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Ok people, I m going to have a little bit of fun here; and once you ve realised the blocks of what I m passing along in your own minds; so will you if you have an artistic bias. This lesson actually owes a big debt of thanks to the late Dr. Israel Regardie, who unveiled the teachings, rites and mysteries of the Golden Dawn (I m guessing the term only actually makes a reference to what they of the Quabbalistic Arts consider to be the ability to perceive the Prima Materia which is the Astral Realm. But it takes a slice of numerological knowledge to explain something with very visual foundations inside its beating heart. There are three or four concepts that all artists should begin to fully understand the implications of: Pi (equations for finding the volume of a sphere by taking measurements of its 3 radial circumferences), Phi (the pyramid builder s calculation; involving , two thirds the base equals the height), the Golden Mean (also called Fibonacci s measurement; and basically equates to the fact that if the Earth and the Moon were combined, they would equal 1 unit; but as separates, the Earth is three-fifths, and the Moon is two-fifths; so the Golden Mean ratio is 0.6:1.0, which means that give a number of people a straight line as a straw-poll and they will usually pick a point closer to being six-tenths of the way along the line, whereas before these experiments, predicted ideas would ve indicated they thought people would choose to bisect a line half-way along; not two-thirds or 66% of the way along. Many people don t know why this ration looks better on the eye, but it is the foundation of the Imperial system; rather than the metric imperial is about the hexadecimal (units of sixty), whereas metric is about the dodecimal (units of one hundred). Interestingly, if you plotted a line between Earth and the Sun, the Moon occurs one-third of the distance, in a direct line; which is partly why an eclipse can hide all o f the sun but the corona). The last concept is one I m not all that familiar with myself; it s called the Sacred Cut. I think I may be aware of it, but not by name as much as by having figured a few spatial relationships out on my own. The first part of this little exercise focuses on a cube and its relative planes of symmetry and both bisection and dissection; since the two things are not entirely the same, in relative nature. Other interesting subjects include; the Lost Cubit, and proves that geometry seems a much more interesting sphere of mathematics than simple arithmetic or anything else metric. First, we will look at the simple construction of the cube as an isometric drawing; which is pretty interesting on its own. You have to excuse any crudeness I may present in rendering images; but I do it all freehand. I believe Leonardo da Vinci helped to devise rulers, compasses, set squares, etc. to help artists express their ideas if they didn t have senses as honed as his to be able to use predictive thought the essential confidence that you are powerful enough to do it on your own without relying on such pieces of mechanical actuation. Well lords and ladies, that isn t me.

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First, we ll describe the cube as it should be easiest to perceive and recreate. The mode is isometric; across the flat and [any appropriate vagary of] diagonal plane [which is appropriate to get the image across in a way that is easily perceived and understood by others]. Two parallelograms located directly one above the other and then four lines beginning at the one point of the above square and linking to the corresponding point it lies directly above on the lower. This is an interesting theorem in itself, since my mind free-associates, and equates the top parallelogram to the Astral Realm, the linking lines to the Realms of Mentation or thought , and the lower parallelogram as the Physical Realm; just as in Hindu beliefs the egg s shell equates to the body, the yolk equates to the mind, and the white equates to the soul. But enough of that stuff for now. As I have indicated on the drawing itself; there are twelve primary sides, eight secondary sides, eight corners, six faces, three planes of dimension. One object; many meanings. But this is only the ideology behind the cubit; the cubit block encl oses a pyramid six times if the pyramid has four tri-corner sides and a square base and the centre of the points converge within the centre point. The next part of this which will be explored in a moment or so, after the diagrams are applied; is the bisection and dissection along with what is known as The Sacred Cut. Or, to be a little less ambiguous since this manages to fuse at least two concepts together; the Diagonal Cut in application across the cube to demonstrate the relationship of spaces. I suppose, to be any more ambiguous, the point where things converge and diverge could also be called The Book Of Crossroads; although that concept is Greek and rather Bacchanalian in nature and ideology.

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Now, we have to start to bisect and dissect the cube as seen; in order to be able to start to understand some of the overlying and underlying spatial relationships in the simple act of partition.

Now this small sketch deserves another shown in orthographic (a mode of drawing showing all sides on one sketch to be able to describe it from the sides, plan, and end elevations) view, to help show the mirrored facets and indicate what I mean, when I say the opposing factions equal across four sides to describe two shapes in quintet or eight configurations (four with three sides, four with five sides).

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Okay, this small diagram tends to look like a bifurcated roofing eave (A frame). But it starts from the first point visible on the diagram above it and then also turns around counterclockwise to show the mirrored perceptive forms that are flipped in reverse from square to square after the first bisection line is given. Next, its time for us to explore a little more and add a second bisection line, to show the form s evolution; I ll probably have to start going into colour pretty soon, to be able to describe things a little better on subsequent sketches.

