Sent: 26/09/2015 22:03

Message 3 of 3 on the subject

Sent: 26/09/2015 22:20

The Great Serpent Mound

Serpent Mound is a prehistoric effigy mound located in Adams County, Ohio --

Like certain sites in the Yucatan, the area was formed by a meteorite impact millions of years ago.

In a portion of his book, The Mystery of the Serpent Mound: In Search of the Alphabet of the Gods, Ross Hamilton pointed out that the geometry of the effigy -- incredibly -- demonstrates the Pythagorean Theorem. The ancient theorem states that the square of the length of the hypotenuse (long side) of a right triangle is equal to the sum of the squares of those of the other two other sides. The formula can be written --

a^2 + b^2 = c^2

Interestingly, Pythagoras was named after the great Python serpent at Delphi by the Oracle.

The Oracle at Delphi
(note the Python serpent)

Ross did not mention it, but it is also interesting that the 153 Fish in the Net story, in pre-Christian times, was associated with Apollo's Oracle at Delphi. This is part of the related Greek Gematria --

Delphi 619 + Omphalos 911 = 1530

According to Ross, the triangle indicated in Serpent Mound is based on the 6-8-10 triangle --

6^2 + 8^2 = 10^2
36 + 64 = 100

The numbers are associated with Roman figures, and their Magic Squares. The numbers 6 and 36 (6 x 6) are related to the Sun. The numbers 8 and 64 (8 x 8) are related to Mercury. The numbers 10 and 100 (10 x 10) are related to the Earth.

The actual measurements of Serpent Mound are 34 times the numbers in the basic formula --

204^2 + 272^2 = 340^2

The same numbers added give -- 204 + 272 + 340 = 816. The number 816, divided by 34 is 136, which is related to the Magic Square of Jupiter, a 4 x 4 gird, where the 16 numbers add to 136. Each row, column and diagonal adding to 34. The numbers are also associated with the Tree of Life --

The Sun on the above list is related to Helios. I believe it could also be related to Apollo, who was considered a sun god, or the Sun behind the sun.

The number 34 is, of course, twice 17, and, remember, the numbers 1 through 17 add to 153.

The number 272 is a harmonic of the Megalithic Yard of 2.72 feet. This numbers is thought by some to be related to the mathematical constant 'e' -- the base of the natural system of logarithms, 2.718282.

The same type of numbers appeared in the Milk Hill Mega Glyph crop circle formation of 2001 --

It appeared around August 13, 2001, a few weeks prior to the terrorist attacks of September 11, 2001. The formation was composed of 409 circles. Significantly, it is patterned after the Seed of Life, in a form related to ancient sun symbols. Each of the six segments had 13 major circles and 55 smaller circles. The total circles in each segment are multiples of 17 -

Mega Glyph Numbers

Row	Large circles	Small circles	Total Circles	Divided by 17
1	13	55	68	4
2	26	110	136	8
3	39	165	204	12
4	52	220	272	16
5	65	275	340	20
6	78	330	408	24

Add the central 72 foot circle to
408 to arrive at the total of 409.

Note that the numbers from the Serpent Mound triangle appear in the table -- 204, 272, and 340. The total of all the circles except the center circle amount to 408, which is half 816.

Norma Smith decoded the 409 circles of the Milk Hill Mega Glyph as relating to the English alphanumerics of the seven colors of the spectrum as --

RED	ORANGE	YELLOW	GREEN	BLUE	INDIGO	VIOLET	TOTAL
27	60	92	49	40	58	83	409
Chakra 1	Chakra 2	Chakra 3	Chakra 4	Chakra 5	Chakra 6	Chakra 7	..
4 petals	6 petals	10 petals	12 petals	16 petals	2 petals	972*	50 + 972

These are also the colors associated with the seven chakras, in the order of chakra one through chakra seven, from left to right. "Green = 49" is the fourth-Heart chakra. This is figured as A=1, B=2, etc. The * is placed beside the 972 to note that the number is not accepted by everyone. Perhaps the most common number given for the seventh chakra is 1000 petals. The 972 figure is given here, based on the information in our 1997 article:

Crop Circle Formations As Chakras

In 2004, the chakra message seemed to be confirmed when the "Chakra System "Crop Circle Formation appeared --

http://www.greatdreams.com/crop/chksys/chksys.htm

http://www.greatdreams.com/radio/oz/ozradio.htm

Message 181 of 181 on the subject

From: BARILOCHENSE6999

Sent: 01/10/2015 23:25

The New Jerusalem Decagon

Professor D.G. Leahy discovered a "hidden circle" (the green circle) within the New Jerusalem pattern --

It is effectively the value of the diameter (= 11) of the decagon formed by the double helix structure of the DNA molecule, which decagon is visible in the top-down view of the molecule. See --

DNA, APOCALYPSE, & THE END OF THE MYSTERY

The New Jerusalem plan is based on Revelation 21, and indicates the order of the heavens made apparent on earth.

Numbers that relate to the diagram include 7920 (Earth diameter), and 5040 (radius of the Earth plus the radius of the moon 3960 + 1080). Remember, the base ten harmonics of the first two numbers (792 and 504) were revealed in the Crooked Soley DNA crop circle formation (792 + 504 = 1296).

The sub-lunar distance around the New Jerusalem is figured (using Pyramid Pi 22/7) --

(2 x 22/7) x 5040 = 31680

This is represented by the circle just inside the green circle above, which passes through the center of the twelve "Moon" circles.

Another interesting calculation is the distance across the New Jerusalem, figured as --

Moon diameter + Earth diameter + Moon diameter
2160 + 7920 + 2160 = 12240

The number 12240 is part of the 153 Fish in the Net story --

153 x 80 = 12240

http://www.greatdreams.com/radio/oz/ozradio.htm

Centered octagonal number

From Wikipedia, the free encyclopedia

Jump to: navigation, search

A centered octagonal number is a centered figurate number that represents an octagon with a dot in the center and all other dots surrounding the center dot in successive octagonal layers.^[1] The centered octagonal numbers are the same as the odd square numbers.^[2] Thus, the nth centered octagonal number is given by the formula

(2n-1)^2 = 4n^2-4n+1.

