From: luigi.di-martino@ntlworld.com
Hi Robert
Thanks for the link on Solomon's Musical Terms Glossary. I did come across his site when someone told me he knew all there was to know about symmetry in music. That is true, he knows everything except maybe the kitchen sink if you know what I mean. Still someone had to eventually discover the kitchen sink!
Is there a relation with these numbers and that question you asked me about double light? When you said you believed that a musical mapping of double light had been what I had been doing I didn't really see it immediately.
Then I thought I knew what you meant. Each triangle adds up to 27. There are two triangles that make up a circle of tones, 54. One triangle can be seen as living in the centre of the other. Yet there are two circles of tones in all, each with two triangles of frequencies. The major scale has two points where one circle of tones swaps for the other (between E F and B C).
144 is a number related to light. I learned recently that 288 is associated with double light. So, if we add on another 144 we get 432. Is this triple light?!
432 x 27 = 11664
Bb C Db Eb F G Ab Bb (C) D E F G A B C D
This is the result one gets when the scale of C is extended to the 9th either side of the mirror. There is a natural 18 that comes from this simply by remembering that symmetry is a natural function.
Also according to Ramsey's mathematically worked out musical system the note D is 432, and not A. This would make a lot of sense considering the symmetry D is associated with.
Lui
From: MetPhys@aol.com
In a message dated 7/2/2 11:37:03 AM, you wrote:
<< 144 is a number related to light. I learned recently that 288 is associated with double light. So, if we add on another 144 we get 432. Is this triple light?! >>
Luigi,
The light number (144), when doubled (288) and trebled (432) seems to be symbolic and I believe, from other studies, that we can assign a doubling to light (288) as if light were coming and going at the same time just as I believe that gravity is coming and going at the same time or that the electron is here and there at the same time, which is light after light has stopped. As far as the concept of "triple light" is concerned, I see that as a movement as follows: 1, 2, 3(1), 4(2), 5(1), 6(2), 7(1). In other words, no matter how many times light is multiplied from root 144, it seem like it is just repeating the 1, 2, 1, 2, 1, 2 flip-flop of double light. It seems this backward light is being detected by the latest experiments in FTL but it is called "faster than light" when in reality light may just be arriving before it left. In other words, its going "backward". Now I call the backward light (future to past- christory) while the light we see and know is called (past to future- history).
Do you see these doubling (mirror) concepts in music or do you also see a multiplying toward trebling and more by octaves?
MetPhy@aol.com
From: luigi.di-martino@ntlworld.com
Robert:
You don't know what a coincidence this is!! I want to share with you a letter to Sharon earlier and this diagram:
Hi Sharon,
<< Well I went into the kitchen to fix myself a drink when I began thinking about the 222. I wanted to write and say "hey, can you see how Mode number 2 in that box mirrors to mode number 2. But then I thought "yes but that is not all three 2's. Then I thought of that triangle and circle diagram. The black triangle is male and is made up of three Keys, all being 1, so that's 111.
The red triangle is female and is made up of Three Dorian Modes. I know, this is all sorta spiel! But that means the female triangle is the 222. All these years I've had that diagram and it took you for me to make the connection!! >>
Lui
1 +2 +1 +2 +1 +2 = 9
Also:
121 + 212 = 333
From: MetPhys@aol.com
Luigi,
In the past, I noticed peculiar similarities between exponents of numbers such as 2^2, 2^3, 2^4, 2^5 and musical notes such as the 2nd, 3rd, 4th and 5th. Taking this assumption to a conclusion, I imagined that a 5 dimensional manifold of space might be mapped by using the interval of the 5th, representing 5D space, ala Gurdjieff and his discussion of the 5th of O^2 (2nd octave) and its influence of the O^1 (1st octave). What this line of reasoning leads to is that space, as I proposed several years ago, will finally be found to be 13 dimensional, modelled after the 13 musical notes of the chromatic scale, 11 dimensions of which, are already being explored. To extend this 13 note octave twice, we arrive at the double octave, 26 dimension Lie Algebra which Tony Smith explains very well.
My question to you is,
"Not surprisingly, the 5-d physics phoenix, though, would soon rise from the quantum ashes. Indeed, the fifth dimension is not just required to unify the macroscopic gravitational and electromagnetic fields. It is equally required in quantum physics. As earlier introduced, specifically for quantum physics, a mathematical infinity that could not be conveniently renormalized developed in quantum physics when modern day unification physicists tried to incorporate gravity into a quantum physics attempt to unify nature's four fundamental forces. The only way gravity could be incorporated into the quantum physics unification was to resurrect a fifth dimension, which is no surprise since a fifth dimension is required macroscopically to accommodate 4-d space-time curvature. The need for a fifth dimension further resides in quantum physics' explanation for matter. Initially, quantum physicists assumed that matter acted microscopically the same way as it did macroscopically, which is that all mass could be assumed to mathematically act at a point. Quantum physics, again recall, now contends that subatomic matter is structured as two-dimensional microscopic strings, which merely vibrate at different frequencies (in even more unknown dimensions) to ultimately create all the subatomic particles that exist in the quantum realm. Where do all these extra quantum physics dimensions reside? Physicists merely speculate conventional 3-d space as somehow again first harboring the prerequisite fifth dimension along with all the additional ones needed in the theory. This is the case even though the extra dimensions are envisioned as being too small to ever be physically detected. To sum up modern quantum string theory unification attempts, scientists here are blatantly just using faith, belief, and hope to structure the physics, which is totally unscientific and should have the hard-core religious creationists literally rolling in the church aisles with laughter. The latest cosmological vogue to account for matter involves a fundamental particle called the Higgs' boson. It is also often referred to as the God particle because it can supposedly account for the creation of all matter in the Universe."
MetPhys@aol.com
From: luigi.di-martino@ntlworld.com
Hi Robert,
Thanks for all the good reading.
<< My question to you is,
Interesting because it is becoming clearer that some of us have decided to get together in order to share and hopefully join the different fields we have been searching within. Without your understanding of the spin of electrons and the many other bits of knowledge you have on numbers and the desire to get it all together on one web site I would not have made the shift in understanding my own work in the same context. Now I think I know how to show the swapping over from this side to that side in a 'musical' way. If there is any sense in it for anyone else after that, and they can apply it to their own field of study, Great!
I have also found the 5th to be a good ratio to work with and asking 'mirror' type questions about. There is already one diagram on your site that shows when the triad of C is taken through a circle of 5ths(remembering to represent the mirror scale at each new point) then the same circle of tones type structure appears as did within the Mode Box of C major.