Now, we can start adding more planes of dimension by adding other cuts and examining the structure as it changes. I was going to turn the cuts at right angles to each other; but then I remembered a little of my blacksmithing training, and was advised that if you don t forge parallel sides as the metal is shaped i.e.: 180 degree turns from one side having been worked on to the next side; and if you don t then you can manage to turn the outer surface around a

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spiral against the central core of the molecular structure, which is divisive to the overall structural integrity of the finish component , which explains why I turned to the corner 180 degrees away from the first cut to add the second one. Although the amount of labelling is now the most divisive element, and needing a quick remodelling of the sub-diagram to show the relationships as the form changes through the dissection and bisection process.

As I say, it shows the mirroring principle across the adjacent sides well enough; but now, it begins to take on the more confusing aspect, as the pieces that are mirrored start to share the dual numbers on a single shape; and in fact, b and d represent the Palindrome concept across two cuts, so the label reverses, as the shape also mirrors in the opposition (i.e. the figure marked a is a small perpendicular triangle elongated right angle; whereas the figure marked b is now the truncated pentagram; whereas c is the mirroring small perpendicular triangle elongated right angle; and the figure marked d is the mirroring truncated pentagram of the figure labelled b ; the same but opposed and overlapping.) And the worse news is that next, it s to get a bit more complicated still.

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Now the figure has the second to last cut added. I m not going to try to draw any conclusions from this little project I ve set myself (especially since there are still another three diagrams to go before I m finished and the top of my head might explode in the process; since I m only using memory, eye, mind, and hand to render the images). I think the thing I perceived that interested me the most happened in the mental analysis of the form, when I applied one cut to it and then looked at the inter-relationship between the spaces left, and saw them mirroring each other from adjacent face to adjacent face, because the cogs in my mind also put my thinking along the lines of positive and negative polarities and the meeting points, and I ll d o some more drawings based on the phi concept to illustrate what I thought I figured out about this (Although it s hypothetical, so I could be wrong; but on with the next orthographic synthesis of the three-cut sketch):

Now, we start to see something even more interesting emerging from the figure, as the progression unfolds. It now has three diagonal cuts (Sacred Cuts which, I suppose means to make the opposing slice across the furthest distance which truly centralises it in a cube, to equally oppose the forces of good and evil; speaking more of the philosophical implications. I m a big fan of walking the line .) After the next two sketches, we ll see something more interesting emerge from out of the form which is now not just related to the actual spaces and how they interrelate; but also in how the diagonal lines visible across the orthographic view interrelate to one another as well. I ll say nothing for now, and let it unfold itself as I produce it.

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Now I start to give a clue to what the last drawing actually is. The clue is that as the first lines were diagonals playing against one another on the first two drawings; so a second mirroring effect comes into play, and the first clue came from the paralleling of the one line, and the next clue before I actually provide the sketch itself, is the fact that to complete the form, the other line must have its mirroring partner; in order to give us the final part of the puzzle. I m glad I set it out this way; in terms of the ordering of the drawings and the positioning of them upon subsequent pages (e.g.: a little piece at a time but on cambered page layouts). There are a lot more parts to unravel in the riddles posed by the relationships of pi, phi, the sacred cut, the golden mean; but now, I ll provide th e last piece of this puzzle and draw it all into a much more easily recognisable form upon which we can all be focusing. As I said, there is a form to be found in the arrangement of lines; and its another piece of an ancient puzzle that uses the cube, the arrangement of the four cuts located at ninety degree angles, and the positioning and centralisation procedure on the opened out model, which shows the final object in this set, IN ADDITION to showing the interrelatedness of forms adjacent to one another.

And there we go. We ve just perused the construction of the Celtic Knot four-strand straight braid (dissemination of knowledge across four mental worlds, perhaps?) and discovered, in the series of cuts itself within the divisions in the cube, the eight -pointed star; and shown the symmetry of the form. Who would normally expect to find such intricate artistic forms hidden within the deconstruction of a standard cube? That s part of the convergence of forces which form the basis of geometry and how it affects the worlds of art, science, mathematics, construction, and music. Those in the Quabbalistic Orders would say that this essence is the serpent which was used to reverse the damage the original did in the Garden of Eden, at the time when Moses was allowed to create a serpent which he wound around a staff to help free the Canaanites from the scourge of the fire serpents in the desert; the re-unifier; which is put in the centre of the form known as the Radix. This point is called sphere 7 on the 2D Tree of Life: Tiphareth or Beauty, or the Sun, or Gold; to state its original Hebraic name and original number within the system, the Sphere of the Solar System it corresponds to, and the Alchemical Metal Element that is also equated to it. The essence of benign Fire. More will follow later; but this little lesson is enough Light to ponder for now. This has explained more about phi; and golden mean and sacred cut together, if pi has been a little excluded. But even so, it is one of an ongoing list of lectures. Enjoy for now.

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This is a very short thing I found by an exploration of bisection of a cube to show some of the quirks of spatial relationship when considered from the perspective of The Golden Mean, The Sacred Cu...

This is a very short thing I found by an exploration of bisection of a cube to show some of the quirks of spatial relationship when considered from the perspective of The Golden Mean, The Sacred Cut, The Lost Cubit, Phi, and Pi. Enjoy

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