The first few centered octagonal numbers are^[2]

1, 9, 25, 49, 81, 121, 169, 225, 289, 361, 441, 529, 625, 729, 841, 961, 1089.

Calculating Ramanujan's tau function on a centered octagonal number yields an odd number, whereas for any other number the function yields an even number.^[2]

References[edit]

Jump up ^ Teo, Boon K.; Sloane, N. J. A. (1985), "Magic numbers in polygonal and polyhedral clusters" (PDF), Inorganic Chemistry 24: 4545–4558, doi:10.1021/ic00220a025 .
^ Jump up to: ^a ^b ^c "Sloane's A016754 : Odd squares: (2n+1)^2. Also centered octagonal numbers.", The On-Line Encyclopedia of Integer Sequences. OEIS Foundation.

https://en.wikipedia.org/wiki/Centered_octagonal_number

From Wikipedia, the free encyclopedia

Jump to: navigation, search

(2n-1)^2 = 4n^2-4n+1.

The first few centered octagonal numbers are^[2]

1, 9, 25, 49, 81, 121, 169, 225, 289, 361, 441, 529, 625, 729, 841, 961, 1089.

Calculating Ramanujan's tau function on a centered octagonal number yields an odd number, whereas for any other number the function yields an even number.^[2]

References[edit]

Jump up ^ Teo, Boon K.; Sloane, N. J. A. (1985), "Magic numbers in polygonal and polyhedral clusters" (PDF), Inorganic Chemistry 24: 4545–4558, doi:10.1021/ic00220a025 .
^ Jump up to: ^a ^b ^c "Sloane's A016754 : Odd squares: (2n+1)^2. Also centered octagonal numbers.", The On-Line Encyclopedia of Integer Sequences. OEIS Foundation.

https://en.wikipedia.org/wiki/Centered_octagonal_number

The New Jerusalem Diagram – Introduction

“The New Jerusalem Diagram” is the name given by the scholar of ancient lore, John Michell [The original explanations in John Michell's books, especially "The Dimensions of Paradise", Thames and Hudson, 1986] to a geometrical construction that allows the “squaring of the circle” and the division of the circle to 28 equal sectors (a zodiac wheel) and the ceremonial positioning of the twelve tribes (or constellations) in a pattern of four camps at the four sides of the square.

John Michell has reconstructed the geometric pattern of the ‘heavenly city’ which is the template of the New Jerusalem of Revelation 21.

He discovered that this diagram served as the design (blueprint) for many sacred sites, including the Stonehenge, The Great Pyramid, St. Mary’s Chapel at Glastonbury and the City of Magnesia in Plato’s The Laws.

The Great Pyramid, Earth and Moon fit the New Jerusalem Diagram

It turns out that also the Nazca glyph called “Mandala” aka “Sun-Star-Cross” perfectly matches the New Jerusalem Diagram.

Superimposed image of NJ Diagram and Mandala glyph near Nazca, Peru

It is no surprise that the NJ diagram matches blueprint for the The Dome of the Rock, a shrine located on the Temple Mount in the Old City of Jerusalem.

The wheel of 28 divisions is common to various esoteric systems and serves as representation for the schematic month: 4 weeks = 28 days. The solar calendar of the Dead Sea scrolls sect was of 364 days, which is a multiple of 28 ( 28×13 = 364). In many Sufi diagrams, including in the ceiling of the dome at the El-Aqsa Mosque* (not the Dome of the Rock) at the Temple Mount, there appears the motif of the wheel made of 28 divisions.

Al-Aqsa. The resplendent ceiling of the Al-Aqsa Mosque on the Temple Mount in Jerusalem. The mosque, one of Islam’s most holy sites, sits near the Dome of the Rock and above the Marwani Mosque, aka Solomon’s Stables.
Image Source/Credit.

The NJ diagram is also hinted and enfolded (according to Micheell), in the description of the holy city, The New Jerusalem, whose descent from heaven concludes the Christian Bible.

Below we present 3-D version of the New Jerusalem Diagram.

Is it possible the 3D NJ diagram was used as a blueprint for the Crown Jewels?… Perhaps this is a case of a “secret hidden in plain site”?

The collective term Crown Jewels denotes the regalia and vestments worn by the sovereign of the United Kingdom during the coronation ceremony and at other state functions. The term refers to the following objects: the crowns, sceptres (with either the cross or the dove), orbs, swords, rings, spurs, colobium sindonis, dalmatic, armill, and the royal robe or pall, as well as several other objects connected with the ceremony itself. The Crown Jewels have a religious and sacral connotation. Their hidden symbolism seems to be related to the sacred geometry of the New Jerusalem Diagram.

The Construction of the New Jerusalem Diagram

The construction of this diagram starts with the attempt to “square the circle” by drawing a circle and a square that have the same circumference.

So in building this sacred diagram, one starts with a circle with a diameter of 22 units, and blocks it with a square of 22 x 22 units (like the number of the Hebrew letters, with which supposedly “heaven and earth were made”).
Then one draws from the same centre an additional circle whose diameter is 28 units – “the perfect number” that is already the number of the letters in the first verse of genesis and marks the circle of the seasons. The circle with diameter 28 has circumference of Pi x 28, which is as noted 22/7 x 28 = 88 – just the circumference of the square with edges of 22 and circumference thus 2 x 22 = 88.

The circle and the square have the same circumference, and they intersect in 8 points, where the square juts out of the circle in 4 vertices.

The building of the complete pattern continues with the drawing of 12 circles with diameter of 6 units – the number of letters in the first word of Genesis – Bereshit – as the first “perfect number”. The centers of these twelve circles are situated on the outer big circle, whose diameter is 28, and they touch (are tangent to) the inner circle, whose diameter is 22. Four of these circles are situated according to the points were the square is tangent to the inner circle, and the other 8 circles are placed according to the 8 points of intersection between the square and the outer circle.

