13.1 THE LINK BETWEEN DIMENSIONS, GEOMETRY AND VIBRATION
By now we should be more than ready to have a full disclosure about the
meaning and importance of Platonic Solid geometry in understanding the
multi-dimensional properties of “consciousness units,” as we have seen on
the Earth. To recap, our term “consciousness unit” (CU)
refers to an area
where the energetic, conscious “aether” or zero-point energy bleeds through
into our physical space and time, taking up the form of a luminous sphere of
electromagnetic energy that has a hole through the middle, which forms a
north-south rotational axis.
From the last two chapters, we now know that
these spherical energy formations are seen to have geometric vortexes within
them as well. This information comes from scientific investigations of
planetary behaviors as well as a straightforward mathematical analysis of
the “tetrahedral” angles and ratios between the various objects located in
the Cydonia area of Mars, which appear to be artificially created.
Straight-lined formations like these are usually thought to be manmade
objects only, certainly not a part of nature, and thus for most of us the
information in this chapter will be very unique. We have never tried to
insinuate that any of the planets have gigantic, physical crystals in them,
only that this is a shape that is formed by energy as it flows through the
CU, which in turn forms the planet.
We are not accustomed to thinking of
sound or color as having hidden geometric shapes in their vibration, and yet
this is exactly what our research has now led us to conclude.
13.1.1 INTERDIMENSIONAL VORTEXES
In the last two chapters we have seen how all the planets show signs of
having energetic upwellings at certain geometric points that are defined by
shapes such as the
tetrahedron. Energy streams
in and out of the poles, with what seem to be two counter-rotating fields
that join together to form these geometric patterns on the planet’s surface.
(We will cover the how and why of this joining action in later chapters.)
Luminous core material similar to the Sun is likely to exist inside the
planets, and the problems with the dynamo model actively call for a better
Returning to our discussion of the geometric areas themselves, on
Earth we have seen that these areas can also have a powerful effect on the
“vibrational” state of physical matter as well as the conditions of space
and time. In short, it seems that:
These geometric nodal areas are somehow “interdimensional”
We have already speculated that this is because “higher dimensions” are
simply areas that are all around us, where the aetheric energy is vibrating
at a higher frequency than it is in our own level of focus. Now that we have
seen the geometry of the tetrahedron, icosahedron and others throughout the
entire Solar System, we should expect that all the planets are creating
these gravitational and inter-dimensional vortexes of space and time in the
Interestingly, in the
Law of One series from the alleged extraterrestrial
group known as Ra in 1981, very specific information is given about the
understanding of vibration as being the key “missing link” in understanding
higher dimensions. They do not like to use the word “dimensions” but instead
refer to them as “densities,” meaning that they are different densities of
the One Unified Aetheric Energy Source that we have already written of in
The first quote relates the densities to vibrations of sound, and
the second to vibrations of color:
RA: The term density is a, what you call, mathematical one. The closest
analogy is that of music, whereby after seven notes on your western type of
scale, if you will, the eighth note begins a new octave.
RA: The nature of vibration is such that it may be seen as having
mathematically straight or narrow steps. These steps may be seen as having
boundaries. Within each boundary there are infinite gradations of vibration
or color. However, as one approaches a boundary, an effort must be made to
cross that boundary. These colors are a simplistic way of expressing the
boundary divisions of your density. (B2, 42)
In the next quotations from
Ra, we can see that they are aware of the
geometric energies that we have observed on the planet as well, in keeping
with the idea of higher dimensions being related to a fluidlike vibration:
RA: Imagine, if you will, the many force fields of the Earth in their
geometrically precise web. Energies stream into the Earth planes, as you
would call them, from magnetically determined points. (B1, 81-82)
RA: Love creating light, becoming love/light, streams into the planetary
sphere according to the electromagnetic web of points or nexi of entrance.
These streamings are then available to the individual who, like the planet,
is a web of electromagnetic energy fields with points or nexi of entrance.
Quotations from the Jane Roberts book
Seth Speaks, from sessions conducted
in 1968, clearly point to the tips of geometric objects as interdimensional
“streaming points” as well, and go into further detail than Ra in certain
…Other kinds of consciousness coexist within the same “space” that your
world inhabits… You do not perceive them, and generally speaking they do not
perceive you. This is a general statement, however, for various points of
your realities can and do coincide, so to speak.
These points are not recognized as such, but they are points of what you
could call double reality, containing great energy potential; coordinate
points, indeed, where realities merge. There are main coordinate points,
pure mathematically, sources of fantastic energy, and subordinate coordinate
points, vast in number.
