LA BIBLIA SE ESTUDIA TEXTO Y CONTEXTO O EL MARCO DEL TEXTO. POR ESO LA MAYORIA DE LAS DENOMINACIONES CAEN EN LA MENTIRA DE LA CREENCIA DE QUE CRISTO ES UN DIOS TODOPODEROSO, PORQUE DESGRACIADAMENTE SE BASAN EN UNOS POCOS VERSICULOS NEGANDO EL MARCO DE LA BIBLIA. SI SE ESTUDIARA EL MARCO, OBVIAMENTE EL MUNDO ENTENDERIA DE QUE CRISTO FUE UN HOMBRE 100%, QUE NO TUVO PREEXISTENCIA, CASADO CON UNA MUJER Y OBVIAMENTE CON UN HIJO. EL DRAMA DE BABILONIA ES QUE NO ESTUDIA EL MARCO.
1 Pedro 5:13: La iglesia que está en Babilonia, elegida juntamente con vosotros, y Marcos mi HIJO, os saludan.
Las escaleras de los Museos Vaticanos son una obra de arte más que añadir a la Capilla Sixtina, el Laocoonte o los Dalí y Miró que a menudo pasan desapercibidos, porque todo el mundo sigue las flechas hacia la gran obra pictórica de Miguel Ángel.
Escalera de Bramante del Vaticano
Esta increíble escalera que en un genial efecto óptico parece que no va a terminar nunca es obra de Donato d’Angelo Bramante, que ha pasado a la posteridad como Bramante. Vivió a caballo entre los siglos XV y XVI, y fue uno de los arquitectos italianos más reconocido, por ser el ideólogo de la Basílica de San Pedro.Bramante fue además quien introdujo el Renacimiento en Milán y realizó obras tan hipnóticas como esta escalera que emula las espirales del ADN. El efecto “infinito” lo consigue la doble hélice enrollada hacia la derecha. En realidad, cuando nos asomamos a la escalera, si nos fijamos, vemos que en realidad no es una sóla escalera, sino dos enroscadas. Una de ellas es para bajar y otra para subir.
La escalera se encuentra a la salida de los Museos Vaticanos, en realidad, es la última obra de arte que se contempla en las galería y el visitante se lleva de recuerdo esta espiral sin fin. Si la escalera está practicamente vacía, como en la foto, es más difícil de descubrirle el truco al artista, pero si circula gente, que es lo habitual, el secreto está en fijarnos en que una de las espirales está llena de personas – la de bajada – y otra casi vacía, – la de subida -, porque está cerrada al público.
Ungido, Michel de Notre-Dame o Miguel de Nostradamus fue un sujeto astuto, judío por trascendencia pero tornado católico por convicción quien era protegido por Catalina de Medici y otros poderosos de su tiempo y por ello mismo fue intocable, eso, tú lo sabes de sobra, solo te lo recuerdo, además, su cultura le daba pie a codearse por las cortes y doquier le diera su deseo, algunos sabían de sobra que el tipo era impenetrable y el ocultismo lo sabía manejar a la perfección, algo así como el pintor Miguel Ángel, quien a pesar que decoró la bóveda de la capilla sixtina con desnudos que podrían haberse interpretado como obsenos, por su cultura y de arquitecto, escultor y pintor, hasta el día de hoy se les llama obras de arte y lo son, pero los curas que presumen falsamente de recato lo permitieron, esa gente es sucia de mente y cuerpo.
Saludos...
Abajo, representaciones de la supuesta creación de Eva y así mismo la de Adán y más abajo, el Juicio final, todo eso es una falacia...
On March 19, 2109 The Galaxy reported that China was close to launching its “artificial sun” promising a future of ‘limitless clean energy –a Chinese “Green New Deal”. Unlike nuclear fission, fusion emits no greenhouse gases and carries less risk of accidents or the theft of atomic material.
Sometimes called an “artificial sun” for the sheer heat and power it produces, China’s doughnut-shaped Experimental Advanced Superconducting Tokamak (EAST) that juts out on a spit of land into a lake in eastern Anhui province, has notched up a succession of firsts, reports AFP. Officials announced that the machine which will hold the ‘artificial sun’, called the HL-2M Tokamak, could be built this year using nuclear fusion in which hydrogen from sea water and readily available lithium is heated to more than 150 million°C.
The current Experimental Advanced Superconducting Tokamak (EAST) reactor in Hefei has created temperatures as hot as the interior of the sun. In November, it became the first facility in the world to generate 100 million degrees Celsius (212 million Fahrenheit)—six times as hot as the sun’s core. These mind-boggling temperatures are crucial to achieving sustainable nuclear fusion reactions, which promise an inexhaustible energy source.
“The artificial sun’s plasma is mainly composed of electrons and ions and the country’s existing Tokamak devices have achieved an electron temperature of over 100 million degrees C in its core plasma, and an ion temperature of 50 million C, and it is the ion that generates energy in the device,” said Dr Duan Xuru, an official at the China National Nuclear Corporation, according to China’s Global Times.
HL-2M Tokamak is expected to increase the electricity intensity from one mega amperes to three mega amperes, an important step to achieve nuclear fusion, a spokesperson surnamed Liu with the press office of the Southwestern Institute of Physics (SWIP), affiliated with China National Nuclear Corporation, told the Global Times.
For instance, the deuterium (also known as heavy hydrogen) extracted from one liter of seawater releases the energy equivalent of burning 300 liters of gasoline in a complete fusion reaction, Liu said.
The “artificial sun” aims to release nuclear fusion in the same way as the sun by using deuterium and tritium (radioactive hydrogen-3), and finally generate electricity. It is clean energy that will not generate waste, which makes it ideal for people to use in the future, Liu said.
Que el cáliz que se venera en la Catedral de Valencia como el Santo Grial es la copa que utilizó Jesucristo en la Última Cena puede creerse o no. Pero esta reliquia es venerada cada año por miles de fieles, los últimos Papas han querido celebrar Misa con ella en sus visitas a la ciudad, y las réplicas del Santo Cáliz que el arzobispo de Valencia está entregando a diversas personas y entidades están contribuyendo a la difusión de la piedad eucarística y a la creación de cofradías.
Con el objetivo de añadir rigor científico a los estudios, análisis y documentos y a la fuerza de la tradición que señalan la autenticidad de la reliquia, diversos arqueólogos, historiadores, teólogos y expertos en arte, física y otras disciplinas han celebrado, en Valencia del 7 al 9 de noviembre, el 1º Congreso Internacional sobre el Santo Cáliz, titulado ‘Valencia, la ciudad del Santo Grial’.
El simposio ha contado con la presidencia de honor del rey Don Juan Carlos, ha sido organizado por el Arzobispado de Valencia, el Cabildo Metropolitano de la Catedral, la Universidad Católica, el Centro Español de Sindonología, la Real Hermandad y la Cofradía del Santo Cáliz. Además, han colaborado en la organización la Orden de Caballería del Santo Sepulcro de Jerusalén y la Fundación COSO.
Los ponentes han coincidido en señalar que el Santo Cáliz de Valencia que permanece allí desde el siglo XV es único y científicamente no se le puede reprochar ningún argumento que niegue su autenticidad. Por eso, han instado a las autoridades a promover que la Unesco declare la reliquia Patrimonio de la Humanidad y han propuesto nuevas investigaciones de todas las piezas que componen el Santo Grial.
¿Dónde está el Santo Grial? La copa superior es la que utilizaría Jesucristo
Los expertos también han coincidido en destacar la vigencia del importante análisis realizado hace 50 años por el catedrático de Arqueología de la Universidad de Zaragoza Antonio Beltrán, que concluyó que la copa superior del actual Santo Cáliz de Valencia bien pudo estar en la mesa de la Santa Cena y ser la que Jesucristo utilizó para beber, para consagrar o para ambas cosas.
Se trata de una copa labrada, entre los siglos II y I a.C en un taller oriental de Egipto, de Siria o de la propia Palestina, con forma semiesférica, de piedra ágata cornalina oriental, que mide 9,5 cm de diámetro medio en la boca y 5,5 cm de profundidad por el interior, toda lisa sin ningún adorno, excepto una línea de corte redondeado paralela al borde.
A esta copa se añadió en la Edad Media el pie, formado por un vaso ovalado e invertido y la vara con su nudo, de oro, que sirve para unir las dos partes.
Todavía no se puede aplicar ninguna técnica científica tipo la del carbono-14 al Santo Cáliz, pero se cree que la copa ha sido utilizada por los primeros Papas, después por el abad del monasterio de San Juan de la Peña y por los arzobispos de Valencia, el día de la fiesta del Santo Cáliz. Además, ha sido muy valorada por miembros de la realeza (especialmente los reyes de la Corona de Aragón) y ahora por diversos historiadores y escritores de varios países.
Unos frescos medievales únicos en el mundo, nueva prueba de que el Santo Grial de Valencia es auténtico
Entre las nuevas pruebas de la autenticidad de la reliquia presentadas durante el Congreso se encuentran unos frescos medievales de la Virgen con el Santo Grial, “únicos por su iconografía”, encontrados en iglesias pirenaicas que “podrían tener relación con la estancia del Santo Cáliz en aquellas tierras”, según el profesor de Historia del Arte Vicent Zuriaga.
Se trata de frescos románicos, la mayoría del siglo XII, que se encuentran en iglesias y monasterios situados en las localidades ilerdenses de Sant Climent de Taüll, Ginestarre y Burgal y la de Sant Romà de Les Bons, en Andorra. Representan a la Virgen sosteniendo un “cáliz llameante, lo que nos lleva a pensar que es el auténtico Santo Grial”.
“Si no conseguimos encontrar este tipo iconográfico en ninguna otra zona del mundo, como de momento sucede, interpreto como hipótesis de trabajo que los artistas que representaron estas obras recogieron o bien la tradición que subyace en las leyendas medievales griálicas, o bien toman la referencia de un objeto concreto y próximo”, señaló Zuriaga.
Otro ponente, el experto en heráldica José Luis Sampedro, ha afirmado en el Congreso que la única reliquia del mundo “que puede ser el auténtico grial que utilizó Jesús en la Última Cena es el Santo Cáliz” que se venera en la Catedral de Valencia y ha afirmado que el resto de reliquias que “pretenden presentarse como la copa que empleó Jesús carecen de credibilidad, porque no tienen apoyo documental de ninguna fuente mínimamente rigurosa”.
Entre otras copas “u objetos similares que pretenden ser el Santo Grial auténtico y es evidente que no lo son”, citó el Cáliz de Antioquía, que se encuentra en el Metropitan Museum de Nueva York, el Sacro Cátino de Génova, el Santo Cáliz de Cebreiro (Pontevedra) y “una patena que se conserva en el Palacio Imperial de Viena”.
¿Cómo llegó el Santo Grial de Valencia hasta allí?
En el periplo del Santo Grial desde Tierra Santa hasta Valencia, se realizaron algunos documentos de cesión o intercambio que se han conservado hasta hoy y constituyen también pruebas de la autenticidad de la reliquia.
Después de la última Cena, la importancia que los primeros cristianos otorgaban a la liturgia permitió guardar con celo la reliquia, que fue llevada a Roma por el primer Papa, San Pedro. Allí la conservaron los Papas hasta San Sixto II, quien, para salvarla de la persecución del emperador Valeriano y de la amenaza de los bárbaros, la entregó a su diácono San Lorenzo, oriundo de España, que la envió a tierras de Huesca, en el siglo III.
Durante la invasión musulmana, la copa de la Cena fue ocultada en el Pirineo. Los cristianos de Huesca huyeron con ella a las montañas del norte en el año 712 Primero estuvo en las cuevas de Yebra y después encontró refugio en monasterios, el último de ellos, el de San Juan de la Peña.
En el año 1399, su prior entregó la reliquia al Rey de Aragón Martín el Humano, que la tuvo en el palacio real de la Alfajería de Zaragoza. En 1424, su sucesor Alfonso V el Magnánimo llevó el relicario real al palacio de Valencia y lo entregó, en 1437, a la Catedral, donde hoy se venera.
In light of the above there seems little doubt that in general and in the present astronomical context in particular, Spira Solaris qualifies to be described numerically as "the One and the Many," the "One and the All," "the Alpha and the Omega," and also (from The Chaldean Oracles): "Fountain of Fountains, and of All Fountains, The Matrix of all Things." ..... Pythagoras said the sacred Tetractys is: ` the spring having the roots of ever-flowing nature.' .... The four parts of the Decad, this perfect number, are called number, monad, power and cube. And the interweavings and minglings of these in the origin of growth are what naturally completes nascent number; for when a power of a power; and a cube is multiplied on a cube, it is the power of a cube; and when a cube is multiplied on a cube, the cube of a cube; thus all numbers, from which arise the genesis of what arises, are seven: number, monad, power, cube, power of a power, power of a cube, and cube of a cube. ..... We have seen that the whole nature of things, all the essential properties of physis, were believed by the Pythagoreans to be contained in the tetractys of the decad; and it now appears that, just as we should expect, this ' fountain of ever-flowing nature' contains the periodic movement of life, evolving out of unity and reverting to unity again, in the recurrent revolution of a wheel of birth. It embodies the fundamental Dionysiac representation of palingenesia. But there is something more in it than this. Pythagoras inherited the music of Orpheus, as well as the reincarnation doctrine of Dionysus. From the Orphics he inherited also the doctrine of the fall of the soul from its first perfect state of union with the divine, its degradation into the darkness of this life and of the underworld, and its final restoration to peace and unity. Now, on the model of this doctrine of the fall of the soul, the Pythagorean philosophy must hold that all existence proceeds out of the One and returns to it again; and that the One alone is perfect, while the manifold world of visible body is a turbid medium of appearance, in which the one truth is half-revealed and half-concealed, as the divine soul is manifest in the flesh and yet obscured by it and degraded. There is thus, inherent in the representation handed down from Orphism to Pythagoras, not only the primitive wheel of birth, but another aspect of the movement of life, which is best described as a processional movement out of unity into plurality, out of light into darkness. This movement, also, must be revealed in the nature of numbers, and contained in the tetractys. Pythagoras found it in the procession of numerical series, the study of which he originated, thereby rounding the science of number. It is practically certain, also, that in music he discovered the ratios of the octave, the fifth, and the fourth, contained in the harmonic proportion 12: 8: 6. Now a progression like those contained in the tetractys of Plato's worldsoul --the series, 1: 2: 4: 8, 1: 3: 9: 27– is what the Pythagoreans called an harmonia; it is a continuous entity knit together by a principle of unity running through it, namely the logos or ratio (1/2 or 1/3) which links every term to its predecessor by the same bond. Both series, moreover, radiate from the One, which in Pythagorean arithmetic was not itself a number, but the source in which the whole nature of all numbers was gathered up and implicit. When we note, further, that every number is not only a many, but also one number, we can see how Pythagoras would find the whole movement of cosmic evolution contained in the procession of series, in which the One passes out of itself into a manifold, yet without losing all its unity, and a return from the many to the One is secured by that bond of proportion which runs, backwards and forwards, through the whole series and links it into a ' harmony.' It is thus that we must understand the doctrine that ' the whole Heaven is harmony and number.' The processional movement of physis is modelled upon that of soul, which falls from its first state of union with the divine, but yet remains linked to the One life by mysterious bonds, and can return to it again, purified by music. ...... As for the "geometric figure", that we may already have (whether applicable here or not) and although the concept of "organic motion" may strike some modern readers as strange, it is nevertheless an underlying feature in many ancient major works--the Timaeus of Plato especially. Here it may also be observed that by expressing the exponents of this short section of the Phi-series planetary framework in thirds, the sets [3, 6, 9 , [4, 8, 12] and [6, 12, 18] are also apparent--sets that may or may not be considered further with respect to other passages in Plato, etc. ...... It is in the same fashion that the Timaeus also tries to give a physical account of how the soul moves its body; the soul, it is there said, is in movement, and so owing to their mutual implication moves the body also. After compounding the soul-substance out of the elements and dividing it in accordance with the harmonic numbers, in order that it may possess a connate sensibility for 'harmony' and that the whole may move in movements well attuned, the Demiurge bent the straight line into a circle; this single circle he divided into two circles united at two common points; one of these he subdivided into seven circles. All this implies that the movements of the soul are identified with the local movements of the heavens. (Aristotle, On the Soul) ...... Mind is the monad, science or knowledge the dyad (because it goes undeviatingly from one point to another), opinion the number of the plane, sensation the number of the solid; the numbers are by him expressly identified with the Forms themselves or principles, and are formed out of the elements; now things are apprehended either by mind or science or opinion or sensation, and these same numbers are the Forms of things. Some thinkers, accepting both premises, viz. that the soul is both originative of movement and cognitive, have compounded it of both and declared the soul to be a self-moving number. (Aristotle, On the Soul) ...... Thus that in the soul which is called mind (by mind I mean that whereby the soul thinks and judges) is, before it thinks, not actually any real thing. For this reason it cannot reasonably be regarded as blended with the body: if so, it would acquire some quality, e.g. warmth or cold, or even have an organ like the sensitive faculty: as it is, it has none. It was a good idea to call the soul 'the place of forms', though (1) this description holds only of the intellective soul, and (2) even this is the forms only potentially, not actually. (Aristotle, On the Soul) ..... there will be a need for several sciences. The first and most important of them is likewise that which treats of pure numbers--not numbers concreted in bodies, but the whole generation of the series of odd and even, and the effects which it contributes to the nature of things. When all this has been mastered, next in order comes what is called by the very ludicrous name mensuration, but is really a manifest assimilation to one another of numbers which are naturally dissimilar, effected by reference to areas. Now to a man who can comprehend this, it will be plain that this is no mere feat of human skill, but a miracle of God's contrivance. Next, numbers raised to the third power and thus presenting an analogy with three-dimensional things. Here again he assimilates the dissimilar by a second science, which those who hit on the discovery have named stereometry [the gauging of solids], a device of God's contriving which breeds amazement in those who fix their gaze on it and consider how universal nature molds form and type by the constant revolution of potency and its converse about the double in the various progressions. The first example of this ratio of the double in the advancing number series is that of 1 to 2; double of this is the ratio of their second powers [ 4 ], and double of this again the advance to the solid and tangible, as we proceed from 1 to 8 [ 1, 2, 2^2, 2^3]; the advance to a mean of the double, that mean which is equidistant from lesser and greater term [the arithmetical], or the other mean [the harmonic] which exceeds the one term and is itself exceeded by the other by the same fraction of the respective terms--these ratios of 3 : 2 and 4 : 3 will be found as means between 6 and 2: why, in the potency of the mean between these terms [ 6 x 2 ], with its double sense, we have a gift from the blessed choir of the Muses to which mankind owes the boon of the play of consonance and measure, with all they contribute to rhythm and melody. So much, then, for our program as a whole. But to crown it all, we must go on to the generation of things divine, the fairest and most heavenly spectacle God has vouchsafed to the eye of man. And: believe me, no man will ever behold that spectacle without the studies we have described, and so be able to boast that he has won it by an easy route. Moreover, in all our sessions for study we are to relate the single fact to its species; there are questions to be asked and erroneous theses to be refuted. We may truly say that this is ever the prime test, and the best a man can have; as for tests that profess to be such but are not, there is no labor so fruitlessly thrown away as that spent on them. We must also grasp the accuracy of the periodic times and the precision with which they complete the various celestial motions, and this is where a believer in our doctrine that soul is both older and more divine than body will appreciate the beauty and justice of the saying that ' all things are full of gods ' and that we have never been left unheeded by the forgetfulness or carelessness of the higher powers. There is one observation to be made about all such matters. If a man grasps the several questions aright, the benefit accruing to him who thus learns his lesson in the proper way is great indeed; if he cannot, 'twill ever be the better course to call on God. Now the proper way is this--so much explanation is unavoidable. To the man who pursues his studies in the proper way, all geometric constructions, all systems of numbers, all duly constituted melodic progressions, the single ordered scheme of all celestial revolutions, should disclose themselves, and disclose themselves they will, if, as I say, a man pursues his studies aright with his mind's eye fixed on their single end. As such a man reflects, he will receive the revelation of a single bond of natural interconnection between all these problems. If such matters are handled in any other spirit, a man, as I am saying, will need to invoke his luck. We may rest assured that without these qualifications the happy will not make their appearance in any society; this is the method, this the pabulum, these the studies demanded; hard or easy, this is the road we must tread. (The Collected Dialogues of Plato) http://www.spirasolaris.ca/sbb4d.html
Now it becomes somewhat clearer as to why there are 360 degrees in a circle. They are all expressing decimal parity of 9 which is to say; centre focused. Even if you halve 45 and so on you will get 22.5 = 9, 11.25 = 9, 5.625, 2.8125 = 9 and so on... The 9 is a self similar axis, the Z axis. The X and Y define the surface topology of the logarithmic spiral, while Z is the central third. 6 and 3 oscillating around nine. And it’s probably 360 because 3 and 6 are the “nines”. So that’s 3 dimensional, spatial orientation, what about the 4th dimension; time?
There are 24 hours in a day; 2+4 = 6 There are 60 minutes in an hour; 6+0 = 6 There are 60 second in a minute; 6+0 = 6 So the full revolution is a 6, half is 12 which is a 3. Around the 12 hour clock you constant 3,6,9 oscillation. 3oclock, 6oclock, 9oclock, 12oclock= 3 then 15 = 6, 18 = 9.... 3,6,9,3,6,9,3,6 (8 45 degree movements)
__________________ Squeegee your third-fucking-eye-(Bill Hicks)
The Fibonacci sequence has a pattern that repeats every 24 numbers.
Numeric reduction is a technique used in analysis of numbers in which all the digits of a number are added together until only one digit remains. As an example, the numeric reduction of 256 is 4 because 2+5+6=13 and 1+3=4.
Applying numeric reduction to the Fibonacci series produces an infinite series of 24 repeating digits:
If you take the first 12 digits and add them to the second twelve digits and apply numeric reduction to the result, you find that they all have a value of 9.
1st 12 numbers
1
1
2
3
5
8
4
3
7
1
8
9
2nd 12 numbers
8
8
7
6
4
1
5
6
2
8
1
9
Numeric reduction – Add rows 1 and 2
9
9
9
9
9
9
9
9
9
9
9
18
Final numeric reduction – Add digits of result
9
9
9
9
9
9
9
9
9
9
9
9
This pattern was contributed both by Joseph Turbeville and then again by a mathematician by the name of Jain.
We would expect a pattern to exist in the Fibonacci series since each number in the series encodes the sum of the previous two. What’s not quite so obvious is why this pattern should repeat every 24 numbers or why the first and last half of the series should all add to 9.
For those of you from the “Show Me” state, this pattern of 24 digits is demonstrated in the numeric reduction of the first 73 numbers of the Fibonacci series, as shown below:
Fibonacci Number
Numeric reduction by adding digits
1st Level
2nd Level
Final Level
Example: 2,584
2+5+8+4=19
1+9=10
1+0=1
0
0
0
0
1
1
1
1
1
1
1
1
2
2
2
2
3
3
3
3
5
5
5
5
8
8
8
8
13
4
4
4
21
3
3
3
34
7
7
7
55
10
1
1
89
17
8
8
144
9
9
9
233
8
8
8
377
17
8
8
610
7
7
7
987
24
6
6
1,597
22
4
4
2,584
19
10
1
4,181
14
5
5
6,765
24
6
6
10,946
20
2
2
17,711
17
8
8
28,657
28
10
1
46,368
27
9
9
75,025
19
10
1
121,393
19
10
1
196,418
29
11
2
317,811
21
3
3
514,229
23
5
5
832,040
17
8
8
1,346,269
31
4
4
2,178,309
30
3
3
3,524,578
34
7
7
5,702,887
37
10
1
9,227,465
35
8
8
14,930,352
27
9
9
24,157,817
35
8
8
39,088,169
44
8
8
63,245,986
43
7
7
102,334,155
24
6
6
165,580,141
31
4
4
267,914,296
46
10
1
433,494,437
41
5
5
701,408,733
33
6
6
1,134,903,170
29
11
2
1,836,311,903
35
8
8
2,971,215,073
37
10
1
4,807,526,976
54
9
9
7,778,742,049
55
10
1
12,586,269,025
46
10
1
20,365,011,074
29
11
2
32,951,280,099
48
12
3
53,316,291,173
41
5
5
86,267,571,272
53
8
8
139,583,862,445
58
13
4
225,851,433,717
48
12
3
365,435,296,162
52
7
7
591,286,729,879
73
10
1
956,722,026,041
44
8
8
1,548,008,755,920
54
9
9
2,504,730,781,961
53
8
8
4,052,739,537,881
62
8
8
6,557,470,319,842
61
7
7
10,610,209,857,723
51
6
6
17,167,680,177,565
67
13
4
27,777,890,035,288
73
10
1
44,945,570,212,853
59
14
5
72,723,460,248,141
51
6
6
117,669,030,460,994
65
11
2
190,392,490,709,135
62
8
8
308,061,521,170,129
46
10
1
498,454,011,879,264
72
9
9
Thanks to Joseph Turbeville for sending “A Glimmer of Light from the Eye of a Giant” and to Helga Hertsig for bringing Jain’s discovery of this pattern to my attention.
This pattern can be seen in the following list of the first 72 Fibonacci numbers:
0
0
1
1
2
1
3
2
4
3
5
5
6
8
7
13
8
21
9
34
10
55
11
89
12
144
13
233
14
377
15
610
16
987
17
1,597
18
2,584
19
4,181
20
6,765
21
10,946
22
17,711
23
28,657
24
46,368
25
75,025
26
121,393
27
196,418
28
317,811
29
514,229
30
832,040
31
1,346,269
32
2,178,309
33
3,524,578
34
5,702,887
35
9,227,465
36
14,930,352
37
24,157,817
38
39,088,169
39
63,245,986
40
102,334,155
41
165,580,141
42
267,914,296
43
433,494,437
44
701,408,733
45
1,134,903,170
46
1,836,311,903
47
2,971,215,073
48
4,807,526,976
49
7,778,742,049
50
12,586,269,025
51
20,365,011,074
52
32,951,280,099
53
53,316,291,173
54
86,267,571,272
55
139,583,862,445
56
225,851,433,717
57
365,435,296,162
58
591,286,729,879
59
956,722,026,041
60
1,548,008,755,920
61
2,504,730,781,961
62
4,052,739,537,881
63
6,557,470,319,842
64
10,610,209,857,723
65
17,167,680,177,565
66
27,777,890,035,288
67
44,945,570,212,853
68
72,723,460,248,141
69
117,669,030,460,994
70
190,392,490,709,135
71
308,061,521,170,129
72
498,454,011,879,264
Lucien Khan arranged these 60 digits of the pattern in a circle, as shown in illustration below:
Here he found other interesting results:
The zeros align with the 4 cardinal points on a compass.
The fives align with the 8 other points of the 12 points on a clock.
Except for the zeros, the number directly opposite each number adds to 10.
Lucien postulates that ancient knowledge of these relationships contributed to the development of our modern use of 60 minutes in an hour, and presentation of numbers on the face of the clock.
I found too that any group of four numbers that are 90 degrees from each other (15 away from each other in the circle) sum to 20, except again for the zeros. As an example, use 1, 7, 9 and 3, which appear one to the right of each of the compass points.
Additionally, every group of five numbers that define the points of the 12 pentagons on the circle also create a pattern. Four of the pentagons have even-numbered last digits of 0, 2, 4, 6, and 8. The remaining eight pentagons have odd-numbered last digits of 1, 3, 5, 7 and 9.
Another interesting pattern yet was observed by Lucien Khan: The 216th number is this sequence is 619220451666590135228675387863297874269396512. The sum of all the digits in that number add up to 216, as well. He notes that it is believed that the secret or hidden name of God contains 216 characters. There are many other fascinating relationships and sacred geometries, which are presented by Lucien Khan in more detail at the links below.
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Escalera de Bramante del Vaticano
LUZ POSADA