There are two amazing consequences of this construction:

This construction squares the circle
It divides the circle into 28 equal segments
It reflects ratio 22:7 which is good approximation of the “Pi”
It reflects golden ratio 1.618
It reflects the ratio of 22:6, which issues theoretical-geometrical considerations is also the exact real ratio between the diameter of the earth and the diameter of the moon!

There are many more features of the NJ diagram which will be presented in our upcoming articles (e.g. amazing connection with Teotihuacan).

love how you keep track of time, papillonSS.

that is an 'excellent connection' you made there re: 11, 2, 5, 8 and my avatar and to my excellent adventure.

As you illustrated in your sketch:
2, 5, 8, and 11 represent the shaded areas.
1, 4, 7, and 10 represent the light areas.
3, 6, 9, and 12 form a cross.

However the avatar has 8 sections or pieces of pie (each is 45 degrees, i.e. 360/8), the zodiac has 12 (each piece of the pie is 30 degrees, 360/12).
So there is an obvious overlapping of light/dark influences.

What can we learn if we superimpose the HOLY SPIRIT time clock over the 'Precession Zodiac time clock' that I claim my avatar is a representation of?

And the wings of the HOLY SPIRIT in the center of the clock that sits above the chair/throne of St. Peter ... hints at what time exactly?
Hard to tell the exact time.
What is clear however by both images is this...

The hands on the clock are pointing between 9 and 10 and 2 and 3.
A closer inspection reveals the Vatican clock has 72 increments.
http://saintpetersbasilica.org/Altar...SpiritDove.jpg
click to enlarge

And coincidentally in the Kabbalah mention is made of the 72 names of god.
Those are just a few of the coincidences.

Two dates are discussed re: bible origins, the beginning of time, biblical creation itself.
4000 BC and 5500 BC.
These two dates coincide with the Vatican clock that we see above St. Peter's chair.

4000 BC = Taurus (2 o'clock) as the vernal equinox.
5500 BC = Gemini (3 o'clock) as the vernal equinox.

5500 BC places the spring equinox in the 3rd sign of the zodiac, 'gemini'.
Now return to the Vatican time clock above the chair of St. Peter.
Count backwards or precess through the zodiac starting at around 3 o'clock.

The wings of the dove are indicating this cycle:

3 o'clock is gemini
2 o'clock is taurus
1 o'clock is aries
12 o'clock is pisces
11 o'clock is aquarius
10 o'clock is capricorn

Something to ponder.
What happened between the time in history when we believed ALL of the following and the narrative we follow today?

Quote:

Many theories have been presented concerning the symbolism of the Swastika, its relation to ancient deities and its representation of certain qualities. In the estimation of certain writers it has been respectively the emblem of Zeus, of Baal, of the sun, of the sun-god, of the sun-chariot of Agni the fire-god, of Indra the rain-god, of the sky, the sky-god, and finally the deity of all deities the great God, the Maker and Ruler of the Universe. It has also been held to symbolize light or the god of light, of the forked lightning, and of water. It is believed by some to have been the oldest Aryan symbol. In the estimation of others it represents Brahma, Vishnu, and Siva, Creator, Preserver, Destroyer.

It appears in the footprints of Buddha and on his chest and palm, and also on the chest of Apollo., engraved upon the solid rock on the mountains of India (fig.32). It stood for the Jupiter tonans and Pluvius of the Latins, and the Thor of the Scandinavians. In the latter case it has been considered- erroneously, however --a variety of the Thor hammer. In the opinion of at least one author it had an intimate relation to the Lotus sign of Egypt and Persia. Some authors have attributed a phallic meaning to it. Others have recognized it as representing the generative principle of mankind, making it the symbol of the female. Its appearance on the person of certain goddesses, Artemis, Hera, Demeter, Astarte, and the Chaldean Nana, the leaden goddess from Hissarlik (fig.125), has caused it to be claimed as a sign of fecundity.
http://www.northvegr.org/lore/swastika/005.php

And that is just the intro to this book.
WOW

There is much much evidence re: 'archetypal gods' that has been gathered.
Physical proof that ACTUALLY EXISTS of ancient archaic beliefs.
The evidence loudly suggests that the archetypal gods trump the Christian god(s), certainly regarding the historical time line, YES it is clear that the swastika begat the Christian, the Jew, the Muslim, nearly everybody in the northern hemispheres.

What is the name of the book that helps us join the dots and draw conclusions?
For those who want to know more about the origins of the swastika/jaina cross/the key to universal movement:
http://www.davidicke.com/forum/showp...6&postcount=13

And what do you want to know about the Jaina Cross?
Just more wow awaits those wishing to hear sounds of silence that speak to you.
http://kachina2012.wordpress.com/2009/02/01/830/

namaste

Raphael

Last edited by raphael; 25-10-2009 at 03:48 PM.

http://forum.davidicke.com/showthread.php?t=83136

24*7=168 (tiene el numero 16 y tambien el 8) ¿casualidad o causalidad?

24*18=432 (EL MONSTRUOSO NUMERO DE LA GALAXIA. NOTAMOS LA RELACION CON EL 18, OSEA LA PUERTA DEL SISTEMA SEXAGECIMAL EN EL MARCO AL NUMERO 36=18*2))

24*33=792 (RELACION CON EL DIAMETRO DE LA TIERRA=7920 MILLAS)

24*36=864 (EL NUMERO DE JERUSALEN) noten la relacion con el sistema sexagecimal.

24*132 (33*4)=3168 (GEMATRIA DE "NUESTRO SEÑOR JESUCRISTO")

St. Peter's Square beside the Anasazi Kiva circa 500 A.D.

St. Peter's Square's architecture was given credit to WHO?
WHO really controls the world?
WHO exactly!
Would 'WHO' (world health organization) be interested in your DNA, the tribe of DAN and the primal number 137?
...eh DanIEL or is it DNA137
...should we ask EzekIEL or RazIEL (who gave the book of law to Adam and Eve) why all their names end with an iel or IEL?

English means I read left >>> right...but IF somebody sitting OPPOSITE me who reads right >>> left saw me write IEL in the sand, they might say hey, what does I37 mean?

St. Peter's Square BEFORE the renovations
The Piazza as it was in 1630, painted by Viviano Codazzi

Quote:

The open space which lies before the basilica was redesigned by Gian Lorenzo Bernini from 1656 to 1667, under the direction of Pope Alexander VII, as an appropriate forecourt, designed "so that the greatest number of people could see the Pope give his blessing, either from the middle of the façade of the church or from a window in the Vatican Palace" (Norwich 1975 p 175). Bernini had been working on the interior of St. Peter's for decades; now he gave order to the space with his renowned colonnades, using the Tuscan form of Doric, the simplest order in the classical vocabulary, not to compete with the palace-like façade by Carlo Maderno, but he employed it on an unprecedented colossal scale to suit the space and evoke emotions of awe.

http://en.wikipedia.org/wiki/Saint_Peter's_Square

AWE that is too bad....
Because the VATICAN and its BS mixed message of LOVE is CLEARLY BUSTED.

It is TIME we turn the VATICAN into a spiritual/mystical/religious/sacred geoMEtry museum, and Christianity will be just ONE of the beliefs on display.

St. Peter's Square AFTER :twisted:

the conquest of the Americas starting in 1492....and the renovations which took '11' years starting in 1656.
HEY wake UP.
The spiritual THIEVES always put their stolen treasures on display, as a kind of bait to attract more followers....
Who has the MOST stolen Egyptian obelisks on display?

ROME is the answer, because they have a history of roaming around in your heARTS and MiNds, looking to make more lebensraum...

Holy-worlds, Holywood and Hollywood .... all are about market share and ratings. :lol:

Imagine the same folks (Vatican) who WIPED out millions of native north, central, and south 'amerindians' claiming that these lost souls were heathens needing to be saved, and then WOW this group of 'we the chosen', (judeao/christians) would later adopt the basic shape/form re: architecture of a sacred temple that the Anasazi had utilized, not to mention we can find the same shape in Peru in 3200 B.C.E.

Imagine ... much of what you see ... the plaza ... etc. took shape after the Vatican WIPED out the New World Inhabitants....

I found a couple more KEYHOLE DNA temples we can enter to heal ourselves.
Found in the Americas, among the two oldest archeological sites in the Americas.
Maybe the two oldest, at this time they are.

left: Caral 2900 B.C.E. and on the right: Bandurria 3200 B.C.E.

We see the same KEYHOLE image in this 'Apparition of the Holy Graal'
Note the 9 saints, 4 on the right and 5 on the left of the fella sitting on the Red Throne.

Funeral for Pope John Paul II beside an image of the Nazca Monkey geoglyph

We can find the same arrangement when they bury the Popes in St. Peter Square.
Note the Nazca Monkey (Peru) has 9 fingers, 4 on the right and 5 on the left.

Note the 4 boys seated on one side vs. 5 boys seated on the other.....
The casket containing the Pope is on a :lol:

PERSIAN rug...

WHY is the Pope's casket on a magic carpet?
Is it a magic flying carpet?
Is he going somewhere?
Dark side of the Moon perhaps?
:lol:

Actually I think the next step from the Persian Rug is onto the 'Lily white Lilith WHITE SHEET', and then onto the moon. :shock:

namaste

_________________
KEY 528=Swastika=ancient Spherical Standing Wave Theory
“A theory is more impressive the greater is the simplicity of its premise, the more different are the kinds of things it relates and the more extended its range of applicability…”
-Einstein

http://2012forum.com/forum/viewtopic.php?p=365163

So can we find the Holy Grail using the Drake Equation among other tools?
The above code that was dispatched into outer space, using binary code, reveals a powerful clue.
The analogy I want to make between the binary ARECIBO message/DNA/Vatican/Alchemy is quite profound.
IMHO

Many people, some are best selling authors, claim that we build earthly temples in an attempt to communicate with aliens or the gods.
Eric von Danikan is a fine example.

Carl Sagan/Frank Drake/Seti would be yet another manifestation of this ageless expression/attempt to commune with the divine?

I recently claimed a cure for CANCER could be found using the language of ARCHETYPE.
Is cancer in some way connected to the evolution of our DNA?
They have proved our DNA is altered on the altar called earth, from the time we are born till the day we die.
Heat, cold, radiation, light, darkness, SOUND, environmental toxins, and the ingestion of certain foods can ALL alter our DNA.
And THEY have known this for centuries.
Gregorian monks singing certain frequencies called Solfeggio is proof of such a truth that had been veiled.
The power of SOUND/frequency/vibration on the 'human condition'.

And ALL of the above are analogous to modern alchemy.
Alchemy comes in two primary flavors that address the two primary cosmos we inhabit, the microcosmos and the macrocosmos, dealing with the two realms we perceive.

Exoteric realm is where the alchemist would attempt to turn 'lead' into 'gold'.
Esoteric realm is more about turning 'spiritual lead' into 'spiritual gold'.

And in science, the quantum realm = microcosm and relativity is akin to the macrocosm.

Now here I present a UNIVERSAL archetype that we all USE, from cradle to grave.
The keypad...extensions of the tips of our fingers, each stroke a mirror image of a finger print.

The following 9 numbers that can be written horizontally:

1 2 3
4 5 6
7 8 9

OR vertically:

1 4 7
2 5 8
3 6 9

9 numbers that we can add, subtract, multiply, divide and perform magic with...business and phone communication would be LOST in SPACE without those 9 magical numbers that we can actually place into a 3 x 3 magic square called the Lo Shu.
And the Lo Shu forms part of the Chinese creation mythology.
Lo Shu = I Ching = 64 Hexagrams = 8 x 8 (magic square of the messenger Mercury) = 64 Codons of DNA

And the entire game takes place on an 8 x 8 chessboard.
And I believe the two players are dressed in RED and WHITE.
i.e. Just like in Egypt.
And the Egyptians understood archetype and alchemy.
Lower Egypt King wore the RED crown.
Upper Egypt King wore the WHITE crown.

