CONCEPTS, part 2

Estándar

Until now and in previous chapters, we, the Φ team,  discussed specific architectural events, such as Angkor Wat, Stonehenge, Tikal and others, were not part of the “spontaneous” group. Almost all settlements conformed a network or frame as that of Wiener, Hartman, and others, likeTchow  that verified as modules of Φ and ΦBonacci.

These frames were not at random because the tissue was related to energies and the proportions of Φ.

 Φ takes the entire formal diffraction spectrum pattern of the Girih mosaics. They not only contained the morphological status of the West, (so little known and linked to Φ), but a more extensive plot known  Φ and ΦBonacci. 

Reluctantly responses were cleared in a Φ plot of diffraction, as doubts about the interior design of Keops or the golden triangle or (Pentalpha).

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Finally, the very difficult section of the plot,  reading two dimensions and the same, as perspective representation, depends on the support frame, as in this case. The Φ network contained in the electronic diffraction pattern of quasicrystal , Al, Cu, Fe, is of limitless wealth that contains almost all the variables of Φ.

 

We incorpórate to our friends of the rational world, the geometric pattern of diffraction of quasicrystals and the same frame of Girih mosaics, where successively identical overlap, the Pentagon emblematic figures are generated, and the pentalpha aureo triangle and the matrix of Keops in three dimensions, or in space where there dodecahedron reigns.

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CONCEPTS, part 1

Estándar

Beyond our description of Φ and ΦBonacci, we were surprised  when dr. Daniel Shechtman received the Nobel prize for incorporating to our world the aperiodic quasicrystals.

Also when the (pattern of electronic diffraction (X-ray) of an (aperiodic quasicrystal of Al (aluminum), Cu (copper) Fe (iron), I left a diagram, which is like a CT scan of the material, observing the most exquisite distribution points for its crystalline composition. Nature gave it for our rational interpretation, as nobody ever saw.

We had the more structured view of Phi Φ and ΦBonacci in organically coordinated forms..

It’s what we´ll try to interpret and demonstrate through graphics.

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Following the analysis of the described diffraction,  another discovery happened over the previous findings .We were amazed by not only  Shechtman´s scientific progress.  We had  to refrain  the excitement when we realized that they were completely in a pattern by Phi Φ.

But the surprise was just beginning . The (islamic Girih mosaics)  in their  non figurative designs based  in structures Φ, were similar to the aperiodic quasicrystals, in ΦBonacci ´s

What was told in the mosaics  graphic message ?. That man was not alone, nor dispersed, there was a universal pattern of order and perfection to nonfigurative guide to future generations by way of Φ (Phi 1.618033, the number of God and ΦBonacci).

Like in all laws of growth and understanding …… the facts were not there. Let us remember: the Nobel, (quasicrystals), the diffraction pattern, recreation to the delight of Φ, the mosaics and Islam Girih and  the CHALLENGE ……..to also decode how many graphic messages weret in the underlying frames.

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THEREFORE, part 2

Estándar

The geometric and arithmetic  rules meant the achievement of  ideal forms themselves as Sufis came to symbolize the unique pattern of existence, something simillar to the Pythagoric conception of the universe.

mosaico redondo, 1

Thus the artist becomes a sage or “arif”, knowing  the sacred and eternal laws that govern life, where everything repeats and renews.

Learning from the rhythms of nature, on the growth of plants and living things in general and the discovery of its intrinsic proportions, almost all governed by Φ.

This will result in an aesthetic based on the geometry in which the emotion overflows to look and check the repetition of the various life cycles.

flor, 1

The contemporary scientific findings of Nobel Prize winner,Dr. Daniel Shechtman  of quasicrystals  show us in their  verifiable electronic diffraction patterns underlying them, they draw the structure of girih mosaics.

Determining the correct proportions, (underlying quasicrystals, be they of Al, Li, Cu or Al, Fe, Cu or Al, Ni, Co or Al, Cu, Co or Al, Pd, Mn), impose over subjective currents.

Unless the underlying messages of the diffraction patterns and after the Girih mosaics Sufis messages, say the opposite, they show us, obviously, the occult and transcendental. Always from the Islamic point of view, artistic creativity does not involve the search and discovery of the new, modern false conception of the original, but in recreating a theme with variations multiplying ad infinitum, as in the Pythagorean pentalpha or  the fractalic Tchow .

pentalfa, 1 pentalfitas, 1