[Note: These “mathematically pure” points that
Seth refers to are actually
the tips of the Platonic geometries that we have been discussing. And the
merging of realities is clearly seen in the
Bermuda Triangle. Also,
could be speaking about the fact that two different fields are merging at
these points to create their vortex qualities, hence the use of the word
(Long pause at 9:29.) There are four absolute coordinate points that
intersect all realities.
[Note: The only Platonic Solid that has four points is a tetrahedron. Seth’s
quote here suggests that the tetrahedron is somehow “more important” than
the other geometries, as Hoagland also believes from the Message of Cydonia,
and later we’ll see why this is so.]
These [geometric] coordinate points [in general] also act as channels
through which energy flows, and as warps or invisible paths from one reality
to another. They also act as transformers, and provide much of the
generating energy that makes creation continuous in your terms. (Many
[Note: As the work of Richard C. Hoagland and
The Enterprise Mission has
shown, the points of the tetrahedron are indeed the source of tremendous
energy upwellings in planets, such as the Great Red Spot on Jupiter. And
again, the points of the icosahedron on Earth are clearly demonstrating
warps from one reality to another. As a general rule, when there are many
pauses in Jane’s speech patterns as Seth, it means that she is in an
extremely deep level of trance to bring forth the information.]
Your space is filled with these subordinate points, and as you will see
later, these are important in allowing you to transform thoughts and
emotions into physical matter. When a thought or emotion attains a certain
intensity, it automatically attracts the power of one of these subordinate
points, and is therefore highly charged, and in one way magnified, though
not in size.
These points impinge upon what you call time, as well as space. There are
certain points in time and space, therefore, (again in your terms), that are
more conducive than others, where both ideas and matter will be more highly
charged. Practically speaking, this means that buildings will last longer;
in your context, that ideas wedded to form will be relatively eternal. The
pyramids, for example, are a case in point.
[Note: This may seem confusing now, but later we will see how these
geometries do affect time as Seth is suggesting here. Seth’s quote about
matter being stronger at these points is in keeping with our observations
that matter is far more flexible than we have ever believed. Under different
circumstances such as those of a tornado, matter can change phase to become
weaker, and now Seth is telling us that the same forces, in a less chaotic
form, can strengthen it as well.]
(Slow at 9:43.) These coordinate points – absolute, main, or subordinate –
represent accumulations or traces of pure energy, minute to an extreme if
you are thinking in terms of size – smaller than any particle of which your
scientists know for example, but composed of pure energy. And yet this
energy must be activated. It is dormant until then – and it cannot be
[Note: This is exactly what we will find out at the beginning of Part Two –
at the smallest subatomic level, geometry is the hidden key to the
energy” of the aether.]
(9:50.) Now: A few clues here that might help you, or mathematicians. There
is an ever-so-minute alteration of gravity forces in the neighborhood of all
of these points, even of the subordinate ones, and all the so-called
physical laws to some extent or another will be found to have a wavering
effect in these neighborhoods. The subordinate points also serve in a way as
supports, as structural intensifications within the unseen fabric of energy
that forms all realities and manifestations. While they are traces or
accumulations of pure energy, there is a great difference between the amount
of energy available in the various subordinate points, and between the main
and absolute points… (session 524)
[Note: This prediction bore itself out in the observations of the
Vortex, which is obviously one such area of energetic charge. Gravity did
make a noticeable change within the vortex, as well, as the passage of time
and the sizes of physical objects.]
Therefore, in the areas such as
Sanderson’s twelve vortices of the icosahedron on the Earth, the
extraterrestrially-derived information tells
us that these bizarre effects are showing us cases where the fluidlike,
vibrating aether is bleeding through to our reality at a higher level of
density than the energy that is normally around us. And if that energy is at
a higher “density,” then it would transform all matter in its vicinity,
including human life, into a higher density as well. And here we have a very
convenient, new explanation for the phenomena that we have already been
Ra’s idea of “higher dimensions”
being part of an Octave of densities
actually makes very good sense and answers many current paradoxes of
science. Then, all we have to do is see that there is one single “aether”
throughout the universe, and it follows the basic patterns of music and
vibration to differentiate itself. This completely explains many
long-standing mysteries, as we will again explore in the next chapter.
makes this point as well:
Now anything that appears in physical terms also exists in other terms that
you do not perceive. You only perceive realities when they achieve a certain
“pitch,” when they seem to coalesce into matter. But they actually exist,
and quite validly at other levels… (session 530)
[Note: Notice the use of the word “pitch.” It is not at all a simple
metaphor, but a very accurate statement of the Harmonic Universe and its
function with aetheric energy densities.]