People speak about being branded with the Mark of the Beast.
Can I suggest we all have already been branded, and perhaps our DNA is a fine representative of the brand?
Think about it.
We are told however that we can remove the brand or tattoo, but it will be a painful experience?

The evidence 'recovered from the mem', highly suggests that the Holy Grail is a chalice, a container, the cauldron, the alchemy veSSel...and the EARTH itself is such a vessel.
As is each of our bodies such a vessel.
So therefore, yes, Dan Brown was correct in the Da Vinci Code, suggesting the womb of Mary is also such an alchemy vessel.
Mary thus is a fine archetype that transcends the truth on many levels, not just one.

The solar system would qualify as an alchemy vessel too.

Quote:

The Klein Bottle/Mobius strip and Alchemy as archetypes of the Universe?
http://www.kleinbottle.net/Purcell/index.htm

Much of what I rite, rant, and rave about concerns the Reconciliation of Science and Religion, believe it or not...I am trying to bring folks together.

Religion represented by the Vatican, would be among those most privy to the secrets of the past, like a winning hand at Poker that they dealt themselves, a hand that they hold close to their bosom, what TRUTHs do they veil from us?

No matter, the evidence of crimes against humanity is still OBVIOUSly strewn about, and if you take the time to investigate all the coincidences, you soon realize that so many coincidences can only mean one thing.
Design.

We can find the archetypal TRUTH embedded right into the architecture of St. Peter's Square AND the Arceibo Message?

Science is also on the threshold of reaching their apex on the mountain of knowledge and aspirations, resembling a universal TRUTH.
And in 1974 Carl Sagan and others sent a message out into SPACE.
This binary message became known as the ARECIBO Message, because they used the Arceibo telescope in Puerto Rico.
Did ROME hear the message sent out into space looking for space invaders?
Is the Pope a space invader looking for 'lebensraum'?

Do all roads lead back to Rome?
But the nine numbers, (Pythagoras spoke of 9, the Egyptian hierarchy or Ennead were 9, the enneagram is 9, the 9 pointed star in the middle ages = holy spirit) AND ALL of the above can be expressed as combination of 1s and 0s.

1-9 using binary code can be reduced to combination of 1s and 0s.
In effect ALL we identify can be reduced to a binary code, so I am told.

I have isolated the image from the ARECIBO message that forms the part of the message used to illustrate the structure of human DNA using binary code.

i.e. DNA = double helix

ARECIBO message re: DOUBLE HELIX of DNA

So can we find the basic archetypal architecture of our DNA, expressed in binary code, sent out into SPACE in EARTHLY structures and temples? :idea:

BTW...The images that follow, can also be traced to the Kabbalah blah blah re: Tree of Life.
I give the approximate dates of 'construction' of this universal archetype, a TRUTH revealed that transcends all man made blah blah blah self serving BS.

St. Peter's Square Ellipse circa 15th century and onwards and the ARECIBO DOUBLE HELIX of DNA sequenced in 1974.

The UNIVERSE of the LAMAS (date unknown by me) and the ANASAZI KIVA circa AD 500.
Note: the ameri-Indian KIVA (found in the AREA now called 51 :shock:

, predates Vatican architecture by 1000 years!! and it has the VERTICAL BAR going up the center of the archetype.
AND this is important...OK?
One possible reason?

We see the VERTICAL BAR positioned within the GRAIL.

Representing the 4 nucleotides used in making DNA.
At the time the message was sent there were 4, however two more have since been discovered.

Can we introduce what influence the Siberian shaman may have had on eastern Europe?
ARKAIM Russia, known as the 'swastika city' circa 1500 BC, and on the right is the main ring found in MORAY Peru, Inca and pre-Columbian...BEFORE the New World was 'discovered'.

The evidence I present speaks a TRUTH.
It shows how we have equated our DNA with the TEMPLE.

And to think, that this symbol, the avatar I use, that I photographed in Peru in 2006, in a Roman Catholic monastery, would be the wake up call that I finally received, loud and clear.
It is the symbol that I followed back to Rome, Alchemy, NAZIs and the SWASTIKA.
And now the Holy Grail.
No wonder the 3rd and 4th Reichs can be associated with the Holy Roman Empires,
batman.

http://kachina2012.wordpress.com/2009/0 ... phany-101/

http://kachina2012.wordpress.com/2009/0 ... the-tarot/

Please note that the image directly below the image of DNA is the human.
Please note that the image of St. Peter's Sq. Ellipse accounts for this...opening or gateway, that does NOT :twisted:

appear in the other images....

The GRAIL has been identified.
The CODE has been broken folks.
All that remains is to fix humanity, in a big way.
:mrgreen:

oh yes, I almost forgot.
Tesla?
read the next post...

namaste

Raphael
_________________
KEY 528=Swastika=ancient Spherical Standing Wave Theory
“A theory is more impressive the greater is the simplicity of its premise, the more different are the kinds of things it relates and the more extended its range of applicability…”
-Einstein

http://2012forum.com/forum/viewtopic.php?f=15&t=13121

EL MISMO "CUBO MAGICO" ES UN HIPERCUBO (HAY UN CUBO MAS CHICO EN EL CENTRO DEL MISMO)

El término cuarta dimensión aparece en diversos contextos como la física, las matemáticas y la ciencia ficción. En cada contexto el significado es diferente:

En física, se hace referencia a la cuarta dimensión al hablar del tiempo, principalmente desde el planteamiento de la Teoría de la Relatividad.
En matemática, el concepto aparece asociado o bien a espacios euclídeos de más de tres dimensiones o, más generalmente, a espacios localmente euclídeos o 4-variedades diferenciables.

cuatro

Hipercubo de 4 dimensiones espaciales girando, tal como se vería proyectado en el espacio tridimensional.

