Category: Cosmology

Ideas about the nature of the whole

from Book 5: Harmonic Origins of the World

Intelligent Star Systems

The harmony of the spheres can only be found in our world of time, where it is a strong and compelling phenomenon. Such a harmony was no prescientific fantasy. Pythagoras, who coined the term, probably did so based on the geocentric time world, a view lost to history apart from cryptic references that can no longer be interpreted.

In our age of system science, musical harmony is not thought relevant to the design of dynamic systems such as the planets, yet they appear adapted to just intonation seen from the exclusive perspective of our planet. Why should our planet have a harmonious view of time, and what difference does time’s harmoniousness make to life on Earth? Is there some other purpose to this harmony or none at all? To answer such questions one has to recognize just intonation as being a holistic system that demands human insight into the nature of whole phenomena (a so-called gestalt). Such gestalts flow from the need to see higher-level relationships rather than the raw complexity of their parts. All higher structures of meaning subsume lower levels of meaning.  For example, microclimates are a structuring of meaning higher than  trees, water, weather, and topography, usefully integrating these parts within a newly perceived whole. Such insights reveal a higher idea that indicates new potentials within a system. The new level of conceptual order has not changed in the phenomenon but how we relate to it. This profound faculty is the basis of what we call understanding rather than knowing, and it enlarges our “world.” The world is already structured, and a sensory insight re-creates that structure as a simplifying aspect, already present, to expand the intelligibility of the sensory world and with it, our present moment. Insight and the world’s creation were considered similar acts within ancient cosmologies, in that an insight about the world resembles the structure of the world as it would be conceived by any god in the act of creating it. Such a vision involves a special effort but provides a creative view of the world, in which simplicity and relatedness replace functional complexity with a new appreciation of the sensory world. The celestial behavior in Earth’s skies is a prime example of such an action: the rotation of Earth, its orbit around the sun, the moon’s orbit, and its illumination by the sun complicate the observed orbital periods of the other planets and yet, that added complexity has produced harmonic simplicity between synodic periods!

Chapter 1 showed how Late Stone Age astronomers used geometrical counts of synodic periods to discover this harmony of the spheres, which modern astronomers have not seen because scientific calculation methods deal instead with planetary dynamics modeled by equations. Simplicity has somehow adapted our solar system without breaking physical laws. At the level of gravitational dynamics, many complexities were required to achieve just intonation seen only from Earth, especially the lengthening of the lunar month as an intermediary to the planetary synods seen from Earth. Any demiurgic preference for harmony (seen from Earth) resembles the human gestalt that revealed the harmony of the spheres to human sensory intelligence in the Late Stone Age, and it must be noted, humanity has become demiurgic since the Stone Age, creating man-made worlds.

Demiurgic intelligences are probably part of each star system and, if our star has a demiurgic intelligence, this action seems to have used the moon to establish a justly intoned time world for the third planet. It adapted the unchanging orbital pitches of an n-body planetary system to present harmonic synodic systems that planetary orbital periods alone could never express. Our geocentric system is harmonically founded between 1, the zeroth power of 2 (the Saturn synod) and the fifth power of 60 (YHWH, as 365-day year), which is the smallest numerical resolution to contain just intonation of both inner and outer planets, as in the implied holy mountains of our ancient texts.

Harmonic Origins of the World
Contents (272 pages, 100 b&w illustrations)
Preface
Introduction: The Significance of Planetary Harmony (5)
PART 1: RECOVERING LOST KNOWLEDGE OF THE WORLD SOUL
1 Climbing the Harmonic Mountain (20)
2 Heroic Gods of the Tritone (19)
3 YHWH Rejects the Gods (15)
4 Plato’s Dilemma (22)
PART 2: A COSMICALLY CREATIVE HARMONY
5 The Quest for Apollo’s Lyre (25)
6 Life on the Mountain (23)
PART 3 THE WAR IN HEAVEN
7 Gilgamesh Kills the Stone Men (16)
8 Quetzalcoatl’s Brave New World (31)
9 YHWH’s Matrix of Creation (19)
10 The Abrahamic Incarnation (15)
Postscript: Intelligent Star Systems
APPENDIX 1: Astronomical Periods and Their Matrix Equivalents
APPENDIX 2: Ancient Use of Tone Circles (11)
Notes
Bibliography
Index

