Introduction to my first book, Matrix of Creation

My first book interprets the planetary system through pure number. The numbers involved in this interpretation are surprisingly simple and will be accessible to anyone holding a basic arithmetic education. From this approach we have gained substantial new insights into the realm of mythology, religious thought and what have become known as the Traditional Arts. We show that the solar system evolved from pure number and can no longer be thought of as an accident of nature.

It is also no coincidence that this work lies poised between the realm of mathematics and the world before numeracy. In the ancient world, numbers assumed god-like powers that were continually creating the world through stable numerical relationships. The core of this ancient science developed such a view naturally through simple astronomical observations, by counting events and regular movements in the night sky. This science was then articĀ­ulated as mythological stories, calendars, sacred geometry, musical theory and monumental architecture, such as the Great Pyramid and Stonehenge.

These artefacts, found in all ancient cultures, have remained obscure to the modern world because modern science has become too sophisticated to see the simple celestial relationships which demonstrate that the planetary system, including the Sun and Moon, hold to a particular design.

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Further Ratios of the Outer Planets to the Lunar Year

The traditional way to express the Harmony of the Spheres is geometrically, despite the fact that geometrical knowledge of the heliocentric planetary system was not available to Pythagoras who, for the West, first established this whole idea – that the planets were part of a system expressing harmony.

The opening picture is from Kepler’s Harmonices Mundi :
from a scan made of the Smithsonian’s copy,
made available on Wikipedia as in the public domain.

In my own work, on the type of ancient astronomy based upon time and not space, I find it to be the outer planets in particular which express harmony in their geocentric synods relative to the lunar year. This applies to Jupiter, Saturn and Uranus but Neptune expresses a rational fraction of 28/27 involving prime numbers {2 3 7} whilst the other three planets only involve ratios involving primes {2 3 5}. The harmony of the outer planets has been a strong source for the sacred numbers found in ancient texts, as with Jupiter 1080 – considered a lunar number perhaps because the Moon is resonant to Jupiter – who is shown by figure 1 to be geocentrically resonant to the other planets and the Moon.

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Harmonic Astronomy within Seascale Flattened Circle

first published in July 2018

Only two type-D stone circles (see figure 3) are known to exist, called Roughtor (in Cornwall) and Seascale (in Cumbria). Seascale is assessed below, for the potential this type of flattened circle had to provide megalithic astronomers with a calendrical observatory. Seascale could also have modelled the harmonic ratios of the visible outer planets relative to the lunar year. Flattened to the north, Seascale now faces Sellafield nuclear reprocessing plant (figure 1).

Figure 1 Seascale type-D flattened circle and neighbouring nuclear facility.
photo: Barry Teague

Stone Age astronomical monuments went through a series of evolutionary phases: in Britain c. 3000 BC, stone circles became widespread until the Late Bronze Age c. 1500 BC. These stone circles manifest aspects of Late Stone Age art (10,000 – 4500 BC) seen in some of its geometrical and symbolic forms, in particular as calendrical day tallies scored on bones. In pre-literate societies, visual art takes on an objective technical function, especially when focussed upon time and the cyclic phenomena observed within time. The precedent for Britain’s stone circle culture is that of Brittany, around Carnac in the south, from where Megalithic Ireland, England and Wales probably got their own megalithic culture.

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