**99.58.1 GUT MU27 Theory (MetPhys)**

From: MetPhys@aol.com

To: luigi.di-martino@ntlworld.com

Subject: GUT MU27 Theory (MetPhys)

Date: 06/02/02

Grand Unified Theory, New Revolutionary Proposal

Hi Luigi,

Since you like the number 27 so much I wonder what you think of the GUT MU27 Theory of the Universe as 27 Stem Cell Cubes.

MetPhys@aol.com

**99.58.2 GUT MU27 Theory (luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: GUT MU27 Theory (luigi)

Date: 06/02/02

Hi Robert

Well, what can I say?! It's over my head as usual, but I get some of it. For a part timer like me I can only offer simple insights based on the secret flows of them Mode Boxes I have come to know quite well. This guy is well cool though and I will have to study it further to get a clearer picture and hopefully some ideas.

Another symmetrical pattern pops up when the number sequences box is highlighted at the 4.5 position. I am sending you this as a jpeg. These columns of numbers being mirrors of each other were not so easy to spot until that asterisk was placed there.

I discovered the 27 somewhere else too. I am not sure why you didn't want to include the stuff on Note / frequencies mirroring. Maybe it never arrived. I refer to it in the diagram as doubling and halving numbers. This 1 2 4 8 7 5 sequence you know quite well anyway.

Luigi

**99.58.3 Notes and Frequencies- Doubling and Halving (luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: Notes and Frequencies (luigi)

Date: 06/02/02

Hi

You sent this link to me and I found that Marco was referring to a sequence of numbers I had found by doubling and halving. I saw this same sequence once whilst surfing the net. There was a sixteenth century (?) scientist who had found this sequence when doubling occurred.

Rodin's Sunflower Map shows how the forward and backward moving music works on a torus, plus the third component, middle neutral (+0-). It should be the middle diagram on the page.

....Thus Marko begins with the sequence of powers of two: 1, 2, 4, 8, 16, 32, 64... .and turns this into a repeating pattern: 1, 2, 4, 8, 7, 5, 1, 2, 4, 8, 7, 5. The claim is that this doubling sequence is seen in all life processes and throughout nature. (Refer to figure 1.). It is this sequence, joined by its reverse, which form the bifilar doubling circuits layered around the torus. The quandary is, what energy conditions could these numbers refer to ? The remaining numbers form a gap space pattern: 3, 9, 6, 6, 9, 3, 3, 9, 6, 6, 9, 3... which separates the previous circuits. It is presumed that this sequence is associated with a vorticity of the vacuum or electromagnetic field between the conductors....

The first one - 1 2 4 8 7 5 can be gleaned by doubling or halving a number. This is a representation of Octaves in that case. I put together a kind of chart for the first 100 numbers and it showed that only three possible sequences emerge. I am sure that sending it as a web page or attachment is going to mean trouble so I will just cut and paste some of it here and hope for the best! What is interesting about the 1 2 4 8 7 5 sequence is that it adds up to 27. This number is at the heart of a lot of mirror scale experiments, together with the nine number sequences of the Vedic Square (which are the indig numbers in disguise - +/-1 +/-2 +/-3 +/-4 ++4). In fact as you are showing me 27 is absolutely everywhere!

(**Note**: I asked Luigi for an expansion/explanation of this sequence; - +/-1 +/-2 +/-3 +/-4 ++4. He send me this which, obviously, requires a little knowledge of indigs: "6/08/02 I only came across possible correlation between the indig numbers and the number sequences of the Vedic square recently. I have ccp'd this from a previous post (99.57.11). Am I seeing these right? I am equating the ++4 with the tri-tone position, even though Russell placed it above the note G and called that the double tone:

These number sequences also correspond to the indig numbers +/-1 +/-2 +/-3 +/-4, as used by Walter Russell in his book 'The Universal One' and other scientists and numerologists. It is reckoned that every number can be made up of these indig numbers. It will be seen that at the 4.5 point there is a transference. This is what Buckminster Fuller has to say about these four possible plus/minus integers:

one produces a plus oneness

two produces a plus twoness

three produces a plus threeness

Four produces a plus fourness

Where after we reverse:

Five produces a minus fourness

Six produces a minus threeness

Seven produces a minus twoness

Eight produces a minus oneness

One can see straight away that the cross over point was at the 4.5, between the fourth and fifth number. Also the plus/minus signs refer to the dual flows as seen in the number sequences. Every number can then be associated with one of these two flows when in direct proportion to another thing. For example, the oneness is plus at the number one and minus at the number eight. 1 and 8 are number sequence partners and flow in opposite direction to each other. This is true for the 2/7 3/6 and 4/5." Luigi).

(**Note**: Basically, this indig system is mapping a figure 8 (annalema) with 9/0 in the center with +4/-4 units on each side of the center 9/0. MetPhys).

1 2 4 8 16 32 64 128 (256*) 512 1024 2048 4096 8192

If we make middle C (256*) a central axis point we find that there is an increase of 256 to the right ( 512 ) and a decrease of 128 to the left. The difference between 128 and 512 is 384. 384 is then broken down to a number between 1 and 9. 384 = 3+8+4=15=1+5=6.

Now moving left by one and right by one from 128 and 512 respectively gives us 64 and 1024. The difference between these two numbers is 960. Again this total can be broken down to a number between 1 and 9. 960=9+6+0=15=1+5=6.

One to the left and one to the right again gives us 32 and 2048, a difference of 2016. This becomes the number 9 when broken down as above.

The whole sequence is 6 6 9 3 3 9 6 6. It is a very symmetrical sequence as you can see flowing true either left or right. This is only one way to uncover a number sequence which describes the relationship of the original numbers above in a different way. It is obviously possible to move the axis point and thereby uncover more number sequences and it will be dealt with after the next experiment in finding hidden number sequences which can be applied to a multitude of numbers in general. Another number sequence will emerge if all the above numbers are broken down cabalistically (numbers 1 - 9).

1 2 4 8 16 32 64 128 256 512 1024 2048

1 2 4 8 7 5 1 2 4 8 7 5

The number sequence 1 2 4 8 7 5 is repeated eternally. The other interesting thing with this sequence is that it works in reverse fashion if the number 1 is continually halved.

