Mexican Sun Pyramid Draws on Platonic Codes

Mexican Sun Pyramid Draws on Platonic Codes. Yes, there is an ancient temple plan. It dates back to Neolithic times. Plato used it. It was employed all around the world in antiquity. I discovered it in a vision while hiking around the loop by Oquaga Lake.  The same Ancient Temple Plan also graces the Mexican Sun Pyramid.  I discovered it by means a vision while hiking around Oquaga Lake. The special character of the lake nature is described in my book of poetry on DSOworks.com: The Oquaga Spirit Speaks. It can be downloaded.

 Pyramid of the  Sun (click to see picture source)

Add the length of  the perimeters of the four  triangles ABC, ADC, ABD and CDB.  Each one totals 2520′ ( 738 + 738 + 1044 = 2520) .  Four triangles = 10,080. Next, use pi as 22/7. A circle around diameter of length 10,080 = 31,680.

Mexican Sun Pyramid Parallels Plato’s Writings

Plato’s Ideal City uses the same numbers in his desciption of the Ideal City.  He states in Laws V: “(1) Mark off 5040 allotments. They must be cut in two so that “each contains a near piece and a distant piece- joining the piece next to the city with the piece furthest off.”. That totals 10,080 markings of land (5040 on each side of the radius). That equals the total of the sum of perimeters around the 4 triangles of the Sun Pyramid as described above.  A circle drawn around diameter 10,080 has a circumference of 31,680 . As 10,080 x 22/7 = 31,680. The co-incidence goes even further. John Michell explains defines the area of each of its 2520 pairs of rings. The combined area of each of the pairs is 31,680. Both the Mexican Sun Pyramid and the Ideal City use the same number tradition of prehistory.  I refer my reader to The City of Revelation by John Michell pgs. 84-86

Conclusion: At one time there existed a peaceful formula for civilization. Due to some kind of cataclysm, everything was destroyed.  This possibility is discussed by Immanuel Velikovsky (/ˌvɛliˈkɒfski/; Russian: Иммануи́л Велико́вский; IPA: [ɪmənʊˈil vʲɪlʲɪˈkofskʲɪj]; 10 June [O.S. 29 May] 1895 – 17 November 1979) He was a Russian-Jewish independent scholar best known as the author of a number of controversial books reinterpreting the events of ancient history, in particular the US bestseller Worlds in Collision published in 1950.[1] Earlier, he played a role in the founding of the Hebrew University of Jerusalem in Israel, and was a psychiatrist and psychoanalyst.

Conclusion: I think that ancient ruins hold lost knowledge. Uncovering and understanding what’s in these ruins provides possible pathway way to peace. I think we are approaching another Golden Age. How good is that?

Hidden Heptagon Found Attached to Great Pyramid’s Blueprint.

Hidden Heptagon  Can Be Attached to Great Pyramid’s Blueprint. Or, is it vice versa?  First, what is a heptagon?  In geometry, a heptagon is a seven-sided polygon or 7-gon. The heptagon is also occasionally referred to as the septagon, using “sept-” (an elision of septua-, a Latin-derived numerical prefix, rather than hepta-, a Greek-derived numerical prefix) together with the Greek suffix “-agon” meaning angle.

The featured picture is from my 1st volume, p.393, of The Staff of God. I worked many summer seasons at Scott’s Oquaga Lake House as their piano player. There, a spiritual presence made itself known. I was educated in the ways of the ancients. The Oquaga Spirit Speaks, was one of the results. It relates through quatrains with rhyme the character of this spirit. Here is a sample from the opening poem entitled The Oquaga Spirit:

What a communicator was she
This sprite both blithe and free.
So much she needed an ear,
She ignored my tranquility.

NOW FOR THE HIDDEN HEPTAGON

To the best of my knowledge, I think I was one of the first to rediscover the hidden heptagon. Even more significant: I think the triangle of the Pyramid’s dimensions originally came from this hiding heptagon. Not the other way around. Every book I’ve seen previously has defined the triangle as giving birth to the Great Pyramid. This involved many geometrical constructions. Here’s the simpler way to draw its dimensions from the heptagon: Set your compass at point “C”, Mark its length AC. Mark point “D” from point “C”. Draw a straight line along ICBD. Connect lines for triangle CDA. You have the essential proportional measures of the Great Pyramid.

More blogs will be written on this topic. Here’s one application. Hebrew language has 3 “mother” letters. It also has 7 double letters. That is, letters with 2 distinct sounds.

