Mystical Gematria - Kabbalah

Gematria is a system of recognizing a correspondence between the ten sefirot, or fires of God, and the twenty two letters in the Hebrew alphabet. This system is elaborated in many mystical Jewish writings such as the Zohar.

One example of gematria is that there are twenty-two solid figures that are composed of regular polygons. There are five Platonic solids, four Kepler-Poinsot solids, and thirteen Archimedean solids. Since there are twenty-two letters in the Hebrew alphabet, a correspondence can be inferred between these two disparate categories. The art of gematria is knowing which solid is associated with which letter.

Another example is that of Hebrew numerals. Although there are twenty-two letters, there are twenty-seven numerals necessary to express each number up to 999 (one through nine, ten through ninety, one hundred through nine hundred). The mystical Hebrew numeric system notes that the missing final five letters of the numeral system match exactly with the five 'sofit (word-final) alternate forms of the Hebrew letters.Another use is that words which have the same numerical value, share the same qualities, and reveal still other aspects of the Divine.

Found Here: http://mara-gamiel.blogspot.com/2007/12/mystical-gematria.html

Shemhamforash. This word denotes the secret names of God that are 72 in number. When considering the actual number of demons in the Goetia, one will discover that they are also 72 in number. The Goetic demons are shadows of God and Creation. They are the spirits of the Qliphoth inhabiting the anti-worlds of the Sitra Ahra. The number 72 contains the keys to Qabalistic, Qliphotic, and Goetic mysteries. The Shemhamforash and the names of God and his 72 angels can be found in the fourteenth chapter of the book of Exodus 19:21. In Hebrew, each verse is written with 72 letters. When placing the verses above each other, 72 columns with three letters each appear. When the holy suffixes EL, AL or YAH are added, God’s 72 secret names can be found.

The number 72 is anything but random. In the center of the Qabalistic perception of the universe and Creation we can find the number 6. The number 6 represents the sun and the center of Creation, corresponding to the Sephirah Tiphareth, or it’s dark counterpart, Thagirion. The hexagram, which is the symbol of Creation, and the number 6 combine the triangles of the above and the below. The orbit of the heavens around the world of man consists of the twelve signs of the Zodiac (6×2). These are called sun signs. When multiplying the sun signs with the number of the sun (12×6) the product is 72.

Shemhamforash and the 72 names are connected with the time and space of Creation. The 12 months are governed by the sun signs and 6 spirits rule each month (12×6). Each of the 24 hours is ruled by 3 spirits (24×3=72) representing the waxing, stable, and waning characters. The number 72 is also connected with the four elements, the name of God and the four cardinal points of the compass. Eighteen spirits (6×4) represent each direction and element. God’s names and the angels in the Shemhamphorash represent the structure of the universe that upholds time and space and all laws of nature. The Goetic demons are the shadow sides of these angels and the forces that can open up gates in time and space.

There is an affinity between Goetic magic and Gothic magic; Gothic magic originates from Odin, who is also called Got, and his lore consists of the principles of the universe symbolizes by the 24 runes. The number of the runes multiple by three, which is also a pivotal number in Nordic mythology, gives us the number 72. Each rune can, accordingly, be linked to three Goetic demons. Futhermore, the number 72 becomes the sacred Gothic number 9 through the addition of 7 and 2, as is common procedure in numerology.

The 36 illness-causing demons of the Testament of Solomon are also connected to the Zodiac and the numberology around the Shemhamforash. The twelve star signs of the Zodiac control different body parts that the 36 demons can attack. The 36 angels that are conjured to banish these illnesses are also presented in the Testament of Solomon. Three illness-causing demons belong to each sign, and thus we arrive at the number 36. 36 multiplied by two gives us, again, the number of the Shemhamforash.

The number of the beast, 666, also contains the number of the Shemhamforash: 72. This is reached by multiplying the sexes and dividing the result by their amount, which is 3. The key appears in the following way: (6x6x6)/3.

The Shemhamphorash is connected with the name of God, IHVH, called the Tetragrammaton and considered so holy that it is not pronounced. The pronunciation is unknow, but combined with the vowels of God’s title: Adonai, (meaning the lord), we find the name Jehovah. The four holy letters of the Tetragrammaton correspond to the number four in all its forms: the four worlds, the four elements, the four beings seen by Ezekiel at the throne of God, etc. The name of the dark counterpart of God, cursed and kept secret by the Qabalists, is the name of God backwards: Chavajoth. The shadow of God belongs to the Qliphoth and represents the demonic correspondences of the number four: the four worlds of the Qliphoth, the four rivers of the Inferno, the demons governing the four directions and the demons who rule the elements. God’s dark antithesis rules over the 72 Goetic demons and all infernal legions.

God’s 72 names found in the Shemhamphorash consist of 72 letters that are extracted from the name Ayn Sop (Ain Sof) and the names of the ten Sephiroth, as well as the word Kdos, ‘holy’, repeated three times and the sentence konhsmimwars, ‘Creator of heave and earth’ (Genesis 14:19). The name describes the Creation, its structure and a triple tribute to the Creator. A shorter version of the Shemhamforash is based on 42 letters container on the names of the ten Sephioth. An even shorter version is built on 12 letters containing the names of three highest Sephiroth. The name in it’s entirety is Ktrhhmhtbwnh. A darker form of the Shemhamforash opens the gate to the shadow side. Its name consists of 12 letters, n which Daath replaces Kether. The name in it’s entirety is Hhmhtbwnhd’at.

According to the Qabalah, the two principles of the universe are form and energy, described as vessels and divine light. During Creation, some vessels broke and 288 sparks of divine light fell in the Abyss. These sparks are fallen angels that exist in the Abyss as Luciferian light. By seeking these sparks in the Abyss, man can reach the knowledge of becoming a God. These sparks are the light in the darkness, and are occasionally compared to a glowing dragon in the center of the underworld, or to Lucifer standing in the center of the Inferno. The 288 sparks are Goetic forces; four demonic rulers rule the Goetic demons. 288 divided by 4 is 72.

Found Here: http://noeticself.com/occult/the-gematria-of-the-judaic-mysticism-of-the-qabala-and-a-primer-of-goetics

The Tree of Life; the Ten Sephiroths, their resemblance with parallel universes and the implications of the Sephiroths in our own particular psychology. Overview of other ways of studying the Kabbalah.

Mystical Kabbalah

This is for hand-picked advanced practitioners in meditation, especially those who are about to become members of our Institution. An individual interview is required prior to the delivery of the course. Jewish Transcendental Meditation; Magical Images; experiencing directly and the direct confirmation of the existence of each of the Ten Sephiroths; applications; more.

Realizational Kabbalah

"The Sephiroth are meant to be completely self-realized within..." -- S.A.W.

Membership is required. The Awakening Phase: experiencing each Sephiroth much more frequently. The Resurrection Phase: Dissolving links with the "shadow of the Tree" (Qliphos), and becoming permanently awakened in each Sephirah. The Ascension Phase: Incarnating the Sephirotical Crown (Kether, Chockmah and Binah). The work of the Compassionate Boddhisattwa. Direct application in daily living. More.

Found Here: http://www.gnosticassociationny.org/kabbalah.htm

Spiral Symbolism - Prehistoric Geometry

Why is the spiral such a compelling shape? Why does it have a positive meaning for every culture that ascribes a meaning to it? Could it be because we, on this tiny planet whirling around one of 100 billion suns, can call a spiral galaxy home?

The spiral has found its way into the art of almost all cultures, from ancient primitive rock carvings on all continents to today's corporate logos. They show up in celtic art, native American petroglyphs, Nazca earthworks, Arabic architecture, Japanese rock gardens, Hindu spiritual texts, Australian aboriginal paintings and African art. Surprisingly, no religious or political group has claimed exclusive rights to the spiral. It remains non-sectarian, or maybe pan-sectarian. The spiral belongs to everyone and excludes no one.

In various mythologies the spiral is a globally positive symbol. Here are some of the meanings that have been attributed to the spiral.

Carl Jung, the famous psychiatrist, said that the spiral is an archetypal symbol that represents cosmic force.

In ancient Britain, the spiral seems to have been associated with the feminine as the doorway to life.

It has been associated with the cycles of time, the seasons, the cycle of birth, growth, death, and then rebirth. The cycles of time and nature are the cycles of life.

Some consider the spiral a symbol of the spiritual journey. It is also considered to represent the evolutionary process of learning and growing. It seems that life doesn't proceed in a straight line. The path of life more closely resemble a spiral. We seem to pass the same point over and over again but from a different perspective each time. To walk and then stand in the center of a spiral or labyrinth has been a psycho-spiritual exercise for centering the consciousness.

The spiral stands for coming into being.

The spiral shows up often in nature - in hurricanes and tornados, in the pattern of seeds in a sunflower, in the growing tips of ferns, in the pattern that leaves grow on a stem, in the shape of a nautilus shell, and, as a helix, the shape of the DNA molecule.

The spiral is the journey of life

Found Here: http://www.zenzibar.com/cosmicspiral/cosmicspiral.htm

The Spiral - (Prehistoric Geometry)

Spirals are a common natural form, appearing at all levels of nature. They are the natural product of Phi (Ф), which is also called the 'Golden Section' or the 'Golden Mean'.

Service and Bradbery (2), write that the spiral refers to:

'...the belly and navel (Neumann 1955). It is also seen as representing a Navel of the earth - the Omphalos...E.A.S Butterworth in 'The Tree at the Navel of the Earth' calls it the Omphalus sign...now seen as very ancient and very widespread (Roscher 1913), This fits well into the idea of megalith as places of interchange between the cosmic forces of the sky and earth'. (2)

Examples of European Megalithic Spiral-Art. Prof. Alexander Thom suggested that some of the European megalithic spirals had been carved with mathematic precision, using a common unit of measurement associated to the Megalithic Yard. Irish Spirals. The mound at Newgrange has been dated at about 3,200 BC (Burl). The passageway has been shown to possess both a solar orientation, and a secondary astronomic feature in its design called a 'light-box', of which three others have so far been identified (One at Carrowkeel, Ireland, one at least on the Orkney Islands, Scotland, and another other at Bryn Celli Ddu in Wales). All of the 'light-boxes' have one thing in common, which is that they were orientated to solar events. Front Kerbstone, Newgrange - Note spirals left of the central line go in one direction, whilst those on the right go in the other direction. The spirals above are all from Newgrange, in the Boyne valley, Ireland. Kerb-stone from Knowth, Ireland, also a part of the Boyne Valley 'complex'. Spirals are a common feature of Irish megalithic art. They can be seen at numerous other Irish megaliths, although there exact meaning (If there is such a thing), is far from being understood. (More about Prehistoric Ireland) Portuguese Spirals. Being one of the earliest regions of megalithic activity in Europe, it is interesting to find one of the largest spirals here also. This recently discovered spiral-art (right), was found in the region of Poidáo in Portugal. The spiral is around 0.5m in diameter, possibly making it the largest known carved spiral in Europe. Unlike most spirals, this one sits alone on the side of a hill, with no obvious orientation or apparent purpose. Several other spirals along with various rock-art, stone phallus, cart-ruts and even signs of Christianisation make it probable that this inhospitable valley system was an importance prehistoric site for a long time. (More about Piodao region of Portugal) In addition, the stone circle at Almendres which is considered to be one of the oldest oldest stone circles in Europe ('4th to 5th millennium B.C' - Site plaque - 2007.), also has/had a spiral on one of it stones. Maltese Spirals. There are numerous spiral motifs in Malta, but they are decorative, 'floral' spirals, unlike the single examples found at many UK stone circles. Service and Bradbury (1), say that 'spiral patterns are associated with the great goddess'. A statement that makes sense in Malta., but nowhere else. These 'floral-spirals' (above), come from the Tarxien in Malta. They show a strong similarity to Celtic and Norse motifs, but are dated far earlier at 3,000 -3,500 BC. This spiral-art is from Bugibba 'temple' on Malta is indistinguishable from others found in the Orkneys, Scotland as the following pictures illustrate... Scottish Spirals. The 'Westray Stone', from Pierowall (left). The Eday Manse stone, Isle of Eday. (right). (More about the Orkneys) Other European Spiral-art. The Flat Rocks of Helluland I (2)- with similar 'Solar-wheels' as those found in Ireland.

Found Here: http://www.ancient-wisdom.co.uk/spirals.htm

Drop City Commune

Description:	Drop City was a community that formed in the hills of southern Colorado in the late 1960s, which become a sort of icon of the rural 1960s communal living that seemed to be blooming at that time. Singled out by the media as exemplary, Drop City was known for its dome-style of architecture, which combined the principles and methods of Buckminster Fuller with inexpensive, found materials, such as sheet metal hacked off of junked car roofs. In 1965, when the four original settlers of Drop City, art students and writers from the Universities of Kansas and Colorado, moved to this site, they had no intention of founding a large community, but just wanted to live cheaply and have time to pursue their interests. The community grew, however, spurred by media coverage that included news reports on national television. After becoming what one of the more notorious denizens called "a decompression-chamber for city freaks," and with the people that originally founded the community long since departed, Drop City was slowly vacated. Today, much of the property has been developed, though the last of the iconic domes was taken down only in the late 1990s, by a truck repair facility which now occupies a portion of the site.
Location:	Near Trinidad, 40 miles S of Pueblo (POINT(-104.49119210243 37.220768831485)) (show on map)
Address:	CO
Visitor Info:	On a six acre tract in El Moro, Colorado, 5 miles east of Trinidad off of I-25.
Links:	http://www.clarkrichert.com/dropcity
tag:	Abandoned Site
LCS:	Architectural Landmark, Cultural

Found Here: http://ludb.clui.org/ex/i/CO3134/

Drop City was an artists' community that formed in southern Colorado in 1965. Abandoned by the early 1970s, it became known as the first rural "hippie commune".^[1]

Found Here: http://en.wikipedia.org/wiki/Drop_City

Fractals

A fractal is "a rough or fragmented geometric shape that can be split into parts, each of which is (at least approximately) a reduced-size copy of the whole,"^[1] a property called self-similarity. Roots of mathematical interest in fractals can be traced back to the late 19th Century; however, the term "fractal" was coined by Benoît Mandelbrot in 1975 and was derived from the Latinfractus meaning "broken" or "fractured." A mathematical fractal is based on an equation that undergoes iteration, a form of feedback based on recursion.^[2]

A fractal often has the following features:^[3]

• It has a fine structure at arbitrarily small scales.
• It is too irregular to be easily described in traditional Euclidean geometric language.
• It is self-similar (at least approximately or stochastically).
• It has a Hausdorff dimension which is greater than its topological dimension (although this requirement is not met by space-filling curves such as the Hilbert curve).^[4]
• It has a simple and recursive definition.

Because they appear similar at all levels of magnification, fractals are often considered to be infinitely complex (in informal terms). Natural objects that approximate fractals to a degree include clouds, mountain ranges, lightning bolts, coastlines, snow flakes, various vegetables (cauliflower and broccoli), and animal coloration patterns. However, not all self-similar objects are fractals—for example, the real line (a straight Euclidean line) is formally self-similar but fails to have other fractal characteristics; for instance, it is regular enough to be described in Euclidean terms.

Images of fractals can be created using fractal-generating software. Images produced by such software are normally referred to as being fractals even if they do not have the above characteristics, as it is possible to zoom into a region of the image that does not exhibit any fractal properties.

Cymatics

Cymatics (from Greek: κῦμα "wave"), also known as modal phenomena, is the study of visible sound and vibration, typically on the surface of a plate, diaphragm, or membrane. Directly visualizing vibrations involves using sound to excite media often in the form of particles, pastes, and liquids. ^[1]

The apparatus employed can be simple, such as a Chladni Plate^[2] or advanced such as the CymaScope, a laboratory instrument that makes visible the inherent geometries within sound and music.
Found Here: http://en.wikipedia.org/wiki/Cymatics

Its obvious to me that the scientific community investigating "Oscillons" (part of non-linear dynamics) does not know about Dr. Jenny's work.

There are also far more links to be found on the web than I list here.

• You can get books and videos of Jenny's work from this source.
  
  
• A related phenomenon (actually, the same thing) is called "Oscillons". Here is a link to the "discoverer" of Oscillons.
  
  
• Very short Scientific American article on Oscillons.

Found Here: http://www.rwgrayprojects.com/Lynn/Cymatics/cymatics01.html

The truth is that sound creates a dynamic mandela-like pattern in every water molecule of your entire body. And, since your body is 90% water, the effect on your whole system is dramatic. In fact, your entire body (especially your skin) is actually an ear. When you consider the findings of Dr. Emoto, which prove that your intention changes the structure of water, then it becomes clear how sound and intention can create extraordinary changes in your body and consciousness.

Cymatics, the study of wave phenomena, is a science pioneered by Swiss medical doctor and natural scientist, Hans Jenny (1904-1972). For 14 years he conducted experiments animating inert powders, pastes, and liquids into life-like, flowing forms, which mirrored patterns found throughout nature, art and architecture. What's more, all of these patterns were created using simple sine wave vibrations (pure tones) within the audible range. So what you see is a physical representation of vibration, or how sound manifests into form through the medium of various materials.

Dr. Jenny's methodology was meticulous, well documented, and totally repeatable. His fascinating body of work offers profound insights into both the physical sciences and esoteric philosophies. It illustrates the very principles which inspired the ancient Greek philosophers Heraclitus, Pythagoras and Plato, on down to Giordano Bruno and Johannes Kepler, the fathers of modern astronomy. "In the beginning was the word..." takes on a whole new meaning while looking at these experiments!

These cymatic images are truly awe-inspiring, not only for their visual beauty in portraying the inherent responsiveness of matter to sound, but also because they inspire a deep recognition that we, too, are part and parcel of this same complex and intricate vibrational matrix.

Check out more details at www.cymaticsource.com