Yours is not a system of reality formed by the most intense concentration of
energy, therefore. It is simply the one you are tuned into, part and parcel
of. You perceive it simply for this reason.
Other portions of yourself, therefore, of which you are not consciously
aware, do inhabit what you would call a supersystem of reality in which
consciousness learns to handle and perceive much stronger concentrations of
energy, and to construct “forms” of a different nature indeed… (session 530)
And another quote:
You understand that there are spectrums of light. So are there spectrums of
matter. Your system of physical reality is not dense in comparison with some
others. The [three basic] dimensions that you give to physical matter barely
begin to hint at the varieties of dimensions [that are] possible… (session
So here, we again have the analogy of “spectrums”
of dimensions – in other
words, existing within an Octave structure. Matter itself, being formed of
aether, must also be subject to its changing vibrational levels, and thus
potentially be able to move from one reality to another. This could explain
how tornadoes are able to fuse solid objects together, and why disappearances occur in the icosahedral vortices on Earth. Furthermore,
and Ra both insist that our consciousness is the key link that connects us
with these other levels of reality; we are, in fact, multi-dimensional
beings who have lost our awareness of the “big picture.”
Bearing that in mind, an investigation of the properties of
light, sound and
geometric vibrations and how they work together is very well suited to our
discussion at this point. This will be general material, but it is vital for
us to have it in this form before we proceed into the next chapter of
discussion on the dimensions.
Both Seth and Ra suggest that we need to
explore these interconnecting properties of vibration more closely in order
to find our deepest answers.
The easiest and most familiar way to study vibration is through sound. Any
musician will tell you that all vibrations of sound are grouped into
octaves, and we know that “oct” means the number eight. In an octave there
are seven fundamental "nodes" of vibration followed by an eighth. The eighth
note has two purposes, in that it not only completes one octave but it also
begins the next.
Greek mathematician and philosopher Pythagoras, through a straightforward
process of repeatedly dividing a frequency by five, is credited as being the
first to devise these eight “pure” tones of the octave, known as the
He started by taking a single-stringed “monochord”
instrument and measured its exact lengths when different notes were played.
Then, just like playing a guitar, he pressed his finger down on different
lengths of the string and strummed it to get different notes. Each note that
he played would divide the string into two different sections, and the
relative lengths of the two sections would then be measured and written down
for each note. Pythagoras then showed that the frequency (or vibrating
speed) of each note could be represented as a ratio between the two string
lengths, or two numbers – hence the term “Diatonic ratios.”
in dividing by fives led him to construct the Octave as the simplest
grouping of the various ratios involved, such as 1:1, 2:1, 3:2, 5:3, 13:8
We can see the Diatonic scale on a piano as the white keys, providing that
the beginning note in our octave is a C. The piano has black keys as well,
and when they are included, there are a total of thirteen notes in the
Octave, with the thirteenth note also being the first note in the next
These thirteen notes are known as the Chromatic scale, and most of
the world’s music will consist only of notes that fit somewhere within this
scale; therefore almost all possible songs can be played on a piano. (As one
exception, Indian music will use notes that do not fit in a chromatic scale,
called quartertones or microtones.)
Mathematics aside, the most basic reason why the number eight was chosen
instead of thirteen for the “octave” grouping of musical notes is that all
eight “diatonic” notes will sound pleasant together; in other words, they
will be harmonic. You can play a song on the white keys of the piano and it
will always sound like music, regardless of what notes you play. However, if
you experiment with the chromatic scale without knowing what you are doing,
painful dissonance is most likely soon to follow and anyone else in the room
will quickly ask you to stop.
Mathematically, the highest note in an Octave has a vibration speed or
frequency that is twice as fast as the lowest note, and that is the most
basic way to see how an Octave organizes one full group of sound vibrations.
Every note, whether A, B, C, D, E, F or G, will be doubled in its value in
the next octave.
Since the octaves are continually doubling in their vibration, there are
only a handful of octaves within the range of human hearing. Above a certain
point the vibrations will become too fast for human ears to detect, even
though they will still exist all around us.
13.2.1 ALL POSSIBLE VIBRATIONS
So, just as the alphabet encompasses all possible words in our language, the
octave structure encompasses all possible vibrations of sound, and reveals
the simple way that they fit together. Chaos theory might call the
"attractor," meaning that all vibrations of sound, however "chaotic" or
random they might be from one to the next, must be ’attracted’ into the
Octave structure. But what about other non-musical sounds like the wind, you
ask? How could the sound of wind fit into an Octave of musical notes?