Sacred Number and the Lords of Time

Back Cover

ANCIENT MYSTERIES

“Heath has done a superb job of collating his own work on the subject of megaliths with the objective views of many other researchers in the field. I therefore do not merely recommend reading this book but can state unequivocally it is a must read.”
–John Neal, British metrologist and researcher and author of Measuring the Megaliths and The Structure of Metrology

“In Sacred Number and the Lords of Time we have an important explanation of how megalithic science was developed. This book is a long-overdue wakeup call to a modern culture that has abandoned this fully developed and astonishingly rich prehistoric model of the physical world. The truth is now out.”
–Robin Heath, coauthor of The Lost Science of Measuring the Earth and author of Sun, Moon and Earth

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pdf: Musicological Narrative Structures in Biblical Genesis

This paper attempts to interpret the first two books of the Bible, according to Ernest McClain’s methods. It is contended that the compositions of ancient texts, as Plato insinuated, were both inspired and used for the science of numerical harmonics.

The invariant properties of harmonic numbers, and their evolution through limiting whole numbers, offer a large variety of distinctive scenarios which can be set into compatible narrative forms such as the Seven Days of Creation, the
Garden of Eden, the Flood, the Patriarchal development of the Twelve Tribes and Moses meeting with YHWH.

Sacred Geometry: Language of the Angels

Pages: 288
Book Size: 8 x 10
ISBN-13: 9781644111185
Imprint: Inner Traditions
On Sale Date: January 5, 2021
Format: Hardcover Book
Illustrations: Full-color throughout

For further details of the book look at the growing Publisher pages for it at Inner Traditions.

Durrington Walls and its massive circle of Pits

Recent analysis of animal bones within Durrington Walls indicated, to the archaeologists involved, that people had travelled there from all over the British mainland, along with animals then eaten inside the henge[1]. But what would these people be doing there? It had earlier been suggested that an elite responsible for building Stonehenge lived in a wooden roundhouse within the henge ([2] see figure 1). So, people may have come from elsewhere to help the building works now found between Stonehenge and Avebury.

Figure 1 Reconstruction of the likely roundhouses within the Durrington henge, based on post-hole evidence [2]

More recently, pits have been found [3] within a circular strip that I notice lies between 3168 feet and 4038 feet from Durrington Walls, a boundary 864 feet wide. The pits may contain the material remains of the building elite and perhaps of those workers who died, functioning like nearby barrows but vertically.

This post aims to explain why this might have been done according to a significant geometrical pattern. In the megalithic, numbers played an active role and this perhaps inspired the myth of Atlantis recorded by Plato – the classical Greek writer who transmitted the ancient notion that numbers had a causative role in forming the “world soul”, rather than our usage for number: a means to quantify things within civilized societies or laws of nature.

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Precessional Time: Working with Ideas

My third book, Precessional Time and the Evolution of Consciousness is my slimmest (surely a virtue) about how we work with ideas. It has its own conjunctions and disjunctions; where conjunctions are discovered meanings and disjunctions are changes in direction. The book is dominated with the cyclic metaphors of the

  1. Tone Circle of 1st Millennium BC tuning theory (Ernest McClain),
  2. The narrative structure called Ring Composition, found within ancient texts (Mary Douglas) and
  3. The Enneagram brought to the West by George Gurdjieff.

A key power of such cyclic structures is that they belong to a species of Media in which consciousness is both portrayed as a process and freed from the normalising identification with an idea often found in our World View (or paradigm about how “the world” – our environment – works.) As Gurdjieff in particular made clear, identification is part of the world process over which the human mind has to struggle, just like the hero in a mythic tale – within a ring composition – must struggle (as protagonist of the narrative) with an antagonistic force that binds his or her struggle as a demon, dragon, tyrant, etc. preventing a golden fleece, holy grail or other treasure being recovered (Joseph Campbell).

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