We have received many requests to know the exact nature of the Solfeggio . the “Emanation of the Solfeggio” publication has been zipped into 6 files of about. In addition are sounds from the Shabd Yoga, the science of the Audible Sound Current. These sounds are considered to be Divine Emanations of the Creator. The Emanation of Solfeggio. 9 likes. Book. The Emanation of Solfeggio. Privacy · Terms. About. The Emanation of Solfeggio. Book. 9 people like this topic .
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Ik heb het niet vertaald, dat ligt buiten mijn kunnen. Ik wil alleen aantonen dat Dan Burisch zeker geen mafkees en bedrieger is, zoals de ‘befaamde’ George Knapp en de ‘wijze’ heren van het Amerikaanse UFO Magazine in de zomer van beweerden.
Emqnation moeten we er rekening mee houden dat zij die Dan Burisch in een negatief daglicht hebben gesteld, in eerste instantie met scepsis op zijn rapporten zullen reageren.
Maar elke wetenschappelijke doorbraak is voorafgegaan door twijfel, tegenwerking en vooroordelen. Dus het kan zijn dat er een aantal foto’s niet passen bij het stukje tekst. Some pictures are out of position due to the transformation of the report from a Word Perfect- into a Microsoft Word document. The cubes, once oriented frequencies withinthus become: So, what of it? What makes this cube important, if anything? Emanqtion was conducted to first determine whether internal symmetry apart from that created by virtue of 3 matrices in each cube being composed of numbers where 1 diagonal carries three of the same number – as we have here, Analysis is continuing, at the time of the emsnation, evaluating to what extent the Pythagorean sequencemay produce patterns within the cube relating to Pythagorean Skeins as presented by Drs.
Horowowitz and Puleo wherein the combinations found within the Solfeggio are accurately reinforced and referenced to musicthe discovery by Gabries Bosia results hosted by Prof. Dickey, University of Waterloo relating the right triangle to the Golden Mean a natural ratiocutting edge work by Charles William Johnson on the solfeggoi of the same triangle to the Maya Long Count where the number 27 also features, prominently.
It now serves us to begin viewing the “cube” as it really may be: It may contain triple, double and single frequencies in all directions. Just as the 5 Platonic Solids may be raised from the cube when viewed as that composed by 27 spheres or small cubesso to frequencies may be raised by passing through any direction within it, or between adjacent theorized “hyper-cubes” a notion discussed below.
This may be the fundamental mechanism of the Continuing Creation process, as envisioned by investigators from Plato to the present. To analyze this concept, we must divert from the common view of existence based upon concrete, unitary, meanings.
To the time of this writing, only triple sequences have been evaluated. Fo writers encourage other researchers to explore the myriad of other possible sequences. If these “tones” may be passed in any direction, then the sequence of numbers though which they pass is dependent upon the direction, and so the output “tone” on a “scale” varies.
The writers are of the firm conviction that patterns and frequency combinations, other than those currently expressed as “important”, are present and await discovery!
What then of the frequencies we are now aware? Aolfeggio graphic full image in research package sent emanatio this publication demonstrates both the total and the 39 discrete non-repeating frequencies found in a single cube. Analysis was conducted concerning patterns found in the discrete frequencies. That analysis, which promoted more questions than provided answers, follows. Differences, between discrete frequencies, within each “hundred level Hertz category”, were computed.
Emanation of the Solfeggio by Burisch Danny B. Catselas (ISBN: ) CD-ROM | Bookwire
Save one example, either the differences were computed as 27, or every two differences added to 27 – the number of spheres or smaller cubes composing the “now” so-called Solfeggio Hexahedron.
The one variance, breaking with the pattern of 27 or two differences summed to 27was located between frequencies Hz and Hz: Research contributor, Charles W. Lenfest III, offered the position that the 36 Hz may constitute a point of instability or penetrance from hyperspace to our dimensional reality. Such a position is well grounded in current metaphysical thought symmetry of tetrahedron versus first impingement to our space and may also be exemplified in the words of the “Book of ARI”.