Also using the 5th for mirror experiments consistently leads to the Tri-tone interval (the flat 5th or sharp 4th). That is because a 5th will never move in one direction only. It is up to everybody else to decide but if someone is going to take a journey or two using this interval they should consider that it is part of a 'dual' flow and it would be to their advantage to apply the journey to that dual flow. This is what opens up the Tri-tone relationship.
If one can find the exact frequency numbers for all the 167 Major scales that exist and then sequence all the possible notes within one octave, then perhaps that may answer our questions about possible Dimensions.
There is a process I can only think to call 'continual mirroring of chords and the 1 3 5 overtones' that shows how there is a musical journey in and out of the mirror. It may be this process that explains musically the journey of the electron.
Luigi
From: MetPhys@aol.com
<< It may be this process that explains musically the journey of the
electron. >>
Luigi,
The last sentence, above, of your last Email has had my attention for several years.
If we want to explore the integration of music, physics and the electron path, it will take my intuition and insight and your extensive knowledge of music. I cannot go further without your information and insight.
We both know intuitively that all the separate modern divisions of science are unified, "somehow".
Taking steps to "predict" the path of an electrons within a magic square supersymmetry is almost a laughing matter to some but to me it is not so. In the latest edition of Scientific American (July, 2002) I found serious mainstream science speaking of atomics at the boson and fermion levels having something to do with, get this, "a magic square". I had suspected this for years, intuitively.
I also believe that musical scales or sets of them could be considered magic squares of notes or sounds simply by understanding from one as yourself, that the scales loop or move in triangular paths, meaning recursive or in other words, the beginning is connected to the end, only in your scales, the end of the loop on "this side", (0,9) is the beginning of the loop on the "other side" (0,9).
Now our problem here is... how does this unknown magic square of bosons and fermions relate to the seeming musical magic squares which are ever recursive or repeating, spiralings or loopings. Intuitively we know there is a link.
The bottom line of our search would be to find that the electron path would turn out to be a magic square grid that can be mapped musically. That would take the probability argument and problems and throw them straight to the ground.
MetPhys@aol.com
From: luigi.di-martino@ntlworld.com
<< Now our problem here is... how does this unknown magic square of bosons and fermions relate to the seeming musical magic squares which are ever recursive or repeating, spiralings or loopings. Intuitively we know there is a link. >>
I think that magic squares are similar to music scales in that they are never acting alone. Every magic square has a 'mirror' counterpart which flows in an opposite fashion to its mate. The fact that the Fibonnacci numbers show this swapping over of flows from one side to the other I think may be a clue as to how magic squares also swap. So I picture the one square with its info and another square (in mirror to that one) with its info. There will come a time when the mirror magic square becomes the non-mirror and vice versa. Speculation? Yes! But then how do we answer this swapping over of Fibonnacci numbers when they are broken down to base 10, and the mirror flow is added ( so 8/1 are mirrors, for example)?
Also I suspect the gluons with their color combinations are a useful point of focus. What colors do they emit? Does anybody know this or are they random colors, or not colors as such?
Luigi
From: MetPhys@aol.com
In a message dated 7/5/2 1:28:59 PM, you wrote:
<< Every magic square has a 'mirror' counterpart which flows in an opposite fashion to its mate. >>
Exactly.
Each Mayan Calendar square (kua) has an equal and opposite square.
All this implies a very deterministic supersymmetry based upon a double manifestation and rotation about a recursive grid that can only be called a magic square (actually a magic torus). Manifestation of photons cannot be considered random.
MetPhys@aol.com
From: luigi.di-martino@ntlworld.com
<< Each electron, I concluded, has 918 photons mirrored with 918 other equal and opposite photons, in position and time, that equals 918 + 918 = 1836 Ev of the classic electron mass. 918 being a simple permutation of 189, 981 and 891 that Gary and I discussed some time ago. >>
Wow I actually get this!! I must do some research on those Cooper pairs. It comes in handy sometimes to repeat a number in order to see if the number 9 is playing role of axis:
918918
This puts the 9 as axis to 8/1.
189189
As you can see 9 is the consistent axis that "perhaps" allows the two flows of octave shifting to commence.
Luigi
From: MetPhys@aol.com
In a message dated 7/5/2 1:38:18 PM, you wrote:
<< Also I suspect the gluons with their color combinations are a useful point of focus. What colors do they emit? Does anybody know this or are they random colors, or not colors as such? >>
John Harms explores atomics and color.
MetPhys@aol.com
From: luigi.di-martino@ntlworld.com
That mirrors more or less where I am striving towards too!
Well I do have some good news on finally proving that things move in and out of the mirror. I just don't know now after all this time if I should simply write it in an e-mail and just give it to anybody (that doesn't mean you)!! If I share this next bit it will make the rest of the spiel I've been going on about seem a lot more attractive to some!
I will share it with you because you will be able to finish off quite a few things that I will not. How about it?!! I am a dimwit in a lot of ways and people do tend to get what they want from me! It isn't right though is it, to work in obedience to an inner calling and then to leave it all on a super highway.
I feel assured of this outcome, I can't hide my feeling of anticipation that things are going to really come together. From my point of view it depends on whether I can successfully explain my side of things. Not having a real source to go by means I have had to attach labels to the findings. Yet here's one for you. I named one of the structures I found 'Triangle of Keys'. This was in 1992. Two years or so ago I found that there are 167 Major Keys. So guess what the ANV of TRIANGLE OF KEYS is?!
(Note: I calculated the value as 167. MetPhys)
I found the answer to the 'this side' 'other side' in a very early diagram of all places. I just needed to know about the electron that's all!
This magic square business is very interesting. The diagram shows you how the Vedic Square relates to the Major scale. Here you have a union of number sequence partners and symmetrical inversions. Bb and D, for example, are mirror pairs and the 7 and 2 are not only number sequence partners (opposite flows) but also Inversion partners, the 7th being an inversion of the 2nd. The number 9 so uninvolved yet so catalyst.
The way I envisioned the building up of Magic squares was ever to mirror them and to repeat them every 9 numbers. Yet I don't really know to what outcome that would be.
Luigi
----- Original Message -----
<< It may be this process that explains musically the journey of the electron. >>
Luigi,
The last sentence, above, of your last Email has had my attention for several years.
