99.67.1 Anti-G Heist Turbocompressor (Christian) 

Page 67

Sections List- 99 Electrons and Mythologies
Impossible Correspondence Index

From: christian.lange2@tin.it
To: MetPhys@aol.com
Subject: Anti-G Heist Turbocompressor (Christian) 
Date: 08/28/02

Met,

You wrote: >> I have a few questions I'll ask you about your assessment of the Anti-G Heist page >>

I imagine that your question is about the turbocompressor and how to use it for implosion effects because may-be my explanation was not too clear. So I want to add some info. I wrote, that we have to use the compressor part from the turbocompressor in an inverse way (inlet/outlet and rotation sense inverted) to get implosion effects. In original, the flow goes from axial to radial. Inverting inlet with outlet and rotation sense, we get a radial flow that becomes axial. This means implosion. Of course we could also use the turbine part (exhaust gas part) like it is because the radial flow already becomes axial flow. The housing of the turbine is designed for this purpose. This would be OK for us. But the impeller of the turbine (turbo) part is designed in the opposite way (have a look at the foto >> impeller_turbo << attached).

Impeller Turbo (JPG)

The center-flow on this impeller is first axial, then, when the outer flow becomes axial (because of the housing design), the impeller flow becomes more and more radial. This is because the impeller has to transfer kinetic-energy from the exhaust gas particles into rotation of the impeller (wind-mill effect). But this fluid movement in the center is against the implosion principle. If you have a look at the impeller of the compressor part (on an engine inlet air part), you notice, that the inner flow goes from radial into axial (Using the housing of the compressor in an inverted way (inlet/outlet) even the outer flow goes from radial to axial (look at figures impeller_Compr1 and 2).

Impeller Compressor 1 (JPG)

Impeller Compressor 2 (JPG)

In my opinion, this is the right way. On the impeller-axle we need an electric motor and a generator. The motor is needed for getting started. Once started, the system will (I imagine, I hope, it is just an idea. Of course I don't know it before testing)) self accelerate. Then we have to brake the system, if not, it would self destruct. For braking, we can use a electric generator, getting free energy. There are electric motors that becomes a even generator. In addition there would be a force or Anti-G effect. The system would give free electric energy and lifting force. Schauberger made tests on a Kudu Antelope horn like pipe (look figure Schagen2).

Close Up kudu Horns (GIF)

In the pipe, the flow becomes more and more axial and he noticed, that resistance is much lower than in a normal pipe. Increasing the flow speed, at a certain point, the resistance becomes negative. This means free energy by implosion. With this idea he made a generator with a lot of Kudu-pipes (look figure Schaugen for side view and Schau1 for top view).

Schaubergers Implosion Generator (GIF)

Interior Kudu Horn Spirals (GIF)

The electric motor was needed only for getting started. Then the generator had the function to brake and to produce electric energy. In this case, Schauberger used the centrifugal principle only for getting moved the water into the pipes. We can do the same thing with the turbocompressor like described above, using an electric motor for pre-rotating the impeller. To increase the functionality, it would be very helpful to fit a Kudu-pipe on the outlet of the compressor (our outlet, that in original was air-inlet of the compressor). This would be helpful because the impeller of the compressor at the top has near axial fluid movement but not completely. In the Kudu-pipe the flow would continue to get more implosion. The impeller itself could be too short. Together with the Kudu-pipe it would be very long. Do you know the guy who wrote the original article? Anti-G ultimate Heist? Can we contact him?