1 = 1, 0.5 = 5, 0.25 = 7, 0.125 = 8, 0.0625 = 4, 0.03125 = 2, 0.015625 = 1 etc

Surely then any number when halved or doubled produces a number sequence such as the 1 2 4 8 7 5 seen above. The number 2 would obviously be a variation of this number sequence because it is already mentioned in the number 1 totals above. So we take the number 3 continuously doubling it and breaking down the totals in order to view the number sequence, and then halving it in order to see the effect this has on the number sequence. It will be seen that the effect is to reverse the sequence as if it's energy were now moving in contrary flow.

3 6 12 24 48 96 192 384 768 1536

3 6 3 6 3 6 3 6 3 6 etc

1.5 0.75 0.375 0.1875

6 3 6 3

Again the halving of a number produces the number sequence in reverse. The number 4 will produce another variation of the number sequence discovered behind the number 1.

5 10 20 40 80 160 320 640 1280 2560

5 1 2 4 8 7 5 1 2 4 etc

This is another variation of the first number sequence and it does not originate from the Number 1.

Here is the sequence in reverse found by halving the number 5 instead.

5 2.5 1.25 0.625 0.3125 0.15625 0.078125 0.0390625

5 7 8 4 2 1 5 7 etc

The number 6 will produce a sequence similar to the number 3 but in reverse (6 3 when doubled and 3 6 when halved).

7 14 28 56 112 224 448 896 1792

7 5 1 2 4 8 7 5 1
etc

This sequence is in fact a variation of the first sequence and it too runs in reverse when 7 is continually halved.

7 3.5 1.75 0.875 0.4375 0.21875 0.109375 0.0546875

7 8 4 2 1 5 7 8 etc

Again the number 8 would coincide with the number 1 sequence. I have a feeling that the number 9 will behave in the only way it knows and that is to remain a constant.

9 18 36 72 144 288 576 1152 2304

9 9 9 9 9 9 9 9 9

9 4.5 2.25 1.125 0.5625 0.28125

9 9 9 9 9 9

The number 10 would produce a sequence similar to the number 5.

11 22 44 88 176 352 704 1408 2816

2 4 8 7 5 1 2 4 8 etc

Here the familiar sequence commences on the number 2, another variation.

11 5.5 2.75 1.375 0.6875 0.34375 0.171875

2 1 5 7 8 4 2 etc

As you can see the sequence runs in contrary flow as usual.

The number 12 would lead to a variation of the number sequence found associated with the number 3.

13 26 52 104 208 416 832 1664 3328

4 8 7 5 1 2 4 8 7 etc

As you can see this is yet another variation on the now too familiar number sequence established at the very beginning. If we halve the figure it will indeed become the variation of the number sequence in reverse. The number 14 will coincide with the number 7, the number 15 will revert to the number 6 (1+5=6) sequence of 6 3, and when halved the sequence will reverse to 3 6.

The number 16 will then connect along the number 1 doubles and halves whilst the number 17 continues to establish the 1 2 4 8 7 5 with it's variations together with it's contrary flow movement being in effect a number continually halved rather than doubled. Next is number 18 which conveniently hops onto the number 9 totals. Number 19 will display exactly the variation of the sequence that the number 1 does which is due to the fact that the number 19 can be broken down to the number 1.

Still the pattern remains consistent as we venture further. The number 20 coincides with the number 1 whilst the number 21 will produce the number sequence 3 6. Again that is because 2+1=3. Any number that equals 3 or 6 when reduced to a number between 1 and 9 will display a similar number sequence ( including that sequence in reverse ). The number 22 echoes the number 11 result whilst the number 23 will indeed produce a variation of the dominant number sequence in this experiment.

The number 24 will then echo the number 6 result ( as seen in 2+4=6). From now on we will find that 25 won't echo a previous number's result but 26 will. 27 won't but 28 will. 29 won't and 30 will echo the 3 6 sequence. 31 won't, 32 will 33 will echo the 6 3 sequence. We find that both the next two numbers do not share a link with any other previous number. Both 34 and 35 as yet do not appear in any other totals. Even though it can be seen at this stage that there are four number sequences affecting all the totals so far. There is the 1 2 4 8 7 5, 5 1 2 4 8 7 5 (which happens only once), the 3 6/6 3, and there is the 9 which is constant.

After 36 the numbers 37 and 38 also do not appear as yet in any other previous total but will once again display one of the number sequences seen above (the main one). It would be useful to draw this pattern out as one large diagram doubling and halving as many numbers as possible on the sheet of paper and then representing each number sequence as it occurs.

The lure in following this experiment to it's conclusion is obviously to see if any number when doubled or halved can be broken down to one of these four sequences. One can see that each number has access for other numbers to hop on board. It's a little like a series of stops along a train journey. The number 1 takes off and is immediately joined by the number 2 at the first stop. The number 3 creates it's own sequence changing from odd number to even number continually. The number 4 then jumps on board the number 1 totals at the next stop.

The picture is not complete for there is no assurance that the structure unfolding can remain true. There is faith that the process may lead to some deeper understanding but at this stage we are still searching for a consistent structure. Only by applying more numbers can we see the final picture. The main aim would be to discover how numbers interweave using each other's totals as hop on points, a hopping onto a variation of the main number sequence (124875) or the 3 6 sequence for example.

Along the way certain numbers will link up with one of the previous totals belonging to a previous number or produce unique totals that still display one of the four number sequences. When dealing with the number 14 and it's back to front partner, 41, we run into another relationship the number 9 has within nature. You will see that 14 and 41 both add up to 5. Doubling 41 and doubling 14 gives 82 and 28, again two numbers back to front and equaling 1 when cabalistic reduction is applied to them. So it is worthwhile running these two totals in parallel.

14 28 56 112 224 448 896 1792

5 1 2 4 8 7 5 1

41 82 164 328 656 1312 2624 5248

5 1 2 4 8 7 5 1

We now take the difference between 14 and 41 and break it down between 1 and 9 again. We can show it this way:

The difference between 14 and 41 = 27 = 2+7 = 9

28 82 = 54 = 5+4 = 9

56 164 = 108 = 1+8 = 9

112 328 = 216 = 9 etc

So, how about 15 and 51, for example? We can already see that they both add up to 6 and that the difference between the two totals is 36 which will break down to the number 9. If we double 15 and 51 we get 30 and 102, a difference of 72 which again breaks down to 9. So these two numbers will indeed be interconnected with the number 9. 16 and 61 both add up to 7. The difference between them is 45. Again this will emerge as the constant number 9. What is happening is that the difference between the totals are also doubling and if it so happens to be the number 9, which is the first result, then we know that the number 9, even if doubled or halved, remains constant.