El interés en las dimensiones más altas alcanzó su clímax entre 1870 y 1920.1 En esos años se convirtió en tema frecuente en la literatura fantástica, el arte e incluso algunas teorías científicas. La cuarta dimensión, entendida como dimensión espacial adicional (no como dimensión temporal, como en la teoría de la relatividad) apareció en las obras literarias de Oscar Wilde, Fiódor Dostoyevski, Marcel Proust, H. G. Wells y Joseph Conrad, inspiró algunas obras musicales de Alexander Scriabin, Edgar Varèse y George Antheil y algunas obras plásticas de Pablo Picasso y Marcel Duchamp influyendo en el desarrollo del cubismo. Incluso personajes tan diversos como el psicólogo William James, la escritora Gertrude Stein o el socialista revolucionario Vladimir Lenin se interesaron en el tema.

Igualmente los matemáticos habían estado interesados en el tema al tratar de generalizar los conceptos de la geometría euclídea tridimensional. El matemático Charles L. Dodgson, que enseñó en la Universidad de Oxford, deleitó a generaciones de escolares escribiendo libros, bajo el pseudónimo de Lewis Carroll, que incorporaban algunas ideas sobre la cuarta dimensión. Desde el punto de vista académico, el estudio general de la geometría de la cuarta dimensión en gran parte resultado de los trabajos de Bernhard Riemann. Charles Howard Hinton, matemático y escritor de ciencia ficción británico, acuñó muchos neologismos para describir elementos en la cuarta dimensión. De acuerdo con el Oxford English Dictionary, fue el primero en emplear la palabra tesseract en su libro Una nueva era del pensamiento. También inventó las palabras “kata” (del griego “abajo”) y “ana” (del griego “arriba”) para describir las dos direcciones opuestas en la cuarta dimensión, equivalentes a derecha-izquierda, arriba-abajo, y adelante-atrás.

Los trabajos matemáticos sobre geometrías multidimensionales y geometrías no euclídeas habían sido considerado por los físicos como simples abstracciones matemáticas hasta que Henri Poincaré probó que el grupo de transformaciones de Lorentz que dejaban invariantes las ecuaciones del electromagnetismo podían ser interpretadas como "rotaciones" en un espacio de cuatro dimensiones. Más tarde, los trabajos de Einstein y la interpretación geométrica de estos por parte de Hermann Minkowski llevaron a la aceptación de la cuarta dimensión como una descripción necesaria para explicar los hechos observados relacionados con el electromagnetismo. Sin embargo, aquí la "cuarta dimensión" no era un lugar separado del espacio tridimensional (como en varias de las obras de ficción de la época) ni tampoco una dimensión espacial análoga a las otras tres dimensiones espaciales, sino una dimensión temporal que sólo puede recorrerse hacia el futuro. En la teoría general de la relatividad el campo gravitatorio es explicado como un efecto geométrico de la curvatura de un espacio-tiempo de cuatro dimensiones.

Más tarde, la teoría de Kaluza-Klein propuso que no sólo el campo gravitatorio podía ser interpretado de forma más sencilla como curvatura de un "espacio" de más de tres dimensiones, sino que si se introducía una nueva dimensión espacial enrollada o «compactificada», también el campo electromagnético podía ser interpretado como un efecto geométrico de la curvatura de dimensiones superiores. Así, la Kaluza proponía una teoría de campo unificado del electromagnetismo y la gravedad en un espacio-tiempo de cinco dimensiones, con una dimensión temporal, tres dimensiones espaciales extendidas y una dimensión espacial «compactificada» adicional, que, debido a su condición de compactificada, no era directamente visible pero su efecto era perceptible en forma de campo electromagnético.

Un ángulo recto se describe como un cuarto de una revolución. La Geometría Cartesiana escoge direcciones ortogonales arbitrariamente a través del espacio, lo que significa que cada dirección está en ángulo recto con las demás. Las 3 dimensiones ortogonales del espacio se conocen como altitud, longitud y latitud. La Cuarta Dimensión por lo tanto es la dirección en el espacio con ángulo recto a las 3 direcciones observables.

Un vector espacial es un conjunto de vectores, los cuales podemos imaginarlos como flechas, que proviene de un simple lugar llamado origen (vectores geométricos), que apuntan a otros lugares.

Un punto es un objeto de cero dimensiones. No tiene extensión en el espacio ni propiedades, como una flecha pero sin longitud. Este vector es llamado el vector cero y es el más simple vector espacial.

Una línea es un objeto unidimensional. Si escogemos un cierto vector distinto a cero en una cierta dirección, este vector tiene cierta longitud definida. Ese vector tiene una cabeza en un cierto punto en espacio y una cola en el origen. Si pensamos en estirar que ese vector así sea dos veces su largo, tres veces, etcétera y uniformemente, tomando todas las longitudes posibles (incluso la longitud cero, conseguir el vector cero), conseguiremos una sola línea con una sola dimensión: La de la longitud. Todos los vectores que describen puntos en esta línea serían paralelos. Aunque para visualizar la línea es necesario que ésta tenga un ancho mínimo, sin embargo, una línea de 1D no la tendría.

Un plano es un objeto de dos dimensiones. Tiene longitud y anchura pero no profundidad - algo como una hoja de papel, o más exactamente algo como las imágenes en un televisor común. El pensamiento en un plano en términos de vectores puede ser un poco más desafiante. Si pensamos en tomar un vector y lo movemos de modo que su cola esté tocando la cabeza del primero y esté formando un vector con su cola en el origen y la cabeza en la cabeza del segundo vector colocado de nuevo, tenemos una manera razonable de hablar de vectores de adición. Si tenemos dos vectores que no sean paralelos, podemos hablar de todos los puntos que podemos alcanzar por o solamente el estirar o ningunos de los vectores, y, agregando estos vectores juntos, estos puntos forman un plano.

