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A MAZE IN ZAZAZA ENTER AZAZAZ AZAZAZAZAZAZAZZAZAZAZAZAZAZA ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ THE MAGICALALPHABET ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA 12345678910111213141516171819202122232425262625242322212019181716151413121110987654321
MARIO AND THE MAGICIANS THOMAS MANN 1875 - 1955 18 THE TABLES OF THE LAW Page 289 "...WITH A HANDFUL OF THESE SIGNS ALL THE WORDS OF ALL THE LANGUAGES OF ALL THE PEOPLE COULD, IF NEED BE, BE WRITTEN,..."
THE LIGHT IS RISING NOW RISING IS THE LIGHT ..... THE LIGHT IS RISING NOW RISING IS THE LIGHT
A HISTORY OF GOD Karen Armstrong 1993 The God of the Mystics Page 250 "Perhaps the most famous of the early Jewish mystical texts is the fifth century Sefer Yezirah (The Book of Creation). There is no attempt to describe the creative process realistically; the account is unashamedly symbolic and shows God creating the world by means of language as though he were writing a book. But language has been entirely transformed and the message of creation is no longer clear. Each letter of the Hebrew alphabet is given a numerical value; by combining the letters with the sacred numbers, rearranging them in endless configurations, the mystic weaned his mind away from the normal connotations of words." Page 250 THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY THE ACCOUNT IS UNASHAMEDLY SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE AS THOUGH HE WERE WRITING A BOOK. BUT LANGUAGE HAS BEEN ENTIRELY TRANSFORMED AND THE MESSAGE OF CREATION IS NO LONGER CLEAR EACH LETTER OF THE HEBREW ALPHABET IS GIVEN A NUMERICAL VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS REARRANGING THEM IN ENDLESS CONFIGURATIONS THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS
THE LIGHT IS RISING NOW RISING IS THE LIGHT
....
LIGHT AND LIFE Lars Olof Bjorn 1976 Page 197 "By writing the 26 letters of the alphabet in a certain order one may put down almost any message (this book 'is written with the same letters' as the Encyclopaedia Britannica and Winnie the Pooh, only the order of the letters differs). In the same way Nature is able to convey with her language how a cell and a whole organism is to be constructed and how it is to function. Nature has succeeded better than we humans; for the genetic code there is only one universal language which is the same in a man, a bean plant and a bacterium." "BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER ONE MAY PUT DOWN ALMOST ANY MESSAGE"
"FOR THE GENETIC CODE THERE IS ONLY ONE UNIVERSAL LANGUAGE"
DNA AND DNA DNA AND DNA DNA AND DNA
DNA AND DNA DNA AND DNA DNA AND DNA
THE JESUS MYSTERIES Timothy Freke & Peter Gandy 1999 Page 177 THE GOSPELS ARE ACTUALLY ANONYMOUS WORKS, IN WHICH EVERYTHING WITHOUT EXCEPTION, IS WRITTEN IN CAPITAL LETTERS, WITH NO PUNCTUATION OR SPACES BETWEEN WORDS.
CITY OF REVELATION John Michell 1972 "The great alchemists, whose ultimate aspiration was to procure the birth of a divinity among men found it necessary first to invoke within themselves the spirit they wished to share with others. In the same tradition Plato wrote that the man who aquires the art of stereometry, the likening of unlike things which is function of the canon, sanctifies not only himself but also the city and the age in which he lives. The thought behind these various expressions was that the state of a society is determined by the individuals who comprise it; that the cosmic influences are manifest on earth through the medium of the human mind, and this is the instrument by which they may be controlled and held in balance. For the instument to be effective, it requires that the individual become aware of the current influences to which he is subject, and to this end the canon was devised; for by analogy with the dynamics of geometrical and numerological relationships, the world of phenomena is revealed as the product of archetyple forces, whose behaviour in any circumstances is predicatable once the nature is understood." "the art of stereometry, the likening of unlike things"
THE ART OF STEREOMETRY THE LIKENING OF UNLIKE THINGS
THE ART OF STEREOMETRY
THE LIKENING OF UNLIKE THINGS
THIS IS THE SCENE OF THE SCENE UNSEEN THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE
HOLY BIBLE REVELATION C 13 V 16 13 I am Alpha and Omega, the beginning and the end, the first and the last. 16 I Jesus have sent mine angel to testify unto you these things in the churches. I am the root and the offspring of David, and the bright and morning star.
HOLY BIBLE REVELATION C 13 V 16 I AM ALPHA AND OMEGA THE BEGINNING AND THE END THE FIRST AND THE LAST I AM THE ROOT AND OFF SPRING OF DAVID AND THE BRIGHT AND MORNING STAR
THE DIVINE COMEDY OF DANTE ALIGHIERI (1265-1321) THE FLORENTINE CANTICA I HELL (L'INFERNO) INTRODUCTION Page 9 "Midway this way of life we're bound upon I woke to find myself in a dark wood, Where the right road was wholly lost and gone."
THE DIVINE COMEDY OF DANTE ALIGHIERI (1265-1321) THE FLORENTINE CANTICA I HELL (L'INFERNO) INTRODUCTION Page 9 "Power failed high fantasy here; yet, swift to move Even as a wheel moves equal, free from jars, Already my heart and will were wheeled by love, The Love that moves the sun and other stars."
www.independent.co.uk › News › Environment › Nature? 5 Jan 2013 - Mysteries of the snowflake: The curious world of the ice-crystal experts ... The ice crystals, nestling in the ice clouds as unborn snowflakes, ...
Wednesday 11 September 2013 Mysteries of the snowflake: The curious world of the ice-crystal experts. Everybody loves snow, right? But not many of us are obsessed, like the scientists who study these icy enigmas. Nicola Gill enters the curious world of 'dendrites' and 'plates' Dr Chris Westbrook works in deepest Hampshire at the Chilbolton Observatory, home to the world’s largest steerable radar dish, at a whopping 25 metres across. Inside his laboratory, lights blink and instruments receive continuous feedback from the giant dish pointed skywards and looming ever-present outside the window. But even on the hottest summer day, while the other denizens of Chilbolton parish are enjoying Pimm’s on their sun-loungers, Dr Westbrook is buried deep in snowflakes. “The radar dish sends out microwave pulses into ice clouds high up in the atmosphere where the temperature is always well below freezing – whatever it is down here,” he says. The ice crystals, nestling in the ice clouds as unborn snowflakes, bounce those microwaves back and the echoes which return are pored over and analysed by Dr Westbrook and his team. “"We have the most sensitive equipment for studying ice clouds in the world," he says. Westbrook is one of just a tiny handful of snowflake researchers in the world, a group of obsessives who live and breathe snow – fixated on chasing the perfect flake and understanding exactly which weather conditions will produce the many different formations. “It may seem slightly odd that I’ve devoted myself to studying snowflakes when the UK isn’t renowned as an especially snowy place,” he continues, “but, in fact, the vast majority of precipitation in this country starts as snow, which melts high above us and then falls as rain, which we certainly do have a lot of. So if you want to predict precipitation you need to study snow and how it forms.” So far, so dispassionate; ask Dr Westbrook if he likes making snowmen and he rather frostily replies that he’s as keen as the next man (“but I have a degree in physics and electrical engineering and where others see a winter wonderland I see physics in action”). But ask him about the way snowflakes are formed and fall to earth and the amazed child inside emerges as he describes the physics-meets-fairytale element of his work. “The aerodynamics of snowflakes have an inherently mysterious quality we’ve yet to crack,” he enthuses. “We classify their falling style in four unique ways: the ‘tumble’ is a sort of head-over-heels action, the ‘spin’ is a vertical downwards motion with a built-in rotation, the ‘pitch and glide’ is best described as a zig-zag and the ‘twirl’ is how we describe a snowflake that’s descending while spinning and rotating at an angle. Which they do depends on how fast they fall and their size, but it’s a puzzle that’s not solved and we don’t know why they behave as they do all of the time. As for the intricate formations of individual flakes, I defy anyone not to be amazed.” Of course, it’s those spectacular shapes – some like icy fireworks caught mid-explosion, others frozen, fantastical many-armed sea creatures – that fascinate the rest of us non-scientists. Nearly all snowflakes (or snow crystals as scientists insist on calling them, as a large flake can actually be made up of several crystals that clump together on their drift earthwards) have six-sided symmetry, though three- or 12-sided crystals also fall. You will never see a snow crystal with four, five or eight sides. It was ancient Chinese scholars who first noted their sixfold symmetry and they made beautiful complex categories and charts detailing their infinite variety and grouping them into types; as no two snowflakes can ever be identical. Broadly speaking (there are several competing classification systems), the classic, celebrated Christmas-card snowflake is categorised as a dendrite (meaning tree-like, with branches and side-branches). These are the iconic superstars of the snowflake world, hogging all the glory and most of the photo-opportunities. They can be sub-categorised as stellar, radiating or fern-like. As if winning the beauty contest weren’t enough, dendrites’ supermodel qualities (they can be extremely thin and light) also mean they make the best powder snow for skiing. Next in line, the supporting cast, are the plates (stellar, sectored or split) with 12-sided flakes bringing up the rear. The ugly sisters, which in reality make up the vast majority of snowflakes, are the rather dull, hollow and capped columns, needles, simple prisms, bullet rosettes and asymmetrical specks, doomed forever to be the boring, bitty, non-showbiz flakes we brush off our sleeves with nary an “ooh” or an “aah”. The categorisation of snowflakes has a long history. In 1655, Robert Hooke published a large volume called Micrographia, containing his sketches of snowflakes viewed for the first time under the new invention of the day, the microscope. American farmer, Wilson ‘Snowflake’ Bentley, devoted most of his life to capturing images of snow crystals and his famous book of that name is still in print to this day. Japanese physicist Ukichiro Nakaya created the first truly systemic classification scheme for snowflakes in 1934, in which he subdivided falling flakes into 41 individual types which meteorologists Magono and Lee almost doubled by producing a chart of 80 different types in 1966. Mathematician and philosopher René Descartes is one of many fine minds through the ages to be fascinated by snowflakes and to ponder how such perfection could be created. While every flake really is a law unto itself, other supposed snow ‘facts’ are not quite so true. The oft-quoted idea that it’s ‘too cold to snow’ is nonsense (it snows at the South Pole where it’s rarely above -40C), and even the apparent truism that snow is white turns out to be slushy logic. Ice crystals are clear, like glass, but when they form a large pile, light is reflected off the surface, bounces around and eventually scatters back out. Since all colours are scattered roughly equally, snow only appears to be white. These, and many other reasons, are why world-renowned snowflake obsessive, California-based Ken Libbrecht, has made it his life’s work to study, photograph and ‘grow’ snowflakes. The author of several beautiful books showcasing his favourite flakes out of the 7,000 he has photographed, he lives and breathes dendrites, rosettes and plates. “There is something magical about snowflakes,” he says from his laboratory in Pasadena. “You don’t often see such complex symmetry in nature and that makes them extraordinary. The whole intriguing structure of a snow crystal simply arises quite literally out of thin air, as it tumbles through the clouds. The way the crystal grows depends on the temperature it is shaped in – a simple enough idea to grasp – but the underlying physics is fiendishly complicated and has remained a puzzle. I spend a lot, and I mean a lot, of time thinking about this.” As Libbrecht explains, the life of a snowflake is a hidden, epic, scientific journey in which it transforms through liquid, gas and solid states. “Snowflakes begin life as water vapour in the air – evaporated from oceans, plants, even your breath – and when air cools down at some point the water vapour will condense out. Near the ground it could, for example, be as dew, but higher up it condenses on to airborne dust particles into countless minute droplets. A cloud is just a huge collection of these water droplets suspended in the atmosphere.” The next stage is where it gets exciting, say Libbrecht. Depending on conditions, these droplets could fall as dreary rain, sleet or hail, or descend as mist or fog. But when conditions are right, the alchemy occurs and these minute droplets metamorphise into something more impressive. “At around -10C, the droplets gradually freeze into minuscule particles of ice,” he says. “When humidity is high enough, water vapour condenses on to its surface, gradually building a snowflake. At first they are very small and mostly in the form of simple, hexagonal prisms – but as they grow, the branches sprout from the corners to make ever more complicated shapes.” By growing crystals in his lab, Libbrecht has learnt how the multitudes of varying shapes depend almost entirely on the temperature and humidity. For example, thin plates and stars grow around -2C, while columns and slender needles appear near -5C. Plates and stars form around -15C and a combination of plates and columns are made at around -30C. Libbrecht’s devotion to dendrites has led him halfway around the world and he thinks nothing of basing holidays with his wife and two children exclusively around snowflake sightseeing. On one trip, he took his young children to Japan, where snowflakes are virtually a national craze. “Snow-crystal tourist spots are popular with the Japanese and I flew my family over for a winter holiday to the northern island of Hokkaido, home to the Museum of Snow and Ice, where even the doorknobs are in the shape of snowflakes. Admittedly, it’s not your usual family getaway, but my children know all about capped columns and other snowflake forms. They’re both in college now, but my daughter definitely gets a kick out of telling friends her dad is a snowflake scientist.” At dinner parties, when asked what he does, Libbrecht says, “I like to lead with the science,” but admits that people are really only interested in his photographs and the pretty patterns of individual flakes, and unlikely to want to hear about the convection chamber where he conjures snowflakes into existence. “Basically, it’s just a cold chamber about a metre tall, with two containers of heated water on the bottom. Convection mixes the water vapour into the cold air creating super-saturated conditions for growing snowflakes. We nucleate crystals by dropping a speck of dry ice in the chamber and the crystals float until they grow to about 10-100 microns in size, when they fall to the bottom of the chamber.” Inevitably, though, the most common question is, how can Libbrecht be so sure no two snowflakes are ever identical? He likes to tell people that physics has a Zen-like answer, “which is that it depends largely on what you mean by the question. The short answer is that if you consider there’s over a trillion ways you could arrange 15 different books on your bookshelf, then the number of ways of making a complex snowflake is so staggeringly large that, over the history of our planet, I’m confident no two identical flakes have ever fallen. The long answer is more involved – depending on what you mean by ‘alike’ and ‘snowflake’. There could be some extremely small, simple-shaped crystals that looked so alike under a microscope as to be indistinguishable – and if you sifted through enough Arctic snow, where these simple crystals are common, you could probably find a few twins.” If you thought snowflakes were the ultimate in nature’s micro-level majesty, ice crystals have one more trick up their sleeve, one that almost none of us will ever see, unless we find ourselves at the South Pole. Ice crystal halos are produced in the same way as rainbows, except that the sunlight (or moonlight) refracts from ice crystals instead of water. In other words, instead of being rainbows, they are ‘snowbows’, and, says Libbrecht, “simply exquisite”. Does he ever wonder, staring for years on end at the so-far-impenetrable and wondrous beauty of his subjects, if only a higher hand could have made them? “No,” he says bluntly, the scientist firmly back at the helm. Of course there’s still one obvious question that always come up before pudding that he’s more than happy to elaborate on. Why does he do it? “Humans usually make a thing by starting with a block of material and carving from it,” says Libbrecht. “Computers, for example, are made by patterning intricate circuits on silicon wafers, but in nature things simply assemble themselves. Cells grow and divide, forming complex organisms. Even extremely sophisticated computers like your brain arise from self-assembly. Your DNA does not contain nearly enough information to guide the placement of every cell in your body, most of that structure arises spontaneously as you grow.” The snowflake is a very simple example of self-assembly. “There is no blueprint or genetic code that guides the growth of a snowflake, yet marvellously complex structures appear, quite literally out of thin air.” As the electronics industry pushes toward ever smaller devices, it is likely that self-assembly will play an increasingly important role in manufacturing, and Libbrecht’s work could contribute to that. But neither he nor Westbrook care much about that, they just revel in the joy of unravelling the tantalising mystery of snowflakes. “Einstein didn’t worry about the practical applications of relativity, he just wanted to understand how nature worked. Snowflakes are remarkable structures that simply fall from the sky. With over six billion people on the planet, surely a few of us can be spared to ponder the subtle mysteries of snowflakes.”
THE INDEPENDENT MAGAZINE Wednesday 11 September 2013 Mysteries of the snowflake: The curious world of the ice-crystal experts. Inevitably, though, the most common question is, how can Libbrecht be so sure no two snowflakes are ever identical? He likes to tell people that physics has a Zen-like answer, “which is that it depends largely on what you mean by the question. The short answer is that if you consider there’s over a trillion ways you could arrange 15 different books on your bookshelf, then the number of ways of making a complex snowflake is so staggeringly large that, over the history of our planet, I’m confident no two identical flakes have ever fallen. The long answer is more involved – depending on what you mean by ‘alike’ and ‘snowflake’. There could be some extremely small, simple-shaped crystals that looked so alike under a microscope as to be indistinguishable – and if you sifted through enough Arctic snow, where these simple crystals are common, you could probably find a few twins.” "The short answer is that if you consider there’s over a trillion ways you could arrange 15 different books on your bookshelf,"
Daily Mail, Friday, May 15, 2015 Page 45 Coffeebreak THE STRIP SHOW HOW THE 99 WAS INVENTED
Daily Mail, Thursday, April 30, 2015 ANSWERS TO CORRESPONDENTS Compiled by Charles Legge Page 72 QUESTION Who first decided that people have rights, and when was it? SOME scholars argue that conceptions of rights can be found in almost all societies in all times. Micheline Ishay's The History Of Human Rights begins with `contributions' from Hammurabi's Code of ancient Babylon, the three major world religions, Plato, Aristotle, Cicero, Epictetus and Stoicism in general, and of such medieval thinkers as Thomas Aquinas. English philosopher Thomas Hobbes (1588-1679) wrote of 'rights' in his seminal work Leviathan (1651). In it, he says that in the 'state of nature' (a state with no government nor social organisation), a person has the right to do anything to preserve his life. Caroline Turner, Cheltenham, Glos
Daily Mail, Thursday, January 8, 2015 ANSWERS TO CORRESPONDENTS Compiled by Charles Legge Page 61 QUESTION Which Is Europe's oldest living language? HISTORICAL linguists are confronted by two obstacles. First, all languages evolve over time. so they are not the same today as when originally spoken. Second, since many ancient languages were used long before writing evolved, it is not possible to say with confidence when they first appeared. It would be correct for example to say that Greek has been spoken for at least 34 centuries; but it was first written down in 1400 BC and a Greek speaker today would struggle to understand the earliest archaic forms of the language. Similarly, modern Welsh speakers would find some Old Welsh Words difficult. One view is that Euskara, the Basque language, is the oldest. However, almost nothing definite is known of its origins and its reconstructed predecessor (Proto Basque) is significantly different in vocabulary to the modern language. It is conjectured there was a pre-Proto Basque in the 7th century BC, again using a radically different word structure. Modern Euskara was first recorded in 1000 AD. Suggestions that its origins can be traced back to Palaeolithic times should be taken with a pinch of salt. Claims have been made for Albanian, but this is based on its supposed evolution from an extinct Paleo-Balkan language linked to Dacian, Thracian and Illyrian. Albanian as it is spoken today can be traced back only to 1285 AD. Another ancient language is Romani Chib or Romani, a form of Sanskrit spoken in central and northern India. Though the Romani people moved from India into Europe in 1000 AD, Sanskrit can be traced back 6,000 years. It has been said that all European languages are equally old, since they gradually developed from the first prehistoric ancestral languages.
Daily Mail,Wednesday, January 7, 2015 ANSWERS TO CORRESPONDENTS Compiled by Charles Legge Page 45 QUESTION Was Dr Faustus based on a real person? THE legend of Faust, a scholar who sells his soul to the Devil to gain infinite knowledge, youth and the pleasures of the flesh, is loosely woven around various medieval alchemists. But the name itself comes from a real source, Dr Johann Georg Faust, a German magician who lived around 1480 to 1540. Faust was probably born in Knittlinger in Wurttemberg, and his activities are first mentioned in a 1507 letter from German polymath Johannes Trithemius to astrologer Johannes Virdung. In it he warned of the nefarious practices of a magician styling himself `Georgius Sabellicus, Faustus, fons necromanticorum, astrologus, magus secundus, etc'. According to Trithemius, in Selnhausen and Wurzburg, Sabellicus had blasphemously boasted that he could reproduce all the miracles of Christ. Some sources say. Faust gained a degree in divinity from Heidelberg University in 1509, others that he gained a degree in magic (an accepted degree at the time) at Krakow. He next appears at Erfurt University in Central Germany. In 1513, German humanist Konrad Mutianus Rufus (1470-1526) recounts an encounter with a Georgius Faustus, Helmitheus Heidelbergensis (`demigod of Heidelberg'), having overheard him in an Erfurt inn boasting that he could conjure up Homer's heroes for his students. On February 23, 1520, Faust was in Bamberg casting a horoscope for the bishop and the town, for which he received ten gulden. But he was banished from Ingolstadt in 1528 and, according to an unflattering note made by the junior mayor of the city to 'deny free passage to the great necromancer and sodomite Doctor Faustus', ejected from Nuremberg in 1532. Later records give a more positive view. Physician Philipp Begardi of Worms writing in his Index Sanitatis in 1539, says Faust is `highly renowned for his great skill, not alone in medicine, but also in chiromancy, necromancy, physiognomy, visions in crystal -and the like other arts.' Faust allegedly died in an alchemical accident in the Hotel zum LOwen in Staufen im Breisgau in about 1540. His body is said to have been found in a `grievously mutilated' state and his clerical and scholarly enemies claimed the Devil had come to collect his servant. Theologian Johann Gast, in his Sermones Conviviales (1558), wrote: 'The wretch came to an end in a terrible manner; for the Devil strangled him. His dead body lay constantly on its face on the bier, although it had been turned five times upwards.' Faust's posthumous fame is derived from the Faustbuch, the collected tales of medieval magicians such as Merlin, Albertus Magnus and Roger Bacon, anonymously published in 1587. The Faustbuch was translated throughout Europe and an English translation (1592) inspired Christopher Marlowe's play The Tragicall History Of Dr Faustus (published in 1604, 11 years after Marlowe's death) and later Goethe's play Faust, which was published in two parts between 1803 and 1833, firmly cementing the legend in the public imagination Opera version: The Damnation Of Faust (illustration omitted) Andrew C. Browning, Guildford, Surrey
Daily Mail, Thursday, January 22, 2015 ANSWERS TO CORRESPONDENTS Compiled by Charles Legge Page 64 QUESTION Was Dr Faustus based on a real person? FURTHER to the earlier answer, the Faust theme, and Mephistopheles in particular, held a fascination for the composers of the Romantic era: on the latter, we have Boito's opera Mefistofele (1868), Liszt's Four Mephisto Waltzes based on two Faust episodes by the Austrian aristocratic poet Nikolaus Lenau, the first waltz — like number two, originally written for orchestra — being the most popular, and Liszt's Faust Symphony (1854-57). In German-speaking countries, Gounod's opera Faust (1859) is known as Margarethe, the tragic figure of Marguerite in the French version. She was immortalised in Schubert's first successful lied Gretchen am Spinnrade (Gretchen at the spinning wheel) op.2, composed in 1814 when the composer was aged just 17. Berlioz composed his legende dramatique, The Damnation Of Faust, for four solo voices, full seven-part chorus, large children's chorus and orchestra and it was first performed in 1846. For the violinists- among Faust fans there is a Fantasy for violin and piano by Spanish virtuoso Pablo de Sarasate, of Zigeunerweisen fame. Among other Romantic composers contributing to the Faust theme are Spohr and Schumann. E. Felix Schoendorfer, Stoke Poges, Bucks.