Will every difference between such pairs be the number 9? Don't ask me, I am only just doing this experiment. I, for one am willing to go on and find out so why not join me! Well, having just spent the last ten minutes checking this out I have come to the conclusions that all the following numbers display a relationship with the number 9:

18 + 81 19 + 91 02 + 20 03 + 30 05 + 50.

These numbers are mirrors of each other. One is tempted to see this as applying to the other possibilities (mirror pairs) as yet not experimented on. With numbers that don't display symmetry we will find different results to above.

22 and 26, for example, only have a difference of 4. If we run them in parallel we will see the familiar number sequence emerge when the differences between the totals are reduced to a number 1 + 9. The sequence in this case will be 4 8 7 5 1 2

We will see that if the difference between two numbers is 6 then the sequence will relate to the 6 3 number sequence. Likewise if the difference is 3 it will be the 3 6 sequence which is the result. So here we have every number covered. 1 2 4 8 7 5 from one sequence, 3 6 from another and 9 from the last. Every number into infinity will display one of these number sequences and when numbers are run in parallel, the differences will still break down into one of the three basic number sequences.

Luigi

**99.58.4 Feigenbaum----fine-structure (Jerryiuliano)**

From: Jerryiuliano@aol.com

To: MetPhys@aol.com

Subject: Feigenbaum----fine-structure (Jerryiuliano)

Date: 06/02/02

MP

As far as the mathematical equations statement of interpretations of the universal acceptance of the infinite chaotic energy of the zero-point field or the virtual infinite vector field energy, the equations say that this chaotic field is converged to a cusp of continuously moving "bifurcation" that is associated with a phase transition from "virtual" (infinite potential expressed in chaos) to "real" (the convergence of virtual chaos to reality) through the mathematical constant that controls the periodicity of this dynamic chaos, the Feigenbaum constant...4.669201609.. discovered by Mitchell Feigenbaum at Los Alamos Laboratory in 1975. The link to the Feigenbaum bifurcation constant is by it's association with a complex form of angular "potentia" that is mathematically defined as an angular type of amplitude for an electron to emit or absorb a photon..the fine-structure constant (1/137.03599976...1998 NIST) raised to a power "fractal". This fractal dimension is the Cheops constructs ratio ht/bl...Churchward/Ramsey(1910)..height = 486.256 ft; base leg = 763.81 ft. A fractal is a term introduced by the French mathematician, Benoit Mandelbrot, to describe geometric objects that, in a certain sense, have "fractional dimension". It includes sets such as the snowflake curve and Cantor set generated by some infinitely repeated process and possessing self-similarity, every point of the set is contained in a scaled down copy of the entire set.( quantum renormalization). In general, a fractal is a set of points with a similarity dimension or Hausdorff dimension which is not an integer. In many cases, the "attractor" or "strange attractor", associated with a "transformation" or "flow" (cusp of continuously moving bi-furcation) is a fractal. The Cheops constructs ratio is the fractal dimension that works off the amplitude for an electron to emit or absorb a photon in the super-reality to reality transformation.

fine-structure constant...1998 NIST = 1/137.03599976

[tan^-1((cos 137.03599976)^-(2*bl/ht))] + (2*bl/ht) = 4.669201609

ht = 486.257013

bl = 763.81

The equation means there is a super-reality which is composed of the **dual phenomenon of Nature**, the seething infinite energy of virtual reality (zero-point vacuum) and a measured reality, fine-structure constant 1/137.03599976, that condenses to the exact measured constituents of matter in million electron volts (mev) ,the electron....510998902 mev.(1998 NIST) and proton...938.271998 mev (1998 NIST). How virtual reality gets into a reality of the measured world is defined mathematically by the Feigenbaum bi-furcation constant..4.669201609. The meaning of the Pi-like fractal (2*bl/ht) as a power function to the angular/momentum amplitude of an electron to change into a photon out of the virtual field is one of Pythagorean "hypotenuse" expressed by the right triangle functions. Pythagoras was right, everything is number....discontinuous, integers,quantum units, Planck's constant, etc. Arthur Young was right, everything is modular to an angular measure in radians. If one interprets the fine-structure constant as an angular amplitude then the Pythagorean forms become evident:

Laws of Angles:

(tan^-1)A = cosA/sinA.....A = angle in radians

(tan^-1)A = cotA = 1/tanA

a =leg of right triangle (opposite A)

b =leg of right triangle (adjacentA)

c =hypotenuse

In polar coordinates:

a = r*sinA

b = r*cosA

where r equals the hypotenuse and radius

Since cotA = (tan^-1)A, then the first bi-furcation equation becomes:

[cot[(cos 137.03599976)^-(2*bl/ht)] + (2*bl/ht) = 4.669201609

or in Pythagorean symbolism:

cosine 137.03599976 = adjacent divided by hypotenuse = b/c

transformed by 2*bl/ht to:

(b/c)^-(2*bl/ht) = b/a such that:

(cot(b/a)) + (2*bl/ht) = Feigenbaum bi-furcation

The translation of the angular amplitude of the fine-structure constant to the real energy values of the condensed forms of the phase transition from zero-point vacuum (Sephira Malkuth) to the real world is through the dual relationship of the electron and proton. Mathematically the critical number constant , in the transition, are of the "collective unconscious" form (37*18), the Beta form (.37) , anomalous exponent of second-order phase transitions, and the Egyptian ISIS form (18). These are used with the Pythagorean geometry of the right triangle to derive their individual values:

sqrt[(cos 137.03599976) * 37 * 18 / 938.271998mev = .511000125mev

The mythological numbers of DG Leahy(82944) and the Kabbalic Sephira Malkuth(288) sit as both SYMBOLIC...(Leahy's triple logic cube..Sephira Malkuth's 288 "sparks" from broken vessels) and MATHEMATICAL representations of the zero-point vacuum base of infinite, but chaotic energy. The amazing thing is that the Cheops constructs "fractalize" this infinite chaos of the void and delivers it into a meaningful reality of electrons and protons:

[(tan^-1)[[288^(ht/bl)/100]^-(2*bl/ht)]] + (2*bl/ht) = 4.669201609..

ht = 486.257013

[cot[[(288^(ht/bl))/100]^-(2*bl/ht)]] + (2*bl/ht) = 4.669201609...

ht = 486.257013

by introducing the "collective unconscious" , 37*18 , reality condenses:

sqrt[[(288^(ht/bl)/100] * 37 * 18 / 938.271998mev] = .511000125mev

ht = 486.2561302

bl = 763.81

Using exact values for the proton and electron in the last equation changes the Cheops height to : ht = 486.2554845

sqrt[[(288^(ht/bl)/100] * 37 * 18 / 938.71998mev = .510998902mev

which means fine-structure constant is measured as 1/137.035997866

sqrt[(cos 137.035997866) * 37 * 18 / 938.71998mev] = .510998902mev

J.Iuliano

**99.58.5 Ray Tomes comment- Musically, "This Side" and "Other Side" (luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: Ray Tomes comment (luigi)

Date: 06/03/02

Hi Robert (are you that exquisite painter?)

Just found something interesting I thought I would share:

<< 0.28 Ray Tomes "Harmonics Theory: Cycles & Clues to Unification" Ray Tomes

"Assuming that the universe is nothing but a non-linear medium leads to the conclusion that all standing and moving waves must develop harmonics. Recognition that these harmonics also do the same allows the prediction of a unique pattern of energy distribution which is found to closely match observation. Distances and cycle periods are found to favour harmonic relationships which are often the product of 2s and 3s, just as in music. At larger scale ratios proportions of 12, 24 and 34560 are predicted to be especially important. Beginning from the size of the observable universe, the relative spacings of galaxies, stars, planets and moons are predicted and the Bohr atomic radius (0.5A) and nucleon radius (1.4 fm) are accurately predicted. No other theory produces dimensionless constants without them first being put in. Twelve tests in several different disciplines are passed at confidence intervals of up to p=10^18 and include the prediction of a new particle in 1994 which was reported in 1995. Further new predictions are made.

(Note: Is there a correspondence between this series 3456 and the ratios 4:5:6:7:8 found in File "34 Scale Divisions"?)......... >>

The observation I wanted to add is that 12, 24 and 34560 are also 3 6 9. This sequence, together with the Augmented triangular relationships that always follow Major and Minor tonality around, can be likened to a journey. It is the third sequence of the Vedic Square. It is also about a Tonal journey one may wish to undertake. I see it, amongst other things, as the Triangle, the Circle of Tones and the number 9 bus that takes them on a tour of the universe! Actually the number 9 performs the task of taking these augmented triangles in and out of the mirror. In + out x 1 = circle of tones.

Luigi

**99.58.6 Ray Tomes comment (MetPhys)**

From: MetPhys@aol.com

To: luigi.di-martino@ntlworld.com

Subject: Ray Tomes comment (MetPhys)

Date: 06/03/02

Your thought about Ray Tomes data is interesting. I'll put it on the page today. I'm slowly learning some things from what you write. Mostly taking a lot of time to make the page though but I do read as I go along. I still cant quit picture the "Vedic Square" or a few other things. And no, I can paint but, I am not "that exquisite painter".

MetPhys@aol.com

**99.58.7 Ray Tomes comment (luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: Ray Tomes comment (luigi)

Date: 06/03/02

Sorry, the Vedic Square looks like the nine number sequences box. If you get a moment you can check it out here. I did not arrive at the vedic square the way they do and I can't quite remember what their method is. Issue 18 shows that the same number sequences exist within the fractions:

Luigi

**99.58.8 Dorian Scale ^2/3- Mapping Light (MetPhys)**

From: MetPhys@aol.com

To: luigi.di-martino@ntlworld.com

Subject: Dorian Scale ^2/3 (MetPhys)

Date: 06/06/02

Luigi,

Here's a little insight into the power of 2/3. After perusing it, please tell me what part of your previous musical hypotheses concerning 2/3, seems most correct:

The Divine Cosmos, Chapter 4: The Sequential Physics by Rod Johnson

"The core of Planck's work can be stated in a simple equation, which describes how radiating matter releases energy in "packets" or bursts. The equation is E=hv, where E equals the energy that you end up measuring, v is the vibrating frequency of the radiation that releases the energy, and h is what is known as "Planck's Constant," which regulates the "flow" between v and E.

Planck's constant is listed as a value of 6.626. It is a dimensionless constant, meaning that it simply expresses a pure ratio between two values, and does not need to be assigned any specific measurement category other than that. Planck did not magically discover this constant, but rather painstakingly derived it by studying heat radiation of many different sorts.

This is the first major mystery that Johnson clears up with his research. He reminds us that in order to measure Planck's constant, the Cartesian system of coordinates is used. This system is named after its founder, Rene Descartes, and all it means is that cubes are used to measure three-dimensional space. This is so commonly done that most scientists don't even consider it as anything unusual -just length, width and height in action. In experiments such as Planck's, a small cube was used to measure the energy that moved through that area of space. This cube was naturally assigned a volume of "one" (1) in Planck's measuring system, for the sake of simplicity. However, when Planck wrote his constant he didn't want it to be a decimal number, so he shifted the volume of the cube to 10. This made the constant 6.626 instead of 0.6626. What was truly important was the relationship between whatever was inside of the cube (6.626) and the cube itself (10.) Ultimately it did not matter whether you assigned the cube a value of one, ten or any other number, as the ratio would stay the same. Planck only discerned the constant nature of this ratio through rigorous experimentation over many years of time, as we said.

Now remember that depending on the size of the packet that is released, you will need to measure it with a different-sized cube. Yet, whatever is inside that cube will always have a ratio of 6.626 units to the cube's own volume of 10 units, regardless of the sizes involved. Right away we should notice something; the value of 6.626 is very close to 6.666, which is exactly 2/3rds of 10. So then we must ask, "What is so important about 2/3rds?"

