From: josepht@tri-county.main.nc.us
Hi Robert
We've not been in contact before, but Gary Val Tenuta suggested you might like to read, and possibly post, this short article I've just written. -- It reveals a tabular connection to the Great pyramid's height, width, apothem, slope angle, Pi & Phi ratios and the trigonometric values of the numbers that can be expressed in terms of Phi.
An explanation of the letters C, L, U, F, O AND X in the above Table:
From Joe Turbeville:
Alpha-Numeric Conversion, Distillation Order (1 Ð 9) (HTML DOC)
Associating the arbitrary number 25,920 with the core of the earth by Joe Turbeville: >>
I finally was able to open the file from Joe and then create a copy:
25,920 and The Core of the Earth
-- JET --
<< Forgive my shortsightedness on that question. Here is the clue;
C, L & U are all letters that distill down (add down) to 3.
Attached is the Alpha-Numeric Conversion table from the book that I wrote. -- In error, I just assumed that the reader here would be familiar with it. -- Note that row 2 & 3 both have letter products that are base width measurements of the Great pyramid.
440 would be in cubits, and 756 in feet.
Note also, that Row 7 (G, P, & Y) has a letter product of 2800. --- (G,P,Y) could be an acronym for Great Pyramid Y-AXIS, in which the units are marked off in tenths of a Cubit. -- Hence, Height would be 280 Cubit. >>
Thanks for the "Nudge"
I recently posted an article at the forum of Earthmatrix.com that discusses the Phi function angles of Leonardo da Vinci's drawing of TheVintruvian Man.
Respectfully submitted
Joseph Turbeville
From: MetPhys@aol.com
Sir,
I noticed that your Table 5 attachment { Alpha-Numeric Conversion, Distillation Order (1 Ð 9) (HTML DOC) } is notated exactly like the way I notate my Email "99 Electrons and Mythologies" pages...
That is:
A(1)-Z(26)
May I ask if you consider your Table to be a Base 9 system or a Base 10 system?
I count C as 1, then L will be 10 and U will be 20 = Base 10? (10 intervals from letter to letter). In other words, what would you call the interval between C, L and U? Base 9 or Base 10?
Respectfully,
Response: Base 10 (Turbeville)
From: Jerryiuliano@aol.com
MP:
An investigation into the Feigenbaum (4.6692..)-Leahy/Hebrew (288) constants showed some interesting equivalencies with the Pythagorean number TEN...tan in radians:
Let F = Feigenbaums constant = 4.6692043132... (actual = 4.669201609..)
then 10 is a mythological , transcendental factor of the Pi-th root:
10 = [ 288 ^ ( 1/Pi )] * [( tan F ) ^ ( 1/2/Pi )]
this means the IDEA of TEN is a product of the SUM of the sparks of light ,288 , TOTAL of light from UN-broken vessels, that is "fractured" by the inverse Pi-th power ,( 1/Pi) ; and the "alignment" constant ( F= Feigenbaum) fractured by the inverse 2 times Pi-th power. The strange function of the Pythagorean tetrakys form (1+2+3+4 = 10) shows the depth of this formulas link to one of the great mysteries of Nature, the meaning of the fine-structure constant.
If you remove the 2 that is in the Pi-th power root of the tangent Feigenbaum constant, ( 1/2/Pi), and place it into the "fracturing" constant of the total, pre-big bang , Sephira Malkuth SUM of light sparks ( 288 ) one gets the angular source (Arthur Young) of the fine-structure constant: a(em) = fine-structure constant = 1/137.036000986, and the philosophical meaning of Prof. Leahy's statement, "thinking NOW, created 100" :
100 = [ 288^ (2/Pi) ] * [( tan F ) ^ ( 1/Pi ) ]
the derivative of the fine-structure constant is through the "splitting" of Leahy's "thinking NOW, created 100":
[( 288 ^ (2/Pi)] / 100 = cos 1/a(em) = cos 137.036000986
( tan F ) ^ ( -1/Pi) = cos 1/a(em) = cos 137.036000986
So the meaning of 288 is as the mythological (Leahy's triple logic cube 82944 and 288 sparks from broken vessels) equivalent to the scientific source of the fine-structure constant ( the fracturing of Natures, pre-existence, infinite light tension that presses against the void boundary between virtual and real, that randomly cracks (breaks) along specific void/reality break (crack points), parametrized to measure by the Feigenbaum constant the ruler of all chaotic forces in Nature.)
J Iuliano
PERIODIC POINTS AND FEIGENBAUMÕS CONSTANT Around 1975, Feigenbaum began to study period-doubling in the logistic map. First he developed a complicated generating function theory to predict the value of where a -cycle first appears. To check his theory numerically he programmed his hand-held computer to calculate the first several He noticed a simple rule: the converged geometrically, with the distance between successive transitions shrinking a constant factor of about 4.669.Perhaps a month later he decided to compute the in the transcendental case numerically. Again, it became apparent that converged geometrically, the convergence rate was the same 4.669.In fact, the same convergence rate appears no matter what unimodal map is iterated. In this sense, the number is universal. It is a new mathematical constant, as basic to periodic-doubling as is to circles
Feigenbaum Constant
A universal constant for functions approaching Chaos via period doubling. It was discovered by Feigenbaum in 1975 and demonstrated rigorously by Lanford (1982) and Collet and Eckmann (1979, 1980). The Feigenbaum constant characterizes the geometric approach of the bifurcation parameter to its limiting value. Let be the point at which a period cycle becomes unstable. Denote the converged value by . Assuming geometric convergence, the difference between this value and is denoted
where is a constant and is a constant. Solving for gives
(Rasband 1990, p. 23). For the Logistic Equation,
Amazingly, the Feigenbaum constant is ``universal'' (i.e., the same) for all 1-D Maps
From: MetPhys@aol.com
I have one question with the Tzolkin though. I noticed that your musical notes moving across the Tzolkin is at 45 degrees, as you know. There is a small group of notes on the top left and bottom right plus a 45 degree band across the middle, as you know.
What I am wondering is...what notes, if any, occupy the empty band between the existing band of notes? Should there be a band of notes in the empty band that goes the opposite way as the existing band or should it remain empty? Remember the caution about the doubling of an already doubled Tzolkin grid. Double the bands or not to double is the question.
Bring up the Tzolkinmusicgrid 2 (JPG)
Count from 2^9 then 4^4 then 5^12 then 7^7 then 9^2 = 5 units across the empty (uncolored) band...
Now count the same for the bottom band from 3^11 then 5^6 then 7^1 then 8^9 = units across two empty bands from left to right at 45 degrees.
Met
From: luigi.di-martino@ntlworld.com
Ok gotcha! There is something going on there but you can ignore the colored units and stretch the whole sequence to the C at 13^13, then onward through there up till the F 20^6. Then at the opposite end, at 20^13 move up the 45 degrees angle, through C 8^1 and up till G 1^8. These correspond to the note partners around the C axis. For example. 1^1 and 20^13 are the axis, both being the note C. Then 2^9 and 19^5 are note partners around that axis (Ab and E are in symmetry around the C axis if you check in the mode box). Then 4^4 and 17^10 are the next note partners (Eb and A) and so on. The 1^8 and 13^13 are another axis. The Gb 7^7 and Gb 14^7 are the hidden uninvolved axis (which is very uncanny again because 77 is the tri-tone ratio added up, 45:32). 77 is also the ANV of CHRIST, of POWER and of GLORY. And I see it as being hidden at the tri-tone.
If you move to the right one place, to 2^8, and respond by moving to the left one place to 19^6, the next dual strips occur (here G and F are note partners). Moving along the 45 degrees angle again brings the note partners into relationship. D at 4^3 and Bb at17^11, fort example and so on. If you check with the actual number sequences I bet that this corresponds with, say, the 2 and the 7 sequence being partners at the same point that Bb and D are, for example.
Lui
*********
Hi Robert
It took me a little while before I fully knew what you were asking! It has been a long time since I have had to get my ass into gear over this. I think I know what you are asking and, as usual, the grid displays the infamous "swapping" effect. The tri-tone, being the position where there is a swapping over (male to female qualities as portrayed by Inversions), gathers a male and female and then , across the 45 degrees angle, swaps it from, say, the left to right part of the grid. Then at the far right things swap over again and the journey leads back to the far left, again male/female and 45 degrees angle. All the Tzolkin grid does this (and I will be studying it again to be absolutely sure!). I only highlighted the top right and bottom left and center pairs because the effect would have been hard to see if I would have applied the pair movement at the 45 degrees angle to all the notes on the grid. I can do a little diagram of this.
Even though this whole approach seems complicated I think it can be summed up quite simply. The complicated part is to show that the tri-tone is the uninvolved axis that creates a kind of musical duality. Once there are enough experiments that can make even the most cynical of, say, musicians and scientists agree, then one can simply say that "As Above So Below" and actually know how to map it musically (vibrationally).
If our cells are tuned to a simple triad like C E G then we can be sure that Overtones and Undertones are being given off by our bodies. Then comes the 11th Overtone and Undertone either side of the musical duality , which is the F# (when C is fundamental), or more accurately the Tri-tone swap over point. We can imagine then that this is how prayers, for example (desires) make it through, and meditation finds its way to the desired goal.
In the major scale , when it arrives at the very center, the tri-tone, there is a swapping over, which is known as inversion in music. Here is where Minor third, for example, becomes a Major 6th, a female to male transition musically speaking.
The Tzolkin displays this swapping over and it did actually blow my mind when I saw that the number sequences (indig numbers) followed their structure hand in hand.
To really dig this it would be good to get to grips with what a tri-tone is as an interval. Together with the Root note this interval is the life maker of the duality as far as I can see. The next list is made up of tri-tone intervals:
C to F#/Gb
Can you see how even the tri-tone swaps over with itself after the F to B, for example? So at the Visible tri-tone the Invisible tri-tone swaps. C to F# is non-diatonic and one can say an in-between aspect of the major scale (invisible). Then comes F to B from the same scale, the visible tri-tone of the scale (diatonically created). After this the invisible returns but having swapped itself over at the visible. This happens for all the keys, but again starting from the opposite end everytime one cycle is complete.
The next example would be Db to G (invisible tri-tone in G Major) arriving at F# to C (visible diatonic tri-tone of same key), swapping at this point where the invisible tri-tone of that key returns (G to Db). There is swapping within swapping within swapping, spiraling and counter-spiraling from one side to the other, onward journeys to higher or lower octave, who's will is done on earth as it is in heaven. Heresy? Well it works musically and Dale Pond loves to say it is a musical universe, and I believe God created it. Hope that isn't too confusing. It's very early and I am going to go lay down again!
Lui
From: luigi.di-martino@ntlworld.com
Hi Met
Having been ill recently made me overlook this article you wrote as a response to what I thought was a very poor article, which was submitted on the SVP forum. This Dr Foot (mirrorman!) and the rest of the article I thought was a little off! Anyway, it just so happens that I did have a bit of an insight last night that had me jumping out of bed and reaching for the lightswitch. Apparently Russell said that understanding the mechanics of the wave is understanding the universe, or something like that. Well, I ain't so arrogant as to say my insight last night proves anything except that it gives a very "out of the box" view of that statement by Russell. What is a sine wave? Well my insight told me that it is half clockwise half anti-clockwise. It is two ellipses that swap over at the tri-tone, making the shape of a sine wave as it travels. It is easy to trace with one's finger through thin air. Go clockwise one half a spin and then anti-clockwise the other half, then repeat ad infinitum. Make sense? If that is true then there is plenty of information that can be put to the theory.
Mirrorman number 2!
****************
Also, matter springs forth from the symmetrical fountain at the tri-tone. Because the pairs come out as minor/major the "scattering" is asymmetrical. Multiplying by three and dividing by three means that whole numbers come out one way and fractions sometimes occur the other. The classic case is the D 27 for the major rising, and the D 26.66 for the minor falling. Take a look at this pdf if you get any time.
Lui
From: luigi.di-martino@ntlworld.com
Met,
Here is another diagram I did before I became a bit unwell the other week, and then forgot to send. It is an overtone/undertone idea based on the twin pyramid theory (666 and reverse 666),
The Dual Pyramid Harmonics From F# (PDF)
Lui
From: MetPhys@aol.com
<< Source: 99.71.5 Question: Empty Tzolkin Musical Bands (Luigi)Ê
From: luigi.di-martino@ntlworld.com
The Gb 7^7 and Gb 14^7 are the hidden uninvolved axis (which is very uncanny again because 77 is the tri-tone ratio added up, 45:32). 77 is also the ANV of CHRIST, of POWER and of GLORY. And I see it as being hidden at the tri-tone. >>
Sir,
When I noticed that the Gb (hidden uninvolved axis) unoccurred both at a nice round 7^7 and 14^7 a multiple of 7, I was amazed also, simply because the arbitrary numbering scheme I insisted upon from the beginning construction of the Tzolkin grid, falls so naturally upon 7's at this hidden tri-tone position. What I'm surprised at, is that the note at these positions is Gb. I was expecting F#, the "register shift" note.
Question: Why should the note be Gb instead of F#?
Met
From: luigi.di-martino@ntlworld.com
Hi Met
Yes, you can choose either F# or Gb here. The reason I used Gb was for consistency of reading, in that I did what I saw in the Lambdoma where the author used only flats. To include both flats and sharps gets messy because one would need to include both everytime, like F#/Gb or A#/Bb etc. There are differences between, say, F# and Gb. What are those differences? I have read certain articles on tunings that list the maths involved. As far as the mirroring of the overtones or Major scale is concerned then I believe it should be F# on the right, and Gb on the mirror side.
C Db Ab F G Ab Bb C/C D E F G A B C
The center axis on the right hand scale is past the F note, making it F#. The center axis on the left hand mirror scale is past the G note (descending) so it is Gb. These two pitches F#/Gb are known as the poles within music, and that is why my music wheel idea would have Gb/F# as a center cog, because it would be interesting to see what enharmonic tension, if any, is caused by the two pitches.
Lui
From: MetPhys@aol.com
Source: 99.71.6 Re: Mirror matter, blue dust and flat bottom craters on eros (Luigi)
<< From: luigi.di-martino@ntlworld.com
What is a sine wave? Well my insight told me that it is half clockwise half anti-clockwise. It is two ellipses that swap over at the tri-tone, making the shape of a sine wave as it travels. It is easy to trace with one's finger through thin air. Go clockwise one half a spin and then anti-clockwise the other half, then repeat ad infinitum. Make sense? If that is true then there is plenty of information that can be put to the theory. >>
Sir,
I noticed that John, in his Galaxy Model of the Atom
points out that its wave is not so much a sine wave but a cycloid, two forms of which wave are the curtate cycloid
and the prolate cycloid.
Do you have an opinion about these cycloid wave patterns as being, in any way, superior to the sine wave, musically?
Met
From: MetPhys@aol.com
Wow, yeah that is cool! Sine wave shmine wave!! Who cares what you call it! I have only skimmed over the link for now but I can see lots of correlation here. Can you see the two triangles in the middle of that galaxy pattern picture? That may be the Merkabah, the interrelating male/female aspects. I also read a while back that neutrinos only spin one way. That made me think at the time that the mirror side of the Mode Box does not exist within this actual dimension. But then I don't know what the F*ck I am talking about half the time, the mouth just opens and spiel comes out, likable to some and pukey to other, say what! We're all getting close ain't we?!
This is great info, thanks. I will see if I can tie it in with the Fibonnacci number swap over points that occur when the nine number sequences are plotted over them.
Lui
From: luigi.di-martino@ntlworld.com
Hi again Met
I thought the diagram I drew (which i am including again) and the diagram I have seen (curtate cycloid) are quite similar, although not being a mathematician I hardly understand any of the maths involved. If I can assume for now that they are trying to point to the same thing then this does bring in a possibility of tying in the Fibonnacci numbers with the nine number sequences of the Vedic square, the Indig system of Buckminster Fuller, and the Mode Box results all into one. As these things also fit onto the Tzolkin grid, which exposes the dual axis points (root and tri-tone) then perhaps someone would like to actually help in turning music into maths and vice versa. I am getting quite itchy to do something constructive. I get my motivation from the fact that I can't bear anymore coastlines getting destroyed by oil spillages, or the thought of more wars for the control of the last drops of oil. If a few mathematicians and musicians get together we have real potential to bring about a cleaner environment for when we come back down here./:-)
Lui
From: luigi.di-martino@ntlworld.com
No offense ever intended! I just like a good laugh, and to laugh at it all!
Lynda is always being followed about by a number, the number 17. She has found quite a few correlations with this number and lately I am too. Having mentioned the swap over points within the Fibonacci numbers I am sending you this diagram that shows the number 17 being responsible for one of the cross-over points. The top row of numbers are the FN. The next row shows them broken down to base 10, and the third row are the opposite flow sequences of the original base 10 sequences. That means that clockwise becomes anti-clockwise all the way through the numbers. This again reminds me of the galaxy pattern picture I have just seen, and is not far off the DNA structures that also point to the tri-tone being the swap over place. The 17 keeps hitting me as 9:8, which is the ratio for a Tone movement, six of which produces the Circle of Tones (two augmented triangles), which emerge from the central axis point of the major scale, and the 45 degrees angle. Also 2 cubed and 3 squared equal 17.
Lui
Addenda from Joe Turbeville:
Robert
I'm not too musical and don't really understand Luigi's choice of 17 as a cross-over point, except that it is his mid-point of a full 24 cycle pattern of digits. This is sort of the way I started the parent table (Table-1) in " A Glimmer of Light from the Eye of a Giant".
I would suggest to Luigi that he continue his distilled (reduced) row of Fibonacci numbers for a full twenty-four (24) terms. Continuation beyond that point will only reproduce the same row of digits. This holds true for every twenty-four terms thereafter. The sum of this particular 24 reduced Fibonacci terms will always be 117.
For the sake of the geometrical symmetry that will occur, I suggest he start the Fibonacci series row with, one, one, two, three, five --- etc. -- For each new row thereafter , each digit is produced by the product of the row number times the respective top row factor and distilling ( reducing to a single digit). ---- After building nine full rows in this manner, the initial row, (Row-1) will be repeated. -- Rows 3 & 6 will have a sum of 135. -- Row 9 will sum to 216. Total table sum will be 1188. --- Columns 12 & 24 will contain all Nines, also Row 9. -- These nines total 360.
Just thought this bit of information might be useful to him. It should provide him plenty to think about, and several numerical patterns to consider. The column and row sums and certain of the geometrical patterns produce many historically significant numbers. ---
Regards
From: MetPhys@aol.com
Lui,
On 5 Aug. 2002, Joe Mason was discussing this crop circle on The International Crop Circle Database BBS while linking to the 99 Electrons and Mythologies link above. After receiving his mail, it prompted me to equate a particular diagonal of a square, in 3 different research papers, as all being the same. Then I went farther and expanded the 2D square with diagonal to a 3D cube with diagonal and applied that to universe as the old GUT27 cubic stem cells theory I sent to you previously.
The point of all this is, that your latest exploration of the rotating square in Johns Galaxy Model of the Atom page, may be the 2D form of the reality of a 3D rotating cube of galactic space within Johns Galactic Pattern. Could these all be the same squares. Can the 2D squares be expanded to 3D cubics? See what you think about my excursions.
Source with active links: Music, Crop Circles (MetPhys)
From: MetPhys@aol.com
Premise: To draw a parallel between systems of noted "squares", cubes and the structure of atomics and space:
First, Joe's observations within quotes << >>.
<< Original source: 99.44.2 2112, Music, Crop Circles, 9-11 Disaster (JMason4557)
From: JMason4557@aol.com
Note: The 1999 Crop Circle formation at Windmill Hill with 288 circles, and the East Kennett Longbarrow formation that "fits inside" seem similar to some of D.G. Leahy's diagrams. His Star of David type diagram is somewhat similar to the 1997 Star of Solomon fractal at Milk Hill, with 204 circles along its perimeter (see above).
http://www.cropcircleradius.com/1999CC/windmill.html
Another square! This formation contains the rudiments of fractal self-similarity. Divide the form into quarters and then divide each of the quarters again into four. Compare the larger with its contained smaller element you will see the similarity between the one-fourth corner square and the one-sixteenth corner square.
Divided into sixteen, there are four unmarked "tiles" in the centre and twelve patterned squares around the perimeter. Each of the perimeter squares contains 24 small circles (there is a total of 288 circles.) One immediate thought was that each of these represented one day - 24 hours - but no further development of this idea could be achieved.
Ironically, the West Kennett formation of 4th August (to be posted next time) has a geometry which fits with the accuracy of a Swiss watch into this Windmill Hill square.
_______________________________
http://www.cropcircleresearch.com/cgi-bin/CCdb2?d=uk99ep
_______________________________
Compare the two formations above with:
Golden Bowl Structure
_______________________________
My observations: Joe presents 2 crop circles and D.G.Leahy's Golden Bowls and prompts us to compare the three. He notes that the crop "squares" are in some way similar to the "square" cornered Golden Bowls of Leahy's inquiry. I will progress thru several collected "square" analogies, with the hypothesis that the common line , being Leahy's cube diagonal, is the same line as Leahy's Golden Bowls axis E,D,C,B,A (first diagram). Note the Golden Bowl diagram shows a 90 degree corner, which, when coupled with another similar sized Golden Bowl, rim to rim, should become a "square" which we are seeking as common to these other "square" inquiries, with the diagonal now being the E,D,C,B,A axis,
the "doubling of squares/Golden Bowls", below and the "fractal progression of squares/Golden Bowls" below, being the growth patterns of universe.
To begin again, first, lets examine the 2D square pictograms of all 3 above, as follows:
Windmill Hill, Wiltshire July 16, 1999
then make some projections concerning a 3D "cubic" model that will include the "square" crop formations and the "square" cornered Golden Bowls, in addition to:
The work of Alan Bennett, which best illustrates Solar Geometries that progress as a series of "squares", angles and arcs in space, which diagonals thru his "squares" should have some similarity to, or connection with the diagonal as the Golden Bowl axis E,D,C,B,A of Leahy and the diagonal control line of Fuller's Cube Control Line 83.65 Particle and Wave involvement.
This "square" progression is also described in The True Structure of the Universe to a less lucid degree, which diagonals thru his "squares" should have some similarity to, or connection with the diagonal as the Golden Bowl axis E,D,C,B,A of Leahy and the diagonal control line of Fuller's Cube Control Line 83.65 Particle and Wave involvement.
Within the "progressing squares" of an expanding / rotating fibonacci series, also incorporating the Golden Ratio Phi (Golden Bowl Phi?), we see the "rotating spiraling square" maintaining its "squareness" yet becomes fractally larger or smaller as if to mimic what Joe said of the Windmill Hill crop "square", quote above, "Another square! This formation contains the rudiments of fractal self-similarity".
From these 2D "square" analogies I can finally, but hypothetically arrive at the 3D cubic "stem cell" structure of space as forwarded by The GUT MU-27 Theory, Section 99 Electrons and Mythologies, 99.38.2 in which I suggest that the larger invisible structures of space (cells) are cubics of lightyears on a side, which, in my opinion should reveal themselves, eventually, to be magic cubes and have a 3D commonality with all of the foregoing 2D "square" analogies above, which diagonals thru his "cubics" should have some similarity to, or connection with the diagonal as the Golden Bowl axis E,D,C,B,A of Leahy and the diagonal control line of Fuller's Cube Control Line 83.65 Particle and Wave involvement.
The conclusion of this intuitive study suggests that cosmic and atomic structure are governed by lightyear sized invisible magic-cube-cells within which are fractally nested, many levels of smaller and yet smaller sized magic-cube-cells, or more accurately, as Ray Tomes notes, "a rhombus with sides of length 1 and twisted just a little from a square will have diagonals which are very close to 3/2 and 4/3. As these are good harmonic relationships, this is clearly a better arrangement to satisfy all the harmonics simultaneously."
Equating 3D with a cubic should suffice for the time being. Proving these cubes are magic-cubes (rhombus) will have to be done with Plato's cosmology and Pythagorean maths, in future studies.
MetPhys@aol.com
From: MetPhys@aol.com
Electrogravitational Energy Resonance As A Vertical Energy Ladder To Space by Jerry E. Bayles (PDF)
Jerry Bayles,
A group of people have been taking intelligent email excursions into every subject you are interested in over the past few years. We have lacked a certain integrated knowledge between us and the mathematics necessary to form what you seem to have done easily. My personal congratulations for what I can detect as the answers I personally have looked for lately. Your most recent papers, above, have the mathematics and logic that we all were hoping for. If you would like to peruse the emails between us and comment or fill in the gaps through email, the link of all emails is at the Sections List. All intelligent email is posted with the authors name attached properly as belonging to the author.
MetPhys@aol.com
© Copyright. Robert Grace. 2002
To: MetPhys@aol.com
Subject: Tenuta's Alpha-Numeric Table & The Pyramid Connection (Turbeville)
Date: 11/20/02
Joe Turbeville
F, O & X are all letters that distill down (add down) to 6.
Joseph T
Author of "A Glimmer of Light from the Eye of a Giant:
Tabular Evidence of a Monument in Harmony with the Universe"
ISBN 1-55212-401-0 -- Trafford Publishing - Suite 6E - 2333 Government St. - Victoria, BC, Canada - V8T-4P4
Toll Free (US & Canada) 1-888-232-4444 -- $14.95 US ----
Also available from Amazon & Barnes & Noble.
To: josepht@tri-county.main.nc.us
Subject: "Turbeville Table" Notation: An Observation (MetPhys)
Date: 11/22/02
AA(27)-ZZ(52)
AAA(53)- etc.
MetPhys@aol.com
To: MetPhys@aol.com
Subject: Feigenbaum constant and 288 (Iuliano)
Date: 11/28/02
(1)
(2)
(3)
(4)
(5)
To: luigi.di-martino@ntlworld.com
Subject: Question: Empty Tzolkin Musical Bands (MetPhys)
Date: 12/03/02
To: MetPhys@aol.com
Subject: Question: Empty Tzolkin Musical Bands (Luigi)
Date: 12/03/02
Db to G
D to G#/Ab
Eb to A
E to Bb/A#
F to B
F# to C
G to Db etc
To: MetPhys@aol.com
Subject: Re:Mirror matter, blue dust and flat bottom craters on eros (Luigi)
Date: 12/05/02
To: MetPhys@aol.com
Subject: Dual pyramid idea, Harmonic Series PDF (Luigi)
Date: 12/05/02
To: luigi.di-martino@ntlworld.com
Subject: Question: Empty Tzolkin Musical Bands (Hidden Axis) (MetPhys)
Date: 12/06/02
To: MetPhys@aol.com
Subject: Question: Empty Tzolkin Musical Bands (Luigi)Ê
Date: 12/03/02
To: MetPhys@aol.com
Subject: Question: Empty Tzolkin Musical Bands (Hidden Axis) (Luigi)
Date: 12/06/02
To: luigi.di-martino@ntlworld.com
Subject: Re:Mirror matter, blue dust and flat bottom craters on eros (MetPhys)
Date: 12/06/02
To: MetPhys@aol.com
Subject: Re: Mirror matter, blue dust and flat bottom craters on eros (Luigi)Ê
Date: 12/05/02
To: luigi.di-martino@ntlworld.com
Subject: Re:Mirror matter, blue dust and flat bottom craters on eros (MetPhys)
Date: 12/06/02
To: MetPhys@aol.com
Subject: Re:Mirror matter, blue dust and flat bottom craters on eros (Luigi)
Date: 12/06/02
To: MetPhys@aol.com
Subject: Re: Fibonnacci cross over points (Luigi)
Date: 12/06/02
Joseph T.
The Turbeville Tables
To: luigi.di-martino@ntlworld.com
Subject: 3D Cubics of 4 Different Systems (MetPhys)
Date: 12/10/02
To: Joe Mason
Date: 9/24/01
Date: 9/17/01
Windmill Hill, Wiltshire July 16, 1999
August 4, 1999 East Kennett Longbarrow Crop Circle Formation
http://dgleahy.com/dgl/p15.html >>
East Kennett Longbarrow Crop Circle Formation August 4, 1999
Leahy's Golden Bowl Structure
To: quark137@aol.com
Subject: Amazing Pieces of Work Jerry (MetPhys)
Date: 12/13/02
The Great Pyramid As An Energy Transformer by Jerry E. Bayles (PDF)