Daily Mail, Thursday,May 14, 2015 ANSWERS TO CORRESPONDENTS Compiled by Charles Legge Page 59 QUESTION I understand that so
me biologists THE five traditionally recognised methods of perception — the senses of sound, sight, touch, smell and taste — were a medieval concept that still persists. M. P Singh„ Inverness.
Daily Mail, Thursday,May 14, 2015 ANSWERS TO CORRESPONDENTS Compiled by Charles Legge Page 55 Flagging up the positives Symbolic South Korea fans wave their national flag at the 2002 football World Cup (illustration omitted) QUESTION What are the series of
black lines surrounding THE South Korean flag was adopted on January 25, 1950, although it had been used as a de facto national flag since 1893. It is called Taegeukki (Great Polarity), taking its name from the central emblem on the flag, the taegeuk circle. The flag comprises three parts: the white background, the red and blue circle and four groups of lines called trigrams (kwae, in Korean), one in each corner of the flag. The white background signifies peace. The red and blue circle is the Taegeuk, the Taoist symbol of harmony and balance. The Taegeuk's blue part is called Eum or in Chinese, Yin (dark) and represents all negative aspects of the balance, while the red part is called Yang (bright) and describes the positive aspects. The Taegeuk represents unity, bringing together the negative and the positive, while the Yin and Yang represent the duality. Examples of duality are heaven and hell, fire and water, or night and day. Surrounding the circle are the trigrams, which are sets of broken and unbroken bars. Trigrams originate from an ancient Chinese text, the I Ching or Book Of Changes. At the outset, the Book Of Changes was a collection of linear signs to be used as oracles, but layers of philosophical meaning were added over time. Oracles were very important in early Chinese culture; the most primitive confined themselves to the answers yes and no. This type of oracular pronouncement is the basis of the Book Of Changes. 'Yes' was represented by an unbroken line (—) and `No' by a broken line (— —). We in the West tend to think, incorrectly, of yin and yang as strictly defined opposites. All relationships based on yin and yang are relative and the mutual interaction of both must be considered, so nothing can be defined as strictly yin or strictly yang. Thus, the I Ching introduced layers of sophistication represented by the trigrams; groups of three lines, solid or broken that represent the maximum number of combi- Their names are Ch'ien, Tui, Li, Chen, Sun, K'an, Ken, and K'un. These are frequently associated with natural objects: Heaven, Lake, Fire, Thunder, Wind, Water, Mountain and Earth respectively. The trigrams at the corners of the flag are heaven (upper-left; three solid bars), fire (bottom left corner; two solid bars with split middle bar), water (top right corner; two split bars with solid middle bar) and earth (bottom right; three split bars). A still greater multiplicity is achieved in I Ching by combining the eight trigrams into hexagrams (six bars). Each of these 64 signs consists of six lines, either positive or negative, and represent a far more complex oracular system. K. M. Mott, London N12.
Daily Mail, Tuesday,May 19, 2015 ANSWERS TO CORRESPONDENTS Compiled by Charles Legge Page 62 QUESTION Who Invented the compass? THE compass appeared in China during the Han dynasty in the second to first century BC, but its purpose was not navigational: it was used in a particular type of fortune-telling called geomancy. It was discovered that a form of magnetised rock called a lodestone, which is a form of the mineral magnetite, tended to align itself on a north-south axis. This magnetic property was later incorporated into other fortune telling devices similar to Ouija boards. From this developed the idea of aligning your house in certain directions, the art we know as feng-shui. It was later discovered that by stroking a piece of metal, perhaps a needle-like sliver, with a lodestone the magnetic properties would be transferred to the needle. When the needle is floated on the meniscus (concave curve on top of a liquid) in a bowl of water it will point north-south. This is an experiment children still conduct in science classes and is the origin of the navigational compass. There is a theory that in Mesoamerica, now Central America, the tribes used similar techniques as far back as 1000 BC, but this has not been verified. The Chinese appear to have started to use a compass for navigation in the 9th or 10th centuries AD. The skill of making magnetic compasses was transferred to Europe, probably by Arab traders, and starts to appear in the late 12th century, where they are recorded for the first time in the texts De utensilibus and De naturis rerum, written between 1187 and 1202. It may have been about this time that the Norse were given credit for the use of compasses as an explanation for their apparent seafaring skills. However, there is no proof they discovered _ the compass and their navigational prowess may have had more to do with their knowledge of the cosmos and the prevailing winds. Bob Cubitt, Northampton.
UNCONDITIONAL LIFE Page 89 "Maya also denotes the delusion of thinking that you are seeing reality when in fact you are only seeing a layer of trick effects superimposed upon the real reality True to its deceptive nature, Maya is full of paradoxes. First of all it is everywhere, even though it doesnt exist. It is / Page 90 / often compared with a desert mirage, yet unlike a mirage Maya does not merely float "out there" The Mysterious One is nowhere if not in each person. Finally Maya is not so omnipotent that we cannot control it - and that is the key point Maya is fearfull or diverting all powerful or completely impotent depending on your perspective." "The fearfull illusion becomes a wonderful show if only you can manipulate it."
Page 314 "THE COAT OF MANY COLOURS"
RAINBOW RA-IN-BOW IN RA RAINBOW
THE STARGATE CONSPIRACY Lynn Picknett & Clive Prince Page328 A COAT OF MANY COLOURS Herbert Read 1945 Page 57 "The aim of the superrealists as Max Ernst has recently declared, is not merely to gain access to the unconscious and to paint its contents in a descriptive or realistic way: nor is it even to take various elements from the unconscious and with them construct a separate world of fancy; it is then their aim to break down the barriers both physical and psychical, between the conscious and the unconscious, between the inner and the outer world, and to create a superreality in which real and unreal, meditation and non, conscious and unconscious, meet and mingle and dominate the whole of life. In Bosch's case, a quite similar intention was inspired by medieval theology, and a very literal belief in the reality of the Life Beyond. To a man of his intense powers of visualization, the present life and life to come, Paradise and Hell and the World, were equally real and interpenetrating; they combined, that to say, to form a superreality that was the only reality with which an artist could be concerned"
http://www.youtube.com/watch?v=ODXzBV-ejY0&feature=fvst
HA AHA HA
http://www.youtube.com/watch?v=4t8kVFDE4kU
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"According to writers Peter Tompkins and Christopher Bird, Daniels - who studied the effects of electro- magnetic waves on human beings - became convinced, in the 1970s, of the existence of some kind of intelligent force in the universe that operated through electromagnetic frequencies and that 'human beings can mentally interact with it,.47"
Page 263 “It will be as well to recall here what Fulcanelli’s reply was when Bergier asked him what the real nature of alchemy consisted in. He said:
A MIDSUMMER NIGHTS DREAM William Shakespeare Puck: Act 3, scene 2, 110–115
The Doors of Perception From Wikipedia, the free encyclopedia Author The Doors of Perception is a short book by Aldous Huxley, first published in 1954, detailing his experiences when taking mescaline. The book takes the form of Huxley's recollection of a mescaline trip that took place over the course of an afternoon, and takes its title from a phrase in William Blake's 1793 poem The Marriage of Heaven and Hell. Huxley recalls the insights he experienced, which range from the "purely aesthetic" to "sacramental vision".[1] He also incorporates later reflections on the experience and its meaning for art and religion Mescaline (Peyote and San Pedro Cactus)[edit] Main article: Mescaline Mescaline is the principal agent of the psychedelic cactus peyote and San Pedro cactus, which has been used in Native American religious ceremonies for thousands of years.[2] A German pharmacologist, Arthur Heffter, isolated the alkaloids in the peyote cactus in 1891. These included mescaline, which he showed through a combination of animal and self-experiments was the compound responsible for the psychoactive properties of the plant. In 1919, Ernst Späth, another German chemist, synthesised the drug.[3] Although personal accounts of taking the cactus had been written by psychologists such as Weir Mitchell in the US and Havelock Ellis in the UK during the 1890s, the German-American Heinrich Kluver was the first to systematically study its psychological effects in a small book called Mescal and Mechanisms of Hallucinations published in 1928. The book stated that the drug could be used to research the unconscious mind. Peyote as entheogen drug[edit] In the 1930s, an American anthropologist Weston La Barre, published The Peyote Cult, the first study of the ritual use of peyote as an entheogen drug amongst the Huichol people of western Mexico. La Barre noted that the Indian users of the cactus took it to obtain visions for prophecy, healing and inner strength.[4] Most psychiatric research projects into the drug in the 1930s and early 1940s tended to look at the role of the drug in mimicking psychosis.[5] In 1947 however, the US Navy undertook Project Chatter, which examined the potential for the drug as a truth revealing agent. In the early 1950s, when Huxley wrote his book, mescaline was still regarded as a research chemical rather than a drug and was listed in the Parke-Davis catalogue with no controls.[6] Close up of a peyote cactus growing in the wild. A peyote cactus, from which mescaline is derived. Research by Humphry Osmond[edit] Huxley had first heard of peyote use in ceremonies of the Native American Church in New Mexico soon after coming to the United States in 1937.[9] He first became aware of the cactus’s active ingredient, mescaline, after reading an academic paper written by Humphry Osmond, a British psychiatrist working at Weyburn Mental Hospital, Saskatchewan in early 1952. Osmond's paper set out results from his research into schizophrenia using mescaline that he had been undertaking with colleagues, doctors Abram Hoffer and John Smythies.[10] In the epilogue to his novel The Devils of Loudon published earlier that year, Huxley had written that drugs were "toxic short cuts to self-transcendence”.[11] For the Canadian writer George Woodcock, Huxley had changed his opinion because mescaline was not addictive and appeared to be without unpleasant physical or mental side-effects, further he had found that hypnosis, autohypnosis and meditation had apparently failed to produce the results he wanted.[12] Huxley's experience with mescaline[edit] After reading Osmond's paper, Huxley sent him a letter on 10 April 1952, expressing interest in the research and putting himself forward as an experimental subject. His letter explained his motivations as being rooted in an idea that the brain is a reducing valve that restricts consciousness and hoping mescaline might help access a greater degree of awareness, (an idea he later included in the book).[13] Reflecting on his stated motivations, Woodcock wrote that Huxley had realised that the ways to enlightenment were many, including prayer and meditation. He hoped drugs might also break down the barriers of the ego, and both draw him closer to spiritual enlightenment and satisfy his quest as a seeker of knowledge.[14] In a second letter on 19 April, Huxley invited Osmond to stay while he was visiting Los Angeles to attend the American Psychiatric Association convention.