Analysis of the positions of the frequencies contributing to the 36 difference was then graphically displayed: The use of Lamed-Vov was applied, in respect for the number 36 in Jewish mystical tradition.
The arrows, indicating the direction of the difference of 36 Hz pointed to an “arbitrary down” and provided the feeling to the writers of spinning LR: The writers will expand on that, below. Another research contributor, Ms. Susan Taylor, conducted an analysis of frequency differences stretching between “hundred level Hertz categories” and found what may be more evidence of numerical symmetry within the discrete frequencies of the Solfeggio Cube. While the root natures and meanings of the patterns remain unknown at the time of writing, the presence of anomalies apparent nonrandom patterns caused intrigue.
The writers soon revisited the explanation posited for the existence of this “cube”. The patterns derived from the 36 Hz difference “push and spin”and knowledge of mathematician-revealed hyperspace geometry, soon convinced the research “team” to examine the possibility of the cube existing as one or more 4 dimensional tesseracts. A tesseract, by definition, is the four-dimensional analogue of a three-dimensional cube.
So, we then had composites of frequencies, and the tesseract “forms” to evaluate. The tesseracts may be just that: One three-dimensional view of the tesseract, the one from whence the red arrows emerge above fits quite well, and ” It appeared to be the right place to start, to recognize the Solfeggio Cube as a 4th dimension resident, at the point of Formation and revealing the Emanated defined tonal scale of the ancients the first to express the Solfeggio.
It certainly seemed better than expressing a Solfeggio- hypercube as the unraveled “cross” composing 8 projected cubes! Once we completed the overlays and composed the dual cubes as what we then termed “double vision,” a great deal more was learned, and we found correspondence to information evolved from Project Lotus, as early as Taken, either way, the notion of the dual-of-itself, provides us with an interesting set of possibilities, which will be left for mathematicians, physicists, and philosophers to sort out.
Please use the same care, as advised above, when deciding to review it or not. The astute observer, or investigator of the arcane, may have noticed the presence of the Aristotle Triad, composed ofin the graphic preceding this sentence.
If so, from whence does this sequence become involved in our present line of thought? Could it be the vorticular sequence of a certain torus? Yes, that is possible. However, since we can’t count the vorticular knot overlays empirically, and simultaneously find ourselves discussing the possibility of a transition from a “Formed” idea to an “Emanated” one from the Eternal as the expression of Naturewe will not be over-presumptuous.
So, from whence do we derive this sequence? When the cube is decomposed level by level to the original 3 blocks of a 3×3 matrix of numbers, is then used as an overlay to the Hebrew Letters in respect to their linguistics, written right to leftand while applying the Mispar Gadol Method of Gematria chosen because of its more consistent numerical method we derived a sequence by adding the Gematria value of the like numbers ex.
When reviewing the Gematria sums by the red, white, and blue arrows, it becomes evident that matching colors produce anagrams, in a like manner to the original frequencies from whence the Solfeggio Cube was composed.
The Hebrew letter sequences, matching the numbers, then becomes: The meanings in these letter sequences remains unknown and is offered for further research. In an effort to provide further information concerning the sequences of letters, several practices were engaged to define mystical properties, should they reside in the sequences.
One of those practices will herein be revealed, and another’s result simply presented in an effort to be as fully transparent in this research as practical. Picking the central position on the traditionally accepted letter paths, weaves were conducted from letter position to letter position and transformed into mirror constructions: These constructions revealed geometric patterns not unlike those found in the Sri Yantra an ancient Mandala of Creation!
The initially perceived likeness to the Sri Yantra was soon revealed to have geometric validity, when the Sri Yantra was presented as a mirror dual of itself. Many positive points of correlation were then observed, giving the writers further impetus to explore the nature of duality, as it involves the Solfeggio Cube. Further analysis of the constructions within the weave mirror, revealed the presence of a partially formed unicursal hexagram.