From: luigi.di-martino@ntlworld.com
The numbers divided by 9 hide all the nine number sequences. For example:
1/9 = .11111111
Take the first 1 and add on the next 1 you have 1 2. Then add on another 1 and you have 1 2 3. Do this with all the 1's and the first number sequence of the Vedic square emerges -1 2 3 4 5 6 7 8 9
2/9 = .22222222
Take the first 2 then add on the next = 2 4 . Then add on the next 2 4 6 etc. The second sequence of the Vedic Square emerges - 2 4 6 8 1 3 5 7 9
This happens with all the divisions by 9.
Dividing by 11 gives a strange representation of the music Inversions and the number sequence pairs:
1/11= 0.090909
9 is associated with 0.
Dividing by 7 gives a series of constants. Dividing by 17 also gives a constant, which adds up to 77:
1/17= .05882355294117647
Dividing by 19 gives an amazing constant that adds up to 81. This has something to do with the periodic table but I have forgotten exactly what!
1/19=0.052631578947368421
Dividing by 23 also gives a constant, which adds up to 99:
1/23= .0434782608695652173913
----- Original Message -----
<< You will find a strange pattern in your base 7 or the 1/7, 2/7, 3/7, 4/7, 5/7, 6/7 and 7/7 ratios.
You will also come up with some very strange ratios if you calculate ratios in base 9 or
1/9 = .1111111111
Calculating in base 10 simply moves the decimal place over.
From: luigi.di-martino@ntlworld.com
We often find reference to the Philosopher's Stone. What about the Philosopher's Tones? Before I get into reading this material I just wanted to pass this by you.
(Note: Very good, I don't think anyone has done an alphanumeric on PHILOSOPHERS TONES).
PHILOSOPHERS TONES = 233
PHI = 33
Is the clue the fact that 233 may be Double Phi?
233 minus 33 = 200
200 x 33 = 6600
Double PHI is 66.
To turn the alphabet into frequencies one could substitute the musical tone for every individual letter.
A = 1
B = 2
C = 3
D = 4
E = 5
F = 6
So, what scale would be produced if this procedure were adopted for all the 26 letters? Well it would obviously be the first 26 Overtones.
If we then arrange the overtones as a Major scale we have:
C D E F G A B , which is:
1 9 5 21 3 27 15 = 81
So, the alphabet is a circle. The 27th letter becomes A again.
Half of 27 is 13.5
Only D and A share a relationship with the number 9. Doubling the frequencies for the note C, for example, the totals never break down to 9, instead breaking down to the now common sequence of 1 2 4 8 7 5.
Likewise E always breaks down to the same 1 2 4 8 7 5 sequence. F breaks down to 3 6 3 6 continually, as does the note G and also B.
The D and the A seem to be partners as we found out with that Planck formula, in that there may be a transference of matter equivalent to a modulation in music from D to A.
If we replace the alphabet's letters back onto the same numbers as the scale of C major we have:
A I E U C A(?) O
That seems to be all the vowels plus the C.
If the note A is to be seen as 13.5 then this would fall between M and N. This to me is dead centre of the alphabet.
Anyway, just thinking out loud, hope that's ok.
----- Original Message -----
This material of David Hudson, if you aren't familiar with his work, is called the Biblical mana and the Philosophers Stone of Alchemy.
MetPhys@aol.com
From: luigi.di-martino@ntlworld.com
The only thing I would add (because it was just a bit of speculation) is that if the A belongs in between M and N then one has MAN = 28.
***********************
<< Also, I calculated the words THE PHILOSOPHERS TONE = 247 = 13 = 4. Do you have any comment about this sum? >>
That's very good. I would love to see 247 as 2 47 and then 2 4+7, because these are the Tri-tone positions of the circle of tones.
Luigi
----- Original Message -----
In a message dated 7/6/2 9:07:10 AM, you wrote:
<< If the note A is to be seen as 13.5 then this would fall between M and N. This to me is dead centre of the alphabet. >>
Letter M is traditionally the lowest dip in the alphabet just as the periodic table has a dip at element iron, 26. M is for matter, mater, mother, mother earth. Are you sure the low point is between M and N?
Also, I calculated the words THE PHILOSOPHERS TONE = 247 = 13 = 4. Do you have any comment about this sum?
MetPhys@aol.com
From: MetPhys@aol.com
In a message dated 7/6/2 9:00:20 PM, you wrote:
<< Robert: >>
<< Do you think that after half a spin the info swaps over to the other electron and then after that half spin heads back to the first electron? >>
1/2 spin in atomics means the electron precesses 2 times around to arrive at its beginning again. Confusing but true. Since I am suspecting that photons move in magic square patterns I will speculate that there is an information swap so one photon "knows" what the other is doing at all times, as per experiment. This is probably due to the two being, in reality, one, rather than instant info transfer. We just aren't ready to admit one is the other half of the other. When we talk about a Cooper pair, we should think 2 x 2 = 4 photons. We see 2 but there are 4. So we might say, there is no swap from one visible photon to its opposite in location. There is a sharing of info as one photon. What is being swapped or shared between the visible Cooper pair and the invisible, virtual Cooper pair? This is the information that goes thru the center (0,9) from the visible to invisible to visible again. So it looks like a pair sharing and two pairs being visible then invisible, which accounts for this statement, "the photon seems to disappear and reappear 1,300 times a second". (Reality Revealed by Vogt).
<< Or do both electrons spin half this side and half the 'other'? >>
We know there is a "this side" visible Cooper pair and there is probably an invisible virtual "other side" Cooper pair which makes 4 spinning vortexes. This should be the c^4 component. This may relate to the musical 4th also, that my intuition tells me, is a connection of physics and music.
<< Or do they spin this side and the other side as well as continual swapping of information? >>
When we imagine a swapping of information I'm led by past studies to conclude that the visible Cooper pair (2) are so intimately connected as to be one, not two separate components. So it is the very same information in two locations, opposite, perhaps. Now there should be a pair of invisible, virtual Cooper pairs (2) also sharing info. Also, there should be the two visible Cooper pairs (2) sharing info with the two invisible, virtual Cooper pairs (2).
<< What would make information swap over may be the color codes in the gluons, or the workings of the fermions or bosons ( which unless I understood it wrong is the only occasion an electron is considered a boson)? >>
The swap over should be very deterministic......a magic square arrangement. Information would swap over because the two visible, opposite photons are the same component and are probably governed by a magic square arrangement on the surface of the electron sphere, actually an electron-torus shape with two of the 918 photons manifesting equally and oppositely on each side of the electron-torus shape. It happens in twos....two blink on, then disappear, two more opposites blink on in accordance with the magic square arrangement...until two by two they all cycle thru the magic square and then begin again, just like the mirror pairs of musical scales. I haven't quite made sense of the two pairs (c^4) with the two photons (c^2) yet. Two or four, that is the question.
<< I could see the magic square coming into this, especially if it built itself up continuously every 9 numbers. There would be one magic square evolving in 9's and a mirror magic square equivalent evolving in a similar way but with the mirror numbers every 9. >>
We could explore two sets of 4 later. In other words, 2 sets of 2 x 2 magic squares. This means 4 units each x 2 units = 8 with a (0,9) in the center, ala, Bucky Fullers "bowtie 9 or your musical triangles with 4.5 in the center.
If we want to confine the magic square to base 9 we could say that there are sets of 3 x 3 magic squares making a total of 918 individual squares so we will divide 918 by 3 x 3 = 12 magic squares of 3 x 3. It comes out even doesn't it. Each 3 x 3 magic square, of course, has 9 units.
So upon this torus that represents one electron, there are a series of 12, 3 x 3 (order 3) magic squares. Conversely, within each order 3 magic square manifests 9 photons, meaning that 9 photons per magic square x 12 magic squares = 918 photons total per electron.
Now we might speculate more and say that 6 of these magic squares might be visible on the outer surface of the torus and 6 may be invisible on the inside hole of the torus. This would explain why we only see 1/2 spin of the electron. In other words, 1/2 of the electrons dynamics are inside the torus and are invisible?
<< luigi >>
From: luigi.di-martino@ntlworld.com
Thank you for that clear explanation Robert. I shall endeavor to read more and learn about this fascinating field of science. This word invisible pops up rather a lot.
So if it were possible to map out the Mode Box into a magic square type thingie I would wager that the gateway for access to 'other' invisibles would be through the Lydia/Locrian points (4 and 7).
Another not complete law was what they call Double Reflection. What this means is that the Ionian mode mirrors to the Phrygian and vice versa, for example. Or the Locrian mirrors to the Lydian and vice versa.
I read this law in the only book I have found that mentions mirror music theory. It was this law that stopped musicians going further with their explorations. Yet if you look at the mode box you'll see that the law is not quite stated right. The actual process is one of swapping from this side to the other whilst going through the circle of tones. Take the Dominant chord for example, C7.
C E G Bb = chord of C7
Musically speaking this is 'this side' of the mirror. Now an axis is placed at the root of the chord and the intervals are symmetrically reflected.
D F Ab (C) E G Bb
What we have on the other side is a "half diminished' chord. This is a minor type chord that contains a tri-tone interval (D to Ab). Another name for this chord is "D minor7b5". This chord is on the other side of the musical mirror. And as far as the law of double reflection goes that is as far as the journey takes us, a Dominant chord becomes a Half Diminished chord and vice versa.
This is where continual mirroring comes in. The axis is placed at the D note and the intervals are symmetrically reflected from there:
E G# B (D) F Ab (C) E G Bb
What has emerged is the Dominant chord again so the law is correct about that, but it is not the same Dominant chord as before. So far we have out/in/out of the musical mirror. Now the E note becomes the new axis:
F# A C (E) G# B (D) F Ab (C) E G Bb
This new chord is the Half Diminished again. Things are swapping over between the two chords, in effect going from one side of the mirror to the other. But this journey is using a different set of notes. As you can see all the axis points so far are of the Circle of Tones - C D E F#- and only G# and A# to go.
G# B# D# (F#) A C (E) G# B (D) F Ab (C) E G Bb
The new chord again is the Dominant chord. So far there is an out/in/out/in/out expression that the journey is defining. And the Circle of Tones are also still be defined.
A# C# E (G#) B# D# (F#) A C (E) G# B (D) F Ab (C) E G Bb
Here we have the axis points the same as the circle of tones. We have an out/in of the mirror point process. Most importantly in my eyes is that one triangle is OUT and the other triangle is IN. The Dominant chord appears on the notes C E G# and the Half Diminished Chord appears on the notes D F# A#. This is why I see one triangle as Male (C E G# major tonality) and the other triangle as Female (D F# A# minor tonality). The way to read the notes above is from right to left continually.
I have an old diagram that used this approach to build compositions with. Perhaps it can come in useful. I know it is a musical journey as such.
Luigi
Addenda:
Didn't quite finish the whole sequence:
C E G (A#) C# E (G#) B# D# (F#) A C (E) G# B (D) F Ab (C) E G Bb
From: MetPhys@aol.com
<< So if it were possible to map out the Mode Box into a magic square type
thingie I would wager that the gateway for access to 'other' invisibles
would be through the Lydia/Locrian points (4 and 7). >>
Luigi,
Would this 4 / 7 be a 4 : 7 ratio?
MetPhys@aol.com
From: luigi.di-martino@ntlworld.com
Subject: Questions about Cooper pairs
In a message dated 7/6/2 9:00:20 PM, you (Luigi) wrote:
Robert:
Do you think that after half a spin the info swaps over to the other electron and then after that half spin heads back to the first electron?
<< 1/2 spin in atomics means the electron precesses 2 times around to arrive at its beginning again. Confusing but true. Since I am suspecting that photons move in magic square patterns I will speculate that there is an information swap so one photon "knows" what the other is doing at all times, as per experiment. This is probably due to the two being, in reality, one, rather than instant info transfer. We just aren't ready to admit one is the other half of the other. >>
The root axis is replicated at the tri-tone. The result at one is the result at the other. There's lots of ways to show this is true. The best way I have found is to take a midi file and then mirror it, and then to mirror the original again at the tri-tone axis instead. The result will be an identical copy to the first mirror midi file.
<< When we talk about a Cooper pair, we should think 2 x 2 = 4 photons. We see 2 but there are 4. >>
C/C visible and F#/F# invisible, for example?
<< So we might say, there is no swap from one visible photon to its opposite in location. There is a sharing of info as one photon. What is being swapped or shared between the visible Cooper pair and the invisible, virtual Cooper pair? >>
Axis points?
<< This is the information that goes thru the center (0,9) from the visible to invisible to visible again. So it looks like a pair sharing and two pairs being visible then invisible, which accounts for this statement, "the photon seems to disappear and reappear 1,300 times a second". (Reality Revealed by Vogt). >>
Or do both electrons spin half this side and half the 'other'?
<< We know there is a "this side" visible Cooper pair and there is probably an invisible virtual "other side" Cooper pair which makes 4 spinning vortexes. This should be the c^4 component. This may relate to the musical 4th also, that my intuition tells me, is a connection of physics and music. >>
I agree with that. The fourth exists in the Major scale and is a point where the first circle of tones moves onto F# instead and so moving into the flow of the second circle of tones. That is the gateway to the 'invisible' axis. F 1/4 is dead centre and I supposed it can be sub-divided to F 1/8 tone, and although way past my concentration level I'm sure it can be divided quite some more.
Or do they spin this side and the other side as well as continual swapping of information?
<< When we imagine a swapping of information I'm led by past studies to conclude that the visible Cooper pair (2) are so intimately connected as to be one, not two separate components. >>
C/C axis perhaps. Major facing Minor.
<< So it is the very same information in two locations, opposite, perhaps. Now there should be a pair of invisible, virtual Cooper pairs (2) also sharing info. Also, there should be the two visible Cooper pairs (2) sharing info with the two invisible, virtual Cooper pairs (2). >>
F#/F# sharing with C/C axis
What would make information swap over may be the color codes in the gluons, or the workings of the fermions or bosons ( which unless I understood it wrong is the only occasion an electron is considered a boson)?
<< The swap over should be very deterministic......a magic square arrangement. >>
I'm led to the 3 6 9 fibonnacci type sequence as it swaps at 144.
<< Information would swap over because the two visible, opposite photons are the same component and are probably governed by a magic square arrangement on the surface of the electron sphere, actually an electron-torus shape with two of the 918 photons manifesting equally and oppositely on each side of the electron-torus shape. >>
Maybe finding a sequence of Fibonnacci type growth would be a way of seeing the swap over flows. I'll see if I can find a sequence with that number in. All the other sequences have swapped over so far so maybe this will be another.
<< It happens in twos....two blink on, then disappear, two more opposites blink on in accordance with the magic square arrangement...until two by two they all cycle thru the magic square and then begin again, just like the mirror pairs of musical scales. I haven't quite made sense of the two pairs (c^4) with the two photons (c^2) yet. Two or four, that is the question. >>
Axis swapping. Octave blinking C1 C8 F#4.5F#9 ?? Well it is 3.00 am.
I could see the magic square coming into this, especially if it built itself up continuously every 9 numbers. There would be one magic square evolving in 9's and a mirror magic square equivalent evolving in a similar way but with the mirror numbers every 9.
<< We could explore two sets of 4 later. In other words, 2 sets of 2 x 2
magic squares. This means 4 units each x 2 units = 8 with a (0,9) in the center, ala, Bucky Fullers "bowtie 9 or your musical triangles with 4.5 in the center. >>
That feels intuitively spot on. C 1 to 9 magic square plus mirror and E 10 to 18 plus mirror for example.
<< If we want to confine the magic square to base 9 we could say that there are sets of 3 x 3 magic squares making a total of 918 individual squares so we will divide 918 by 3 x 3 = 12 magic squares of 3 x 3. It comes out even doesn't it. Each 3 x 3 magic square, of course, has 9 units. >>
<< So upon this torus that represents one electron, there are a series of 12, 3 x 3 (order 3) magic squares. Conversely, within each order 3 magic square manifests 9 photons, meaning that 9 photons per magic square x 12 magic squares = 918 photons total per electron. >>
<< Now we might speculate more and say that 6 of these magic squares might be visible on the outer surface of the torus and 6 may be invisible on the inside hole of the torus. This would explain why we only see 1/2 spin of the electron. In other words, 1/2 of the electrons dynamics are inside the torus and are invisible? >>
That is brilliant deducing! Especially since each circle of tone is made up of 6 notes. At F the second circle of tones made up of 6 notes is accessed and it is after the note B (B -C) that the flow of the first circle of tones is restored. Goes in at F and comes out at B. If one look at the Dorian Mode they will see that F and B are mirror note pairs and represent in a way the beginning modulations in nature. F becomes a sharp (F#) in order to create the G Major scale, according to natures moves by Phi and all that! The B becomes a flat (Bb) and goes onto create the flow of flat keys as they develop.
Like light to dark whilst balanced at the centre of the Dorian?
Luigi
From: CodeUFO
<< Electrons and Mythologies
We need your help with luigi's "PHILOSOPHERS TONES" = 233 and my "THE PHILOSOPHERS TONE" = 247, Section 99.60.13 in the link above.
Email to:
MetPhys@aol.com
OH MY GOD!!! LOL!!!! Literally, tears from my eyes from a combination of wonder and laughter!!!
Oh, man. I just read through page 60 (Electrons and Mythologies). I was just flabberghasted (what the heck is the ANV of that?) by what you guys have been doing and the amazing synchronicity of what I was just doing last night, not even aware of what you two were doing. Then when I got this request from you, Robert, I began working on it, not realizing where it would go. Man, the dam broke and the information flow was overwhelming as this began to correlate with what I'd worked out last night. Okay, I need to take a deep breath and collect my thoughts. I have pages of hand scribbled notes (as usual) and now comes the daunting task of trying to present it all in some understandable way. The problem is as usual. This stuff is more holographic than linear, if you know what I mean. No beginning and no end. So where do I start? Well, I guess I'll start with what I found last night (By the way, I didn't get much from the Philosopher's Tone thing today. Just didn't seem to come together). As I go along, I'm tempted to insert excerpts from your posts on page 60, to show the synchs. I'll highlight them in red text (not sure Luigi's email will show the color) But even where I don't provide the excerpts, you're both familiar enough with your own material to recognize the synchronistic correlations. Okay, let's begin with my Magic Square of Tone ( MAGIC SQUARE OF TONE = 189, hee hee!)
Somehow I got to thinking about "positive" and "negative". I think it might have had something to do with 117 = NEGATIVE DARK and 171=POSITIVE LIGHT. I recalled someone once said the number 9 had negative connotations. The implication was a correlation between "negative" and "evil". I dismissed that idea and focused simply on the idea of "negative" itself. I realized, if it was true that 9 implied negative then some other number must represent the positive. How could I find it? I decided to begin with a simple alphanumeric exploration. Amazingly, I struck pay dirt on the first try. Nice and simple:
NINE IS NEGATIVE = 153
Of course I didn't know for sure if this would lead to anything but since I recognized 153 as a key gematrian (and Biblical) number, and since it reduces to 9, I decided to go with it. So I went through each number with the same simplicity:
ONE IS POSITIVE, TWO IS POSITIVE, etc. Much to my disappointment none of them came out with a number that would reduce to 9. Suddenly I realized I had forgotten ZERO and, bingo!