Figure 4.6 - Two tetrahedrons joined at a common face to form the "photon" measured by Planck's constant.

Based on simple, measurable geometric principles explained by Fuller and others, we know that when we fit a tetrahedron perfectly inside of a sphere, it will fill exactly one-third of its total volume. The photon is actually composed of two tetrahedrons that are joined together, as we see in figure 4.6, and they then pass together through a cube that is only big enough to measure one of them at a time. The total amount of volume (energy) that moved through the cube will be two thirds (6.666) of the cube's total volume, to which Planck had assigned the number 10. Buckminster Fuller was the first to discover that the photon was indeed composed of two tetrahedrons joined in this way, and he announced it to the world at his Planet Planning address in 1969, after which time it was obviously forgotten.

The slight 0.040 difference between the "pure" 6.666 or 2/3rds ratio and Planck's constant of 6.626 is caused by the permittivity of vacuum space, which absorbs some of the energy involved. This "permittivity of the vacuum" can be precisely calculated by what is known as Coulomb's equation. To put it in simpler terms, the aetheric energy of the "physical vacuum" will absorb a small amount of whatever energy passes through it. This means that it will "permit" slightly less energy to pass through it than what was originally released. So, once we factor in Coulomb's equation, the numbers work perfectly. Furthermore, if we measure space using tetrahedral coordinates instead of cubical coordinates, then the need for Planck's equation E=hv is removed, because the energy will now be measured to be the same on both sides of the equation - thus E (energy) will equal v (frequency) with no need for a "constant" between them (Wilcock)."

This leads us back to Section: 0.31 Ratios Between Sirius and Sun of File 90hyperphys.html

Therein is a discussion of the "discrepancy" between Phi ("Other side", .618) and musical interval (.666 or 2 : 3, diapente, 5th) equaling 0.048 (MetPhys)

which is

0.008th from "0.040, (the) difference between the "pure" 6.666 or 2/3rds ratio and Planck's constant of 6.626.....(which) is caused by the permittivity of vacuum space, which absorbs some of the energy involved (Wilcock)."

MetPhys@aol.com

**99.58.9 Dorian Scale ^2/3- Mapping Light (luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: Dorian Scale ^2/3 (luigi)

Date: 06/06/02

Can't say for sure. There is little inklings here and there, things that look like possible leads. So, E=Hv is like saying the frequency for the note D =v and E is v divided by .6626. If that were so then the energy equals a modulation to the 5th, where the frequency D, for example, becomes A , the energy

18 divided by .666 = 27

D Dorian up 2/3 = A Dorian

Sorry if this is me being thick but that's how I'm getting it at the moment.

**99.58.10 Dorian Scale ^2/3 (luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: Dorian Scale ^2/3- Mapping Double Light (2 Elliptic Foci) (luigi)

Date: 06/07/02

Hi again

A characteristic of the Major scale is to duplicate certain results at the 4.5 position (tri-tone). If one symmetrically reflect the triad of C around its home root axis the result is the triad of F Minor. This result is duplicated within a scale that is a tri-tone away from C. The duplication carries with it enharmonic pitches to the original F minor triad. Here is a diagram that shows the C Major triad mirrored progressively within Keys that adhere to the circle of 5ths. At the tri-tone interval the F minor triad returns as E# minor.

When this 4.5 position became glaring obvious as catalyst to something it was eventually seen that it had a lot to do with the number 9 and how it fell to the Dorian to be endowed with its power of symmetry.

What followed from this was the realization that the F# central points were hiding a Dorian relationship. This was conjecture really , although a few things pointed to it.

Then you asked the question about the Dorian raised to the power of 2/3. This led to focusing on the 4.5 position of the Dorian mode (the note G#). I tried to mirror it the same way as I did the C triad and found that it didn't work. In fact it only worked when I mirrored the D minor triad within the G# Phrygian Mode.

This means that these G# points are flowing as Phrygian from some other tonal centre. It is like peering into another tonality through these tri-tone positions. This proved that F# was a hidden Dorian relationship from a hidden key centre within the Mode Box.

This hidden Key can be found by repeating the experiment on all the 4.5 points. The third line of the mode box is E. The 4.5 position is A#. It will be A# Lydian that houses perfect symmetry for the E minor triad. Down to the fourth line F.

The 4.5 position is the note B. It will be B Mixolydian that is the key that shows perfect symmetry for the F triad. Do you see what I mean about there being a hidden key flowing through the central points of another Major key that already has seven mirrors on the left hand side that equal six over Major scales. What a mess! What is the hidden key?

If F# is Dorian one would expect that key to be E Ionian. It would be fitting too because it is the invisible aspect of the overall Triangle of Keys - C Ab E, three minor 6th leaps. C and Ab are visible, one on the left and one on the right of the mirror, but E is the third member and runs through the veins of the 4.5 positions.

But it isn't as easy as seeing the hidden key as E Major (Ionian). There is F# Dorian and G# Phrygian , but then there is A# Lydian, which has nothing to do with E Major. There has been a switch and it always happens around the note F. This has to do with the Circle of Tones. As far as they are concerned F# is the next note after E. But the Major scale formula has two semi-tones and so wants to go to F.

At this point is one flow swapped for another. There are two circle of tones possible. The Major scale at the F point catches the flow of the second circle of tones flowing the 'other' way. The original circle of tones returns at the note B where there is another semi-tone within the major scale formula. Again if you want a diagram of this I will send one in!

Luigi

**99.58.11 Dorian Scale ^2/3- Mapping Double Light (2 Elliptic Foci) (MetPhys)**

From: MetPhys@aol.com

To: luigi.di-martino@ntlworld.com

Subject: Dorian Scale ^2/3- Mapping Double Light (2 Elliptic Foci) (MetPhys)

Date: 06/07/02

Luigi,

I believe that you just mapped double light, musically.

I just noticed in File 90hyperphys.html Section 0.031 that all the maths about the 0.040 discrepancy, .666, 2/3, diapente 5th and Newtons light experiment resulting in the conclusion of the Dorian ^2/3 was confusing until I read my previous note at the end of that Section:

"Religion, in its elegant simplicity, calls it light".

All this was about mapping lights double path and you have just done it musically. Congratulations. Please send your promised next Diagram and any comments.