Christian

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99.67.2 Revision of Section 99.55.14 (MetPhys) 

From: MetPhys@aol.com
To: christian.lange2@tin.it
Subject: Revision of Section 99.55.14 (MetPhys) 
Date: 08/29/02

Electrons and Mythologies

99.66.4 Feeling Ready? (Luigi)

Luigi,

I consider this section important but there is one thing about it that bothers. As I tried to decipher your idea of transposing numbers 1,2,3 from the normal number series 1,2,3,4 etc to the beginning of the fibonacci series 1,2,3,5,8 etc, I found I got a little lost when encountering your number series 21,42,63 etc:

" If a person is a number 21 (by breaking down their name or date of birth or something), then their scale is as follows 21, 42, 63, 105, 168, 173, 341, 514, 855, 1369, 2224, etc "

Could you revise this to show with an example, "exactly" how one mathematically gets from a calculated 21 as a name number, to 42, to 63, to 105 seeing these are not the fibonacci progression? I , being very simple often, don't understand this right away and neither will our younger readers.

Also, I do not quickly comprehend what you mean by this next statement. Could you include more "exact" mathematical steps that got you to the point where you can say this:

" These will be the notes:
E +33 "
etc

And what are we supposed to do with the +33, +35, +19 etc? If you can rewrite this we neophyte amateurs will be able to see what wonderful idea you are trying to give to us. I'll post the whole new section when you do so.

I also see a potential for a new kind of Alphanumerology here, don't you? For example, instead of the A=1, B=2, C=3, D=4, E=5 you might be able to invent A=1, B=2, C=3, D=5, E=8 Fibonacci Alphanumerology series?

Thank you in advance,
MetPhys@aol.com

________________________________

99.67.3 Revision of Section 99.55.14: Fibonnacci/Overtone scales (Luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Revision of Section 99.55.14: Fibonnacci/Overtone scales (Luigi) 
Date: 08/29/02

Electrons and Mythologies

99.66.4 Feeling Ready? (Luigi)

Luigi,

>> I consider this section important but there is one thing about it that bothers. As I tried to decipher your idea of transposing numbers 1,2,3 from the normal number series 1,2,3,4 etc to the beginning of the fibonacci series 1,2,3,5,8 etc, I found I got a little lost when encountering your number series 21,42,63 etc:

" If a person is a number 21 (by breaking down their name or date of birth or something), then their scale is as follows 21, 42, 63, 105, 168, 173, 341, 514, 855, 1369, 2224, etc "

Could you revise this to show with an example, "exactly" how one mathematically gets from a calculated 21 as a name number, to 42, to 63, to 105 seeing these are not the fibonacci progression? I , being very simple often, don't understand this right away and neither will our younger readers. >>

I think this may be the easiest way of explaining it.

1 = 1x1
2 =1x2
3= 1x3
5 = 1x5
8 =1x8
13 =1x13 etc

Here the 21 is replaced for the 1:

21 = 21x1
42 = 21 x2
63 =21x3
105 =21x5
168 = 21 x8
273 = 21x13 etc

So it is the Fibonnacci proportions that are applied to the number 21. The number 21 is still following the 1 2 3, which is still the FN (fibonacci number) and the overtones at this stage.

>> Also, I do not quickly comprehend what you mean by this next statement. Could you include more "exact" mathematical steps that got you to the point where you can say this:

" These will be the notes:
E +33 "
etc >>

Yes, the +33 is the amount of cents that the note E is out by. I believe that +/-50 cents is a semi-tone either way. I have a frequency calculator and when I keyed in the number 21 it gave me the note E that was +33 cents sharp.

> And what are we supposed to do with the +33, +35, +19 etc? >

Good question and I can only think of answering that at a later stage if experiments start bringing results. In the notes I have included below I have mentioned that I have a midi device that will play midi files set to any scale or frequency values. What I will do soon is plot these scales out for you to listen to. There are thousands of scales that we have never heard from what I see.

>> If you can rewrite this we neophyte amateurs will be able to see what wonderful idea you are trying to give to us. I'll post the whole new section when you do so.

I also see a potential for a new kind of Alphanumerology here, don't you? For example, instead of the A=1, B=2, C=3, D=4, E=5 you might be able to invent A=1, B=2, C=3, D=5, E=8 Fibonacci Alphanumerology series? >>

That is a great idea yes!! The three styles, Fibonnacci / Overtone / Alphanumeric can then be taken through the mirror, so to speak. This is easily done using the chart I sent on the mirror number sequences (mirroring magic squares). I can get one example of this together using the same scale built on the number 21.