Noise" is a technical term for high-speed, randomly scattered fluctuations
of sound frequency that do not produce any apparent tone, but rather create
a hissing noise like you would hear in the air escaping from a tire.
Although there may be thousands of overlapping frequencies in this noise, we
know that once they are all properly isolated, every one must automatically
be part of an Octave on some level.
There are simply too many different
tones occurring too quickly for our ears to discern one from another.
13.2.2 SOUND IS SIMPLY A VIBRATION OF AIR
From a scientific point of view, a sound is defined as nothing more than a
vibration of molecules of air. Mathematically, we measure sounds in terms of
how many times air vibrates in one second of time. This gives us a numerical
value, and thus anyone who has ever played a stringed instrument knows that
the average tuning fork will say "A 440."
This means that the note that we
call A is recognized as nothing more than 440 vibrations of air in one
second of time. A different note would have a different number, and
therefore 440 vibrations of air per second must always be an A. That’s all
there is to it. And later, we will see that these “harmonic”
are of tremendous importance in measuring and analyzing the behavior of the aether.
DIATONIC SCALE NUMERICAL FREQUENCIES:
(Note: "A" slightly adjusted- explained later)
Providing that you are not in a total vacuum, the density or composition of
the air that is vibrating does not matter either, as a musical instrument
will sound the same on top of Mount Everest, where the air is thinner, as it
would at sea level where the air is much denser. However, even the air
itself is not necessary; all we need is something, anything, that vibrates.
For example, we can hear these same sounds underwater, such as in the songs
of the whales. The metal on a tuning fork, when struck, can create sound
just by holding the base of the fork to your skull and allowing it to
resonate through your body.
So the medium itself does not directly affect the tone or pitch of the
sound; the vibrations can occur in clean air, dirty air, clean water, dirty
water, metal, flesh, bone or other forms as well, including cloth fiber, as
in the case of the old-fashioned "telephone" composed of two tin cans
connected by a long string. In that case, when the string is pulled tightly
between the two cans and one person talks into their can while the other
listens, the string will also carry the sound vibrations along in the same
fashion, though they will be distorted. In short, the vibrations of sound do
not just occur in air – they fundamentally vibrate through everything.
Hearing sound is simply a way for us to directly perceive and experience
Even though we are accustomed to thinking of these
fundamental sound vibrations as only having meaning and importance to
our ears, this book has already started showing us that these simple
vibrations of the Octave underlie all of reality as we know it. The
unseen ’incompressible fluid’
the aether, or the "spiritual energy" that forms the Ultimate Being of our
universe, can be unequivocally shown to vibrate according to these
principles, as we have already seen on the planets.
And thus, just as the
Hindus had proposed the idea that the AUM is the primal sound that
the Creation, we can now see that sound constructs the Universe, and music
is a way for us to physically hear and experience the essence of God itself.
We ourselves are ultimately composed of living, dancing musical waveforms;
Without music in our lives, we deny ourselves the very inner
knowledge and enjoyment of our own existence.
An identical level of this octave of vibration occurs in the visible light
spectrum, where we have white light that can be broken down in a prism or
rainbow into seven colors – red, orange, yellow, green, blue, indigo and
violet – before starting a higher level or octave of vibrations, such as
infrared and ultra-violet. And we now know that the frequency of visible
light, as a rippling “disturbance” of fluidlike aetheric energy, is simply
on a higher octave of vibration than the frequencies of sound in the musical
To put it more simply, you could take the numerical ratios between
each note in the musical Diatonic scale and double them many times over, and
eventually you would find the same, identical ratios between the vibrational
speeds of the light spectrum.
The only difference between them is the
magnitude; sound is vibrating much more slowly, whereas light is vibrating
much more quickly.
OCTAVE FREQUENCY NOTE COLOR
OCTAVE FREQUENCY NOTE COLOR
From Dale Pond’s Physics of Love: “The above relationships are derived by
computing Pythagorean frequencies and intervals beginning in the audio range
of sound. Although there are many shades of, say, Green ranging from above B
to below D there is really only one C at 512 cps in the lower audio octave.
These colors pertain to pigments and not to hues of light which would be
C=Red, D=Orange, E=Yellow, F=Green, G=Blue, A=Indigo and B=Violet."
13.3.1 LIGHT SPEED
When any of the light frequencies or wavelengths travel through space, they
move at what most believe to be a constant speed, cited as roughly 186,000
miles per second. However, this observation does not see light as conducting
through the aetheric medium at a given speed. Most think that nothing in the
universe can exceed this rate, so the speed of light or “c” is the fastest
movement or vibration that we normally recognize from our perspective here
on Earth in the third dimension.
New sources suggest that “c” is only the
fastest vibration under natural conditions in the third dimension. As
published in the New York Times in May of 2000, abnormal conditions in the
laboratory, such as a tube with cesium gas under high pressure that is
illuminated by light coming in “sideways”, can create light speeds up to
three hundred times faster than “c”. This is identical in form to Bearden’s
“scalar wave interferometry” experiments.
So if we were to group all possible vibrations together in a chart, we would
have a complete lack of motion on the bottom of our graph, and the speed of
light on the top. In this way, light speed defines the edge or the boundary
of vibrations in our reality. Unlike what Einstein suggested, moving an
object to light speed may not create infinite density in matter; instead
sources such as Ra would categorize light speed as the peak of vibrations in
the third density, or dimension. If we move into an area or “domain” where
aether moves at a higher speed, then light speed changes and matter
naturally “focuses” into this new vibrational level. This conforms with
observations of tornado anomalies and vortex anomalies alike, which show
space, time and matter changes.
The very first words of the book of Genesis in the Bible are, "In the
beginning, God said, ’Let there be light,’ and there was light." Ultimately,
we can demonstrate that all vibrations that create our universe are simply
different forms of this one unified conscious energy. Without wearing and
seeing the bright reds, blues, greens, yellows, purples and oranges of Light
around us in daily life, we deny ourselves the very inner knowledge and
enjoyment of our own existence.
A life without color is indeed "dull" and
"gray," "gloomy" and "black."
Geometry completes the basic triad of our perception of the fundamental
building blocks of vibration in the Universe – that triad being light,
and geometry. With the geometries that we have already been discussing, the
sounds of music and the colors of the rainbow suddenly spring into physical
form. Suddenly, the abstract concepts of harmony and color reveal structures
composed of straight and curving lines that we can then make models with and
build things out of.
Although we can see color and hear sound, we do not
normally think of a physical geometric shape in two or three dimensions that
would precisely represent these vibrations. However, numerous researchers
such as Gerald Hawkins, Buckminster Fuller and Hans Jenny have shown that
sound vibrations will form specific geometric patterns, providing that what
you are vibrating is visible instead of air, which is normally not visible.
Gerald Hawkins did not actually arrive at his findings through studying
vibration. In his case, he was led to make his discoveries after spending
years investigating the "crop circle"
phenomenon, where complex geometric
patterns would show up overnight in various grain crops around the world,
usually visible only from the air.
After studying hundreds of these
formations, Hawkins realized that certain patterns were repeating
themselves, and the underlying unity among these patterns was expressed by
taking simple two-dimensional geometric shapes such as a triangle, square
and hexagon and fitting them precisely inside of a circle, so that all tips
of the shape perfectly touched the circle’s edge.
To his amazement, the
surface area of the inner geometries, when divided against the area of their
outer circles, showed the exact same relationships responsible for the
vibrations of music in the Octave – the "diatonic ratios" that we mentioned
above. This is exactly what Pythagoras demonstrated with his one-stringed
“monochord” instrument, only now instead of a ratio of string lengths, we
have a ratio of geometry that indicates the same thing. He realized that
this was a totally new and unrecognized set of theorems in geometry, and not
a single academic authority who he consulted with was familiar with these
So in two dimensions, we can understand sound as being a "flat"
geometric vibration, such as a triangle, that emerges within a "flat"
13.4.1 FULLER’S BALLOON
Hawkins’ work came about in the 1980s and only covered two
dimensions, decades-earlier experiments by students of Dr. Buckminster
Fuller were the first to prove that sound vibrations are innately
three-dimensional in their structure. Fuller’s students later used a
spherical white balloon in order to achieve this effect, dipping it in a
bath of dark-colored dye and vibrating it with pure Diatonic sound
frequencies. As expected, the dye would only be able to collect and stain on
those areas of the balloon that were experiencing the least amount of
These areas were evenly spaced "nodes" or points where all of the
violent motions on the surface of the balloon canceled themselves out to a
"null zone" where the dye could easily accumulate. Furthermore, faint and
perfectly straight lines of dye could be seen connecting these nodes
together. In this manner, sounds became directly visible as simple
three-dimensional geometric shapes that formed crisscrossing straight lines
over the balloon itself.
The "Platonic" Solids were revealed as sound vibrations in experiments
inspired by Buckminster Fuller.
When looking at these shapes, we remember that they all fit perfectly within
a sphere and that their tips are the “nodes” that were first detected. It is
also important to remember that the sphere itself is the most harmonic shape
of all, forming the foundation for all the other geometries within itself.