•  A 2nd heptagon can be drawn on the other side of the triangle (not pictured). It’s basic side is defined by line AC. It then extends to the left. The 1st heptagon is on the right.
• The one mother that gives birth to the 2 heptagons wedged in the lower center between the 2 heptagons. .
• With the Hebrew language, the 3 mother letters give birth to the 7 double letters. The diagram geometrically defines this pattern.

Possibility exists that I might go to the Lake House once more this summer. There I would recite poetry. Also I would offer expeditions to commune with the spirit, and play the piano.

Ancient Burial Sites Used the Perfect Fifth Ratio 3/2

Ancient Burial Sites Used the Perfect Fifth Ratio 3/2. Many Neolithic cultures placed the numbers of harmonious ratios of musical intervals into their buildings and environment.   How can musical intervals possibly apply to burial sites? What was the purpose of seeking harmonious intervals for interment? Where and when did this happen?

1. The tradition belongs to  yin-yang concept of the ancient Chinese
2. The ideal was the 3/2 ratio. Three parts yang to 2 parts yin. 3/2 defines the musical interval of a perfect fifth. The higher note vibrates 3 times; for 2 of the lower.
3. The tradition characterizes ancient burial sites in China. I found what I thought was such a location in Wiki commons. It is pictured as the ALMATY, KAZAKHSTAN. See featured pictured above.

The fifth has always been considered a perfect interval. In Western music, intervals are most commonly differences between notes of a diatonic scale. The smallest of these intervals is a semitone. In music, an interval ratio is a ratio of the frequencies of the pitches in a musical interval. For example, a just perfect fifth (for example C to G) is 3:2. There are only 3 perfect intervals in our scale system. They are the octave, fourth and fifth. They are called perfect for the following reason: They vibrate in whole number ratios from 1 to 4. They sound the most harmonious. Major and minor intervals vibrate with higher number integers. Note the following list:

• The interval between C and D is a major 2nd (major second).
• The interval between C and E is a major 3rd (major third).
• The interval between C and F is a perfect 4th (perfect fourth).
• The interval between C and G is a perfect 5th (perfect fifth).
• The interval between C and A is a major 6th (major sixth).
• The interval between C and B is a major 7th (major seventh).
• The interval between C and C is a perfect 8th (perfect octave).

Ancient Burial Sites share the 3 to 2 Perfect 5th ratio with other disciplines

(1) Microbiotic cooking  uses the 3/2 ratio for healing. It advocates 3 foods that grow above the ground in addition to 2 that grow under.
(2) Chinese geomancers detect yang and yin currents. Yang is the blue dragon, Yin is the white tiger. Yang current takes the path over steep mountains. Yin mainly flows over chains of low    hills. Most favored is where 2 streams meet surrounded by three parts yang and 2 parts yin.  That was the spot where Chinese ancient burial sites were built.

Chinese believed that proper burial of ancestors controlled the course  of the surviving family’s fortune. Great dynasties are said to have arisen from proper placement of tombs. Also, the 1st action of a government facing rebellion was to destroy the family burial grounds of the revolutionary leaders.

If Ancient Burial Sites are Beyond You, Here’s a Simple Musical Exercise to Help Your Health and Fortune

Twinkle, Twinkle Little Star incessantly uses the interval of the perfect fifth. So does Baa, Baa Black Sheep. Sing the first 4 notes of each. With both nursery rhymes, the interval between the 2nd and 3rd notes is a perfect  fifth. You have your choice: (1) Sing the first four notes over and over, Or (2) simply and just sing the 2nd and 3rd notes over and over.  Another choice is take piano lessons. Play Mozart.

Neolithic Number Eight Permeates the Great Pyramid of Egypt

Neolithic Number Eight Permeates the Great Pyramid of Egypt. Also the modern piano keyboard. Here’s how.

• First use of eight (8). The featured picture illustrates an octahedron.  It is a symmetrical, eight-faced, triangulated figure. All angles at their corners are 60°. Bisect the featured picture across the square at the center. The bisected octahedron then becomes two square based pyramids.  The above I call the positive. The below I call the negative. All square base pyramids imply an attached equal and opposite pyramid.  The mere existence of any square base pyramid, implies a counterpart. Granted, the Great Pyramid of Egypt has differing angles. It uses isosceles triangles.  But, the extra four reverse-faced pyramid is still implied. When they are joined, the square bases become internal. They literally disappear. There no longer is a separated square base. We have our first usage eight. As,  4 faces (postive)  + 4 (negative) faces = 8.

2nd Usage of Neolithic Number Eight

•  Each side of the square base measures 440 shorter Egyptian cubits. Shorter cubits are 1.718…feet. A more encompassing measure is the Great Cubit. It measures 55 shorter Egyptian cubits. Thus each side of the Great Pyramid of Egypt is 8 Great Cubits. 440⁄ 8 = 55.  Reference John Michell, The View Over Atlantis. Therefore the Great Pyramid is 8 x 8 Great Cubits.