When once more mirrored, the unicursal hexagram becomes complete. Why is this important? The presence of the unicursal hexagram, from time immemorial has indicated the beauty of the Tifereth, the sixth Sefira, the Sphere of Beauty.
Emanation of the Solfeggio
Given its pivotal nature and beauty, it has been the target of magical practice and attempted assimilation for at least as long as it has been known. Private esoteric sources, cannot be revealed in this paper. It should be stated that one of the writers has worked with this particular hexagram for emantion number of years, including under the care of a Rabbithe resolving of the particular construction as it directly relates to the Tifereth.
The personal artwork frombelow, is an example of the unicursal hexagram being centered upon the Tifereth and impinging upon the Da’ath top of hexagram which is not currently a Sefira, yet still remains. Of continued importance ghe the fact that two mirrors of the weave were required to match the exact shape, leading the writers to wonder if 4 tesseracts are required to compose the Solfeggio cube in 4-dimensional hyperspace.
The match of the hexahedron cube to the shape of the Tifereth, as constructing a 3-dimensional Tree of Life, and the presence of the unicursal hexagram from the geometric constructions did not go unnoticed. The weaving of the hexagrams dual triangle and unicursal upon the “Pre-Fall” and “Post-Fall” Tree schema, were found comparable to one another, with the figure’s centers, tips, and overlaps, on each Sefira plus Da’ath.
Emamation double unicursal hexagrams above were produced from mirror images of weaves established by the sequence of Hebrew letters found in a previously presented image “Letter Meanings”.
The Left-to-Right sequence is added to the Right-to-Left sequence image immediately above left, sokfeggio portion producing two clearly visible unicursal hexagrams, touching tip-to-tip. The presence, created by the composite of mirror weaves, firmly supports and helps to rule out coincidence in the involvement of the unicursal hexagram to the Solfeggio Cube.
Further, given the aforementioned anomalous 36 Hz difference, the traditional Gematria meaning of “36” double life, http: Due to the nature of the source material upon which the Hebrew letter sequence was used, the original overlays establishing these weaves may only be shared, by the writers, in a face-to-face sitting with those making inquiries. If the above were not enough, the construction of the unicursal hexagram may be further related to the “Mer-Ka-Ba” by carefully reassigning the lines via the intersection points!
This construction also reduces the difference between the dual triangle hexagram and that of the unicursal variety.
Finally, before we enter the musicology of the Solfeggio Cube, we can clearly see the 6 “A-tones” of Hz, ot in the dual hyperspace hexahedron, and where they appear, looking down upon it, from an arbitrary position upon it. The positions create a generalized “U” shape, the weave to which matches Remote Viewing RV data, completed by Deborah Burisch, in Hussain, above brings the reader toward the conclusion that the “dots” being connected by the weaves in this study produce more than lines – they reveal an underlying theme which supports the line of inquiry, extending from our reality to hyperspace.
Continued in Section 4 This work, including all original text and images, is copyright protected. No reproduction or publication of this work in whole or in part, is permitted without the written authorization of the copyright holders. Link naar de enige echte Eagles Emanarion website: Info over Solfeggio Polyhedron: Link naar andere Solfeggio info: Alle artikelen op ufowijzer over Dan Burisch: And there was no vacancy, such as an empty atmosphere, a hollow, or a pit, But all was filled with simple, boundless light.
And there was no soolfeggio part as head, or emajation, But everything was simple, smooth light, balanced evenly and equally, And it was called the Endless Light.
Splfeggio when upon His simple will, came the desire to create the world and emanate the emanations, To bring to light the perfection of His deeds, His names, His appellations, Which was the cause of the creation of the worlds, He then restricted Himself, in the middle, Precisely in the center, He restricted the light. And the light drew far off to the sides around that middle point. And there remained an empty space, a vacuum Circling the middle point.
And the restriction had been uniform Around the empty point, So that the space Was evenly circled around it.