The multi-dimensional matrix operates - and the Organ is like the life

[David Pinnegar]

Hi!

I have written in Atheists' Corner how our position in the world and indeed every atom and every collection of atoms and every object is described by a multidimensional matrix in which matter and circumstances interact which exists in the three dimensions that we can see plus time and the 6 or 7 dimensions which we cannot see. The first understanding of this was when in 1914 Gunnar Nordström plugged another dimension into the Einstein equations deriving the Maxwell equations of electromagnetism, repeated by Kaluza in the 1920s.

No one who uses a mobile phone can deny that the extra dimension of electromagnetism exists. No-one can deny that it's invisible of which we are not aware until discovering how to harness it. No-one can deny that it is a medium of communication - as are all the dimensions by definition in just the same way that two objects cannot occupy the same space at the same time, so one pushes another into a different position.


In addition to that dimension, there are yet another 5 or 6 dimensions that we have not discovered direct access to yet . . .

It's in this way that the environmental force that some call the work of God works. It works all the time but it's recognised by the people who call it God - and the people of God are part of the process. An example of this is the biblical story of Palm Sunday in relation to the donkey which was to carry Christ into Jerusalem. The donkey's owner knew the plot - or was sensitive, could sense it - and made the donkey available.

The forces of the operation of the matrix ensure that among those who set out to work "for the light" even in an environment of darkness of probability can be in the right place at the right time to help someone else. When it happens, we can call it the work of God.

Perhaps the issue for many is not whether a space-time matrix exists but whether there is any intelligence that makes it work. Perhaps my analogies above may convey the idea better how a natural intelligence of operation of the matrix is inherent in its fabrication - for the reason that we can see of no two objects being in the same place. The fact that one object is in one place is communication to another object that it cannot be in that place at that time. It's in this way that the presence of what many people call "God" is a perfectly natural consequence of existence.

Organs are symbolic of this - just as the drawing of a Bourdon and a 12th results in the sounding of the 4ft and 2ft tones (http://orgue-libre.bbactif.com/t181-pourquoi-un-orgue-virtuel-n-egalera-jamais-un-orgue-a-tuyaux) in life, when one starts to add the other dimensions or frequencies (God) to one's life, one gets more than one bargains for. One gives more than one bargains for too, as one is working the machinery in the way it wants to work . . . Can one imagine in life producing a 12th as well as the fundalmental and then getting the 4ft and 2ft to sound in addition for free? But one has to do that bit extra to begin with, and sound the 12th and not just the fundamental . . .

Has anyone had any personal experience of any of this?

Best wishes

David P

PS In the course of writing this post, three circumstances intervened to prevent me writing this post in another form - as simple as the telephone ringing with a sales call, some friends calling in to say hello and finally the very seat upon which I was sitting giving way. . . Such things can be "superstition" but when happening apparently deliberately can be signposts . . .

Is the description above one to which others may be able to relate?



On another level, in the same way as the 4ft and 2ft sound in addition to Bourdon and 12th, people who recreate battles, such as the anniversaries of the battle of Hastings, often experience more soldiers on the field than recreationists . . .

[David Pinnegar]

Hi!

http://www.guardian.co.uk/music/tomserviceblog/2010/jul/01/composers-clandestine-codes-plato
is interesting.

The concept was that the Pythagorean idea that "mathematical law governed the universe and not Zeus"

Perhaps from the concepts of the matrix of interaction between matter and circumstances, and the natural communication of place within and between the dimensions, the intelligence perceived and personified by the God with a name or no name at all, and the natural intelligence of the mathematics of the universe capable of being perceived as a personification may well be one and the same.

Whether or not we ascribe a name to this natural order of things, we are only limited by language as to the description of its expression, a limitation that gives rise to the most terrible and vicious of argument. But understanding of the working of the system in a form known as faith gives a confidence that is transformative in people's lives.

It's for this reason that many of our highest regarded saints have been mystics - St Hildegard of Bingen, St Francis of Assisi and no doubt others come to mind, and why Bach's and Mozart's music transcends time and place. . . .

Best wishes

David P

Julian Baggini's report this week http://www.guardian.co.uk/world/2010/jun/29/plato-mathematical-musical-code *, on the 12-note scales and assorted musico-mathematical symbology recently discovered in Plato's manuscripts, was fascinating. If historian Jay Kennedy is right, Plato structured his writings according to a Pythagorean division of the octave into 12 tones. At the largest scale, many of the dialogues have total numbers of lines that are multiples of 12. Dividing whole texts by 12, Kennedy found "positive concepts" in the dialogues coinciding with harmonious intervals of Pythagoras's scale, and negative concepts at dissonant intervals.