There follows a few more notes that I have written on this:

This is how simple it is:

1 2 3

Are they the first three overtones or are they the first three Fibonnacci numbers? As far as the first three overtones are concerned it is a movement of an Octave (1:2 ) and a 5th (2:3). As far as the Fibonnacci numbers are concerned it is a male and female rabbit having a baby rabbit!

I am going on the idea that 1 2 3 sets off a period of growth that is relative both to harmonics and to numbers like the Fibonnacci. So depending on a person's number a special scale can be built for them using the same ratios as those of 1 2 3. Below is a scale beginning on the number 4. Just like 1 is doubled to 2, so 4 is doubled to 8. Then 1 and 2 are added together to produce the next number in the FN, which is 3. 3 is also the Summation tone being the 1st and 2nd overtones coming together. Likewise the 4 and 8 are joined together. From here on the scale builds up organically just like a Fibonnacci series. Each number is a note. These notes will not be exact pitches as we are used to hearing them, in fact some will sound more like quarter tones (very Arabic!). So this scale evolves organically according to the number 4.

4 8 12 20 32 52 84 136 230 366 596 962

Here are the notes:

C -38
C - 38
G -36
D# -49
C - 38
G# +3
E +33
C# -33
A# -23
F# -19
D +25
B - 46

You won't find the notes on a piano pertaining to the scale built from the number 4 and then grown all the Fibonnacci numbers. The vibrations fall within the 'main' notes of standard scales.

I have just invested some money into a Mini device that will play back any scale built on any numbers of vibrations.

This is a bit of a shot in the dark as you can see. Personally I want to hear some of these scales and think of a way to put them to use. What I like about them is that they grow organically.

Here is another scale built on the number 76. Even though 76 breaks down to 4 (7+6=13=1+3=4) the scales unearthed using this approach are very different. This will be a Fibonnacci/Overtone scale because it embraces both approaches. Like I said, 1 2 3 applies to both approaches and has enough info to become a set of vibrations that grow organically. A +50 or -50 is a semitone, so something like D# -40 is nearly D, or F# +46 is nearly G.

76 152 228 380 608 988 1596 2584 4180 6764 etc

D# -40
D# -40
A# -38
F# +46
D# -40
B
G +31
E -35
C -2
G# +31

It is bound to sound bad!! That would not be the reason I would want to hear this scale. The first three notes are typically an Octave 76:152, and a 5th 152:228. From then on the Fibonnacci number take the vibrations on a course of growth that is natural.

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

Basically I am running the overtones along with the Fibonnacci numbers. The thing that I am trying to point out from this is that after G E C, the proceeding triplets are those same triangles that I have found on the mirror side of the Major scale, that go on to define two 'Circles of Tones', which is two triangles combined..

Summation Tones and the Fibonnacci numbers:

C 1 + C 2 = G 3
C 2 + G 3 = E 5
G 3 + E 5 = C 8
E 5 + C 8 = A 13 (nearly A)
C 8 + A 13 = F 21 (nearly F)
A 13 + F 21 = C# 34
F 21 +C# 34 = By 55
C#34 + By 55 = F# 89
By 55 + F# 89 = D 144
F#89 + D 144 = B 233
D 144 + B 233 = G 377
B 233 + G 377 = En 610
G 377 + En 610 =C 987
En 610 + C 987 = A 1597
C 987 + A 1597 = E 2584
A 1597 + E 2584 = C 4181
E 2584 + C 4181 = A 6765

The numbers represent cycles per second for each note. After the initial GO EN C8, which defines the great triad, there is a continual movement minor and major thus, or thereabouts. If we take these approximations as triplets we find that they only describe the triangles that are found on the mirror side of Major scales. In the Mode Boxes the mirror side always houses two triangles of major keys. For example there is A F and C# Major on the mirror side, as opposed to only one major scale on the non-mirror side of a Mode Box. A F and C# are also one of the triplets above. The next triplet is By F# and D, which is another triangle that exists when a Major scale is mirrored. B G En is the next and the last is C A E.