MetPhys@aol.com

**99.58.12 Dorian Scale ^2/3- Double Nature of Light (luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: Dorian Scale ^2/3- Double Nature of Light (luigi)

Date: 06/07/02

Hi Robert

I must admit it is slowly starting to make sense to me as well. I am pleased that I may have helped clarify some of your past thinking. I would say the double light realization is more yours than mine at the moment! For me finding out that there was implication to 'overworld' and 'underworld' amongst all these musical results have made me rather fickle. One moment it would be wonderful to share, the next there is a desire to tear it all up. If you want to see some of the final grids that emerge I will send you them privately. It would be a relief to hear someone else's view on them.

To me the Mode Box speaks of the Marriage of the Male/Female in us at our own Tri-tone position that puts us at the spot where As Above is As Below, replication-transmission-change and envelope-a point of fire.

Also I believe it is possible to know how to marry the duality and produce a third way, which includes making music on those resulting merged scales. Energy wise the third type force emerges from the central point of any Major scale or Mode formulae:

- - ->< - - -

T T S (T) T T S

That 'T' in the centre begins the next dual shades of color:

- - - >< - - -

T T T (S) T T S

This time it is the S in the centre that begins the next dual shades, one brighter and the other darker.

The Circle of Tones consists of a Male triangle - C Ab E, and a Female Triangle - D Bb F#. After realizing that the Dorian bore the sharps and flats for the Major scales it became obvious that perfect Tri-tone relationships existed between the two triangles, and the female triangle being nothing more than the Dorian Modes of the Male triangles:

C to F# = tri-tone

Ab to D = tri- tone

E to Bb = tri-tone

C Major/D Dorian

Ab Major/Bb Dorian

E Major/F# Dorian

I will spend tonight typing in the diagram I wanted to share with you.

If I may I share with you another diagram. This one shows how the triangles define possible mean distances. Because I am quite thick scientifically I can make wild claims like this and say this is a representation of the mean and the reverse mean! Now I have found out about platonic shapes and how they are fundamental building blocks of Nature I say this even with a degree of half confidence!

Luigi

Date: 6/07/02

Wow, this is a link that Jen sent me the other day:

These triangles are exactly as I picture the mirror music structure. The Male triangle is stationary at C (the apex) but the E and Ab switch dimensions either side of the C axis point.

C Db Eb F G Ab Bb -C -D E F G A B C

Notice that Ab and E are symmetrical pairs when the note C is made axis point (they mirror around the F# tri-tone axis point too). The picture of the tetrahedra at the above link shows this male triangle that can be assigned the notes C Ab And E. The female triangle is no different. F# is it's axis point and the notes D and Bb are the travelers (symmetry pairs) from one reality to the other. This again is evident in the above scales where D and Bb are partners. Yet not only around the axis C but around the F# axis too (the invisible one at the 4.5).

Just thought I'd share that!

Luigi

Date: 6/08/02

Hi Robert

Sorry but this Jen is a superstar and she just blew my mind with this link just now:

The Triple Tau is one of the most important symbols of Royal Arch Masonry - but where did it come from, and what does it mean?

The Tau:

The tau (T) is the 19th letter of the Greek alphabet. In ancient times it was regarded as the symbol of life, whereas the 8th letter of the Greek alphabet, theta, was considered the symbol of death. Many say that these two symbols created today's plus (+) and minus (-) symbols. The Tau is a very old form of the cross, and is also known as St. Anthony's Cross, after the saint that was martyred on a cross of that shape.

The Hebrew form of the word Tau is pronounced tov, which means marking, etching or scrawl. In Pagan times, a warrior returning honorably from battle could attach a T to his name. An ancient Royal Arch lecture explains that those acquitted of a crime, or returning unhurt from battle could also use the T as a sign. This custom is also illustrated in the Bible Ezekiel 9:

"...the man clothed with linen, which had the writer's inkhorn by his side..

Go through the midst of the city, through the midst of Jerusalem, and set tau upon the foreheads of the men that sigh and that cry for all the abominations that be done in the midst thereof".

In other words, the Tau cross was put on men to distinguish those who lamented sin, although newer versions of the Bible have replaced the ancient term "Tau" with "mark." In imitation of this practice, in the 26th degree of the Scottish Rite, a tau is put on the candidate's forehead after the candidate has been purified with water on the head, to distinguish himself before proceeding.

Triple Tau - Three Taus or T and H?:

It has been said that three Taus come together to form the Triple Tau. Others say the Triple Tau is originally the coming together of a T and a H, forming , meaning Templum Hierosolyma, or the Temple of Jerusalem. Christians interpreted the symbol as "Holiness supporting Trinity". Royal Arch records dating from 1767 show this symbol. In addition to meaning Templum Hierosolyma (The Temple of Jerusalem), it is also said to mean Clavis ad Thesaurum - "A key to the treasure" - and Theca ubi res pretiosa - "A place where the precious thing is concealed."

* * * * *

This triple Tau or three T's is really no different in symbology to the Tri-Tone. The tone representing the 9:8 ratio but acting as three such ratios from the Root to the 4.5 tri-tone position, and the Octave down to the 4.5 tri-tone position.

------><-------------

C D E F (F#) G A B C

From the root up to the tri-tone position in the centre is a visible route, C D E , and then to the central 4.5 position at F#. From the above is an invisible route being in essence C Bb Ab to F#, or rather Gb , which is the other pole.

The above meets the below at this point and the point of convergence imitates the same symbology as the tau signifies. The H used to signify the note B and could represent the diatonic tri-tone reflection which exists between the F and B. This is a 4/7 relationship within the major scale, Lydian/Locrian, perfect Light/Dark. The F and B would be a visible tri-tone point. The C to F# leads to the invisible point.