[15] He also wrote that he looked forward to the mescaline experience and reassured Osmond that his doctor did not object to his taking it.[13] Huxley had invited his friend, the writer Gerald Heard, to participate in the experiment; although Heard was too busy this time, he did join him for a session in November of that year.[16] Day of the experiment[edit] Osmond arrived at Huxley's house in West Hollywood on 3 May 1953, and recorded his impressions of the famous author as a tolerant and kind man, although he had expected otherwise. The psychiatrist had misgivings about giving the drug to Huxley, and wrote that "I did not relish the possibility, however remote, of being the man who drove Aldous Huxley mad," but instead found him an ideal subject. Huxley was “shrewd, matter-of-fact and to the point" and his wife Maria "eminently sensible".[17] Overall, they all liked each other, which was very important when administering the drug. The mescaline was slow to take effect, but Osmond saw that after two and a half hours the drug was working and after three hours Huxley was responding well.[18] The experience lasted eight hours and both Osmond and Maria remained with him throughout.[19] The experience started in Huxley's study before the party made a seven block trip to The Owl Drug (Rexall) store, known as World's Biggest Drugstore, at the corner of Beverly and La Cienega Boulevards. Huxley was particularly fond of the shop and the large variety of products available there, (in stark contrast to the much smaller selection in English chemist's shops). There he considered a variety of paintings in art books. For one of his friends, Huxley's poor eyesight manifested in both a great desire to see and a strong interest in painting, which influenced the strong visual and artistic nature of his experience.[20] After returning home to listen to music, eat, and walk in the garden, a friend drove the threesome to the hills overlooking the city. Photographs show Huxley standing, alternately arms on hips and outstretched with a grin on his face. Finally, they returned home and to ordinary consciousness.[21] One of Huxley’s friends who met him on the day said that despite writing about wearing flannel trousers, he was actually wearing blue jeans. Huxley admitted to having changed the fabric as Maria thought he should be better dressed for his readers.[22] Osmond later said he had a photo of the day that showed Huxley wearing flannels.[23] Compilation of the book[edit]
One of the copies of William Blake's unique hand painted editions, created for the original printing of the poem. The line from which Huxley draws the title is in the second to last paragraph. This image represents Copy H, Plate 14 of The Marriage of Heaven and Hell which is currently held at The Fitzwilliam Museum.[24] If the doors of perception were cleansed every thing would appear to man as it is, Infinite. For man has closed himself up, till he sees all things thro' narrow chinks of his cavern.[27] Huxley had used Blake's metaphor in The Doors of Perception while discussing the paintings of Vermeer and the Nain brothers, and previously in The Perennial Philosophy, once in relation to the use of mortification as a means to remove persistent spiritual myopia and secondly to refer to the absence of separation in spiritual vision.[28] In the early 1950s, Huxley had suffered a debilitating attack of the eye condition iritis. This increased his concern for his already poor eyesight and much of his work in the early part of the decade had featured metaphors of vision and sight.[29] Synopsis[edit] After a brief overview of research into mescaline, Huxley recounts that he was given 4/10 of a gram at 11:00 am one day in May 1953. Huxley writes that he hoped to gain insight into extraordinary states of mind and expected to see brightly coloured visionary landscapes. When he only sees lights and shapes, he puts this down to being a bad visualiser; however, he experiences a great change in his perception of the external world.[30] By 12:30 pm, a vase of flowers becomes the "miracle, moment by moment, of naked existence". The experience, he asserts, is neither agreeable nor disagreeable, but simply "is". He likens it to Meister Eckhart's "istigheit" or "is-ness", and Plato's "Being" but not separated from "Becoming". He feels he understands the Hindu concept of Satchitananda, as well as the Zen koan that "the dharma body of the Buddha is in the hedge" and Buddhist suchness. In this state, Huxley explains he didn't have an "I", but instead a "not-I". Meaning and existence, pattern and colour become more significant than spatial relationships and time. Duration is replaced by a perpetual present.[31] Reflecting on the experience afterwards, Huxley finds himself in agreement with philosopher C. D. Broad that to enable us to live, the brain and nervous system eliminate unessential information from the totality of the Mind at Large.[32] Vermeer's The Milkmaid. The Milkmaid by Johannes Vermeer. "That mysterious artist was truly gifted with the vision that perceives the Dharma-Body as the hedge at the bottom of the garden", reflected Huxley. Temporarily leaving the chronological flow, he mentions that four or five hours into the experience he was taken to the World's Biggest Drug Store (WBDS), where he was presented with books on art. In one book, the dress in Botticelli's Judith provokes a reflection on drapery as a major artistic theme as it allows painters to include the abstract in representational art, to create mood, and also to represent the mystery of pure being.[34] Huxley feels that human affairs are somewhat irrelevant whilst on mescaline and attempts to shed light on this by reflecting on paintings featuring people.[35] Cézanne's Self-portrait with a straw hat seems incredibly pretentious, while Vermeer's human still lifes (also, the Le Nain brothers and Vuillard) are the nearest to reflecting this not-self state.[36] For Huxley, the reconciliation of these cleansed perceptions with humanity reflects the age old debate between active and contemplative life, known as the way of Martha and the way of Mary. As Huxley believes that contemplation should also include action and charity, he concludes that the experience represents contemplation at its height, but not its fullness. Correct behaviour and alertness are needed. Nonetheless, Huxley maintains that even quietistic contemplation has an ethical value, because it is concerned with negative virtues and acts to channel the transcendent into the world.[37] Red Hot Poker or Kniphofia flowers. The Red Hot Poker flowers in Huxley's garden were "so passionately alive that they seemed to be standing on the very brink of utterance". After lunch and the drive to the WBDS he returns home and to his ordinary state of mind. His final insight is taken from Buddhist scripture: that within sameness there is difference, although that difference is not different from sameness.[40] The book finishes with Huxley's final reflections on the meaning of his experience. Firstly, the urge to transcend one's self is universal through times and cultures (and was characterised by H. G. Wells as The Door in the Wall).[41] He reasons that better, healthier "doors" are needed than alcohol and tobacco. Mescaline has the advantage of not provoking violence in takers, but its effects last an inconveniently long time and some users can have negative reactions. Ideally, self-transcendence would be found in religion, but Huxley feels that it is unlikely that this will ever happen. Christianity and mescaline seem well-suited for each other; the Native American Church for instance uses the drug as a sacrament, where its use combines religious feeling with decorum.[42] Huxley concludes that mescaline is not enlightenment or the Beatific vision, but a "gratuitous grace" (a term taken from Thomas Aquinas' Summa Theologica).[43] It is not necessary but helpful, especially so for the intellectual, who can become the victim of words and symbols. Although systematic reasoning is important, direct perception has intrinsic value too. Finally, Huxley maintains that the person who has this experience will be transformed for the better. Reception[edit] The book met with a variety of responses, both positive and negative,[15] from writers in the field of literature, psychiatry, philosophy and religion. These included a symposium published in The Saturday Review magazine with the unlikely title of, Mescalin – An Answer to Cigarettes, including contributions from Huxley; J.S. Slotkin, a professor of Anthropology; and a physician, Dr. W.C. Cutting.[44] Literature: For the Scottish poet, Edwin Muir “Mr. Huxley's experiment is extraordinary, and is beautifully described”.[45] Thomas Mann, the author and friend of Huxley, believed the book demonstrated Huxley's escapism. He thought that while escapism found in mysticism might be honourable, drugs were not. Huxley's 'aesthetic self-indulgence' and indifference to humanity would lead to suffering or stupidity, and he concluded the book was irresponsible, if not quite immoral, to encourage young people to try the drug.[46] For Huxley's biographer and friend, the author Sybille Bedford, the book combined sincerity with simplicity, passion with detachment.[47] "It reflects the heart and mind open to meet the given, ready, even longing, to accept the wonderful. The Doors is a quiet book. It is also one that postulates a goodwill – the choice once more of the nobler hypothesis. It turned out, for certain temperaments, a seductive book.”[48] For biographer David King Dunaway, The Doors of Perception, along with The Art of Seeing, can be seen as the closest Huxley ever came to autobiographical writing.[49] Psychiatric responses included those of William Sargant, the controversial British psychiatrist, who reviewed the book for The British Medical Journal and particularly focused on Huxley's reflections on schizophrenia. He wrote that the book brought to life the mental suffering of schizophrenics, which should make psychiatrists uneasy about their failure to relieve this. Also, he hoped that the book would encourage the investigation of the physiological, rather than psychological, aspects of psychiatry.[50] Other medical researchers questioned the validity of Huxley's account. The book contained "99 percent Aldous Huxley and only one half gram mescaline" according to Ronald Fisher.[51] Joost A.M. Meerloo found Huxley's reactions "not necessarily the same as... other people's experiences."[52] For Steven J. Novak, The Doors Of Perception (and Heaven and Hell) redefined taking mescaline (and LSD, although Huxley had not taken it until after he had written both books) as a mystical experience with possible psychotherapeutic benefits, where physicians had previously thought of the drug in terms of mimicking a psychotic episode, known as psychotomimetic.[53] The popularity of the book also affected research into these drugs, because researchers needed a random sample of subjects with no preconceptions about the drug to conduct experiments, and these became very difficult to find.[54] In the field of religion, Huxley’s friend and spiritual mentor, the Vedantic monk Swami Prabhavananda, thought that mescaline was an illegitimate path to enlightenment, a "deadly heresy" as Christopher Isherwood put it.[23] Martin Buber, the Jewish religious philosopher, attacked Huxley's notion that mescaline allowed a person to participate in "common being", and held that the drug ushered users "merely into a strictly private sphere". Philosophically, Buber believed the drug experiences to be holidays "from the person participating in the community of logos and cosmos—holidays from the very uncomfortable reminder to verify oneself as such a person." For Buber man must master, withstand and alter his situation, or even leave it, "but the fugitive flight out of the claim of the situation into situationlessness is no legitimate affair of man."[55] Robert Charles Zaehner[edit] It was probably the criticisms of The Doors of Perception put forward by Robert Charles Zaehner, a professor at Oxford University, that formed the fullest and earliest critiques from a religious and philosophical perspective. In 1954, Zaehner published an article called The Menace of Mescaline, in which he asserted that "artificial interference with consciousness" could have nothing to do with the Christian "Beatific Vision".