Why did Plato go to these lengths to base his writings on hidden Pythagorean foundations? The real importance of this discovery, as Kennedy says, is that it allies Plato with the heretical, Pythagorean idea that "mathematical law governed the universe and not Zeus". It's a clandestine code that ties Plato's work to the scientific arcana of music as it was understood by the ancient Greeks. And it may result in philosophers interpreting his writing as much as symbol as literal. As Kennedy says, "if you worked hard and became wise, you could understand the symbols and penetrate his text to his underlying philosophy".

That means, in other words, treating Plato's philosophy as if it were a piece of music – after all, music's lack of literal meaning requires that we interpret it symbolically if we want to find out what's going on underneath the surface. But there's an even more obvious musical connection with Plato's Pythagorean secret. Over the centuries, composers have used many kinds of code for cognoscenti to decipher, for posterity to ponder, or as a secret language for their lovers to treasure. So here's a handful of musical code-makers and breakers, some of Plato's and Pythagoras's heirs.

Bach

Much of his late music is structured according to principles of numerology and abstract musical laws: any and all of The Goldberg Variations, The Musical Offering, The Art of Fugue, and the Mass in B Minor. If you really want your fill of Bach and numerology, see if you can track down Wilfred Mellers's Bach and the Dance of God, a book that stretches numero-musicology (to coin an academic discipline) to breaking point – and beyond.

Schumann

From the Abegg Variations to the Six Fugues on B-A-C-H, Robert was obsessed with musical ciphers and symbols. Musicologist Eric Sams covers the ground here.

Schoenberg

The whole project of serialism, his Method of Composing With 12 Tones, is a numerologist's dream. With all of those 12s in his life, maybe it's only natural that Schoenberg was a triskaidekaphobe, terrified of the number 13. With the greatest possible irony, he died on Friday 13 July 1951.

Berg

His Lyric Suite for String Quartet is full of the symbological significance of the numbers 23 and 10, representing the entwining of he and his lover, Hanna Fuchs-Robettin. He used their initials translated into musical notation, too: H (B natural in German nomenclature), F, A and B (B flat).

Peter Maxwell Davies

Max has used mathematical magic squares in his music for decades, employing them to generate the proportions of his pieces and the notes he uses.

John Zorn

Zorn has taken his music on a numerological and symbolical journey into the occult in recent years with albums such as IAO: Music in Sacred Light or the barnstorming Six Litanies for Heliogabalus.

*

It may sound like the plot of a Dan Brown novel, but an academic at the University of Manchester claims to have cracked a mathematical and musical code in the works of Plato.

Jay Kennedy, a historian and philosopher of science, described his findings as "like opening a tomb and discovering new works by Plato."

Plato is revealed to be a Pythagorean who understood the basic structure of the universe to be mathematical, anticipating the scientific revolution of Galileo and Newton by 2,000 years.

Kennedy's breakthrough, published in the journal Apeiron this week, is based on stichometry: the measure of ancient texts by standard line lengths. Kennedy used a computer to restore the most accurate contemporary versions of Plato's manuscripts to their original form, which would consist of lines of 35 characters, with no spaces or punctuation. What he found was that within a margin of error of just one or two percent, many of Plato's dialogues had line lengths based on round multiples of twelve hundred.

The Apology has 1,200 lines; the Protagoras, Cratylus, Philebus and Symposium each have 2,400 lines; the Gorgias 3,600; the Republic 12,200; and the Laws 14,400.

Kennedy argues that this is no accident. "We know that scribes were paid by the number of lines, library catalogues had the total number of lines, so everyone was counting lines," he said. He believes that Plato was organising his texts according to a 12-note musical scale, attributed to Pythagoras, which he certainly knew about.

"My claim," says Kennedy, "is that Plato used that technology of line counting to keep track of where he was in his text and to embed symbolic passages at regular intervals." Knowing how he did so "unlocks the gate to the labyrinth of symbolic messages in Plato".

Believing that this pattern corresponds to the 12-note musical scale widely used by Pythagoreans, Kennedy divided the texts into equal 12ths and found that "significant concepts and narrative turns" within the dialogues are generally located at their junctures. