In Part I of three chapters, Bernard Pietsch demonstrates how architecture communicates through design, number and geometry. He explains why the form of our national monument, based on the shape of the ancient Egyptian obelisk, ranks among the world’s greatest sacred architecture.
“A cosmic tempo based on Sacred Geometry, encoded in myth & mystical architecture throughout the Earth governs the unfolding of world ages, the rise and fall of civilizations & is ultimately the very basis of apocalyptic prophecy” – Randall Carlson
Join Independent Scholar Randall Carlson as he presents an authoritative overview of the “Master Key” of the Ancient Mysteries, Sacred Geometry. You will be shown the significance of the “Sacred Canon of Numerical Cosmology” and how it effects every aspect of life from the,”Sub-microscopic to the Super Galactic.” Extending this pattern into the dimensions of Catastrophism and Earth History demonstrates the overarching significance of these Sacred Proportions in Space, Time, and Human history.
Taking Measure is the new companion book (paperback or EPUB) to the highly acclaimed Secrets in Plain Sightvideo series by Scott Onstott, now approaching 2 million views. Secrets in Plain Sight Vol. 2is also out and available for download.
Taking Measure: Explorations in Number, Architecture, and Consciousness reveals patterns emergent in our universe from quantum to astronomic scales. Spatial and temporal codes appear in unexpected places, from our units of measure to the relationships between celestial bodies. Geometric and numeric encoding appears in architecture, in urban design, and in alignments across the Earth. Does this happen by pure coincidence, has it been done to preserve knowledge, or is it an ancient form of magic that continues to this day? Are the synchronicities we experience in our personal lives manifestations of these same patterns? This book takes a new look at familiar structures in the tangible world but also engages with the invisible world, including the question of consciousness.
(Kent Fine Art) The Boston Visionary Cell, founded by Paul Laffoley in 1971, was based on the model of an artists’ guild. Although there have been numerous presentations of Laffoley’s work over the past decade, the Boston Visionary Cell has never been examined in the context of his life’s work. It is a crucial piece in understanding Laffoley’s methodology. As stated in its founding charter, it was created “to develop and advance visionary art”:
We . . . believe that the evocation of the mystical experience by means of symbols, which has functioned as part of the intentioning process throughout the course of human history, is the intended direction of evolution that becomes most expressive through visual art during those periods in history that are characterized by rapid change, e.g., the twentieth century, which has seen a series of movements from the Modern era to the Post-Modern era, finally culminating in the Bauharoque era.
Our current exhibition extrapolates on the mission of the Boston Visionary Cell as it has related to Laffoley’s production over the past forty years. An extensive online publication will accompany the exhibition.
What have the ancient Mysteries of Eleusis, Isis, and Mithra got to do with modern Freemasonry? JOHN ALGEO, PhD, served for 9 years as president of the Theosophical Society in America. The THEOSOPHICAL SOCIETY in America is a branch of a world fellowship and membership organization dedicated to promoting the unity of humanity and encouraging the study of religion, philosophy and science so that we may better understand ourselves and our relationships within this multidimensional universe.
Harmonic Interference Theory represents a major breakthrough in our understanding of music and perception. Triggered by a moment of insight thirty years earlier, this theory explains how harmonics combine to form coherent geometrical patterns that our auditory system recognizes as simple shapes.
Using a spectral analysis of harmonic interference over an octave, the author shows how reflective patterns on vibrated surfaces can be found in the growth patterns of the human anatomy, particularly our ears and brain. From this simple correspondence, perception of music is then explained as the natural process of anticipating and matching harmonic interference patterns against identical structures in our auditory system. When represented visually, music becomes organic geometries floating inside a harmonically structured space – exactly as our ears and brain understand it.
But this is only the beginning. The author goes much further to show how everything in nature can be described as crystallized harmonics. Drawing on the latest scientific research and cutting-edge theories in the fields of genetics, quantum physics and cosmology, a unified harmonic model is proposed for the study of coherence on both a micro and macro scale. Out of this emerges a grand scientific musical theory that reintegrates ancient harmonic science with quantum physics to explore the deeper mysteries neither can answer alone.
The quadrivium—the classical curriculum—comprises the four liberal arts of number, geometry, music, and cosmology. It was studied from antiquity to the Renaissance as a way of glimpsing the nature of reality. Geometry is number in space; music is number in time; and comology expresses number in space and time. Number, music, and geometry are metaphysical truths: life across the universe investigates them; they foreshadow the physical sciences.
Quadrivium is the first volume to bring together these four subjects in many hundreds of years. Composed of six successful titles in the Wooden Books series—Sacred Geometry, Sacred Number, Harmonograph, The Elements of Music, Platonic & Archimedean Solids, and A Little Book of Coincidence—it makes ancient wisdom and its astonishing interconnectedness accessible to us today.
Beautifully produced in six different colors of ink, Quadrivium will appeal to anyone interested in mathematics, music, astronomy, and how the universe works.
Sacred mysteries among the Mayas and the Quiches 11,500 years ago and their relation to the sacred mysteries of Egypt, Greece, Chaldea and India; Freemasonry in times anterior in the Temple of Solomon. The author presents to the reader some of the historical facts that have been brought to light by deciphering bas-reliefs and mural inscriptions, by means of the ancient hieractic Maya alphabet discovered by the author. He presents only facts that can be proven by well-known ancient and modern writers and by the inscriptions carved on stone by the Mayan people.
Augustus Le Plongeon (1825–1908) was a photographer and antiquarian who studied the pre-Columbian ruins of America, particularly those of the Maya civilization on the northern Yucatán Peninsula. While his writings contain many eccentric notions that were discredited by later researchers, Le Plongeon left a lasting legacy in his photographs documenting the ancient ruins. He should also be regarded as one of the earliest proponents of Mayanism.
Le Plongeon wrote a lengthy history of Maya culture, going so far as to propose a theory that Maya had been in touch with the lost continent of Atlantis and were ancestral to Ancient Egypt, a theory which has since been discredited by the scientific community. Le Plongeon, a Freemason, was also convinced that the roots of Freemasonry were to be found in the ancient Maya culture.
Gerald Jay Markoe studied classical music at both Juilliard (B.A.) and the Manhattan School of Music (M.A.). Since the early 1960s, Markoe has studied meditation and astrology, and he specialized in translating the positions of the planets into music, often recording custom tapes based on a person’s astrological sign.