As far as the Fibonnacci numbers are concerned these triangles are organic.

C = 1
Dub = 1.0625
D = 1.125
En = 1.19140625
E = 1.25
F = 1.3125
Go = 1.390625
G = 1.5
A = 1.5595703
A = 1.625
By = 1.71875
B = 1.8203125
C = 1.927734375

These numbers are derived from the summation tones and the Fibonnacci numbers. Each note that falls on a Fibonnacci number is continually halved until it exists between the numbers 1 and 2. This means the first octave of the overtone series is split into 12 parts. Notice the two C notes are not fully an octave apart.

Luigi

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99.67.4 Revision of Section 99.55.14: Fibonnacci/Overtone scales (MetPhys) 

From: MetPhys@aol.com
To: luigi.di-martino@ntlworld.com
Subject: Revision of Section 99.55.14: Fibonnacci/Overtone scales (MetPhys) 
Date: 08/29/02

In a message dated 8/29/2 11:49:33 AM, luigi.di-martino@ntlworld.com writes:

<< I also see a potential for a new kind of Alphanumerology here, don't you? >>

Ok Luigi,

This will be your next project plus the midi files ok? I COULD NOT get the last midi file on the Keely diagram to work here.......we will have to find a way to get them to work so I can post them....I have a lady who does midi but its not a reliable source yet.....I'll make an inquiry. Send one sample for now when you get one? I tossed the Keely midi.

Overall, please be sure to fulfill a "detailed" math for those of us who cant quite grasp how you move from one bit of information to the next ok? If our ideas cannot be comprehended by the most simple, then I consider it useless for anyone knowledge. Try hard to be precise, clear and connected.

Thanks
MetPhys@aol.com

________________________________

99.67.5 Turbocompressor Questions (Christian) 

From: christian.lange2@tin.it
To: MetPhys@aol.com
Subject: Turbocompressor Questions (Christian) 
Date: 08/29/02

Met,

I heard of Stan Tenen's discoveries and I was deeply surprised. Now I have visit his home page and I got some answers regarding the hyperbolic spiral. Some weeks ago, I had an idea because of spirals. If you have a look at a torus, in his center, there is a (hyperbolic) spiral. In this occasion I remembered the elementary-atom. May-be you know the book occult chemistry from Leadbeater/Bessant. In this book you find the elementary-atom (attached figure atom).

Leadbeater/Bessant Atom (GIF)

This atom has a spiral in his center and it is pulsing. Then my thought was, that the spiral is only a part of the torus, of the elementary atom. Half of the 3.10 knot is inside a tetrahedron. If you merge two tetrahedrons with their tops one against the other you get a ED David-Star (a star tetrahedron with 8 points). The 3.10 knot from Stan Tenen is very similar (identical) to the elementary atom. It has 3 strong spiral arms and 7 fine spiral arms. The sum is 10. So it is a 3.10 knot. I have read, that the geometry of the ED- David Star (Star tetrahedron) is used for Ufo-propulsion. May-be here is the answer for antigravity.

My idea was, to built a real model of the elementary-atom. I have to study all of Stan Tenen very well. About the Dini's Surface: It seems to be a hyperbolic cone that follows the hyperbolic spiral. In this case, there is a double hyperbolic geometry. Very interesting but I don't understand very well the application.

You ask: >> Does it seem to you, that the Dini's surface is the same as the Kudu horn spiral or is it different <<

For me it is the same. The Kudu horn is the thinner (upper) part of a hyperbolic spiral (more axial than radial). The inner part of the 3.10 knot seems to me even the same. The (half) answer is the hyperbolic spiral that is the inner part of the 3.10 Knot and the elementary atom.