Dr. Hans Jenny was captivated by the findings of Fuller and his students
that vibrations were three-dimensional, and he sought to prove it in ways
that were simpler and less cumbersome than using a balloon dipped in dye. In
Dr. Jenny’s scientific study known as "Cymatics," he showed the geometry of
sound vibrations using thin containers filled with media such as sand,
Lygodium mold spores, wet plaster and various forms of liquid that had
extremely tiny but visible particles or “colloids” floating in them. The
experiments with colloidal liquid are of the greatest interest to us in this
At rest, the colloids would be evenly distributed throughout the
liquid, which would then appear to resemble cloudy water. Dr. Jenny refers
to this state as “hydro-dynamic dispersion.” When the container was vibrated
with pure, Diatonic sound tones, however, the particles in the liquid would
gather into orderly and discrete visible geometric patterns – many of which
could be seen as both two and three-dimensional in their structure. In other
words, one could look at the images that were formed and clearly perceive
depth within them – they were not simply "flat."
This is one of the most
important things to study and remember in our entire book so far, as it
provides an irrefutable, visual proof of the concepts that we have
Example of Hans Jenny’s Sound Vibrations in Colloidal Water Mixture
As pictured before, there are only five basic three-dimensional shapes to
consider, and we know them as the Platonic Solids, since Greek philosopher
Plato is credited with devising them. It is important to be very clear that
when we look at these shapes, we are literally seeing vibration. The shapes
themselves may not "exist" like a physical object, as like a hologram, if
you tried to grab them or disturb them they would simply disappear, the
vibrations then rippling around your fingers.
undisturbed, the shapes do have an existence as a vibration that is very
real – and that existence can also create pressure, similar to the push that
you feel on your body from a very loud sound or clap of thunder. Now that we
have seen these shape vibrations operating in the fluid-like aether, we know
that their pressure-inducing force lines give us a dramatic new view of the
dynamics of gravity. With the redundant, obvious ways that these geometries
mold the surface structural features of the Earth, such as continents,
undersea ridges and mountain ranges, we can never be blinded to the truth
again. It is only a matter of time before this simple observation will
become common knowledge within the mainstream of humanity.
It is also very important to mention that when
Fuller’s students increased
the frequency in the balloon or Jenny increased the frequency in the water,
the older forms would dissolve and disappear, and a more highly complex
geometric form would take its place. This also could work in reverse, as
when the frequency was turned back down to its original point, the original
geometry would re-emerge in precisely the same shape. So therefore, when
studying the dynamics of the aether we will see that when you increase the
vibrational frequency (or stress) of energy in a local area, the geometry
itself in that local area, such as that which molds the Earth, will
spontaneously transform into a higher order of complexity.
And this raising
and lowering frequency effect occurs all throughout the Creation – including
the bodies within our own solar system as it moves through the Galaxy.
Dr. Spilhaus’ work has shown us that our own gravitational field here on Earth
has already been through several such transformations since the time of the
original “mega-continent” Pangaea, which actually represents the time when
Earth had a uniform crust – prior to the enlarging movement now seen in
science of Global Expansion Tectonics, which began well back in 1933 with
And so, the simple geometric patterns formed by sound vibrations (and
therefore light vibrations on a higher magnitude as well) can be seen in
both two and three dimensions, and the two-dimensional forms such as the
triangle, square and hexagon discussed by Hawkins are probably more familiar
to us than the three-dimensional forms revealed by Fuller and Jenny, though
we have now seen these geometries at work in the planets.
these vibrational geometries can also grow and contract in size, and simple,
visible geometric structures organize and control these movements as well.
When we start fitting these shapes inside of each other, they indeed form a
“nested” appearance, with each successive shape growing harmonically larger
than the one before it. We will show more of this as we go along. This
“sphere within sphere” geometry has already been seen in various
experiments, and now we can expect the various geometric harmonies to exist
inside these expanding spheres as well.
The simplest way to model the geometric expansion from one shape to another
is by tracing out how the nodes move relative to each other. We remember
that on Earth, the expanding geometric movements have been called “radial”
or “spiraling” by Spilhaus and others. The simplest way to chart the
movement from node to node between two different shapes would be with a
spiraling line, which Ra calls “the spiraling line of light.”
include the Fibonacci or “Golden Mean" as well as the spirals created by the
square roots of two, three and five. We will now show that these spirals are
directly related to musical frequencies through mathematics.