[56] Zaehner expanded on these criticisms in his book Mysticism Sacred and Profane (1957), which also acts as a theistic riposte to what he sees as the monism of Huxley's The Perennial Philosophy. Although he acknowledged the importance of The Doors of Perception as a challenge to people interested in religious experience,[57] he pointed out what he saw as inconsistencies and self-contradictions.[58] Zaehner concludes that Huxley's apprehensions under mescaline are affected by his deep familiarity with Vedanta and Mahayana Buddhism. So the experience may not be the same for others who take the drug and do not have this background, although they will undoubtedly experience a transformation of sensation.[59] Zaehner himself was a convert to Catholicism. That the longing to transcend oneself is "one of the principal appetites of the soul"[60] is questioned by Zaehner. There are still people who do not feel this desire to escape themselves,[61] and religion itself need not mean escaping from the ego.[62] Zaehner criticises what he sees as Huxley's apparent call for all religious people to use drugs (including alcohol) as part of their practices.[63] Quoting St Paul's proscriptions against drunkenness in church, in 1 Corinthians xi, Zaehner makes the point that artificial ecstatic states and spiritual union with God are not the same.[58] Holding that there are similarities between the experience on mescaline, the mania in a manic-depressive psychosis and the visions of God of a mystical saint suggests, for Zaehner, that the saint's visions must be the same as those of a lunatic.[64] The personality is dissipated into the world, for Huxley on mescaline and people in a manic state, which is similar to the experience of nature mystics.[65] However, this experience is different from the theistic mystic who is absorbed into a God, who is quite different from the objective world. The appendices to Mysticism Sacred and Profane include three accounts of mescaline experiences, including those of Zaehner himself. He writes that he was transported into a world of farcical meaninglessness and notes that the experience was interesting and funny, but not religious. Photograph of Aldous Huxley. Huxley later wrote that the "things which had entirely filled my attention on that first occasion [chronicled in The Doors of Perception], I now perceived to be temptations – temptations to escape from the central reality into a false, or at least imperfect and partial Nirvanas of beauty and mere knowledge." Soon after the publication of his book, Huxley wrote to Harold Raymond at Chatto and Windus that he thought it strange that when Hilaire Belloc and G. K. Chesterton wrote the praises of alcohol they were still considered good Christians, while anyone who suggested other routes to self-transcendence was accused of being a drug addict and perverter of mankind.[66] Later Huxley responded to Zaehner in an article published in 1961: "For most of those to whom the experiences have been vouchsafed, their value is self-evident. By Dr. Zaehner, the author of Mysticism, Sacred and Profane, their deliberate induction is regarded as immoral. To which his colleague, Professor Price, retorts in effect, 'Speak for yourself!'".[67] Professor of religion and philosophy Huston Smith took issue with the belief that Mysticism Sacred and Profane had fully examined and refuted Huxley's claims made in The Doors of Perception.[68] Smith claims that consciousness-changing substances have been linked with religion both throughout history and across the world, and further it is possible that many religious perspectives had their origins in them, which were later forgotten. Acknowledging that personality, preparation and environment all play a role in the effects of the drugs, Huston Smith draws attention to evidence that suggests that a religious outcome of the experience may not be restricted to one of Huxley's temperament. Further, because Zaehner's experience was not religious, does not prove that none will be. Contrary to Zaehner, Huston Smith draws attention to evidence suggesting that these drugs can facilitate theistic mystical experience.[68] As the descriptions of naturally occurring and drug-stimulated mystical experiences cannot be distinguished phenomenologically, Huston Smith regards Zaehner's position in Mysticism Sacred and Profane, as a product of the conflict between science and religion – that religion tends to ignore the findings of science. Nonetheless, although these drugs may produce a religious experience, they need not produce a religious life, unless set within a context of faith and discipline. Finally, he concludes that psychedelic drugs should not be forgotten in relation to religion because the phenomenon of religious awe, or the encounter with the holy, is declining and religion cannot survive long in its absence.[68] Later experience[edit] Huxley continued to take these substances several times a year until his death,[69] but with a serious and temperate frame of mind.[70] He refused to talk about the substances outside scientific meetings,[71] turned down an invitation to talk about them on TV[72] and refused the leadership of a foundation devoted to the study of psychedelics, explaining that they were only one of his diverse number of interests.[73] For Philip Thody, a professor of French literature, Huxley's revelations made him conscious of the objections that had been put forward to his theory of mysticism set out in Eyeless in Gaza and Grey Eminence, and consequently Island reveals a more humane philosophy.[74] However, this change in perspective may lie elsewhere. In October 1955, Huxley had an experience while on LSD that he considered more profound than those detailed in The Doors of Perception. Huxley was overwhelmed to the point where he decided his previous experiments, the ones detailed in Doors and Heaven and Hell, had been nothing but entertaining sideshows.[75] He wrote in a letter to Humphry Osmond, that he experienced "the direct, total awareness, from the inside, so to say, of Love as the primary and fundamental cosmic fact. ... I was this fact; or perhaps it would be more accurate to say that this fact occupied the place where I had been. ... And the things which had entirely filled my attention on that first occasion, I now perceived to be temptations – temptations to escape from the central reality into a false, or at least imperfect and partial Nirvanas of beauty and mere knowledge."[76] The experience made its way into the final chapter of Island.[77] This raised a troublesome point. Was it better to pursue a course of careful psychological experimentation.... or was the real value of these drugs to "stimulate the most basic kind of religious ecstasy"?[75] Influence[edit] A variety of influences have been claimed for the book. The psychedelic proselytiser, Timothy Leary, was given the book by a colleague soon after returning from Mexico where he had first taken psilocybin mushrooms in the summer of 1960. He found that The Doors of Perception corroborated what he had experienced 'and more too'.[78] Leary soon set up a meeting with Huxley and the two became friendly. The book can also be seen as a part of the history of entheogenic model of understanding these drugs, that sees them within a spiritual context.[79] Looking to broader culture, Huxley's experiment can be seen, alongside the work of other artists such as John Cage and Jackson Pollock, as proposing a model of the imagination opposite to the symbolic, representational structures that had governed Western thought for centuries. Although this new direction cannot be attributed entirely to mescaline or Huxley, it had made a strong impact on politics, art and religion.[80]
OUT OF ZERO COMETH ONE
JUST SIX NUMBERS Martin Rees 1 OUR COSMIC HABITAT PLANETS STARS AND LIFE Page 24 A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence'
" the number 1,836 would have the same connotations"
LIFE OUT THEIR THE TRUTH OF - AND SEARCH FOR - EXTRATERRESTRIAL LIFE Michael White 1998 Page 97 "The first venue for Phoenix was / Page 98 / Australia, where astronomers used the Parkes 64-metre antenna and the Mopra 22-metre antenna, both in New South Wales. Because Australia was the first site, a very high proportion of the stars in the targeted group were those seen only in the Southern Hemisphere, including 650 G-Dwarf stars. In 1996, the system was taken back to the National Radio Astronomy Observatory in West Virginia, where a 40-metre dish was used to follow through the next stage of the search. The project is currently established at the largest radio telescope in the world - the 305-metre Arcibo radio telescope in Puerto Rico. Page 99 notes • For more than twenty-five years, astronomers have been observing sudden bursts of energy from a variety of different locations in the cosmos. They detect these bursts, which are thought to be the result of the most powerful explosions ever witnessed, by following a left-over trace of gamma rays (a form of electromagnetic radiation) that reach the Earth. There are literally hundreds of theories that attempt to explain these bursts, including the notion that they could be the result of the activities of some super-civilisation. Recently, one such burst was carefully monitored and found to have come from an explosion so powerful that in ten minutes the source produced more energy than the total output of our Sun during its lifetime. Astronomers are actively chasing the source and the cause of this phenomenon and hope to solve the mystery after one more sustained observation of the effect. The trouble is, no one knows when or where the next one will be.
JOURNEY = 108 36 9 36 108 = JOURNEY
MAGIC ISISIS THE VIEW FROM THE MAGI'S MAGIC MOUNTAIN THE UPSIDE DOWN OF THE DOWNSIDE UP
JOURNEY = 108 36 9 36 108 = JOURNEY
On Nature (Peri Physeos) On Nature (Peri Physeos) by Parmenides of Elea (c. 475 B.C.)
Blue Planet : Complete BBC Series Special Edition 4 Disc ... www.amazon.co.uk › DVD & Blu-ray › Television › Documentary
Freiheit - Keeping The Dream Alive lyrics. From the Original Motion Picture ... In my fantasy I remember their faces The hopes we had were much too high ...
Mmm mmm mmm mmm mmm mmm mmm mmm mmm. https://www.youtube.com/watch?v=w9aYrHzEW-w
THE HOPES WE HAD WE'RE MUCH TWO HIGH WAY OUT OF REACH BUT WE HAVE TO TRY NO NEED TO HIDE NO NEED TO RUN 'CAUSE ALL THE ANSWERS COME ONE BY ONE THE DAY WILL NEVER BE OVER BECAUSE WE 'RE KEEPING THE DREAM ALIVE
Daily Mirror Friday, March 6, 2009 By Martin Fricker Front Page "IS THIS IT ? THIS IS IT!"
LIFE OUT THEIR THE TRUTH OF - AND SEARCH FOR - EXTRATERRESTRIAL INTELLIGENCE
SAINT JOHN'S CHURCH WAKEFIELD MEMORIAL TO THE GLORY OF GOD IN REMEMBERANCE OF THE MEN FROM WRENTHORPE COLLIERY WHO FELL IN THE GREAT WAR 1914 - 1918 THEY LOVED NOT THEIR LIVES UNTO THE DEATH
DAILY MAIL Friday, January 20, 2006 David Wilkes and Andrew Levy Page 20 "90 years on love letters of soldier's sweetheart have a happy ending"
DAILY MAIL Friday, January 20, 2006 By Steve Doughty Social Affairs Correspondent Page 13 "Nine in ten career women would put family before work" "More than nine out of ten career woman would rather spend more time with their families than be promoted
"Nine in ten" "More than nine out of ten. . ."
DIAGNOSIS OF MAN Kenneth Walker 1943 Page 139 "Karma-yoga is the form of yoga that, if it were available, would be most applicable to European and American conditions of life. The principles that it inculcates would not only eliminate that state of fear and anxiety in which nine out of ten of us live, but actually increase the efficiency of the active life to which we are inevitably committed." "nine out of ten"
DAILY MAIL Monday, May 1, 2006 Ian Drury "Injured man dies after six-hour 999 delay in sending ambulance " "A MAN died after police and ambulance crews took six hours to respond to 999 calls that he was lying unconscious in a street" "He dialled 999 and told Staffordshire Ambulance Service..." "It is not clear why the ambulance service did not send paradamedics after the first 999 call."
THE FOUNTAINS OF PARADISE Arthur C. Clarke 1979 Page 90 " 'And dont forget the Pyramids.' " "... 'What did you call them? The best investmant in the history of mankind?
