**99.68.1 Major Scale Grid 144 (Luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: Major Scale Grid 144 (Luigi)

Date: 09/14/02

From 100.2 Magic Squares / Myth and Music

<< 396, 528, 639, 741, and 852 are found throughout the Bible in coded verses.(60) >>

(**Note**: I see that you have noticed that the above Bible Code numbers (ex: 396) are also found within the 144 major Scale Grid below).

If you take a look at this diagram you will see some of the above numbers. This diagram is from a section in my book about the 167 major scales. It is very simple really. F/G, for example. These two notes are mirror partners around the C major scale. The F has 1 flat in its key signature and the G has 1 sharp. When the circle of 5ths completes its first cycle the second cycle commences from the Fx. This key has 13 sharps in its make-up and it is an enharmonic of the G major scale, as are the all following notes along from there, until the B(8#).

B######## = B (8#). Each sharp represents a semi-tone so:

B c c# d d# e f f# G. SO this key is an enharmonic of G major.

Then next note in the scale, which is built according to the same major scale formula as always is C######### (C9#). This is an enharmonic of the note A, which normally follows the note G in the key of the first cycle.

C c# d d# e f f# g g# A

I know it looks very complicated but this scale does exist and it is its proper name! It isn't that difficult to construct a scale with this many sharps. One builds it with the knowledge of the first cycle. We can plot down the G major scale underneath and simply find the amount of sharps needed for the enharmonic scale:

G A B C D E F# G = G Major

B C D E F G A B = starting point. Each note now needs to be lifted to the relevant pitches above. The B, for example needs to become a G, as shown above. Likewise the C needs to become an A. The D needs to become a B:

D d# e f f# g g# a a# B = 9 sharps in all so the next note would be D######### , or simply D (9#).

When all the sharps existing in this scale are added up they equal 61 in all. This breaks down to the 7.

In reverse F follows a similar journey. After the first cycle of 12 the Gbb begins the next cycle, and it is an enharmonic of F major.

Then the number of sharps and flats in each key is broken down to base 10, produces this grid. So the Fx with 13 sharps is broken down to a 4, for example. You will notice that the nine number sequences of the vedic square are existing along the 45 degree angles (except the 1 and 8 sequences, which exist vertically). This is what I mean about a place where numbers and scale formula meet as one.

Luigi

**99.68.2 Major Scale Grid 144 (Luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: Major Scale Grid 144 (Luigi)

Date: 09/14/02

These numbers look like a movement of a third and then a sixth. A third descending and a sixth ascending.

The mayan grid has these numbers at the 45 degree angles. The grid is plotted in diatonic thirds. The grid is broken down to base 10 and the notes of the C Major scale are included according to the 1 3 5 7 9 2 4 6 8 number sequence. This sequence too resembles the flow of thirds and sixths in reverse.

C = 1

D =2

E = 3

F = 4

G = 5

A = 6

B = 7

C = 8

D = 9

The notes run as diatonic thirds from top left to bottom right, and in diatonic sixths in opposite flow.

The notes C F B are running along the 45 degree angle of this grid. These are the root C, and the visible Tri-tone pair F and B. This is also the numbers 1 4 7 repeated. The notes E A D repeat along the 45 degree angle and this will be seen also as the 3 6 9 sequence repeated. The next notes along the 45 degree angle are G C D, and the numbers accompanying this are 5 8 2. These are the only sequences along this angle.

So these numbers have shown up along the 144 major scale grid, across the 45 degree angle of the mode box, as well as in a couple of other places.

I am only just beginning to learn your angle on this about what these numbers represent. I have noticed that one needs to sometimes look in between sequences in order to find the numbers. 3 6 9 3 6 9 . Just by repeating this sequence one can see the 3 9 6 and the 6 3 9 in reverse.

Luigi

**99.68.3 Comment on Section 53.4 Evolution and Creation (Luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: Comment on Section 53.4 Evolution and Creation (Luigi)

Date: 09/15/02

Source: Section 53.4 Evolution and Creation

<< Creation Theory is:

What was before what is seen.

The invisible half of universe.

That which produced the visible.

The inner world of man. >>

The Tri-tone satisfies this method. F# is the invisible axis in C Major. From there springs the duality of the modes, which then refers to the next quote:

(Ab Major) C Db Eb F G Ab Bb (C) D E F G A B C (C Major)

The C in brackets is the axis point and it will be seen that the second axis point is in between F and G both sides, that is F#/Gb. If you were to imagine an eruption of lava from this point , or a waterfall, then you can imagine how the notes either side are like the visible manifestation of what is being created from this Tri-tone position.