El espacio, como lo percibimos, es tridimensional. Podemos pensar en poner una línea junto con un plano. Estas líneas son como un emparedado. Para conseguir a un cierto punto en espacio, podemos imaginarnos el viajar encima de la línea y después el movernos a través del plano al punto. Entonces tenemos tres vectores a pensar alrededor, uno a viajar una cierta distancia encima de la línea y dos para conseguir a un cierto punto en espacio.

Para tres rectas ortogonales en el espacio tridimensional (x, y y z) existe una cuarta, normal al espacio, ortogonal a estas tres rectas, que forma un eje p. ej. w.

El producto vectorial es la determinante de una matriz 4×4, donde una de las filas (o columnas) son los vectores unitarios h, i, j y k y las demás (filas o columnas respectivamente) están formadas por las componentes de tres vectores cuadradimensionales cualesquiera, este producto nos dará un cuarto vector perpendicular a estos tres mismos.

La Geometría euclidiana prevé una mayor variedad de formas para existir que en tres dimensiones. Los poliedros tridimensionales son recintos espaciales hechos de caras de dos dimensiones conectadas, los policronos cuadridimensionales son recintos del espacio cuadridimensional hechos de poliedros tridimensionales. Donde en tres dimensiones, hay exactamente cinco poliedros regulares, o los sólidos platónicos, que pueden existir, seis policronos regulares existen en la cuarta dimensión. Cinco de los seis se pueden interpretar como extensiones naturales de los sólidos platónicos, así como el cubo, un sólido platónico, es una extensión del cuadrado de dos dimensiones. El pentachoron está hecho de 5 tetraedros para las caras y 10 caras triangulares, y es el análogo cuadridimensional del tetraedro. El teseracto, o el hipercubo, se compone de 8 caras cúbicas y de 24 cuadrados, y es el politopo cuadridimensional medido. Los teseractos se doblan, la 16-celdas, son el equivalente del octaedro, pues son ambos politopos de cruz. Los politopos de 120 celdas y los de 600 celdas se doblan de igual modo, y son análogos al dodecaedro y al icosaedro, respectivamente. El de 24 celdas es un policrono regular único y que no tiene ningún equivalente tridimensional. Apenas pues la esfera, o 2-esfera, es una superficie de dos dimensiones curvada compuesta de todos los puntos equidistantes de un punto central dado, en un espacio tridimensional, la 3-esfera, una clase de hiperesfera, es el espacio que contiene todos los puntos equidistantes a un punto central dado, en un espacio cuadridimensional. Cada sección transversal tridimensional de un 3-esfera es un 2-esfera.

cuarta

La analogía dimensional se usa frecuentemente para comprender el salto de una dimensión (en este caso, la tercera dimensión) a una más alta (cuarta dimensión). La analogía dimensional consiste en resolver un problema en n + 1 dimensiones relacionándolo primero con un problema análogo de (n - 1) dimensión, vale decir, "una dimensión menos". E igualmente debe analizarse el caso de cómo se relaciona el problema en n con el de (n + 1) dimensiones, es decir, "una más".

Edwin Abbott Abbott en su libro Planilandia (Flatland) escribe sobre un "ser cuadrado" que vive en un mundo de dos dimensiones, como la superficie de un pedazo de papel. Este "cuadrado" se enfrenta a experimentos de un ser tridimensional. El ser tridimensional es percibido por el "cuadrado" como un ser aparentemente divino, ya que puede poner y quitar objetos de una caja fuerte sin romperla ni abrirla (moviéndolos a través de su tercera dimensión), ver todo desde de la perspectiva de dos dimensiones sea incluido detrás de las paredes (puesto que ve "sobre" Planilandia), y totalmente invisible para los habitantes de Planilandia, puesto que está "arriba" y una dimensión por arriba de las dos dimensiones en las que el cuadrado está atrapado. No obstante, el ser tridimensional podría manifestarse en el mundo de dos dimensiones, pero sólo parcialmente, si fuera una esfera, aparecería como una secuencia de círculos sucesivos "que cambian de tamaño" (intersecciones de la esfera con el plano de dos dimensiones). Aplicando analogía dimensional, uno puede deducir que el ser cuadridimensional sería capaz de hazañas similares de nuestra perspectiva tridimensional.

Rudy Rucker demuestra esto en su novela "Spaceland", en la cual el protagonista encuentra los seres cuadridimensionales que demuestran tales energías. Un uso útil de la analogía dimensional en visualizar la cuarta dimensión está en la proyección. Una proyección es una manera para representar un objeto (n+1)-dimensional en la n-dimensión. Por ejemplo, las pantallas de computadora son de dos dimensiones, y todas las fotografías de objetos tridimensionales son representadas en dos dimensiones puesto que la información de la tercera dimensión (o de la profundidad) no puede ser representada por la pantalla (si el observador se mueve, aleje o acerque, la imagen no cambiará). En este caso, la profundidad se quita y se substituye por la información indirecta. La retina del ojo es un arsenal de dos dimensiones de receptores pero puede permitir que el cerebro perciba la naturaleza de objetos tridimensionales usando la información indirecta (como la perspectiva, el sombreado, visión binocular, etc.).

La perspectiva del uso de los artistas da profundidad tridimensional a los cuadros de dos dimensiones. Asimismo, los objetos en la cuarta dimensión se pueden proyectar matemáticamente a las familiares tres dimensiones, donde pueden entonces ser examinados más convenientemente. En este caso, la "retina de un ojo cuadridimensional" tendría un arsenal de receptores tridimensionales. El ser hipotético con tal ojo percibiría la naturaleza de objetos cuadridimensionales usando la información indirecta contenida en las imágenes que recibe en su retina. La proyección de la perspectiva a partir de cuatro dimensiones produce efectos similares como en el caso tridimensional, tal como la perspectiva.