Pyramids of Giza - New World Encyclopedia www.newworldencyclopedia.org/entry/Pyramids_of_Giza 25 Jun 2014 - 2.1 Pyramid of Khufu; 2.2 Pyramid of Khafre. 2.2.1 Inside the pyramid. 2.3 Pyramid of Menkaure;
Pyramids of Giza - New World Encyclopedia www.newworldencyclopedia.org/entry/Pyramids_of_Giza 25 Jun 2014 - 2.1 Pyramid of Khufu; 2.2 Pyramid of Khafre. 2.2.1 Inside the pyramid. 2.3 Pyramid of Menkaure; 2.4 Great Sphinx. 2.4.1 Restoration; 2.4.2 Pyramids of Giza Memphis and its Necropolis - the Pyramid Fields from Giza to Dahshur* UNESCO World Heritage Site The Giza Pyramids, part of the Giza Necropolis The Giza Necropolis stands on the Giza Plateau, on the outskirts of Cairo, Egypt. This complex of ancient monuments is located some eight kilometers (5 miles) inland into the desert from the old town of Giza on the Nile, some 25 kilometres (12.5 miles) southwest of Cairo city center. The complex contains three large pyramids, the most famous of which, the Great Pyramid was built for the pharaoh Khufu and is possibly the largest building ever erected on the planet, and the last member of the ancient Seven Wonders of the World. The other two pyramids, each impressive in their own right, were built for the kings Khafre and Menkaure. Description This Ancient Egyptian necropolis consists of the Pyramid of Khufu (known as the Great Pyramid and the Pyramid of Cheops), the somewhat smaller Pyramid of Khafre (or Chephren), and the relatively modest-size Pyramid of Menkaure (or Mykerinus), along with a number of smaller satellite edifices, known as "queens" pyramids, causeways and valley pyramids, and most noticeably the Great Sphinx..
This Ancient Egyptian necropolis consists of the Pyramid of Khufu (known as the Great Pyramid and the Pyramid of Cheops), the somewhat smaller Pyramid of Khafre (or Chephren), and the relatively modest-size Pyramid of Menkaure (or Mykerinus), along with a number of smaller satellite edifices, known as "queens" pyramids, causeways and valley pyramids, and most noticeably the Great Sphinx.
HOLY BIBLE Scofield References JOB C 9 V 9 Page 575 "Which maketh Arcturus, Orion, and Pleiades, and the chambers of the south."
HOLY BIBLE Scofield References JOB C 9 V 9 Page 575 WHICH MAKETH ARCTURUS ORION AND PLEIADES AND THE CHAMBERS OF THE SOUTH
ORION OSIRIS ISIS SIRIUS ISIS OSIRIS ORION
THE SIRIUS MYSTERY Robert K.G.Temple 1976 Page 82 The Sacred Fifty "We must return to the treatise 'The Virgin of the World'. This treatise is quite explicit in saying that Isis and Osiris were sent to help the Earth by giving primitive mankind the arts of civilization: 'How was it, mother, then, that Earth received God's Efflux?' And Isis said: 'I may not tell the story of (this) birth; for it is not permitted to describe the origin of thy descent, O Horus (son) of mighty power, lest afterwards the way-of-birth of the immortal gods should be known unto men - except so far that God the Monarch, the universal Orderer and Architect, sent for a little while thy mighty sire Osiris, and the mightiest goddess Isis, that they might help the world, for all things needed them. "Page 73 A Fairy Tale 'I INVOKE THEE, LADY ISIS, WITH WHOM THE GOOD DAIMON DOTH UNITE, HE WHO IS LORD IN THE PERFECT BLACK.'
THE SIRIUS MYSTERY Robert K.G.Temple 1976 Page 74 "Mead quotes an Egyptian magic papyrus, this being an uncontested Egyptian document which he compares to a passage in the Trismegistic literature: 'I invoke thee, Lady Isis, with whom the Good Daimon doth unite, He who is Lord in the perfect black. '37 Page 77 "Bearing these books in mind (and I am sure they are there waiting underground like a time bomb for us), it is interesting to read this passage in 'The Virgin of the World' following shortly upon that previously quoted:
John Michell 1983 Page 144 "The problem is to establish the ideas and intentions of the builders. Stecchini has suggested that the apex was designed to be slightly off-centre with each base side of slightly different length, and with different angles of slope, thus providing four base-height relationships, each exhibiting a particular mathematical formula. By this means the functions of both..." Pi and the ratio of the 'golden section' "...could be demonstrated together in the one structure. In addition, there was another device by which the Egyptians were able to incorporate different mathematical expressions within a unified nework. That device was the pyramidion, a miniature form of the Pyramid itself, which provided its apex. Other pyramids and obelisks Egypt are known to have been topped by a pyramidion, made of gold or some other metal, which glowed in the sun. Tompkins and Stechini quote a reference by a second-century BC Greek writer, Agatharchides of Cnidus, to a pyramidion at the apex of the Great Pyramid, which could be included in calculations or omitted, thus providing a variety of mathematical demonstrations." Page 149 "...If, as its legend states, the Pyramid was designed to tionumentalize the entire code of ancient scientific knowledge, its nakers would have needed to grade the pyramidion by scoring it with lorizontal lines to represent different versions of the height or even by separating it into detachable sections. The image here is of an inscribed marble capstone, its tip formed of another, miniature pyramid, perhap made of some other material. This, and perhaps other sections of the upper part of the pyramidion, could be removed or put in place as required. But why should such a thing ever in practice be required, and why should such trouble be taken over capstone, pyramidions and minute rariations of length? These are questions which need to be discussed in relation to the Pyramid's practical function. The Golden Tip As the literature of the Pyramid measurers shows, many large volumes can be filled with estimates of the Pyramid's external and internal iimensions and speculations about their geodetic, astronomical and prophetic symbolism. The study is so obsessively fascinating that researchers are inclined to lose sight of the most important question of why the whole vast edifice was built. There is no doubt that within the Pyramid's fabric are encoded many scientific laws and formulas, but the preservation of such knowledge can scarcely have been the only motive of its builders. Its numerical properties must surely have had some practical purpose in relation to the form of science which the Pyramid was designed to serve. There has been much talk in recent years of 'pyramid power' and the possible function of the Great Pyramid as an accumulator and trans-former of cosmic energies. The idea certainly accords with the :raditional use of the Pyramid in connection with initiation, magic and nysticism, and it is supported by the occurrence of symbolic or 'magical' number series in its dimensions. The use of symbolic numbers in ancient temples was to procure the invocation of the god or aspect of cosmic energy which those numbers symbolized. Pyramid investigators ire confronted with an instrument designed for a type of science which today is no longer recognized. It is not, however, beyond recovery, for its records are preserved in the language of number, built into the Pyramid's dimensions, and these provide certain clues to the nature of the Pyramid's original function. All Pyramid measurers, and all who study its dimensions, purpose or any of its other aspects, find themselves inexorably drawn to the matter of its apex. Many of the clues within the Pyramid's geometry / Page 150 / and numbets point towards it, and several investigators have expressed the feeling that these clues were deliberately contrived, as if the builders were concerned to leave a record of their scientific code in monumental form, to be interpreted and put to use again by some future generation. Peter Lemesurier, the latest and most convincing of the interpreters of Pyramid chronologies and. prophecy, gives detailed reasons in his Great Pyramid Decoded for claiming that the historical outline of the six thousand years following its building in 2623 BC is recorded in the dimensions of the Pyramid's interior spaces. They are said to foretell the collapse of the present civilization in about the year AD 2004, followed some thirty years later by the Messianic return and the birth of a new order. That, according to other readers of Pyramid prophecy, is the time when the 'stone that the builders rejected', the missing capstone on the Pyramid, will be restored to the apex, reactivating the entire structure in accordance with its original purpose..." 2 x 6 x 2 x 3 = 72 Page 150 "Were it not for the common but inappropriate use of metric units in publishing details of antique weights, that feature would be more generally recognized."
"A series of clues to the composition of the final pyramidion at the very apex of the Pyramid begins with an observation in A.E. Berriman's Historical Metrology on the antiquity of the British or Imperial inch. There are a number of old Egyptian weights in the British Museum, and others from Greece and Babylon, whose standard of reference has proved to be the cubic inch of gold. Were it not for the common but inappropriate use of metric units in publishing details of antique weights, that feature would be more generally recognized. Five is the number chiefly associated with the pyramid form; which has five faces and five corners, and if 5 cubic inches of solid gold are modelled into the shape of a miniature Great Pyramid, the height of that model proves to be the very interesting measure of 0.152064 ft., which is a tenth part of the Greek cubit (1.52064 ft.), the unit in terms of which / . 152 ft A cubic inch of gold, actual size, in pyramid form. Height = one tenthof a Greek cubit. Page 151 / the area of the Pyramid's side measures 100,000 square cubits. That this small gold pyramidion was an integral part of the Pyramid's design is evident from the figures. Without it the dimensions are not quite complete, for if it were removed, the area of the Pyramid's side would be 99999.99 square cubits only. With the 5 cubic inches of gold pyramidion in place, the figure of 100,000 square cubits represents the total area..."
Without it the dimensions are not quite complete, for if it were removed, the area of the Pyramid's side would be 99999.99 square cubits only." "Without it the dimensions are not quite complete, for if it were removed, the area of the Pyramid's side would be 99999.99 square cubits only." "for if it were removed, the area of the Pyramid's side would be 99999.99 square cubits only." "the Pyramid's side would be 99999.99 9999999
......
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FINGERPRINTS OF THE GODS Graham Hancock 1995 Page 411(number omitted) "According to Heliopolitan theology, the nine original gods who appeared in Egypt in the First Time were Ra, Shu, Tefnut, Geb, Nut, Osiris, Isis, Nepthys and Set. The offspring of these deities included well-known figures such as Horus and Anubis. In addition, other companies of gods were recognized, notably at Memphis and Hermopolis, where there were important and very ancient cults dedicated to Ptah and to Thoth.1 These First Time deities were all in one sense or another gods of creation who had given shape to chaos through their divine will. Out of that chaos they formed and populated the sacred land of Egypt,2 wherein, for many thousands of years, they ruled among men as divine pharaohs.3
KEEPER OF GENESIS A QUEST FOR THE HIDDEN LEGACY OF MANKIND Robert Bauval Graham Hancock 1996 Return to the Beginning Page 283 'I stand before the masters who witnessed the genesis, who were the authors of their own forms, who walked the dark, circuitous passages of their own becoming. . .
