading “A Yoga drawn from Celestial Metaphor”

The Richard Syrett Interviews on Sacred Geometry: Language of the Angels

I recently recorded a podcast with Richard Syrett and will be talking with him again today (January 2nd) on Coast to Coast, starting 10pm Pacific time. In the UK, this is tomorrow (Sunday the 3rd) at 6am GMT. Both these interviews are in response to my new book Sacred Geometry: Language of the Angels, which goes on release Monday 4th of January 2021.

Ways of Purchasing: This large-format book, richly illustrated in color throughout, can be seen in the sidebar (on mobiles, below the tag cloud) or visit Inner Traditions.