Neolithic Number Eight and Musical Octaves on the Piano Keyboard

• Last, but not least. We will tie the Great Pyramid into concert note A-440 and its octaves. Its essential measures come from octaves of the concert note A 440. A higher octave doubles the vibrations per second. The lower octave cuts them in half. The lowest note on the 88-keyed piano is “A”. It vibrates 27.5 times per second. On the Steinway below, it is the furthest note to the left.

The musical keyboard of a Steinway concert grand piano

Here’s the connection. The height of the Great Pyramid is 275 cubits. Neolithic builders freely multiplied and divided by 10’s. This is because 10 ten was considered a synthetic number in antiquity. Reason: It totaled any two opposite numbers on the 3 x 3 number square. Diagram is below.  4 + 6 = 10. Or, 9 + 1 = 10. Etc. We now have the following:
1.  The note A,  underneath Steinway’s name, vibrates 440/per second.
2. The lowest note on the piano, also an “A” vibrates 27.5 /second.
3. The length of any side of the square base on the pyramid is 440 cubits.
4. The height of the truncated Great Pyramid of Egypt is 275 cubits

Triple Grand Unity of Chemistry, Geometry and Number Squares

Triple Grand Unity of Chemistry of Geometry and Number Squares. They are also called magical number squares. It’s time to regain contact with mankind’s past. Magic number squares date back to prehistoric times. Wikipedia’s definition of the square is as follows:  In recreational mathematics, a magic square[1] is a {\displaystyle n\times n} square grid (where {\displaystyle n} is the number of cells on each side) filled with distinct positive integers in the range {\displaystyle 1,2,…,n^{2}} such that each cell contains a different integer and the sum of the integers in each row, column and diagonal is equal.[2] The sum is called the magic constant or magic sum of the magic square. A square grid with {\displaystyle n} cells on each side is said to have order n.

First note the vertical pattern of numbers on the periodic chart:

• Lithium (atomic number 3) minus a hydrogen atom (atomic number 1) = 2.
• Sodium (atomic number 11 under lithium)  minus the 3 = 8.
• Potassium (atomic number 19 under sodium) minus the 11 = 8.
• Rubidium (atomic number 37 under potassium) minus the 19 = 18
• Cesium (atomic number 55 under Rubidium) minus the  37 = 18
• Francium (atomic number 87 under Cesium) minus the 55 = 32.

Here’s the Triple Grand Unity of the Neolithic Times

Now, let ‘s look at the grid lines of the 3 x 3 number square. It is pictured just under the excerpt from the periodic chart above. . Only number 2 is found directly. Numbers 8, 18 and 32 come as square roots of whole line segments of the grid. Here’s how it works:

• A to F (on the dotted line segment on the left side. Any side will due, of course.) = 2
• The diagonal from points “A” to “E” (where the two dark lines meet at right angles) equals √8.
• Line BD (the entire diagonal of the complete square) equals √18
• Finally triangle ABD or CBD equals √32.

The numbers of the magic square  and the periodic chart  are the same:  2.8.18 and 32. A number of my blogs are about how number squares mathematically display elemental properties. Was this knowledge known to the Neolithic cultures that used number squares? Was there an advanced civilization at one time in the distant past that was destroyed? Possibilities are many. More blogs in the future will deal with this.

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Musical Backbone of the Cosmos is a Number Square

Musical Backbone of the Cosmos is a Number Square.Musical unity of the cosmos issues forth from the 3 x 3 number square. Notice that 8 boxes surround the central box in the featured picture. Be it ancient or modern, the number 5 is the crux of tones or key signatures:

• In antiquity 8 the tones of the scale were derived from a series of ascending  fifths. For example, “C” to “G” or “G” to “D”.
• In modern times (today) key signatures are derived from a circle of 5ths. In music theory, the circle of fifths (or circle of fourths when approached backwards) is the relationship among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys. More specifically, it is a geometrical representation of relationships among the 12 pitch classes of the chromatic scale in pitch class space. *On ascending 5 tones to a new key signature, a new sharp is added that is 5 tones higher than the previous sharp. For example, G major has one sharp. It is an F#. D major has 2 sharps. It maintains the F# from the key of “G”.  D major adds new C#. Note: F#,G,A,B,C#.  Counting “F”, then  “C” is 5 letter names higher.