ZERO IS POSITIVE = 207
<< Subject: Color and Sound (luigi)
So, Luigi, yes! And here's yet another "association": the positive/negative thing.
Now, catch this:
And this:
<< Subject: Light Doubling and Tripling (Luigi)
Note, this phrase Luigi used quite naturally is in my notes of phrases with an ANV of 144:
CIRCLE OF TONES = 144
54 + 144 = 198 = REVERSE THE TONES = REVERSE DIRECTION = POSITIVE+NEGATIVE
Now last night, as I was working on this I made a calculation which gave me the number 504. I didn't realize until today that my calculation was in error. Nevertheless, it led me to thinking that this 504 graphically symbolized "positive" sandwiched between the "negative". "0" is the positive and the 54 (reducing to 9) are two elements comprising the "negative". (By the way, I found a "504" today related to frequency, overtones, and 1, 3, 5 harmonics. This will be shown later).
Okay, so now I'm looking at this 504 and I see the graphic symmetry of the "0" with a digit on either side and I thought to make a cross out of it:
5
Then it occurred to me to make it into a complete square:
554
Then I noticed the horizontal sums (top to bottom) were 14, 9, and 13 which totalled 36.
Now, symbolically our square represents both "light" and "tone"!
Then, of course, we have the diagonals, totaling 9 each. Thus, our four corner values come to another 36 (9x4). So our whole Magic Square Of Tone comes to 180, exactly one half of 360. But why only half? I speculated perhaps it had something to do with that idea of positive and negative since
NINE IS NEGATIVE=153, and ZERO IS POSITIVE = 207 and 153+207 = 360.
So maybe this square needs to be doubled. If one square was superimposed over the other all the values would double, yielding a complete 360.
Then I started thinking in 3-D and realized if the this square was a cube, the total value of the numbers would be 756, the base width of the Great Pyramid in English feet!
I later realized this square would work out the same using any 3-digit number which had a "0" in between any two numbers which summed to "9". This led me make a column of such numbers and it reflects the idea you guys keep mentioning having to do with forward/backward and mirror images. I've been intrigued by this since, as you know, the mirror number idea plays prominantly in the alphanumerics. Anyway, you'll see this idea come up again in this column of "bipolar" (?) numbers (BIPOLAR=73=NUMBER). Notice also, where the column itself "switches" to go into reverse is at 504. (Interestingly, 504+405=909, where the ultimate negative surrounds the singular positive. Also REVERSE THE TONES=198=POSITIVE+NEGATIVE)
108
___
504
___
405
_____________________________________________
Okay, on to some more synchs. How about this:
<< Subject: Integrating Electrons, Magic Squares and Musical Notes (luigi)
(Note: I calculated the value as 167. MetPhys) >>
Yea Luigi! That was a good one!!! I also came up with that number, unaware at the time that there were 167 Major Keys. Then when I read your post I thought the number rang a bell. Going back over my notes I found this:
THE SIXTH TONE = 167 = A PITCH VIBRATION
Don't know if these phrases make any sense with respect to the number of major keys but they seemed curiously related at least in terms of subject matter. I found these when I noticed FREQUENCY=114 = 6.
(By the way, THE FREQUENCY WAVE=198=POSITIVE+NEGATIVE)
ONE SIX SEVEN = 151
<< Subject: 2^5 Dimensional Exponent and the Musical 5th (MetPhys)
FIFTH DIMENSION = 151 = ONE SIX SEVEN = MUSICAL TONES
Somewhat related is this:
TRIANGLE OF SOUND = 180 = TRIANGLE OF TONES
___________________________________________
<< Subject: A Primer on Cooper pairs, ORMES and Superconducting Light (luigi)
So, what scale would be produced if this procedure were adopted for all the 26 letters?
Well it would obviously be the first 26 Overtones.
THE FREQUENCY WAVE = 198 = THE SACRED ALPHABET CIRCLE = THE NINE SACRED TONES
Actually, the phrase THE NINE SACRED TONES, could be read as THE FIVE SACRED TONES with the same alphanumeric value of 198 because the "alphanumbers" NINE and FIVE share a curious relationship. They're only two alphanumbers in the entire series of ZERO through NINE which have the identical alphanumeric values, i.e., 42.
I've explored this to some degree. Actually FIVE and NINE are only two thirds of one of the most important triad sets in the AlphaNumber Table ( http://hometown.aol.com/codeufo/alphatable.html ). The other part is FOUR with a value of 60. Their combined ANV ( AlphaNumeric Value ) is 144. In any case, I've found this particular pair (FIVE and NINE) generates a number directly related to the alphabet from which they are constructed. If we reduce the 42 to 6 (4+2) and add this to the their respective numeral forms, i.e., 5 and 9, we get this:
6+5=11
We could notice, also, 26 reduces to 8, representative of the octave.
Curiously, when the differences in the letter values in the two words, NINE and FIVE are calculated the result is 8, 0, 8, 0:
N:14, I:9, N:14, E:5
8 0 8 0
______________________________________________________
<< Subject: Light Doubling and Triplings (luigi)
THIRD TRIAD = 111
222 x 3 = 666
______________________________________________________
FREQUENCY = 114
114 x 1 = 114 = 6
114 x 2 = 228 = 3
114 x 3 = 342 = 9
114 x 4 = 456 = 6
114 x 5 = 570 = 3
114 x 6 = 684 = 9
114 x 7 = 798 = 6
114 x 8 = 912 = 3
114 x 9 =1026 = 9
Note the reduced value sets (6,3,9) above. Here's how this produces the 504 for the Magic Square Of Tone:
Now with 639 in mind, check out this amazing letter/number synch:
And if that isn't cool enough, there's this:
6x3x9=162 = THE THREE TONES = THE HARMONIC CHORD
162 x 3 = 486, mirror of 684, see 6th position of frequency table above.
360 + 162 = 522, the total alphanumeric value of the entire AlphaNumber Table
( http://hometown.aol.com/codeufo/alphatable.html )
___________________________________________________
Using some of the musical terms from Solomon's Musical Terms Glossary:
FUNDAMENTAL = 121 = CROP CIRCLES = ALPHANUMERIC
TONE COLOR = 117 = NINTH TRIAD = COMMUNICATE = NEGATIVE DARK
OVERTONE = 114 = FREQUENCY
OCTAVE = 66 = THE SEED = WOMAN = GOD MIND (and the number of books in the King James Bible)
PITCH = 56 = LIGHT = THREE
TONIC:
From: luigi.di-martino@ntlworld.com
Hi
I think this calls for one of those classic hollywood screams.....AAAAAAAAHHHHHHHHHHHHHHHH!!!