Luigi

**99.58.13 Dorian Scale ^2/3- Musically Mapping the Double Tetrahedron. (MetPhys)**

From: MetPhys@aol.com

To: luigi.di-martino@ntlworld.com

Subject: Dorian Scale ^2/3- Musically Mapping the Double Tetrahedron. (MetPhys)

Date: 06/07/02

Luigi,

Your Diagram, Triangle Reverse Mean, (above Section: 99.58.12) and the link picture (Merkabah) that Jen sent to you is the first platonic solid (Star of David, Double Tet- 02/08/04 CORRECTION: The single triangle tetrahedron is the first and the double tet, Star of David, is only found within the octahedron after the octahedron has been tipped 45 degrees off its polar and equatorial axis.) that you just mapped musically. You will find that there is an Octahedron within it (the single tet) and within that is a Cube which you may be able to map musically. Within those are the Dodecahedron, Icosahedron and the Cuboctahedron which are a little more complicated to map, seeing that there are transitions that are different than the previous three solids. Now in reality, these are not really solids rotating within each other, but they are geometric energy patterns rotating by the power of vortexing space. Rod Johnson, The Divine Cosmos, Chapter 4: The Sequential Physics maps these "sacred geometries" quite well.

MetPhys@aol.com

**99.58.14 Dorian Scale ^2/3- Musically Mapping the Ellipse (MetPhys)**

From: MetPhys@aol.com

To: luigi.di-martino@ntlworld.com

Subject: Dorian Scale ^2/3- Musically Mapping the Ellipse (MetPhys)

Date: 06/08/02

----- Original Message -----

From: MetPhys@aol.com

To: luigi.di-martino@ntlworld.com

Sent: Saturday, June 08, 2002 2:35 PM

Subject: Dorian ^2/3- Musically Mapping the Ellipse

<< So basically you are implying not a cycle or circle of notes but a two center ellipse, yes? >>

If the inversions are anything to go by, yes. Just made a jpeg of the section that deals with this. With only one axis how can one have an Inversion, especially when dealing in symmetrical structures?

Although the Circle of tones, which are the triangles, are at the foundation of what runs along the 45 degree angles of the mirror side of the Mode Boxes.

Luigi

**99.58.15 Dorian Scale ^2/3- Musically Mapping the Ellipse (luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: Dorian Scale ^2/3- Musically Mapping the Ellipse (luigi)

Date: 06/08/02

Thanks Robert. If you are able to get access to Microsoft Word I would be happy to send you the stuff in chronological order, diagrams and things. The flow of diagrams as I have them now makes it not too difficult to keep some of these results in mind. It helped me a great deal to progress through the steps a little at a time over twelve years. One needs to really see that two axis points are needed in music just like two foci are needed for an elliptical orbit to successfully navigate. In music this hidden axis is at the tri-tone point of a scale, between its 4th and 5th note. Without this hidden axis I believe we could not have inversions.

Anyway, I did this diagram last night and it has shown quite an odd sequence of relationships. I don't think there is a start or a finish to this diagram because at the TEH of every visible Key is a DOH of the next hidden key. There are a few other previous experiments now that make a lot of sense by noticing this oddity. This is the closest I have come within myself to understanding about the overtone series.

The diagram is arrived at quite simply. The root triad is firstly mirrored, say the C triad becomes Fminor in the mirror. Then it is found that it is a mode that is a tri-tone away from C that replicates this result of the triad C equaling Fminor (or E# minor). On the next line we mirror the root triad of Dminor which becomes the triad of G. It is then found that only G# Phrygian (and it's mirror) show the same relationship where Dminor equals the triad of G. Every other scale commencing with G# does not produce this symmetry:

C Db Eb F G Ab Bb - C - D E F G A B C

The triad C E G becomes C Ab F, which is Fminor (running anti-clockwise).

F# G# A B C# D# E - F#- G# A B C# D# E F#

One has to find the triad of C on the right hand side (it will be in between the visible notes). When reflected here the C triad becomes E# minor, which is an enharmonic equivalent to F minor.

D E F G A B C - D - E F G A B C D

The triad D F A becomes D B G, which is the triad of G running anti-clockwise.

Anyway, sorry if this sounds a bit confusing. It wasn't a question of trying every scale until one that fit came along. It was a question of going for the one that intuitively fits and seeing that it corresponds. Then slowly using other scales and seeing that none others fit. So, the diagram is of a definite structure that is just there! And it ties in with the fact that 167 Major keys are possible and that one Mode Box is like one of those units/keys. At the end of every cycle of twelve keys there is a Comma discrepancy. This shows that the next cycle is not the same as the first, and the third cycle is not the same as the second etc.

Luigi

**99.58.16 Question 1- 3rd Note Same as Keely's 3rd/6ths? (MetPhys)**

From: MetPhys@aol.com

To: luigi.di-martino@ntlworld.com

Subject: Question 1- 3rd Note Same as Keely's 3rd/6ths? (MetPhys)

Date: 06/12/02

Luigi,

Back to Source of Quote: Section 99.57.4

**Luigi's quote**: "The C Ionian has mirrored into a scale with four flats. The Major scale that possesses four flats is that of Ab Major - Ab Bb C Db Eb F G Ab. The above mirror scale however is not commenced from the Ab note. It commences from the C note which is the 3rd note . We can see from above that the 3rd Mode generates what is known as the Phrygian Mode."

**Question**: Is this 3rd note displacement, the same as the 3rd / 6th ratios of Keely?

MetPhys@aol.com

**Luigi Answers**:

Hi

Really don't know the answer to that! I see the 3rd and 6th as Inversions. The inversion of a 3rd is a 6th, so C to E = major 3rd. When this relationship is turned the other way then E to C = minor 6th. This still complies with the fact that male pairs with female.

It seems to start from the 3rd mode for no other reason than when the major scale formula gets mirrored it decides to leave home but not its family. In other words it begins the mirror cycle from a Major scale, but not from the root of that Major scale. C Phrygian starts from the 3rd cycle of the Ab Major scale. It also flows anti-clockwise to the C Major flow. By structure it seems to be about the proper distribution of color, male with female in different pairs of shades. By going counter clockwise to each other it brings about this major with minor pairing. It all starts with the Dorian and the number 9 perhaps.

From: MetPhys@aol.com

To: luigi.di-martino@ntlworld.com

Subject: Question 2- Is left and right, up and down movement an expanding and/or contracting sphere? (MetPhys)

Date: 06/12/02

Back to Source of Quote: Section 99.57.4

**Luigi's quote**: "In the end you will see that things move in all four directions at once, left and right, up and down.

**Question**: Can this left and right, up and down movement be considered as an expanding and/or contracting sphere, moving from the center (4.5) or is it more like a figure-8 mobius strip?

