CONFIRMATIONS

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 There are endless confirmations  in Nature that bind us indissolubly with the master of the Universe. They are (as in ice crystals ) , sacredly geometrized, as in the shells and universalized , as in Galaxies .
 All this symbols are contained by a structuring universal geometry. A few are decoded but they cannot be accepted yet –

 First because they are proof of the Creator´s Work and secondly because the unifying law will be established as soon as the sequence of events is explained and these are understood .

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Imagine further that the Fibonacci spiral is represented in the  sunflower or Φ (Phi) is immersed in the pentagram (and this in turn is the core of the apple ) or the( hexagram , called David Star) , is in the heart of the pyramid of Kheops, then, the point , line, circle , square , sphere, ( Phi) , Φ ,( the Tchow- Pfei), (the Vessica) , 3 , 4, 5,( the Sacred Tetractys) (and some more) are all tools to decode or interpret the whole.
In which way they were reconstituted? These ways are the energies or vibrations forms that need to be made ​​compatible as the tools and energy to potentiate through the use of sacred geometry .
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Menhirs (geo – acupuncture – energy ) of Celtic stung the eartht where the energy component was found and channeled it by using an elementary phallic – type geometry , .
Then the ancient Egyptians with obelisks, whole pieces of granite seamless , preferably of high quartz content , performed the same puncture driving from the bowels of the earth , to expel the telluric and electromagnetic energies, as a reverse lightning rod. The  Sacred Geometry , powered it with the perfection of Measure, Proportion and Harmony

 

 

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Phi. The Harmony Detector

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Any creator in the fields of music, visual arts or aesthetics, goes through  the roads of Harmony ..

To explain harmony in its triumphal networks, we must start with Phi, nurturing the world of golden rectangles or leading in its contents through  Fibonacci´ spiral. However despite its immense and incontestable wealth, itsn´t everything, because in the begining illuminates only the world of two dimensions.

Remember that with music we live in a three-dimensional context, acquiring volume in space.  The world of Sacred Geometry must verify  in Universe.

Facts of man, in this three-dimensional world happen through time, the fourth dimension, where history is described and told

The golden ratio *

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“These texts are the result of a fascination with geometric shapes

.Fascination  comes from aesthetics,  because these forms produce”a feeling of something very beautiful  that requires no justification or explanation.”

 Geometric  shapes are live, organic, cumulative ways. Configurations  with organizational capacity, which moves the imagination.

Fundamental forms are present at all times, in all the arts and are common to all the civilizations. “

CarmenBonell       ,Barcelona1995

 

The golden ratio is also called the (golden section) (Latin: sectio aurea) or golden mean. Other names include (extreme and mean ratiomedial sectiondivine proportion,divine section, golden proportiongolden cut, and golden number).

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Φ

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Mathematician Mark Barr proposed using the first letter in the name of Greek sculptor Phidiasphi, to symbolize the golden ratio. Usually, the lowercase form (φ) is used. Sometimes, the uppercase form (Φ) is used for thereciprocal of the golden ratio, 1/φ. 

The golden ratio has fascinated Western intellectuals of diverse interests for at least 2,400 years.

According to Mario Livio: Some of the greatest mathematical minds of all ages, from Pythagoras and Euclid in ancient Greece, through the medieval Italian mathematician Leonardo of Pisa and the Renaissance astronomer Johannes Kepler, to present-day scientific figures such as Oxford physicist Roger Penrose, have spent endless hours over this simple ratio and its properties. But the fascination with the Golden Ratio is not confined just to mathematicians. Biologists, artists, musicians, historians, architects, psychologists, and even mystics have pondered and debated the basis of its ubiquity and appeal. In fact, it is probably fair to say that the Golden Ratio has inspired thinkers of all disciplines like no other number in the history of mathematics. 

The golden ratio has fascinated Western intellectuals of diverse interests for at least 2,400 years.

According to Mario Livio: Some of the greatest mathematical minds of all ages, from Pythagoras and Euclid in ancient Greece, through the medieval Italian mathematician Leonardo of Pisa and the Renaissance astronomer Johannes Kepler, to present-day scientific figures such as Oxford physicist Roger Penrose, have spent endless hours over this simple ratio and its properties. But the fascination with the Golden Ratio is not confined just to mathematicians. Biologists, artists, musicians, historians, architects, psychologists, and even mystics have pondered and debated the basis of its ubiquity and appeal. In fact, it is probably fair to say that the Golden Ratio has inspired thinkers of all disciplines like no other number in the history of mathematics. 

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Talking about Phi

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OBJECTIVES

All harmonic principles that rule the universal order are based in a handful of concepts , measurable, properly interrelated. They conform  the divine or golden proportions .

The first designs, generated by the Creator, were later multiplied and man was able to understand some of them but did not recognize the rest.

This lack of understanding of his environment has caused irracionality and disappointment in the comprehension of divine work.

Another misunderstanding of the present time prevents decoding and getting the right record of past facts, with, moreover, the loss of some rich interpolations at the mercy  of the traditional version of History.

Going back in time is not difficult. Enough with reading facts from a different point of view. This reading will enable us to find the way to our origin, where the proportions used by the Creator in all things both belonging to the micro and macro  universe, are revealed.

The object of the present work is to present the hidden evidences, to organize and interpolate the dark zones. Thus we will be able to state new clues of our “old origin” to see our genesis in its true dimension, locating ourselves in our original  barycenter.

Some elements which derive from ancient cultures are here incorporated and complete a wider view that enriches the experience of human knowledge.