13.5.1 THE PHI SPIRAL
Fundamental to all studies of spirals is the most important of them all,
known as the Golden Mean, Fibonacci or “phi” spiral. To best understand this
spiral, we start with the innately harmonic, vibrational way that it is
created through number summing. Essentially, we will see that each new
number is the sum of the previous two. Typically we start with one and add
it to itself. That gives us a product of two. Then we take two and add it to
the number before it, which was one, and that gives us three. Then we take
three and add it to the number before it, which was two, and we get five.
And on it goes as follows:
1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89…
So, the numbers continue to expand in a simple, harmonic way, where each new number represents the sum of the two numbers that came before it. If we
divide the above pairs of numbers into each other, in the earlier stages we
will see all the common Diatonic musical ratios that Pythagoras discovered
such as 3/2, 5/3, 8/5, 13/8 and 21/13. This should not surprise us, as music
is a vibrational motion, and the summing technique used in phi is a form of
vibration as well. The elegant nature of this vibration is easily seen in
drawings of the “phi spiral,” pictured below.
To better understand how this
spiral works with the Platonic Solids, it should be viewed as a
three-dimensional object, as though it were wrapped around a cone with the
top point at G and the bottom point at A. This type of three-dimensional
spiral shape is called a “conical helix.”
Fibonacci or "phi" spiral and geometric counterparts.
Although the early stages of the
“phi” number series will form the musical
ratios between themselves, as the number pairs get higher and higher, the
ratios between them become more and more similar, and the growth process
stabilizes. Ultimately, as you go higher every pair of numbers in the series
will divide together to form the exact same number, meaning that the ratio
between all the numbers remains constant.
For this reason, the ratio is
called a “constant” as it will always be the same, and the number, (which
continues endlessly,) is:
Another interesting fact is that we can start with any two numbers,
regardless of their difference, and begin summing them using the simple
formula above. No matter how different they might be, within a short period
of time we will again create the constant “phi” ratio between the two of
them. This entire concept has inspired countless generations of
mathematicians, musicians, scientists and philosophers, as it mysteriously
shows up in many different guises, including the growth proportions of
plants, animals and human beings.
As we have said, the musical ratios of
“phi” provide the structure for simple geometry in both two and three
dimensions, which we now know is another form of vibration. The above
diagram demonstrates this, as we can see that there are actually six
isosceles triangles of identical proportions represented as the spiral
continues to expand. The size ratio between each of the triangles will be
the “phi” constant of 1.618…, given above.
These spirals can show us how simple geometric forms such as the square or
triangle can grow larger and larger or smaller and smaller. As the spiral
either unfolds or infolds, so too will the geometric shapes that can be
formed within it either expand or contract. (In other words, if the above
spiral were radiating outward, then the triangles would get progressively
larger. If the spiral were compressing inward towards point F, then the
triangles would get progressively smaller.)
It is this very principle of the spiral that allows the simple, expanding
growth patterns of Nature to formulate themselves, both in crystal
structures as well as living organisms. If we were to map out the geometry
of how the simpler geometries on Fuller’s spherical balloon expanded into
their more complex forms when he raised the vibration, we would see that
their expansions could be precisely mapped with the simple, harmonic spirals
Spherical, ratcheting expansion of tetrahedral shape along fractal-based
The above diagram is derived from a huge and extremely dramatic crop
formation named the “Triple Julia Set” that appeared overnight in a grain
field in England in 1996. It is a model of how this system of
interconnecting spirals and Platonic geometry looks when expanded into three
dimensions. The original crop formation only consisted of the three spirals
made up of individual circles, and all straight lines as well as the outer
sphere and equator have been added in to better illustrate what we are
Ultimately, it is a model for the vibration of the aether that
is creating visible planetary energy stresses as well as perfectly
measurable structures in time. For now, we should also visualize each
triangle as being a tetrahedron that has its own spherical field, thus
making this a geometric diagram of the “mastrioshka” or “nested doll”
spheres of energy that we have seen in many experiments such as those done
by Dr. Chernobrov.
13.6 FORM AND GROWTH, SPACE AND TIME, MALE AND FEMALE
And so, we can already see why the Ancients referred to straight and curved
lines as the two apparent opposites in the Universe, even though they are
actually unified as vibration. Ultimately we feel that in one way of
thinking, the straight lines and geometries can represent space, and the
curved lines and spirals can represent time.
But for now we will put it in
more familiar terms and say that straight lines create form, and curved
lines create the movement and growth of that form. In other words, straight
lines form the geometric structures of the vibrations themselves, and curved
lines form the pathways for these structured frequencies to expand and
contract. Although we normally don’t think of curving geometry with sound
and light, we know that these spirals govern the movement between one note
in the octave and the next higher note, or one color in the spectrum and the
next higher color.