<< Evolution Theory is:

What came after Creation Theory.

The visible half of universe.

That which was produced by the invisible.

The outer world of manifestation. >>

This is the seven modes and their symmetrical partners. Each one springs from the F# invisible axis as a dual pair, minor with major and vice versa, the building blocks of the visible. The F# is an invisible intersection point that reaches the C Major position, and at that point is F# Dorian, which means it is endowed with the power of creation that this mode possess (due to the influence it receives from the number 9). This F# Dorian lives within the E Major scale, at the second position of that scale. Therefore E Major is a clue to the invisible qualities within F# at that position. The clue is that when C Major is mirrored it becomes the scale of Ab Major.

This is two steps of the augmented triangle of keys- C Ab E. So a visible connection is established and the modal pairs (from the Mode box) are distributed as major/minor. The E Major is in an invisible role within the triangle effect and it can be seen to intersect the mode box through the F#.

I am working on two diagrams to show this visually. I am making no claims except that one can fit this information perfectly to the above quotes.

Luigi

**99.68.4 More on Newton's Prism Gaps (Luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: More on Newton's Prism Gaps (Luigi)

Date: 09/15/02

Hi Robert

Got another quote for you:

Source: Section 67.30 Harmonics

<< This "Gap" spans musical notes e flat to f flat in Helmholtz complete Determination of Tone Table. It represents the gaps in Newtons prism light experiments wherein the gaps between the prism colors were found to be in Dorian scale ratio, raised to the 2/3 power. >>

I know we have covered this but I have just read the above again, although I don't believe I ever saw this particular quote that mentions F flat. This is one of the keys exposed in the mode boxes.

Anyway, I know you don't mind a bit of speculating so here goes!

The Dorian scale ratio - does this mean the ratio of 9:8 from the note C (the root) and the note D (the second position that is also the dorian position)? Perhaps these gaps commence a cycle of ratios according to the Dorian Mode:

D = 1:1

E = 9:8

F = 16:15

G = 9:8

A = 9:8

B = 9:8

C = 16:15

D = 9:8

I know this is not the exact ratios and I am bound to upset some tuning experts. However this is a start. Are the gaps between the prism colors according to this map that is then raised to the power of 2/3 (0.666)?

9:8 = 1.125

1.125 x 0.666 = 0.74925

So the first gap is D + 1.125 + 0.74925 = E + 0.74925 = F flat perhaps?

The 16:15 proportion is actually 0.666.

.666 x .666 = .443556

So is the next gap found from adding the .666 and the .443556 from the F flat or from the E?

D to F flat = 1.87425

1.87425 + .666 + .443556 = the next target point?

So we could make up two lists. One would represent the gaps according to the previous gap, and the other would simply add the 2/3 to every note of the Dorian mode.

All these numbers have a hidden 27 connotation as well.

1 + 8 + 7 + 4 + 2 + 5 = 27

4 + 4 + 3 + 5 + 5 + 6 = 27

7 + 4 + 9 + 2 +5 = 27

Luigi

**99.68.5 The mirror of the 144 Pi numbers (Luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: The mirror of the 144 Pi numbers (Luigi)

Date: 09/15/02

Source: 99GG Electrons and Mythologies

<< Jerry Iuliano told me he confirmed that the first 144 Pi numbers added to 666.

I then suggested he or I add the next 144 number block of Pi numbers, which I proposed will add together with the first 144 block, to sum1332. As of today, 8/10/01 we haven't added these yet.

Now I see that same number 1332^2, above, is the Linear Product, in your Subj: stable / unstable Email, dated Fri, Aug 10, 2001. I wonder what this implies or can reveal?

MetPhys@aol.com

(Note: 8/15/01 Today I added the second 144 digits of Pi and the total is 626 + the first 144 digits of Pi (666), therefore 666 + 626 = 1292. So much for that theory of symmetry, unless someone notices some synchronicities in 626 or 1292.) >>

The first 144 movements of the pi number will have 144 mirror movements. Here are the first 144 Pi numbers

1 4 1 5 9 2 6 5 3 5 8 9 7 9 3 2 3 8 4 6 2 6 4 3 3 8 3 2 7 9 5 0 2 8 8 4 1 9 7 1 6 9 3 9 9 3 7 5 1 0 5 8 2 0 9 7 4 9 4 4 5 9 2 3 0 7 8 1 6 4 0 6 2 8 6 2 0 8 9 9 8 6 2 8 0 3 4 8 2 5 3 4 2 1 1 7 0 6 7 9 8 2 1 4 8 0 8 6 5 1 3 2 8 2 3 0 6 6 4 7 0 9 3 8 4 4 6 0 9 5 5 0 5 8 2 2 3 1 7 2 5 3 5 9

Here would be the mirror numbers. The first few would look like this. The 3 is in the axis position.