MetPhys@aol.com

**Luigi Answers**:

Hi Robert

I took the liberty of doing a drawing of the way the 45 degree angles interact within the whole Mode Box. Starting with a cross shape like this and going about filling in each formula with the correct notes you will end up getting a similar diamond type shape as is in one of the number sequences diagram, which is centered around the number 27. The bottom half will be the Mode Box I sent in . The top half is the rest of it taking into account equal proportions around a given axis point. The red C in the centre starts the formulas off. Then each root note of each new mode is made an axis and again the formula is applied in both directions from there. No big deal really and with a small amount of practice there are hundreds of 'short cuts' one comes across in order to mirror quickly.

The two blue 45 degree angle lines show how there has been a swapping over of certain flows from one side of the mirror to the other. I have the whole mode box written down on paper but I have never committed it to computer.

This is the first step toward finding a hidden structure. You need to run the number 9 with the modal structure to see the whole 'journey' the 45 degree angle takes. This isn't being cryptic! It would take a bit more than a few pages to really do some justice to the claim that flows move from within the mirror reality to this one in the form of triangular frequencies that rotate contrary to each other and flowing across the diagonal points of the Modal Structure of the Major scale.

Hope that's not too long!

Luigi

************************

**Luigi Answers**:

Hi

I did this diagram a while back. If things originate from the 4.5 then at full expansion they create another axis (C) and contract back to the 4.5 on the other side of the mirror point. I haven't had a go at including the up/down flows as they mingle with the left/right. It would be a similar looking flow going vertically I suppose.

**99.58.18 Golden section and fine-structure constant (Jerryiuliano)**

From: Jerryiuliano@aol.com

To: MetPhys@aol.com

Subject: Golden section and fine-structure constant (Jerryiuliano)

Date: 06/13/02

MP:

The dual systems of angular measure, the Sumerian 360 degrees for one cycle, and angular radian measure...180/Pi = radian = 57.29577951, show their common origin from the Golden Section constant "fractalized" by the Cheops pyramid constructs to derive the fine-structure constant , the amplitude for an electron to emit or absorb a photon....1/137.03599976 = a(em).

(1+sqrt5)/2 = 1.618033989.... = Golden Section

[[[COS^-1[[((1+sqrt5)/2)-1]/2]]*4] ^ (ht/bl)] / 100 = cos(1/a(em))

height = ht = 486.25611...Churchward/Ramsey ht = 486.256..bl = 763.81

base leg = bl = 763.81

The left side of the equation is measured in cosine of Sumerian 360 degrees (COS); the right side, cosine inverse fine-structure...cos1/a(em).. is measured in radians (cos). The Cheops pyramid constructs link the two measuring systems, one ancient (Sumerian) and one modern (radian). Also note the INVERSE cosine form of the Sumerian measure (360 degrees) , versus the cosine INVERSE fine-structure constant. The equation proves that the Cheops constructs ht and bl are the equivalent of metric measures since the fine-structure constant is a canceled metric:

cos(2*E*h*c/(e^2) = cos 1/(a(em))

1/(a(em)) = 137.03599976

e = elementary charge Coulombs

E = electric constant

h = Plancks constant Joules

c = speed of light meters /seconds

to isolate the Golden Section of Nature transformation to unity :

[COS[[(cos1/(a(em))^(bl/ht)]/4] = 1 = unity

COS ...Sumerian (360)

cos......radian (180/Pi)

The Feigenbaum bifurcation constant...4.669201609... is hidden in the transformation equation:

[tan^-1[1/[[cos 1/(a(em))]^(2*bl/ht)]]] + Pi = 4.669204876..in radians

J.Iuliano

Sources for Cheops pyramid constructs:

Flinders-Petrie (1883)....section 144

http://members.optushome.com.au./fmetrol/petrie/C21.html

height... = 5776 English inches

base leg = 9073 English inches

Churchward/Ramsey (1910)....

http://www.charm.net/~ces/trade/tback.html

height ....= 486.256 English feet

base leg = 763.81 English feet

Howard Vyse (1830's)..... from the book, The Geometry of Art and Life, by Matila Ghyka, p.22

height.....= 148.2 meters

base leg = 232.8 meters

From: MetPhys@aol.com

To: luigi.di-martino@ntlworld.com

Subject: Question 3- Can the Dorian/Dorian be rearranged as the middle 4th scale, in the Mode box? (MetPhys)

Date: 06/13/02

Luigi,

Back to Source of Quote: Section 99.57.4

**Luigi's quote**: "There is only one major scale on the right hand side of the Mode box, but six Major scales in all on the left."

**Question**: Can the Dorian/Dorian be rearranged as the middle 4th scale, in the Mode box, with 3 scales to each side totaling 7, just like the Mayan Tzolkin 7th column has 6 on each side totaling 13?

MetPhys@aol.com

**************

**Luigi's Answer**:

Hi

Yes, this will be beginning the Mode Box from the note A, which is the Relative Minor position of a Major scale! Do you know yer relative minors?!! Can you point me to the Tzolkin chart please?! It wouldn't be the one with the scale of A minor running down it? A B C D E F G A, then a side step and it repeats (vertically) across the chart. It would be a nice coincidence because this diagram begins from A minor.

Also it is another point along the journey for the triangles along the 45 degree angle.

I have seven of these mode boxes all beginning from a different mode of the scale. I also have mode boxes of the Harmonic and Melodic minor scales, the Neapolitan Major, the Double harmonic etc. Not all show symmetry in the same way the Major scale does.

Luigi

****************

You're a -ucking genius Robert. You've just helped me finally put into clearest view what the -uck I've been trying to look at all these years! You're a -ucking genius!! All them little side notes and addendas like the finest of smelling perfumes!

It all makes sense now - double light, PHI and the 54. The loop does it's visible then disappears like in a tunnel, winds round and comes back out into the visible again. Swap swap swap, yeah like a bottom for a top, a flip for a -ucking flop!

Nice one

Luigi

****************

To understand the double universe, double atomics and the double mirror of music, it usually takes 2 brains. You created the scales, I just rearranged them a little.

MetPhys@aol.com

© Copyright. Robert Grace. 2002