I have to study Stan Tenen's theory. The relation to Hebrew alphabet is very interesting. Once I saw a Jewish rabbi in TV that was able to predict future and past only analyzing the name of a person. He made some calculation with numbers. Every letter corresponds to a number. He told, that the old testament of the bible can be read in over 200 different modes using different codes. He called it Cowbell. I did not imagine that Cowbell is related to spirals or geometries. Very interesting.

Christian

________________________________

99.67.6 Fibonnacci/Alphabet (Luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Fibonnacci/Alphabet (Luigi) 
Date: 08/30/02

Hi

Here's a few snippets of stuff I'm finding with the alphabet being given the Fibonnacci treatment. Firstly the numbers do become big. So I decided to break them down to base 10. This experiment now also relates to a previous diagram I sent in (99.57.11 Magic Square Mirroring / Fibonacci numbers (gif)).

This is a representation of the alphabet using the Fibonnacci numbers, but having been broken down to base 10.

A = 1
B = 2
C = 3
D = 5
E = 8
F = 4 (13)
G = 3 (21)
H = 7
I = 1
J = 8
K = 9
L = 8
M = 8
N = 7
O = 6
P = 4
Q =1
R = 5
S = 6
T = 2
U = 8
V = 1
W= 9
X = 1
Y = 1
Z = 2

What caught my attention straight away is that there are two axis points here, at the two 9's over K and W. These are also twin flows, as seen existing in the Medic square as well as the Mode Boxes ( where the two flows are the two 'circles of tones' like structures).

The reason this ties in with the diagram previously sent is because at around the two axis points at K and W are the mirror number partners, so that 8 partners 1, 7 partners 2, 6 partners 3 and 4 partners 5. These are called partners because their number sequences flow in opposite directions. Check up on the nine number sequences of the medic square to confirm this. Also this relates to the indigo number system of Buckminster-Fuller.

So around K the numbers either side are 8 and 8. Around the other axis point the numbers are 1 and 1. Here the partners have swapped over. As you can see this happens with the Fibonnacci numbers in the previous diagram. If one follows both flows from these two axis points they will see that all the number partners swap over. This is in full compliance with everything else I have observed within scales and numbers, two flows always swapping over. In music it is the tri-tone that is the second axis necessary to support these two flows. I will assume for now that K and W are also axis points and that one of them is performing a function like the tri-tone interval

from K to A = 9 8 7 3 4 8 5 3 2 1
from W to K = 9 1 2 6 5 1 4 6 7 1

from K to W = 8 8 7 6 etc
from W to Z = 1 1 2

this is where it stops, but who is to say it hasn't finished, and that it is us who have run out of alphabet! Actually this structure is within the Fibonnacci numbers and it is here applied to letters.

Lug

________________________________

99.67.7 Cooper Pair Non-locality Solved. (MetPhys) 

From: MetPhys@aol.com
To: Dow@aol.com, luigi.di-martino@ntlworld.com, Code UFO@aol.com, JerryIuliano@aol.com, Hope@ix.netcom.com, christian.lange2@tin.it
Subject: Cooper Pair Non-locality Solved. (MetPhys) 
Date: 08/31/02

http://www.rgrace.org/99/99HHHelectrons.html
Reference: Electrons and Mythologies 99.60.15

Luigi,

From 99.60.15 Questions about Cooper Pairs (MetPhys)

One Cooper Pair (jpg)

<< Do you think that after half a spin the info swaps over to the other electron and then after that half spin heads back to the first electron? >>

This link that Christian ( christian.lange2@tin.it ) sent to me explains it:

http://www.raum-energie-forschung.de/IREF-home-engl./start.hum
(Theory Link) Logarithmic Space
(I called it the Harmonic Universe)

http://www.rgrace.org/imagesm/theorie2.jpg
Diagram from the page:
Logarithmic Space, Harmonic Diagram

This page quote explains it clearly in bold:

"Neighbors in Logarithmic Space

Systems in linear space that lie very remote from each other can be very close to each other within the logarithmic space of scales. Our sun and Alpha Centaur are 4 light-years away from each other in linear space, while in the logarithmic space of scales they are immediate neighbors. Once this is understood it is not too difficult to create the physical conditions that will make communication in logarithmic space possible. Two electrons on the same quantum level that may be thousands of kilometers apart, are "found in practically one and the same point" within the logarithmic space of scales. The fact explains not just a whole range of quantum mechanical phenomena, but constitutes the basis for a totally new telecommunications technology which was publicly demonstrated for the first time on 27th October 2001 in Bad Tlz, Germany."

So, the answer to our question:

<< Do you think that after half a spin the info swaps over to the other electron and then after that half spin heads back to the first electron? >>

Is that the two electrons (I believe possibly two electrons but, possibly two photons instead) are "found in one and the same point" (i.e., on one electron) within the logarithmic space of scales. The photon or electron question still has to be verified in some way.

MetPhys@aol.com

________________________________

99.67.8 Corrected: Cooper Pair Non-locality Solved. (Christian) 

From: christian.lange2@tin.it
To: MetPhys@aol.com
Subject: Corrected: Cooper Pair Non-locality Solved. (Christian) 
Date: 09/02/02

Met,

I read the book from Konstantin Meyl " Neutrinopower ". In this book he explain very well electrons, positrons, neutrinos, neutrons end protons using his vortex field-theory (www.k-meyl.de only in german, sorry). Some of them are ring-vortex and others spheres. For example an electron can be both. An spherical spinning electron becomes more and more elliptical and then spinning faster and faster becomes a ring (torus). These electrons don't pass inside a cable like water in a pipe but the ring vortex goes outside. The cable don't heat up even if it is very thin. Our nerves uses the same system with the myolin-strates. In this case the isolation is very important. Moray made experiments with cool electricity. Even Tesla did the same. Meyl says that inside an electron is a positron.

Christian

>-- Messaggio originale --

From: MetPhys@aol.com
Date: Sat, 31 Aug 2002 16:01:20 EDT
Subject: Corrected: MetPhys- Cooper Pair Non-locality Solved.
To: christian.lange2@tin.it, luigi.di-martino@ntlworld.com, Hope@ix.netcom.com, JerryIuliano@aol.com, CodeUFO@aol.com, Dow@aol.com

________________________________

99.67.9 Re: Corrected: Cooper Pair Non-locality Solved.(MetPhys) 

From: MetPhys@aol.com
To: luigi.di-martino@ntlworld.com
Subject: Re: Corrected: Cooper Pair Non-locality Solved. (MetPhys) 
Date: 09/04/02

In a message dated 9/3/2 11:29:27 PM, luigi.di-martino@ntlworld.com writes:

<< So do the electrons continually modulate with each other according to this interval, held in proximity by their symmetrical relationship, splitting the 9 into 2 x 4.5 , which is then the Tri-tone connection?

Anyway, if it's ok with you I would like to present a case for it! >>

Luigi,

Be my guest. Go right ahead. What I have in mind over-all, is to develop a music system upon which the spheric electron operates, namely the matrix previously postulated to be a magic square (Correction: magic cube 9/3/02) of an undetermined number from 27 (3x3x3 cubic) to the cube of 918, or some other. A similar study has already been done by Dale Pond, as we know, who converted the wave numbers of atomic elements into wave length to frequencies and matched the "natural" atomic frequencies with musical interval.

The very same procedure has to be applied to an electron so the result is a table of frequencies describing musical interval of one electron.

The object of this organization of the electron, musically, is to find the frequencies upon which the electron depends.