4 8 5 8 .(3). 1 4 1 5:

Here are the 144 mirror numbers of Pi:

8 5 8 4 9 7 3 4 6 4 1 9 2 9 6 7 6 1 5 3 7 3 5 6 6 1 6 7 2 9 4 0 7 1 1 5 8 9 2 8 3 9 6 9 9 6 2 4 8 0 4 1 7 0 9 2 5 9 5 5 4 9 7 6 0 2 1 8 3 5 0 3 7 1 3 7 0 1 9 9 1 3 7 1 0 6 5 1 7 4 6 5 7 8 8 2 0 3 2 9 1 7 8 5 1 0 1 3 4 8 6 7 1 7 6 0 3 3 5 2 0 9 6 1 5 5 3 0 9 4 4 0 4 1 7 7 6 8 2 7 4 6 4 9

I make these 666 as well

Luigi

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com, CodeUFO@aol.com

Subject: More on 432 (Luigi)

Date: 09/22/02

Hi

Don't know if you are familiar with this page but it has one or two interesting comments about Cheops and 432 and the number 9. If Cheops fundamental were 432, which is the note A, then the resonant frequency of F# would be the 27th overtone above that note. In which case it is either a very subtle clue or I have done the maths completely wrong!

Lui

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: More on 432 (Luigi)

Date: 09/22/02

Hi again

Whereas this article puts the resonant frequency of the King's chamber at the note C. This would be freaky because C and F# are the two axis points, the F# being a tri-tone interval from C. This would also be the 11th overtone, which is my fav!

<< Unfortunately the article copy that I've got is truncated. I can however spot some key words on the use of a crystal receiver to detect something about the bioplasmic field. The 8 Hz bioplasmic signal is said to be in harmony with earth resonance. 8 Hz is a sub-harmonic of the 256 Hz middle C of the scientific music scale. Middle C is also the resonant frequency of the King's chamber of the Pyramid of Cheops. 8 Hz is also the frequency of perfect alpha rhythm during deep meditation. The neurophone could then be used for generating a 8 Hz state of consciousness. >>

Lui

**99.68.8 The mirror of the 144 Pi numbers (Luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com

Subject: The mirror of the 144 Pi numbers (Luigi)

Date: 09/25/02

Hi Guys

I found this a most enlightening read.

Lui

The Square of Nine is undoubtedly the most mysterious and popular of W. D. Gann's financial market calculators. There is something about this strange number wheel which intrigues all who see it, whether they be market enthusiasts or school children. There have probably been more courses written about the Square of Nine than any other of Gann's trading tools, yet there has been very little actually said.

This universal vital principle, "Brahma", which comes forth from the center as the lotus flower extending itself into 3 dimensional space-time, is pure consciousness projecting itself into form according to mathematical relationships and harmonies. This projection can take on individual and physical form like a tree or a person, or it can be a group form like a business, a school or even an essentially non-physical thought form like a financial market.

**99.68.9 Cheops pyramid and Euler's identity (Iuliano)**

From: Jerryiuliano@aol.com

To: MetPhys@aol.com

Subject: Cheops pyramid and Euler's identity (Iuliano)

Date: 09/25/02

MP:

One of the greatest mysteries in the history of mathematical discovery is the symbolic meaning of Euler's identity equation:

(e^(i*Pi)) + 1 = 0....1748

where i = sqrt -1. This equation is important because it is both aesthetically symbolic while also calculable as real factor quantities, 0 , 1 , i ,Pi , and e.. Unbelievable as it may seem , one of the consequences of the Kabbalic Sephira Malkuth (288 sparks) and Cheops pyramid constructs, height and base leg, is just this aesthetic to real relationship, that is any equation that is of the Eulerian identity form .36787... can be symbolically represented as both "beautiful" and "real" ala Euler's identity. Since symbols imply word to sound understanding one of these equations can be "poetically" expressed as:

The anti-log of the sum of the base legs (perimeter) of the Cheops pyramid divided by the Cheops height, divided by the "charge" (expressed as surface area) of the Sephira Malkuth (288^2)) 82944, to the i-th power, plus one equals zero, or mathematically as:

[[(10^(4*bl/ht))/82944]^i] + 1 = 0 = (e^(i*Pi)) = Euler's identity

So here one has a real object (Cheops pyramid at least 4500 + years old) interacting with a mythological derivative (288 sparks)3500 years old/philosophical (Leahy's 82944 surface area triple logic cube 1980's)... real to subconscious identity, which is accomplished by the rotation caused by the i-th power, sqrt negative one. This means that the sqrt - 1 activator is the link of "realness" leading to imagery (subconscious-dreams etc.) and reciprocally as , imagery leading to real entities. To observe the pyramid from the air the boundaries of the object to the gestalt of the minds observation of these boundaries are as..(A) the perimeter of the base as bottom limit and ..(B) the single point of the apex as top limit. That is the geometric limits of the structure base to apex are the important aspects boundary of the observations, the is-ness of the pyramid itself ,the boundaries top and bottom, everything in between just the carrier vehicle to express the boundaries of the structure. So the pyramid is saying , what is important in the idea of the pyramid is not the "stone" that makes up the structure but the "edgeness" defined by it's boundaries, base perimeter and it's apex. The concept of this "edgeness" is the intellectual action that understands as consciousness of the form itself..edgeness".. rather than the individual "monads" that make up the aspects of its form.The relationship of the Sephira Malkuth (288 sparks) with the imaginary complex number sqrt -1 ..( i )... is one of the proofs of the importance of Prof. Leahy's emphasis of his philosophy of the "thinking NOW, created 100" theory in it's approach to the connection of consciousness and reality. The use of 100 in the following equation can be thought of as the transmission (renormalization) of the value derived from the Sephira Malkuth (288) using the reciprocating values of the Cheops pyramid constructs: top and bottom boundaries..height and base leg.

Let ht = height of Cheops pyramid = 486.256 ft

(Churchward/Ramsey ..1910 expedition

Let bl = base leg of Cheops pyramid = 763.81 ft

Let a(em) = fine-structure constant = 1/137.036006429 or

99.9999951% of the 1998 NIST value for a(em)..1/137.03599976

Root value:using Cheops constructs ht and bl as an exponential transmission:

288^(ht/bl) = 36.78780373..

Renormalization to creation using Leahy's "thinking NOW created 100":

[288^(ht/bl)]/100 = .3678780373...

"Thinking NOW , created 100" as a function of root value: invert Cheops constructs, ht and bl, to a new renormalized value which is square root negative one to the square root negative one power: Euler's discovery ,1748,...i^i = .207879576:

[[288^(ht/bl)]/100]^(bl/ht) = i ^ i = .207879576

The amplitude for electron/photon interaction: a(em)

[cos(1/a(em)]^(bl/ht) = i ^ i = .207879576

Once the factors of ...i ^ i... are shown the following equivalences can be demonstrated:

Fine-structure constant...a(em)

cos(1/a(em) = i ^ ( i * ht/bl)

1/a(em) = cos^-1[i ^ ( i*ht/bl)]

Sephira Malkuth (288) as a function of imaginary powers.. i^ i :

288 = [[ i ^ ( i * ht/bl)] * 100] ^ (bl/ht)

So now one has creation root (288) as a function of imaginary powers transmissed by the action of "thinking NOW , created 100 " It is known that the recursive factors of Leahy's triple logic cube, 82944, are Feigenbaum generated: bi-furcation constant:

Feigenbaum constant = F = 4.669201932..

[100^(bl/ht)/(sqrt(tan F)) = 288....tan in radians

substituting into the imaginary/complex form:

(tan F) ^(-1/2) = [[(288^(ht/bl))/100] ^ (bl/hy) = i ^ i

The creation root , 288, (Sephira Malkuth) can now be shown as a function of both Feigenbaum bi-furcation and imaginary rotation into an imaginary field, i ^ i, scaled by Cheops constructs:

[[tan F) ^ - (ht/2/bl)] * 100] ^ (bl/ht) = 288 =

[[(i^((i*ht/bl))*100] ^ (bl/ht)

The great mystery of Euler's identity (e^(Pi*i)) +1 = 0, can now be demonstrated as a function of the creation root ..288:

1/(e^(Pi/2)) = i ^ i

e^(Pi/2) = 1 ^ (1/i)

e^(Pi*i/2) = i = sqrt-1

e^(Pi*i) = -1

(e^(Pi*i)) + 1 = 1 = Euler's identity

Using creation root Sephira Malkuth ...288

[[(288^(ht/bl))/100] ^ (bl/ht) = i ^ i = 1/(e^(Pi/2))...invert:

(100^(bl/ht)) / 288 = i^(1/i) = e^(Pi/2)

transferring 1/i to the Sephira Malkuth root equation:

(100(i*bl/ht))/(288^i) = i = sqrt -1 = e^(Pi*i/2)

squaring the equations:

(100^(2*i*bl/ht))/(288*(2*i)) = -1 = e^(Pi*i)

transferring the -1 constant to end up at Euler's identity:

(e^(Pi*i))+ 1 = 0

Sephira Malkuth /Euler's identity:

[[100^(2*i*bl/ht)]/(288^(2*i))] + 1 = 0

simplifying by canceling ones:

e^(pi*i) = [100^(2*i*bl/ht)]/(288^(2*i))

formulas of the form..e^(pi*i) are called quadratic reciprocity forms used extensively in Schroedinger wave equations. Leahy's triple logic cube (82944) is rotated into the rotated form of the "thinking NOW created 100" :

e^(Pi*i) = [10^(4*i*bl/ht)]/(82944^i) or quadratic reciprocity..

[(10^(4*bl/ht))/82944)] ^ i = e^(Pi*i)

the imaginary number i cancels to reality:

(10^(4*bl/ht))/82944 = e^pi

The Feigenbaum constant has a very simple way to express Euler's identity:

[(tan F) ^ i] +1 = 0

comparing to the Cheops form:

[[[10^(4*bl/ht)]/82944]^ i ] +1 = 0

The Cheops form has incredible geometric symbolism, that is four base legs (perimeter) divided by height in log form divided by 82944 to the i-th power, plus one = zero

All Eulerian forms can demonstrate this effect:

EULERIAN IDENTITY:

(e^(Pi*i)) + 1 = 0

FEIGENBAUM BIFURCATION CONSTANT: F= 4.669201932

[(tan F) ^ i] +1 = 0

GOLDEN MEAN : phi = 1.618033989

[[(10^(4*bl/ht))/[[COS^-1((sqrt5 - 1)/4))*4]^2]] ^i ] +1 = 0

COS^-1 in degrees

COLLECTIVE UNCONSCIOUS: Cheops/Sephira Malkuth/Leahy:

[[[(10^(4*bl/ht))/82944] ^ i] +1 = 0

FINE-STRUCTURE CONSTANT: electron-photon interaction

[(cos(1/a(em))) ^ (-i*2*bl/ht)] + 1 = 0

NATURES CHARGED MASSES: electron -proton

emev = .5110007784 mev = electron

pmev = 938.271998 mev = proton

[[(10^(4*bl/ht))/[(10*pmev)^(emev^(-ht/2/bl))]] ^ i ] +1 = 0

NATURES CHARGED MASSES: electron , proton and the collective unconscious:

emev = .5110044323 mev

pmev = 938.271998 mev

[(pmev*(emev^2)/666))^ (2*bl*-i/ht)] + 1 = 0

J.Iuliano

**99.68.10 Re: The Mysterious Origins of the W.D. Gann's Square of Nine by Brad Steward (CodeUFO)**

From: CodeUFO

To: MetPhys@aol.com, luigi.di-martino@ntlworld.com, susoni_17@hotmail.com

Subject: Re: The Mysterious Origins of the W.D. Gann's Square of Nine by Brad Steward (CodeUFO)

Date: 09/25/02

In a message dated 9/24/02 5:21:14 PM, luigi.di-martino@ntlworld.com writes:

<< The Square of Nine is undoubtedly the most mysterious and popular of W. D. Gann's financial market calculators. >>

Some interesting related alphanumerics:

SQUARE = 81 = (9 squared)

SQUARE OF NINE = 144

SQUARE OF FIVE = 144

SQUARE OF FOUR = 162

162 + 144 + 144 = 450

(FOUR + FIVE + NINE = 144)

SQUARE OF ONE = 136

SQUARE OF TWO = 160

SQUARE OF SIX = 154

136 + 160 + 154 = 450

(ONE + TWO + SIX = 144)

