Megalithic Measurement of Jupiter’s Synodic Period

Though megalithic astronomers could look at the sky, their measurement methods were only accurate using horizon events. Horizon observations of solstice sunrise/set each year, lunar extreme moonrises or settings (over 18.6 years) allowed them to establish the geometrical ratios between these and other time periods, including the eclipse cycles. In contrast, the synod of Jupiter is measured between its loops in the sky, upon the backdrop of stars, in which Jupiter heads backwards each year as the earth passes between itself and the Sun. That is, Jupiter goes retrograde relative to general planetary direction towards the east. Since such retrograde movement occurs over 120 days, Jupiter will set 120 times whilst moving retrograde. This allowed megalithic astronomy to study the retrograde Jupiter, but only when the moon is conjunct with Jupiter in the night sky and hence will set with Jupiter at its own setting.

Figure 1 The metamorphosis of loop shape when Jupiter is in different signs of the Zodiac
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Death of Zeus in Crete

written in 2004

How can an immortal god die? Especially Zeus who was not just a god but head of the Olympians, a new breed of gods that had replaced the Titans and their “despotic” ruler, Chronos. A Rome holding to Zeus/Jupiter perhaps rejected the Cretan tradition of the god’s death with the well-broadcast adage “All Cretans are liars”.

But we all should know that mythology uses contradictory, or at least inconsistent, versions of the same story, to express alternative perspectives and to transmit more knowledge in the process, rather than “a lie”.

The importance of the death of Zeus is that the story emerges exactly from that point in time and cultural transformation in which Zeus is also born and at that time it was familiar for a vegetative god, representing nature blooming in spring and dying in autumn, to die and be re-born within the immortality of the eternal round of the year or yearly daemon.

There were other norms too, including the birth of men and their world of form, out of the Earth and from within The Cave, as a natural sacred space created by the Mother or earth goddess. Directly symbolic of her womb, form emerges as shapes in formation like dreams, travelling towards the definite order found on the surface.

Figure 1 The Dictyan Cave, one of two in Crete claimed claimed to be Zeus’ Nursery 
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Kaaba’s Numerical Picture of Harmonic Origins

A recent plan of the Kaaba[1] indicates that its walls, by their odd-number proportionality, symbolised the numerical origins of musical harmony through the first six numbers, 1, 2, 3, 4, 5 & 6, sometimes called the Senarius meaning “existence out of six”.

According to Plato, the world was created using the rules of musical harmony in a scheme involving perfect fifths of 3/2, fourths of 4/3 and tones of 9/8, leaving “leftover” semitones of 256/243: a rudimentary musical scale. This only used prime numbers 2 and 3 and multiplications with themselves and each other; a system called Pythagorean tuning. The Kaaba incorporates another prime number 5, called the human number, this enabling two more large intervals called thirds, the major third of 5/4 and minor third of 6/5. Using 5 enables more and better scales to be formed and fills in the gap between 4 and 6 to show all the large intervals in the first six numbers, 1:2:3:4:5:6. This fuller tuning system has been found in the ancient Near East as long ago as the Sumerians, in their tuning texts on cuneiform (c. 3000 BC onwards).

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