To put all this in a more spiritual context, in many ancient mystical
traditions the straight line was thought of as the masculine force,
associated with the Sun, and the curved line was thought of as the
force, associated with the Moon. These masculine-feminine associations are
quite easy to intuitively work out in our own minds. At rest, the sperm cell
forms a straight line, whereas the egg is a rounded structure.
are harder and more straight-lined in construction and women’s bodies are
more smooth and curvaceous. Men’s minds tend to think in more linear, rigid,
mathematical "left brain" patterns and women’s minds tend to think in more
curving, fluid, emotional "right brain" patterns.
Primitive men hunted and
built by the light of the Sun, using straight spears and arrows to catch
prey – or more recently, straight boards, hammers and nails to build
structures, whereas women cooked and served food in smooth, curved bowls of
pottery or wood and nurtured their young with smooth, curved breasts in the
secluded darkness of the cave, igloo, teepee or longhouse, nestled away from
the light of day where predators and villains once roamed.
women are directly connected with the Moon in ways that men could never be,
through their menstrual cycle, showing another level of why the Ancients
associated the feminine spirit with our own Midnight Sun.
13.7 SACRED GEOMETRY AND LIFE
The study of these various geometric forms and spirals, including their
spiritual connections to humankind as partially illustrated above, is known
as "sacred geometry," and
Robert Lawlor’s book of the same title is arguably
the best existing reference on the subject. Many of history’s greatest
scholars studied the principles of sacred geometry in extensive detail, as
they were fascinated to discover that lifeforms of every possible variety on
Earth demonstrated these musical, vibrational principles involving the
interplay of space and time – straight and curving lines.
provided perfect representations of the Fibonacci spiral, as did the growth
pattern of plants, the fingerprints, the horn of an ox, the interior of a
sunflower or lotus and many, many different proportions in the skeletal
structures of animals and human beings. There are obviously no limits to how
far these principles will go, providing that someone is willing to
mathematically study each plant or organism separately in search of these
Since our current scientists give us no reason to believe that such harmonic
principles are necessary in the growth of lifeforms, then why do they exist?
If these proportions were not important, then why do we see them so
repetitively? Indeed, are we simply ignoring the evidence that is all around
us – evidence that proves that everything in the Universe is a product of
vibration? If the fundamental energy that constructs all of reality is
vibrating in harmonic resonance, would it be possible for anything not to
have a harmonic foundation?
13.8 SPIRAL RATIOS IN PLATONIC SOLIDS
Just so that we can conclusively demonstrate that spirals connect all the Platonic Solids together, we will pull a chart excerpt from
The Shift of the
Ages that makes our point. In Robert Lawlor’s quintessential book
Geometry, we learn that the Hindus resolved the Platonic Solid geometries
into an octave structure like we see for sound and light, and in the next
table we have listed this geometry in order. This gives us a complete,
unified view of how the various vibrations work together, which we will see
in the next chapter. For now, we should just be aware of what this graph
This is formed by assigning a length of “1” to the edges of the
cube, and then comparing how larger or smaller the edges of the other forms
are in relation to it. We remember that in the Platonic Solids, every face
is the same shape, every angle is identical, every node is evenly spaced
from the others and every line is the same length.
1 / phi2
1 / sq. rt. 2
sq. rt. 2
1 / phi
Harmonic Proportions of Platonic Solids.
In the next chapter we will make a very compelling case that the ancient
Hindus knew everything that we have discussed about these energy fields so
far, and more. We were fortunate enough to locate a rare reprint of Rama
Prasad’s 1894 book, Nature’s Finer Forces: The Science of Breath and the
Philosophy of the Tattvas, from Kessinger Publishing at
www.kessinger-publishing.com. We will see that the word “tattvas” has a
similar meaning to our word “vibrations.”
The amount of overlap between what
we have seen up until this point and the data in Prasad’s book should be
nothing short of dazzling, as almost every key aspect of the aetheric model
that we have covered so far is contained in the pages of this book in one
form or another.
We will also take a closer look at how the ancient aetheric
concept of an “octave” of dimensions correlates with modern scientific
studies, and show that there is a lot less difficulty in rectifying the two
opinions together than we may have thought. Furthermore, by understanding
how geometry intersects with higher dimensions, as we have already seen on
the planets, the idea of “hyperdimensional physics” moves out of the realm
of theoretical speculation and into the arena of an applied science.
once we can apply these concepts, we open up a door to the Universe…
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