450 + 450 = 900

-Gary-

**99.68.11 Re: The Mysterious Origins of the W.D. Gann's Square of Nine by Brad Steward (Luigi)**

From: luigi.di-martino@ntlworld.com

To: MetPhys@aol.com, CodeUFO@aol.com, susoni_17@hotmail.com

Subject: Re: The Mysterious Origins of the W.D. Gann's Square of Nine by Brad Steward (Luigi)

Date: 09/25/02

<< (ONE + TWO + SIX = 144) >>

Excellent deductions (or is that additions) Gary!! I was hoping some inspiring numbers would come from it. After reading this post I quickly flicked through a few numbers I had put to the modes of the major scale. I recall that one of them added up to 126. I said to myself "if it is the Dominant mode then I will freak"! This is because it is the dominant that kinda takes the keys round a circle of fifths, so this has correlations to light (is that right?), I am 99% sure!

Anyway it is the Dominant mode that adds up to this number. As a Mode it is known as the MIXOLYDIAN

MIXOLYDIAN =126

So what of the 18 difference I wonder? Again it's one of them numbers that explains so much!

Gary, have you done some alphanumerics on the signs of the zodiac? I'm sure you have!! I have just turned this zodiac chart, numbered 1 to 144 , into base ten. Then I added the musical notes/colors to these numbers. I found that the numbers 147 and 825 define the Circle of Tones structure I am always harping on about! 147 is CEG# (one of the augmented triangles), and 825 is D F# Bb (the other one). Anyway I want to get this chart together and send it to you Robert if possible.

Cheers

Lui

**99.68.12 PHI & planetary orbits (Tombuoyed)**

From: Tombuoyed@aol.com

To: dgl@dgleahy.com

bcc: MetPhys@aol.com

Subject: PHI & planetary orbits (Tombuoyed)

Date: 09/25/02

Dave,

I came across this page of John Harris, who finds a PHI series relationship among the orbital periods, radii, angular momenta and velocities of each planet out to Saturn.

Solar System Exponential Periods...

When I saw his first table on the page titled:

"The Solar System Exponential Periods and the Phi-Series Multipliers"

I immediately thought of your of your trinary logic expressed in the PHI series.

Tom Mellett

**99.68.13 PHI & planetary orbits (MetPhys)**

From: MetPhys@aol.com

To: Tombuoyed@aol.com

Subject: PHI & planetary orbits (MetPhys)

Date: 09/15/02

Very amazing to me. I have seen at least 4 other ways of mapping the solar systems dynamics and this Phi based map is most logical. I noticed there is a phi relationship between the fragmented asteroid belt and mercury which reinforces my long time assumption of mercury's future in this phrase,

Sometime in the future mercury will be the next planet to fragment and move out of the solar system.

MetPhys@aol.com

**99.68.14 Re: The Mysterious Origins of the W.D. Gann's Square of Nine by Brad Steward (MetPhys)**

From: MetPhys@aol.com

To: luigi.di-martino@ntlworld.com, CodeUFO@aol.com, susoni_17@hotmail.com

Subject: Re: The Mysterious Origins of the W.D. Gann's Square of Nine by Brad Steward (MetPhys)

Date: 09/25/02

In a message dated 9/25/2 12:21:14 AM, luigi.di-martino@ntlworld.com writes:

<< This universal vital principle, "Brahma", which comes forth from the center as the lotus flower extending itself into 3 dimensional space-time, is pure consciousness projecting itself into form according to mathematical relationships and harmonies. >>

I recently read something to the effect that the Mayan Tzolkin of 260 permutations of light is also a map of pure consciousness projecting itself but over the years, and after examining David Wilcox' claim of a basis Consciousness Unit (CU) of his own invention, I added to that, another letter so the missing energy was included with consciousness, making it an ECU, Energy/Consciousness Unit From what I found over the years and especially from book Quartum Organum listed in the bibliography, there are only these two existing, consciousness and energy. Energy produces the forms and consciousness learns from it and arranges for the production for more complicated forms- ECU.

So to tie this to consciousness projecting itself into form according to mathematical relationships (ratio, music) and harmonies (music, square of 9) thru the Tzolkin and I Ching in the form of pure ECU's is just what Michio Kaku recently admitted on Art Bells Radio Show, "The mind of God is music". Of course we have known that intimately for a long, long time so we are happy that he is up to speed.

MetPhys@aol.com.

© Copyright. Robert Grace. 2002