Esto agrega "profundidad cuadridimensional" a estos cuadros tridimensionales. La analogía dimensional también ayuda a entender tales proyecciones. Por ejemplo, los objetos de dos dimensiones son limitados por límites unidimensionales: un cuadrado es limitado por cuatro bordes o líneas. Los objetos tridimensionales son limitados por superficies de bidimensionales: un cubo es limitado por 6 cuadrados. Aplicando analogía dimensional, uno puede deducir que un cubo cuadridimensional, conocido como teseracto, es limitado por los volúmenes tridimensionales.

Y de hecho, éste es el caso matemáticamente: el teseracto es limitado por 8 cubos. Saber esto es indispensable para entender cómo interpretar una proyección tridimensional del teseracto. Los límites del teseracto proyectan a los volúmenes en la imagen, superficies no simplemente de dos dimensiones. Esto ayuda a entender las características de dichas dimensiones que de otra manera sólo confundirían. De igual manera, el concepto de sombras puede ayudarnos mejor a entender la teoría de cuatro dimensiones. Si usted proyectara una luz sobre objeto tridimensional, éste proyectaría una sombra de dos dimensiones. Por lo tanto la luz en un objeto de dos dimensiones echaría una sombra unidimensional (en un mundo de dos dimensiones), y la luz en un objeto unidimensional en un mundo unidimensional echaría una sombra cero-dimensional, es decir, un punto de la no-luz. Esta idea se puede utilizar en la otra dirección; la luz en un objeto cuadridimensional proyectaría una sombra tridimensional. Como ejemplo, la sombra de un cubo transparente, proyectaría una sombra sobre el papel, de dos cuadrados, unidos por sus vértices con 4 segmentos.

Semejantemente, si era un cubo cuadridimensional iluminado con luz de 4 dimensiones, su sombra sería la de un cubo tridimensional dentro de otro cubo tridimensional. Siendo tridimensionales podemos solamente ver el mundo con nuestros ojos en dos dimensiones; el ser cuadridimensional consideraría el mundo en tres. Así podría, por ejemplo, ver los seis lados de una caja opaca simultáneamente. No solamente eso; también podría ver lo que hay al interior de la caja, como en Planilandia, en donde la esfera ve objetos en el mundo de dos dimensiones y todo dentro de ellos simultáneamente. Análogo, un espectador cuadridimensional vería todos los puntos en nuestro espacio tridimensional simultáneamente, incluyendo la estructura interna de objetos sólidos y de cosas obscurecidos de nuestro punto de vista.

Albert Einstein en su célebre teoría de 1905 de la relatividad especial habló por primera vez del tiempo como una cuarta dimensión y como algo indispensable para ubicar un objeto en el espacio y en un momento determinado. El tiempo en la teoría de la relatividad no es una dimensión espacial más, ya que fijado un punto del espacio-tiempo éste puede ser no alcanzable desde nuestra posición actual, hecho que difiere de la concepción usual de dimensión espacial. Aunque inicialmente se interpretó el tiempo como una "dimensión" matemática necesaria para ubicar un evento u objeto, en la teoría de la relatividad general el tiempo es tratado como una dimensión geométrica más, aunque los objetos materiales no puedan seguir una trayectoria completamente arbitraria a lo largo del tiempo (como por ejemplo "dar la vuelta" y viajar al pasado). La necesidad del tiempo dentro de la teoría de la relatividad es necesaria por dos motivos:

En primer lugar, los objetos no sólo se mueven a través del espacio sino que también lo hacen a través del tiempo, es decir su coordenada temporal aumenta continuamente, por lo que hubo la necesidad de hablar del tiempo ligado al espacio como la cuarta dimensión (en inglés spacetime, en castellano espacio-tiempo). Además el ritmo de avance en la dimensión temporal depende del estado de movimiento del observador, produciéndose una dilatación temporal efectiva para los observadores más rápidos en relación al tiempo medido por un observador estacionario.
En segundo lugar, el carácter intrínseco del espacio-tiempo y su cuatridimensionalidad requiere un modo conceptualmente diferente de tratar la geometría del universo, puesto que una cuarta dimensión implica un espacio plano (bidimensional) que se curva en la teoría de la relatividad general por la acción de la gravedad de la materia originándose la curvatura del espacio-tiempo.
Finalmente cabe añadir que algunas teorías físicas como la teoría de Kaluza-Klein y las teoría de supercuerdas, en sus varias versiones, añaden a las tres dimensiones físicas espaciales entre 1 y 9 dimensiones espaciales adicionales, de tipo compacto; además de la dimensión temporal.

http://www.taringa.net/posts/info/18448000/Cuarta-dimension.html

2 AL CUBO=8

3 AL CUBO=27

4 AL CUBO=64

5 AL CUBO=125

5 AL CUBO-CUATRO AL CUBO=5*5*5-4*4*4=125-64=61 (EXAGONAL)

4 AL CUBO-TRES AL CUBO=4*4*4-3*3*3=37 ("LLAVE DE DAVID")

3 AL CUBO-DOS AL CUBO=3*3*3-2*2*2=19 (EXAGONAL)

2 AL CUBO-UNO AL CUBO=2*2*2-1*1*1=7 (EXAGONAL)

LAS MATEMATICAS SON EXACTAS

APARENTEMENTE, EN ESTE CONTEXTO, LA PUERTA DE LA "CUARTA DIMENCION", EN EL CONTEXTO A LA RELACION DE QUE EL EXAGONO, TAMBIEN ES UN CUBO, EL OCTOGONO, SERIA LA PUERTA DEL HIPERCUBO, OSEA, INSISTO, LA CUARTA DIMENCION.

LAS MATEMATICAS SERIA:

CONSIDERANDO TAMBIEN AL CERO, ES UNA REFERENCIA AL 16, CODIFICADO EN EL MISMO VATICANO, EN EL PLANETA VENUS, EN EL SISTEMA DIGITAL, ETC,ETC.

Centered octagonal number

See also[edit]

References[edit]

Centered octagonal number

See also[edit]

References[edit]

The New Jerusalem Diagram – Introduction

The Construction of the New Jerusalem Diagram

24 * 74 = 1776

24 * 36 = 864

24 * 33 = 792