This will be the symmetry of the electron. To force a symmetric system to produce power, one then must break this natural symmetry with clever techniques, but in our case, it will be done with the proper, known dissonant, asymmetric interval, of which 32 vibrations per second is the maximum dissonance that can be produced. These dissonant interval can be found elsewhere in these files.

What we will end up with, is the matrix system of the electron pair, which can be asymmetrically broken by proper frequency, producing power with sound, or "rydberg atomic expansion" (Keely 3rds) or contraction ( Keely 6ths ), thus destroying the atomic distances by which atoms are bound to adhere to other atoms or even within their own interatomic interval, all of which should be based upon combinations of chords, sets and super-sets of musical interval.

MetPhys@aol.com

________________________________

99.67.10 Re: Harmony of the planets (MetPhys) 

From: MetPhys@aol.com
To: TomBuoyed
Subject: Re: Harmony of the planets (MetPhys) 
Date: 09/02/02

In a message dated 9/1/2 1:17:25 PM, MetPhys writes:

Harmony of the Planets

I wonder what ratio ties the planets with the sun, or especially, the only planet not included with a ratio, Jupiter.

MP

________________________________

99.67.11 Re: Corrected: Cooper Pair Non-locality Solved.(Luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Re: Corrected: Cooper Pair Non-locality Solved. (Luigi) 
Date: 09/04/02

This is a nice way of getting from the cube of 9 to the number 918, where the fraction 33048 adds up to 18 and then 9. The numbers 9729 can be made to reach a figure close to 918, as seen in the second example.

9 cubed = 729

9.72 cubed is 918.33048

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

From: MetPhys@aol.com
To: luigi.di-martino@ntlworld.com
Sent: Wednesday, September 04, 2002 1:12 AM
Subject: Re: Corrected: MetPhys- Cooper Pair Non-locality Solved.

________________________________

99.67.12 Grebennikov: The Natural Phenomena of Antigravitation and Invisibility (Luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Grebennikov: The Natural Phenomena of Antigravitation and Invisibility (Luigi) 
Date: 09/10/02

Hi Robert

I was just thinking; if it is true that the universe is musically ordered and by focusing on matter with Mind we change the make-up of that matter, then we are composing music every moment of our lives and our song is being 'heard' and echoed around us, resonating with like and dispersing from dislike. What we think in every moment echoes back to us having collected the appropriate resonations that we are looking for. This is how we can illude ourselves as well as learn about ourselves. If I think Love then Love is All Around!

<< In File 28 Phi and The Other Side, Doczi has made a Diagram, which I have, which shows the "discrepancy" between Phi "Other side", .618

SuperPHI

and musical interval (.666 or 2 : 3, diapente, 5th) equaling 0.048. Could it be, that we are missing connecting with the "Other side" by a mere .048 decimal or its musical ratio equivalent, probably connected to light?

And what is that ratio? Divide 2 by 3 in ratio 2 : 3 and you get .666. What ratio or its fractally harmonic ratio equivalent, is equal to .048? Would such a ratio have to be raised to power 2 / 3 as Newton plainly shows us? >>

.666 is the note E1/4 tone. I obtained it by continually doubling the .666. The .048 equates to the note G. The interval from G to E1/4 is a Major 6th plus one quarter tone. However they are also a number of octaves apart. From .048 to .666 is three octaves plus a Major 6th plus one quarter tone.

Raising the .048 by 2/3 = .031968

By doubling the .031968 by 2 constantly we reach the total 65.470464. This becomes the note C +2cents. Nearly got ourselves a triad with all that! C E1/4 G.

<< Within this same file we see the formula of light quanta after the Bible parables:

"If two or more are gathered in my name, there AM I (1), in the midst" ....

or in math...

3/2 x 2/3 = 1 light quantum, or

"there shall be 5 in 1 household, 3 against 2 and 2 against 3"

What is the 2/3, 3/2 unit? It seems to be two neutrinos. And what did Harold say Light was made up of? Was it 3 + 2 = 5 attributes? ...