I stand before the masters who witnessed the transformation of the body of a man into the body in spirit, who were witnesses to resurrection when the corpse of Osiris entered the mountain and the soul of Osiris walked out shining. . . when he came forth from death, a shining thing, his face white with heat. . . I stand before the masters who know the histories of the dead, who decide which tales to hear again, who judge the books of lives as either fun or empty, who are themselves authors of truth. And they are Isis and Osiris, the divine intelligences. And when the story is written and the end is good and the soul of a man is perfected, with a shout they lift him into heaven. . .' Ancient Egyptian Book of the Dead (Norrnandi Ellis translation)
CHRISTOS SO CHRIST SO CHRISTOS CHRISTOS SO C HRIS T SO CHRISTOS SO SEE CHRIST SEE SO SO SEE C 8991 T SEE SO SO SEE C 27 T SEE SO SO SEE C 9 T SEE SO SO SEE CHRIST SEE SO CHRISTOS SO C HRIS T CHRISTOS SO CHRISTOS SO CHRIST CHRISTOS SO CHRISTOS CHRISTOS CHRISTOS C HRIS T OS C HRIS T OS C HRIS T OS SOTHISRC SOTHISRC SOTHISRC SO THIS R C SO THIS R C SO THIS R C SO THIS R SEE SO THIS R SEE SO THIS R SEE SOTHIS SIRIUS OSIRIS ISISISIS OSIRIS SIRIUS SOTHIS ISIS OSIRIS SO IRIS O IRIS SO OSIRIS ISIS
PLUTARCH Plutarch; "On Isis and Osiris (De Iside et Osiride)" transl. by Frank Cole Babbitt, in Plutarch's Moralia, Vol. V, Loeb Classical Library, Harvard University Plutarch; "On Isis and Osiris (De Iside et Osiride)
ISIS HORUS OSIRIS THE CHRISTOS OF SPIRIT THE SPIRIT OF CHRISTOS
SO IRIS OSIRIS ISISIS OSIRIS IRIS SO
SECRET CHAMBERS Robert Bauval 1 999 Page82 THE EYE AND THE IRON THRONE OF OSIRIS "There is a great deal of debate and confusion concerning the etymology of the name Osiris and the mysterious symbols attached to it. It may , surprise the reader to learn that the name is not Egyptian but Greek. The true and original name of the god in its most ancient form was As-Ar or Ausar, composed by two hieroglyphic signs of the 'throne' and the 'eye'. It is only much later, around 500 BC or so, that the Greeks gave it its classical pronounciation. The 'throne' almost certainly symbolises the 'throne of Osiris' or, more generally, the 'throne of divine kingship' -and in its other-worldly connotation, it may also stand for the 'throne of Osiris in the Duat'. Such a conclusion conforms with the role and function of Osiris as 'Lord of the Duat' and, at any rate, is confirmed by the many depictions in funerary art showing Osiris sitting on a throne in the so-called 'Judgement scene' where the god dispatches his verdict on the souls of the dead. There is an interesting variation of this depiction, however, in which Osiris is seen sitting on his throne placed on the summit of a pyramid or mound (see Fig. 13).107 Concerning this last, Rundle Clark had this to say: "I am seeking the Eye of Horus, that I might bring it back and count it."
I AM SEEKING THE EYE OF HORUS THAT I MIGHT BRING IT BACK AND COUNT IT
THE LIGHT IS RISING NOW RISING IS THE LIGHT
THE SIRIUS MYSTERY Robert K.G.Temple 1976 Page 82 The Sacred Fifty "We must return to the treatise 'The Virgin of the World'. This treatise is quite explicit in saying that Isis and Osiris were sent to help the Earth by giving primitive mankind the arts of civilization: 'How was it, mother, then, that Earth received God's Efflux?' And Isis said: 'I may not tell the story of (this) birth; for it is not permitted to describe the origin of thy descent, O Horus (son) of mighty power, lest afterwards the way-of-birth of the immortal gods should be known unto men - except so far that God the Monarch, the universal Orderer and Architect, sent for a little while thy mighty sire Osiris, and the mightiest goddess Isis, that they might help the world, for all things needed them. "Page 73 A Fairy Tale 'I INVOKE THEE, LADY ISIS, WITH WHOM THE GOOD DAIMON DOTH UNITE, HE WHO IS LORD IN THE PERFECT BLACK.'
9 X 11 = 99 = 11 X 9
OSIRIS ISIS SIRIUS ORION
9 X 10 = 99 = 10 X 9
9 X 10 = 99 = 10 X 9
9 X 10 = 99 = 10 X 9
ENTERS NETERS ENTERS THE NETERS NETERS ENTERS
THE ELEMENTS OF EGYPTIAN WISDOM Naomi Ozaniec 1994 THE SACRED SCRIPT - THE MEDU NETERS Page 80 / The logical mind begins to reel / Page 81 / Language as evocation is immensely powerful. Word play is not finished; Neith can also be written by spelling the 't' with the sign for land, ta, in combination with the sign for water, 'n'. This particular hieroglyph represents ruffled water. By spelling the same name in a different way, we are presented with a different set of ideas. Here is Neith as 'the primeval water which gave birth to the land,' a theologically familiar concept. Once again a brief word encapsulates both divine name and divine function. Hieroglyphic omitted Schwaller de Lubicz reminds us repeatedly that we do need to look for a convoluted symbolism. The Medu Neters were chosen in such a way as to really signify all the qualities and functions implicit in the image. We are of course removed from the direct observation of vulture and ibis, crocodile and falcon, It is hard for us to understand the subtleties of movement, habit or life cycle which prompted a recognition deep in the Egyptian mind. It is well known that the humble dung beetle was raised to a sacred status from its simple egg-laying habit. The young emerged from the ball of dung as new life unbegotten. It is less well known that the scarab resembles the human skull, its two wing cases being reminiscent of the two halves of the human skull. The ability to find the cosmic In the mundane through a correspondence is the hallmark of a mind sensitized through symbolic training. Any contemporary Qabalist recognizes this function for what it is, the inner workings of an esoteric system. These brief examples serve to illustrate the workings of both the Egyptian mind and the Egyptian tradition. Each letter had its own secret; all sacred alphabets are constructed in this way. Moreover a sacred language always serves a double purpose, a written double entendre. To the uninitiated there is no secret to hide. The language functions perfectly well at a purely practical level. To the initiated there exists another level of inner meaning as opposed to the apparent meaning. The inner meaning requires no elaborate subterfuge. It is there all the time, open and blatant. 'It / Page 82 / is hidden from view only because it represents a higher non-cerebral consciousness which simply evades the logical mind. The Egyptians preserved this double function with astonishing brilliance and clarity over an immensely long period of time. Hebrew still functions as a sacred alphabet.. Each of its letters signifies ideas, numbers and cosmic principles.. A word becomes a code for an abstraction, a metaphysical concept, an esoteric teaching. An outsider cannot penetrate into the labyrinthine maze of meanings without becoming lost in ideas and distracted by elusive possibilities. A guide is always required in such matters - scribal training took place through an apprenticeship system. It is a mistake to think that we might uncover how the scribes viewed individual hieroglyphs by simply applying any meaning that springs to our mind. It is Clear that individual signs and arrangements carried a precise range of corresponding symbols. Schwaller de Lubicz acts as our guide into the intricacies of an individual hieroglyph in the book Her-Bak. The letter r is written in the lenticular shape of a half open mouth. Now look. for the ideas, qualities and functions this sign represents. First, its nature. The mouth, ra, is the upper opening of the body, an entrance that communicates by two channels with the lungs and stomach; that is why this hieroglyph is also the generic word for an entrance, ra. The mouth opens and shuts to eat, breathe and speak, as the eye, ar.t, opens and shuts to receive or refuse light. The mouth's function is dual, passive and active, it receives air and food, emits breath and voice. The eye's function is dual, likewise 'the reception of light and expression of organic and emotional response. The mouth's shape changes by the separation of the lips for the performance of its function. Opening, it widens or narrows like the shadow thrown on a disc by another disc which gradually eclipses it. In the partially occulted disc, the lentil or dark mouth is the complement of the crescent still visible. This gradual change of shape produces portions of different size that represents parts of the occulted disc. The characteristic has given the name ra to parts of a whole such as numerical fractions, chapters and so forth. Page 83 These profound thoughts revolve around a single letter majestic insights might we discover if only someone would serve as our guide through all the hieroglyphic combinations! Here is a way of thinking quite unlike our own, a mind set removed from our utilitarian use of language. This totally symbolic thinking produced completely practical applications, as we see through Egypt's many lasting achievements there is no grounds whatsoever for thinking that this symbolic system produced woolly mindedness. On the contrary it gave rise to a mind that was both extensive and focused, deep and creative, traditonal yet original.
ESOTERIC = 4 = ESOTERIC ESOTERIC I SECRET O ESOTERIC ESOTERIC = 4 = ESOTERIC
ESOTERIC 6 SECRET 9 ESOTERIC ESOTERIC 9 SECRET 6 ESOTERIC
ESOTERIC ISISIS ESOTERIC O SECRET I 6 SECRET 9 ESOTERIC ISIS ESOTERIC
SEE RE C THAT C RE SEE
ESOTERIC = 4 = ESOTERIC MATTER MIND SPIRIT GODS SPIRIT MIND MATTER EXOTERIC = 9 9 = EXOTERIC E MOTION ISISIS NOITOM E I THAT AM THAT TIME EMIT
IN THE BEGINNING GOD CREATED THE HEAVEN AND THE EARTH AND DARKNESS WAS UPON THE FACE OF THE DEEP AND THE SPIRIT OF GOD MOVED UPON THE FACE OF THE WATERS AND GOD SAW THE LIGHT THAT IT WAS GOOD
THE LOST WORLDS OF 2001 Arthur C. Clarke 1972 Page 99 With Open Hands "In countless subtle ways, that silent pyramid was leaving its mark upon the world. It had long been predicted that only an external threat could really unite mankind; this prediction now. appeared to be coming true. Behind the scenes, statesmen were already at work, trying to end the national rivalries that had been in existence so long, and of which few could remember the origin. There was even a chance that the concept of world government, that battered dream of the idealists, would soon become reality, though for reasons that were hardly idealistic.
JUPITER WHEN STOOD IN LINE WEIGHS IN AT NUMBER 99
REACH FOR TOMORROW Arthurc C. Clarke 1956 Introduction "Unlike authors of so-called mainstream fiction, the. writer of science fiction has the responsibility (often an embarrassing one) of confronting his readers every decade or so, to report on how his ideas have stood the test of time. This, of course, is one excellent reason for setting stories in the very distant future. Then there's no need to explain - or to apologize. Page 90 THE AWAKENING "Twenty miles away to the west, rainbow-hued in the sunlight, the upper peaks of the artificial mountain that was City Nine floated above the clouds."
THE LOST WORLDS OF 2001 Arthur C. Clarke 1972 THE DAWN OF MAN "During November 1950 I wrote a short story about a meeting in the remote past between visitors from space and a primitive ape-man. An editor at Ballantine Books gave it the ingenious title "Expedition to Earth" when it was published in the book of that name,. but I prefer "Encounter in the Dawn." However, when Harcourt, Brace and World brought out my own selection of favorites, The Nine Billion Names of God, it was mysteriously changed to "Encounter at Dawn."
OF TIME AND STARS Arthur C. Clarke 1972 THE NINE BILLION NAMES OF GOD Page 15 (Number omitted) This is a slightly unusual request,' said Dr Wagner, with what he hoped was commendable restraint. 'As far as 1 know, it's the first time anyone's been asked to supply a Tibetan monasterf with an Automatic Sequence Computer. 1 don't wish to be inquisitive, but 1 should hardly have thought that your - ah - establishment had much use for such a machine. Could you explain just what you intend to do with it?' Page 16 'We have reason to believe/ continued the lama imperturbably, 'that all such names can be written with not more
than nine letters in an alphabet we have devised.'
INTO THE COMET Page 68 "Pickett's fingers danced over the beads, sliding them up and down the wires with lightning speed. There were twelve wires in all, so that the abacus could handle numbers up to 999,999,999,999 - or could be divided into separate sections where several ndependent calculations could be carried out simultaneously."
