Use of foot ratios in Megalithic Astronomy

The ratios of ancient metrology emerged from the Megalithic innovations of count&compare: counting time as length and comparing lengths as the longest sides of right triangles. To compare two lengths in this way, one can take a longer rope length and lay it out (say East-West), starting at the beginning of the shorter rope length, using a stake in the ground to fix those ends together.

The longer rope end is then moved to form an angle to the shorter, on the ground, whilst keeping the longer rope straight. The Right triangle will be formed when the longer rope’s end points exactly to the North of the shorter rope end. But to do that one needs to be able to form a right angle at the shorter rope’s end. The classic proposal (from Robin Heath) is to form the simplest Pythagorean triangle with sides {3 4 5} at the rope’s end. One tool for this could then have been the romantic knotted belt of a Druid, whose 13 equally spaced knots could define 12 equal intervals. Holding the 5th knot, 8th knot and the starting and ending knots together automatically generates that triangle sides{3 4 5}.

Forming a square with the AMY is helped by the diagonals being rational at 140/99 of the AMY.
Continue reading “Use of foot ratios in Megalithic Astronomy”

Old Yard’s Mastery of the Square Root of 2

The old yard was almost identical to the yard of three feet, but just one hundredth part smaller at 2.87 feet. This gives its foot value as 99/100 feet, a value belonging to a module very close to the English/Greek which defines one relative to the rational ratios of the Historical modules.

So why was this foot and its yard important, in the Scottish megalithic and in later, historical monuments?

If one forms a square with side equal to the old yard, that square can be seen as containing 9 square feet, and each of those has side length 99/100 feet. This can be multiplied by the rough approximation to 1/√ 2 of 5/7 = 0.714285, to obtain a more accurate 1/√ 2 of 99/140 = 0.70714285.

Figure 1 Forming a Square with the Old Yard. The diagonal of the foot squares is then 7/5, the simplest approximation to √ 2.
Continue reading “Old Yard’s Mastery of the Square Root of 2”

Palsson’s Sacred Image in Iceland

Extracted from The Structure of Metrology, its Classification and Application (2006) by John Neal and notes by Richard Heath for Bibal Group, a member of which, Petur Halldorsson, has taken this idea further with more similar patterns on the landscape, in Europe and beyond. Petur thinks Palsson’s enthusiasm for Pythagorean ideas competed with what was probably done to create this landform, as he quotes “Every pioneer has a pet theory that needs to be altered through dialogue.” Specifically, he “disputes the Pythagorean triangle in Einar’s theories. I doubt it appeared in the Icelandic C.I. [Cosmic Image] by design.” Caveat Emptor. So below is an example of what metrology might say about the design of this circular landform.

Figure 1 of Palsson’s (1993) Sacred Geometry in Pagan Iceland
Continue reading “Palsson’s Sacred Image in Iceland”

Equal Temperament through Geometry and Metrology

The form of musical scale we use today is the (apparently modern) equal tempered scale. Its capabilities express well the new mind’s freedom of movement in that it allows us to change key to play compositions that move between alternative frameworks. This possibility was known to ancient tuning theory, could be approximated within Just intonation’s chromatic notes and was discussed by Plato as forming the constitution of one of his harmonic city states called Magnesia.

Relationship of the Equal Temperament Keyboard to the (logarithmic base-2) tone circle of an octave. We choose D (the Dorian scale) because it is symmetrical on both keyboard and tone circle. Equal Temperament supplies tones which enable any scale to be played starting from any note, though it is the Ionian (C-major) which defines modern key signatures.
Continue reading “Equal Temperament through Geometry and Metrology”