Actually it's 6 neutrino attributes that looks like 5 equaling 1 quantum unit of light, but what does 3 + 2 = 5 have to do with 80 : 81 or 524288 = 2+9 =11 and 144135 = 1+8 = 9. >>

The 2/3 is obviously the .666. The 3/2 I have broken down to 1.5, and then found that it is an octave harmonic of the .048.

.048 x2x2x2x2x2 = 1.536

I found this while perusing the site for some info on the Dorian mode. I have thought for a long time that the mirror world exists and is built on mirror logic. In our world we build our keys according to the circle of 5ths. The mirror logic is different. This is what I was sending bits and pieces of to you.

I am looking for a program that converts documents into PDF format. When I get this together I will send you the full research into this mirror logic, if you like. Could I simply post you some stuff?

<< 82.1 True Mirror Symmetry

In response to Yangs statement about symmetry, I found the following:

"If we reflect in a mirror any set of physical events that can happen in our space, does the picture we get always correspond with another set of events that could happen according to the physical laws of our space?

i.e.: A reflection in a mirror is the same thing as a rotation about a plane...which is the characteristic form of rotation in 4-dimensional space. Rotation about a plane is inconceivable to us. That is no reason why it should not happen.

The question (is), will all our physical laws still hold good if they (the laws?) are reflected in a mirror? To turn over a section of a plane (2-dimensions) within a plane is something which can only be done by taking it temporarily out of the plane into 3-dimensional space, and when it is put back its sides are reversed relative to 3-dimensional space. The analogous operation to this, in 3-dimensional space, is to move it temporarily through 4-dimensional space which will reverse its sides.

If one performs a mirror reflection "and" converts all matter into anti-matter, then physical laws remain unchanged. The "combined" transformation...could thus be defined as the true mirror reflection process... mirror symmetry is restored. The price of restoring this symmetry is thus to admit that anti-matter is what ordinary matter turns into, on being rotated about a plane.

Incidentally, a 'propos this question of how readily it might present itself to the mind that "particles" whose properties (are) all precise numerical representations of one another in all but the interchange of a few positive and negative signs (are) really the same "particle",

(Note: "particles" are really frequencies except protons).

"rotated in higher space...in this connection, it is interesting to bear in mind that a line, passing through our 3-dimensional space from one side of it (in higher space) to the other side of it, would cut it at a point.

This consideration...has some relevance to the wave-particle problem. The consideration of...wave motion possible in higher space, and of the ways in which such waves might intersect a 3-dimensional space, provides a fairly wide selection of possibilities which may be compared with the observed experimental facts".

The Decline and Fall of Science
001.9 G8205d pp. 46-55.

________________________________

99.67.13 Mayan Grid, Tri-tone axis (Luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Mayan Grid, Tri-tone axis (Luigi) 
Date: 09/14/02

Hi Robert,

I have been experimenting with that Mayan grid again. I was quite awestruck when I saw how the Tri-tone axis interrelated with its partners across this grid. Also the fact that there is only one number sequence flowing through this grid points to a certain pitch selection perhaps. It certainly ties straight in with the Mode Box and Vedic Square info.

Starting at the top left there is the 1 3 5 7 9 2 4 6 8 number sequence flowing through the Mayan grid, and at the same time the sequence commences from the opposite end (bottom right) and gives the mirror flow - 8 6 4 2 9 7 5 3 9. Yet this sequence could do with one more row in order to fully express itself. Even so it was crying out to be interpreted as a flow of thirds. So I placed the right notes in the grid and "hey presto" it looks just like the mode box/Vedic square diagrams I have, with the same type of relationships between the numbers and the notes along the same number sequence. I can send this in if you like (as pdf or jpg) This is a way forward to the magic square business I believe, and the symmetrical production of these squares may come into it too.

Did the pdf file I sent you make any sense? I am also writing an introduction which I hope will make that first section easier to understand.

Lui

Page 67

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Copyright. Robert Grace. 2002