RAMAH II Arthur C. Clarke & Gentry Lee 1989 Page 9 "Again humanity looked outward, toward the stars, and the deep philosophical questions raised by the first Rama were again debated by the populace on Earth. As the new visitor drew nearer and its physical characteristics were more carefully resolved by the host of sensors aimed in its direction, it was confirmed that this alien spacecraft, at least from the outside, was identical to its predecessor. Rama had returned. Mankind had a second appointment with destiny." Page 178 (number omitted) "Cosmonaut Wakefield is remarkably well adjusted" "Wakefield knew more than any member of the faculty..." "Wakefield exhibits none of the anti social behaviour..." "...Wakefield and rubbed her eyes."
Page179 "the Wakefield dossier" "and Wakefield" "Wakefield" Page 180 "Wakefield's intelligence rating..." "So what about Wakefield ? she asked herself " "She resolved to talk to Wakefield." Enlisting Wakefield for support" Page 182 " '"It is time to sleep in Rama,' she intoned. She looked up and around her. The lights in this amazing world came on unexpectedly about nine hours ago, showing us in more detail the elaborate handiwork of our intelligent cousins from across the stars.' " Page "Did God make the colours?." " "You know,' he said at length to Cosmonauts Wakefield and. . . " Page 184 "Wakefield was engrossed" "But all nine sections are not absolutely the same "...Wakefield, standing up with a satisfied smile"
Page 433 The Voice of Michael "Under the word 'Rama', the general found a host of different references in the concordance. The one that he was looking for was the only one marked in a bold font. That specific reference was the saint's famous 'Rama sermon' , delivered in camp to a group of five thousand of Michael's neophytes three weeks before the holocaust in Rome. O'Toole began to read.
...
EUREKAAKERUE
ATEN A TEN
DAILY MAIL Jonathon Cainer 6 May 2006 YOUR WEEK AHEAD Page 84 (number omitted) Having trouble sleeping? Read this 'The sum of the square of the two sides of a right angled triangle is equal to the ssquare of the length of the hypotenuse.' Unless you're a mathematician, your probably snoring already. Pythagora's theorem can have that effect. Pythagoras was in fact, a vegetarian visionary who led a cult dedicated to the mystic meaning of numbers. Triangles, for him, contained 'divine messages'. For astrologers, they still do! This week, Jupiter, Mars and Uranus divide the zodiac into three perfect equilateral triangles. It's auspicious for anyone seeking a formula for success
Maat From Wikipedia, the free encyclopedia Maat Goddess of Truth and Justice Major cult center Symbol Consort Parents Maat or Ma'at was the ancient Egyptian concept of truth, balance, order, law, morality, and justice. Maat was also personified as a goddess regulating the stars, seasons, and the actions of both mortals and the deities, who set the order of the universe from chaos at the moment of creation. Her ideological counterpart was Isfet. The earliest surviving records indicating that Maat is the norm for nature and society, in this world and the next, were recorded during the Old Kingdom, the earliest substantial surviving examples being found in the Pyramid Texts of Unas (ca. 2375 BCE and 2345 BCE).[1] Later, as a goddess in other traditions of the Egyptian pantheon, where most goddesses were paired with a male aspect, her masculine counterpart was Thoth and their attributes are the similar. In other accounts, Thoth was paired off with Seshat, goddess of writing and measure, who is a lesser known deity. After her role in creation and continuously preventing the universe from returning to chaos, her primary role in Egyptian mythology dealt with the weighing of souls (also called the weighing of the heart) that took place in the underworld, Duat.[2] Her feather was the measure that determined whether the souls (considered to reside in the heart) of the departed would reach the paradise of afterlife successfully. Pharaohs are often depicted with the emblems of Maat to emphasise their role in upholding the laws of the Creator.[3 Winged Maat Maat as a principle was formed to meet the complex needs of the emergent Egyptian state that embraced diverse peoples with conflicting interests.[5] The development of such rules sought to avert chaos and it became the basis of Egyptian law. From an early period the King would describe himself as the "Lord of Maat" who decreed with his mouth the Maat he conceived in his heart. The significance of Maat developed to the point that it embraced all aspects of existence, including the basic equilibrium of the universe, the relationship between constituent parts, the cycle of the seasons, heavenly movements, religious observations and fair dealings, honesty and truthfulness in social interactions.[6] The ancient Egyptians had a deep conviction of an underlying holiness and unity within the universe. Cosmic harmony was achieved by correct public and ritual life. Any disturbance in cosmic harmony could have consequences for the individual as well as the state. An impious King could bring about famine or blasphemy blindness to an individual.[7] In opposition to the right order expressed in the concept of Maat is the concept of Isfet: chaos, lies and violence.[8] In addition to the importance of the Maat, several other principles within ancient Egyptian law were essential, including an adherence to tradition as opposed to change, the importance of rhetorical skill, and the significance of achieving impartiality, and social justice. In one Middle Kingdom (2062 to c. 1664 BCE) text the Creator declares "I made every man like his fellow". Maat called the rich to help the less fortunate rather than exploit them, echoed in tomb declarations: "I have given bread to the hungry and clothed the naked" and "I was a husband to the widow and father to the orphan".[9] To the Egyptian mind, Maat bound all things together in an indestructible unity: the universe, the natural world, the state, and the individual were all seen as parts of the wider order generated by Maat. A passage in the Instruction of Ptahhotep presents Ma'at as follows: Maat wearing feather of truth Later scholars and philosophers also would embody concepts from the wisdom literature, or Sebayt. These spiritual texts dealt with common social or professional situations and how each was best to be resolved or addressed in the spirit of Maat. It was very practical advice, and highly case-based, so that few specific and general rules could be derived from them.[12] During the Greek period in Egyptian history, Greek law existed alongside Egyptian law. The Egyptian law preserved the rights of women who were allowed to act independently of men and own substantial personal property and in time this influenced the more restrictive conventions of the Greeks and Romans.[13] When the Romans took control of Egypt, the Roman legal system which existed throughout the Roman Empire was imposed in Egypt. Maat and scribes[edit] Scribes held prestigious positions in ancient Egyptian society in view of their importance in the transmission of religious, political and commercial information.[14] Thoth was the patron of scribes who is described as the one "who reveals Maat and reckons Maat; who loves Maat and gives Maat to the doer of Maat".[15] In texts such as the Instruction of Amenemope the scribe is urged to follow the precepts of Maat in his private life as well as his work.[16] The exhortations to live according to Maat are such that these kinds of instructional texts have been described as "Maat Literature".[17] Maat as a Goddess[edit] Goddess Maat[18][19] Maat was the goddess of harmony, justice, and truth represented as a young woman,[20] sitting or standing, holding a was scepter, the symbol of power, in one hand and an ankh, the symbol of eternal life, in the other. Sometimes she is depicted with wings on each arm or as a woman with an ostrich feather on her head.[19] The meaning of this emblem is uncertain, although the god Shu, who in some myths is Maat's brother, also wears it.[21] Depictions of Maat as a goddess are recorded from as early as the middle of the Old Kingdom (c. 2680 to 2190 BCE).[22] The sun-god Ra came from the primaeval mound of creation only after he set his daughter Maat in place of Isfet (chaos). Kings inherited the duty to ensure Maat remained in place and they with Ra are said to "live on Maat", with Akhenaten (r. 1372-1355 BCE) in particular emphasising the concept to a degree that, John D. Ray asserts, the kings contemporaries viewed as intolerance and fanaticism.[23] Some kings incorporated Maat into their names, being referred to as Lords of Maat,[24] or Meri-Maat (Beloved of Maat). Maat had an invaluable role in the ceremony of the Weighing of the Heart. (See below: "The Weighing of the Heart"). Temples of Maat[edit] The earliest evidence for a dedicated temple is in the New Kingdom (c. 1569 to 1081 BCE) era, despite the great importance placed on Maat. Amenhotep III commissioned a temple in the Karnak complex, whilst textual evidence indicates that other temples of Maat were located in Memphis and at Deir el-Medina.[25] The Maat temple at the Karnak complex was also used by courts to meet regarding the robberies of the royal tombs during the rule of Ramesses IX.[21] Maat and the Afterlife[edit] See also "True of Voice" The Weighing of the Heart[edit] In the Duat, the Egyptian underworld, the hearts of the dead were said to be weighed against her single "Feather of Ma'at", symbolically representing the concept of Maat, in the Hall of Two Truths. This is why hearts were left in Egyptian mummies while their other organs were removed, as the heart (called "ib") was seen as part of the Egyptian soul. If the heart was found to be lighter or equal in weight to the feather of Maat, the deceased had led a virtuous life and would go on to Aaru. Osiris came to be seen as the guardian of the gates of Aaru after he became part of the Egyptian pantheon and displaced Anubis in the Ogdoad tradition. A heart which was unworthy was devoured by the goddess Ammit and its owner condemned to remain in the Duat.[26] The weighing of the heart, pictured on papyrus in the Book of the Dead typically, or in tomb scenes, shows Anubis overseeing the weighing and the lioness Ammit seated awaiting the results so she could consume those who failed. The image would be the vertical heart on one flat surface of the balance scale and the vertical Shu-feather standing on the other balance scale surface. Other traditions hold that Anubis brought the soul before the posthumous Osiris who performed the weighing. While the heart was weighed the deceased recited the 42 Negative Confessions as the Assessors of Maat looked on.[26] Maat in Funerary Texts (The Book of Coming Forth by Day and on tomb inscriptions)[edit] BD Weighing of the Heart Book of the Dead written on papyrus showing the "Weighing of the Heart" in the Duat using the feather of Maat as the measure in balance The doctrine of Maat is represented in the declarations to Rekhti-merti-f-ent-Maat and the 42 Negative Confessions listed in the Papyrus of Ani. The following are translations by E. A. Wallis Budge.[27] 42 Negative Confessions (Papyrus of Ani)[edit] Assessors of Ma'at[edit] "The Assessors of Ma'at" are the 42 deities listed in the Papyrus of Nebseni,[29] to whom the deceased make the Negative Confession in the Papyrus of Ani.[30] They represent the 42 united nomes of Egypt, and are called "the hidden Maati gods, who feed upon Maat during the years of their lives;" i.e., they are the righteous minor deities who deserve offerings.[27] As the deceased follows the set formula of Negative Confessions, he addresses each god directly and mentions the nome of which the god is a patron, in order to emphasize the unity of the nomes of Egypt.[29] Notes[edit] 1.Jump up ^ Siegfried Morenz (1973). Egyptian Religion: Siegried Morenz. p. 273. ISBN 978-0-8014-8029-4. References[edit] Further reading[edit]
SHAMANIC WISDOM IN THE PYRAMID TEXTS THE MYSTICAL TRADITION OF ANCIENT EGYPT Jeremy Naydler 2005 The Sarcophagus Chamber Texts Page 198 "Then come fourteen utterances, each preceded by the formula "Osiris Unas, take the Eye of Horus," followed by the name of the particular offering presented-cake, bread, beer, and so on (utts. 83-96)."
Page 198 "Then come fourteen utterances, each preceded by the formula "Osiris Unas, take the Eye of Horus," followed by the name of the particular offering presented-cake, bread, beer, and so on (utts. 83-96)."
OSIRIS UNAS TAKE THE EYE OF HORUS OSIRIS UNAS A SUN A UNAS OSIRIS
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