It's a bit too much isn't it?
I had stored the circle of tones ANV for a rainy day, but then it always seems to be raining over here! Anyway Gary the synchronicity leaves me in no doubt that we just soldier on and find out what we are supposed to be finding! Your post needs more time to sink in and to see if more musical things fit. I must say it's very cool the way your mind works on these things. And the synchronicity with the Positve/Negative is a bit freaky too. This would sum up what it is that I feel needs to happen to the two sides of the mirror and that they should be joined up in order to reveal a third hidden flow.
If you can bear to get past the first few pages on this site you may wonder what made me sit down and write this.
http://trueretro.iwarp.com/
There seems to be three mappings going on at once between us to find a note number and letter type thingie.
NOTE NUMBER AND LETTER = 207!
> FREQUENCY = 114
> 114 x 1 = 114 = 6
Brillos!! This 639 you produced from the 114 totals seems to be referring to the 6th number sequence of the Veduic square. This would remind me of the -3 indig number of Fuller's. Then you identified this:
> Now with 639 in mind, check out this amazing letter/number synch: The Ninth triad as well as the 2nd triad are the same thing. So what we have here is the three minor triads naturally residing within the Major scale when it is harmonised. For C Major these three triads are:
Aminor (sixth triad)
A scale can be produced with these three triads.
A B C D E F G A
We seem to be back to the Mayan grid.
>> THIRD TRIAD = 111 >>
This could have a couple of meanings. It may be the third triad as above. Or it may be a triad made out of thirds. The triangle is one such triad and it is made up of only Major thirds - C E G# or D F# A#.
Excellent stuff Gary mate, well done!
This won't be the last read of your post I can assure you! So this is what you get up to instead all the repairs that need doing around the house!!
Peace and Love
From: MetPhys@aol.com
From 99.60.19 ANV of THE PHILOSOPHERS TONE (CodeUFO)
In a message dated 7/7/2 5:04:10 AM, you wrote:
<< Notice also, where the column itself "switches" to go into reverse is at 504. >>
I interpreted the 5 and 4 as the 5th and 4th counter-rotating notes bubbling up from the center (0). The same applies to all the other x0x configurations.
This is why, some time ago, I began with juxtaposing 5ths and 4ths scales and applying them to light but light is evidently much more than simple counter-rotating 5ths and 4ths. According to Luigi's mirror-music, light seems to be infinitely nested counter-rotations of every higher (and lower) harmonics in the form of, not only frequencies, which can be interpreted by way of sound units (hz) but also by musical units (notes).
What do you think?
*****************
In a seperate problem, but in the same Email as above, I noticed Gary developed the 2D square (2^2) which totaled 180. Then after doubling, with two squares (2^3) superimposed, it yeilds 360. Therefore, if the 3D square is again doubled (2^4) to create a double cube (I suspect 2 double overlapping tori, vesica piscus, Cooper pair), we have a 4th dimensional form (2^4) with 720 degrees rotation, meaning the visible/invisible double rotation of the photon pairs called 1/2 spin. This is where I began to relate the exponent such as 2^2 with 2D, 2^3 with 3D and 2^4 with 4D, 4D being our actual "quantum" reality, not 3D.
What do you think?
MetPhys@aol.com
© Copyright. Robert Grace. 2002
To: MetPhys@aol.com
Subject: Light Doubling and Tripling (Luigi)
Date: 07/02/02
11664 = 1 + 1 + 6 + 6 + 4 = 18
To: luigi.di-martino@ntlworld.com
Subject: Light Doubling and Tripling (MetPhys)
Date: 07/02/02
To: MetPhys@aol.com
Subject: Light Doubling and Triplings (luigi)
Date: 06/14/02
111 + 222 = 333
To: luigi.di-martino@ntlworld.com
Subject: 2^5 Dimensional Exponent and the Musical 5th (MetPhys)
Date: 07/03/02
Have you seen any special qualities, like I have, of the interval of the 5th, that may relate to quantum physics? I could probably find other examples of the fifth in atomics if I did a search later.
To: MetPhys@aol.com
Subject: 2^5 Dimensional Exponent and the Musical 5th (luigi)
Date: 07/03/02
Have you seen any special qualities, like I have, of the interval of the 5th, that may relate to quantum physics? I could probably find other examples of the fifth in atomics if I did a search later. >>
To: luigi.di-martino@ntlworld.com
Subject: Integrating Electrons, Magic Squares and Musical Notes (MetPhys)
Date: 07/03/02
To: MetPhys@aol.com
Subject: Integrating Electrons, Magic Squares and Musical Notes (luigi)
Date: 07/05/02
To: luigi.di-martino@ntlworld.com
Subject: Integrating Electrons, Magic Squares and Musical Notes (MetPhys)
Date: 07/05/02
Each magic square of order 2 to infinity has a doubled nature to it.
Each of your musical scales has and equal and opposite flowing series of notes.
Each photon has an equal and opposite photon about the electron-sphere, both called a Cooper pair.
Each electron, I concluded, has 918 photons mirrored with 918 other equal and opposite photons, in position and time, that equals 918 + 918 = 1836 Ev of the classic electron mass. 918 being a simple permutation of 189, 981 and 891 that Gary and I discussed some time ago. Source of Theory: 25 Gravity, Theory 31
To: MetPhys@aol.com
Subject: Integrating Electrons, Magic Squares and Musical Notes (luigi)
Date: 07/05/02
981981
891891
198 does not need to be repeated.
To: luigi.di-martino@ntlworld.com
Subject: Integrating Electrons, Magic Squares and Musical Notes (MetPhys)
Date: 07/05/02
http://www.johnkharms.com/color.htm
To: MetPhys@aol.com
Subject: Integrating Electrons, Magic Squares and Musical Notes (luigi)
Date: 07/04/02
From: MetPhys@aol.com
To: luigi.di-martino@ntlworld.com
Sent: Thursday, July 04, 2002 11:24 PM
Subject: MetPhys- Integrating Electrons, Magic Squares and Musical Notes
To: MetPhys@aol.com
Subject: Color and Sound (luigi)
Date: 07/05/02
2/11= 0.181818
3/11= 0.272727
4/11= 0.363636
5/11= 0.454545
6/11= 0.545454 etc
2/17= .1176470588235294
3/17= .1764705882352941 etc
2/19=0. 0.105263157894736842
3/19=0. 0.157894736842105263 etc
2/23= .0869565217391304347826
3/23= .1304347826086956521739 etc
From: MetPhys@aol.com
To: luigi.di-martino@ntlworld.com
Sent: Friday, July 05, 2002 11:21 PM
Subject: MetPhys- Color and Sound
2/9 = .2222222222
3/9 = .3333333333
4/9 = .4444444444
5/9 = .5555555555
6/9 = .6666666666
7/9 = .7777777777
8/9 = .8888888888
9/9 = 1
To: MetPhys@aol.com
Subject: A Primer on Cooper pairs, ORMES and Superconducting Light (luigi)
Date: 07/06/02
1 = note C
2 = note C
3 = note G
4 = note C
5 = note E ( a perfect match)
6 = note G
From: MetPhys@aol.com
To: luigi.di-martino@ntlworld.com
Sent: Saturday, July 06, 2002 2:20 AM
Subject: MetPhys- A Primer on Cooper pairs, ORMES and Superconducting Light
To: MetPhys@aol.com
Subject: Letter M / N as Low Point (luigi)
Date: 07/06/02
From:
To:
Sent: Saturday, July 06, 2002 6:54 PM
Subject: Re: Re: MetPhys- Letter M / N as Low Point
To: luigi.di-martino@ntlworld.com
Subject: Questions about Cooper Pairs (MetPhys)
Date: 07/06/02
To: MetPhys@aol.com
Subject: Questions about Cooper pairs (luigi)
Date: 07/06/02
To: luigi.di-martino@ntlworld.com
Subject: The 4 / 7 Lydia/Locrian points (MetPhys)
Date: 07/06/02
Would it be more akin to Pailys 4 : 7 ratio of unbalanced asymmetry where change is possible?
Would it also be akin to Gurdjieff's higher octaves affecting the active, male interval between 3/4 and passive, female between 7/1?
Are all these the same concept?
To: MetPhys@aol.com
Subject: Questions about Cooper pairs (luigi)
Date: 07/06/02
To: MetPhys@aol.com, luigi.di-martino@ntlworld.com
Subject: ANV of THE PHILOSOPHERS TONE (CodeUFO)
Date: 07/07/02
luigi.di-martino@ntlworld.com >>
Date: 07/05/02
"9 is associated with 0. " >>
153 + 207 = 360 !!! Symbolically completing the circle!
207 - 153 = 54 = TONE !!!
Date: 07/02/02
"There are two triangles
that make up a circle of tones, 54." >>
Can also be written as:
CIRCLES OF TONE = 144
504
4
504
544
The vertical sums (left to right) were 15, 9, 12 which totalled 36.
So, we have 36 on all four sides, totalling a nice 144!
801
207
702
306
603
405
603
306
702
207
801
108
Date: 07/04/02
"Two years or so ago I found that there are 167 Major Keys. So
guess what the ANV of TRIANGLE OF KEYS is?! "
Date: 07/03/02
" imagined that a 5 dimensional manifold of space might be mapped by using
the interval of the 5th, representing 5D space, ala Gurdjieff" ....[snip]....
"Indeed, the fifth dimension is not just required to unify the macroscopic
gravitational and electromagnetic fields." ....[snip]....
"a fifth dimension is required macroscopically to accommodate 4-d space-time curvature." >>
MUSIC OF THE FIFTH DIMENSION = 270
THE WHEEL OF SOUND = 180 = THE WHEEL OF TONES
Date: 07/06/02
"To turn the alphabet into frequencies one could substitute the musical tone for every
individual letter." ....[snip]....
If we then arrange the overtones as a Major scale we have:
C D E F G A B , which is:
1 9 5 21 3 27 15 = 81
So, the alphabet is a circle. >>
6+9=15
11+15=26, the number of letters in the alphabet.
F:6, I:9, V:22, E:5
_______________
Date: 06/14/02
"The black triangle is male and is made up of three Keys, all
being 1, so that's 111. " ...[SNIP]...
"...that means the female triangle is the 222." >>
THE THREE OVERTONES = 222 = THE MAGIC SQUARE OF TONE = ALPHANUMERIC SYSTEM
TWO TWO TWO = 174 = FREQUENCY KEYS
HARMONIC TONE = 135
A harmonic chord is comprised of the 1st, 3rd, and 5th (1,3,5)
639 - 135 = 504
SIXTH TRIAD = 132 = 6
THIRD TRIAD = 111 = 3
NINTH TRIAD = 117 = 9
132+111+117 = 360
121 x 2 = 242 = THE MUSIC OF THE SPHERES
PITCH FREQUENCY = 170 = LIGHT FREQUENCY = SOLAR SYMBOLS
PITCH VIBRATION = 166 = LIGHT VIBRATION = THE CHRIST LIGHT
TONIC FREQUENCY = 171 = POSITIVE LIGHT = DIVINE GEOMETRY = THE
SPIRAL OF NINE
To: MetPhys@aol.com
Subject: ANV of THE PHILOSOPHERS TONE (luigi)
Date: 07/07/02
I wrote to Sharon only a few hours before telling her that people like Metphys and Gary and Lynda and Dale Pond and her must have agreed to meet up at this time in our lives in order to finish off our work! Personally i knew from the moment Lynda found Gary's book that the snowball was coming! And why not? It is all real that we live in a sea of synchronicity as Sharon says. The synchronicities Lynda and I share were there to get me used to this sort of thing happening. Now it is going a little fast wouldn't you agree?!! The last fortnight has been a real awareness lifter.
> 114 x 2 = 228 = 3
> 114 x 3 = 342 = 9
> 114 x 4 = 456 = 6
> 114 x 5 = 570 = 3
> 114 x 6 = 684 = 9
> 114 x 7 = 798 = 6
> 114 x 8 = 912 =3
> 114 x 9 =1026 = 9
> SIXTH TRIAD = 132 = 6
> THIRD TRIAD = 111 = 3
> NINTH TRIAD = 117 = 9
Eminor (third triad)
Dminor (2nd and 9th triad)
Lui
To: luigi.di-martino@ntlworld.com, CodeUFO
Subject: Light Doubling and Tripling (MetPhys)
Date: 07/07/02