Musical Backbone Set in the 3 x 3 Grid

Music comes in 8 bar segments. In the same way, on the featured picture boxes and their numbers, they are paired by opposites. For example, any boxed number and its opposite boxed number always totals ten. This includes 2 + 8. Or, 3 + 7, etc. Two paired boxes total 8 lines. This is at 4 lines per box.

• In music the first 4 bars are called antecedent
• The second 4 bars are called consequent

A complete musical song form typically uses 32 bars segments.  These are described by AABA. Each letter (A or B)represents 8 bars of music. Likewise, 8 boxes are encompassed by the circle on the featured picture. That makes for 32 lines: 4 (lines per square) x 8 squares = 32 lines.

Here is one for those who believe this blog is simply a “slight of hand.” Go around the perimeter. That is, the numbers surrounding the central “5”. Use two numbers at the time in either direction as follows. You get the same total. Here is the clockwise direction. 49 + 92 + 27 + 76 + 61 + 18 + 83 + 34 = 440. The ancients tuned to A-440. We tune to A-440.

Conclusion

A number of blogs on DSOworks  show the unity of the arts and sciences.  They demonstrate how this is effected  through the above featured number square. We know the way to peace. Why not follow the road signs? It’s that easy.

Neolithic Periodic Chart is Number Squares, Here’s How

Neolithic Periodic Chart is Number Squares. Do number squares point to the existence of a super advanced civilization? Did Atlantis once exist? Was this knowledge destroyed whe the library at Alexandria was burned down? Anyone with a mathematical mind should say yes to all the above. Study the two number squares of the featured picture. Each of the number squares had a planetary association.

• The charactertistic number is what any two opposite numbers total. Any two opposite numbers on the 9 x9 square above total 82. This number number square of the Moon defines the atomic number of the ash of nuclear fission. That is lead-82.
• The characteristic number on the 5 x 5 number square is 26. Iron has a 26 atomic number. Iron defines the limits of nuclear fusion on stars. When enough iron is fused at the core of a star, the star explodes.  That is what creates the heavier elements.

These numbers (26 and 82) point out a relation of fission to fusion. It does so as the ratio of a circle to a diameter. The number π is a mathematical constant, the ratio of a circle‘s circumference to its diameter, commonly approximated as 3.14159. It has been represented by the Greek letter “π” since the mid-18th century, though it is also sometimes spelled out as “pi” (/p/).

The circumference of a circle is slightly more than three times as long as its diameter. The exact ratio is called π.  π is commonly defined as the ratio of a circle‘s circumference C to its diameter d:[8]
Let’s look once more at the two characteristic numbers. 1st on the 9 x 9 we have 82. Then on the 5 x 5 we have 26. Next, 82÷26 = 3.1538461…Using number squares, this becomes a close approximation of pi. Pi = 3.14159…What is even more remarkable is how the 3 x 3 number square ties into the formula. Look at the middle vertical column.
• The top number is 9. When squared, it becomes the basis of the 9 x 9 square.
• Just underneath we have the central 5. It becomes the basis of the 5 x 5 square.
• The 1 represents the atomic number of hydrogen.  Number one  is unchageable by squaring. It is the the basic building block of all the elements. The central  9-5-1 column of the 3 x 3 number square is animated in the fisssion-fusion process by their squares.  Ancients knew this. It’s about time we did.

Greco-Hebraic Bond by Number 3168

Greco-Hebraic Bond by Number 3168. This “3168” figure is virtually ubiquitous throughout the ancient world. John Michell discusses 3168 in City of Revelation. Chapter VII is entitled: 3168, the Perimeter of the Temple.  He also discusses how the number ties into measurement. Here is a brief excerpt.

• 31,680 inches = ½ mile.
• 31,680 feet = 6 miles
• 31,680 furlongs (660 feet) = radius of the Earth (3,960 miles).
• By an ancient science called gematria, the Greeks equated 3168 with “Lord Jesus Christ.” See City of Revelation p.82. This is found in the ancient Greek practice of equating numbers and letters called gematria. Hebrew does the same. So do many ancient languages.

Greco-Hebraic Bond is Quite Unique

In my featured picture above we have the blueprint and numbers of “the ancient temple plan.” Here we find the Greco-Hebraic bond. This is a source of ancient building. The idea was to draw on the numbers of this blueprint. Whatever units of measure you used didn’t matter. The idea was to draw on the numbers. It could be numbers in shorter Egyptian cubits (1.718 feet) , Palestinian cubits (2.107 feet) , English yards (3 feet) or even megalithic yards (2.72 feet).  Please notice the outer hexagon  numbers 528 on each side. Multiply number 528 by the 6 sides of the hexagon and we have: 528 x 6 = 3168.

You are probably wondering how or where I discovered this ancient temple plan. I found it on beautiful Oquaga Lake. While I was hiking, the Oquaga Spirit offered me the vision in the featured blog picture. This spirit has became a part of my life. This is true even when I am away from Oquaga Lake. I’ve memorized every poem this spirit has dictated. I recite the poems to myself daily. The result was the poetry book entitled, The Oquaga Spirit Speaks. From the Greco-Hebraic bond to wisdom about number squares, the spirit freely offered knowledge to me. In turn I am sharing her knowledge with you.

Fourfold Celebration While You’re on the Subject

Fourfold Celebration While You’re on the Subject. Why fourfold? The answer goes back to at least Mesolithic times. That is, 9,000 B.C. Number squares were at the basis of ancient cultures. The 1st possible odd number  square is 3 x 3. It has one number at its center. Then comes 4 x 4. It has 4 numbers at its center.Below are the classic outlays of these number squares.

Genesis 1:1  is based on these 2 number squares. God described everyday of creation in the Torah as “good”. In Hebrew the  letters double as numbers.  An example: There was no separate “A” and #1. The Hebrew “aleph”  “אָ”,was both “A” and #1. In this manner, the  word for good, Tov, totals 17. Look up the Greek word, gematria. It defines the common  shared symbols by number and letter.  In Genesis everyday of creation is  described “Tov”.  (good), טוֹב.  it is formed by the math 4 x 4 number square.  Any row of 4 numbers totals 17. Also:

• All potentialities for creation lie at the 4 fold core of this number square;
• The numbers 1 to 16 total 136. Add them one after the other.
• Now look at the square’s 4 central  numbers. Cross multiply each set. Then add them. As-  (10 x 7)  +  (6 x 11) = 136.

Next consideration.  The he 3 x 3 number square defines limits. It confines as it is, at least on appearance, the smallest number square.  On the last day of creation, God used the adjective “very” with the word, good.

“טוֹב “מְאֹד, “Very” has a 45 gematria.

Genesis I: 31 And God saw every thing that He had made, and, behold, it was very good. And there was evening and there was morning, the sixth day. Very “מְאֹד” in Hebrew has a 45 gematria. The numbers 1- 9  total 45. It defines the 1-9 square of three. God limits by this number square. Fourfold blossoms into full potential. The 3 x 3 number square is the smallest. When creation is finished, God draws on the 3 x 3. It limits. Thus, the final day is described as: טוֹב מְאֹד. “Very good.” He created, but he also stopped.

The Fourfold Celebration of Black Elk

Fourfold is at the basis of the vision of Black Elk. We find another fourfold celebration, He was from the Sioux Oglala tribe. Here is a small excerpt from one of my earlier blogs. For the full story click on the blue heading.

Black Elk of the Sioux

Black Elk was a medicine man for the Oglala Sioux Indians. He related his story to John Neihardt.  In 1932 Neikhart published Black Elk Speaks: This is an excerpt. “Younger brother,” he said, “with the powers of the four quarters you shall walk”… (quote from an ancient grandfather speaking to Black Elk  in Chapter 3 of Black Elk Speaks). Never overlook the wisdom of our own American Indians.

Music Lightens so Whistle While You Work

Music Lightens so Whistle While You Work. “Whistle While You Work” is a song with music written by Frank Churchill and lyrics written by Larry Morey for the 1937 animated Disney film Snow White and the Seven Dwarfs.

 In the featured picture we have L. to R. : Ann Rutherford, Red Skelton, and Diana Lewis in the film Whistling in Dixie (1942)

Here’s How Music Lightens in “Whistle While You Work”. The lyrics by Larry Morey say it all!

Just whistle while you work
And cheerfully together we can tidy up the place
So hum a merry tune
It won’t take long when there’s a song to help you set the pace
And as you sweep the room
Imagine that the broom is someone that you love
And soon you’ll find you’re dancing to the tune
(Spoken: Oh, no, no, no, no! Put them in the tub)
When hearts are high the time will fly so whistle while you work.

In the year 2017 I often ask, where did whistling go? It was commonplace in the 1950’s. After, it seemingly dropped off the face of the Earth. So many people are now facing difficult times. Expenses are exceeding income. We need relief. Melodic music and whistling can offer that. In the 1950’s whistling annoyed me. Now I am thrilled when I hear someone whistling. I am a pianist by trade. Saturday night I was playing at the Gasparilla Inn. My selection was the Sound of Music. I was playing the Lou Singer arrangement. Suddenly, one of the customers started whistling. I couldn’t have been happier. My attitude had dramatically changed. I doubled up on my musical expression. .

The proof of the pudding is in the tasting. Sample my compositions at this special event:

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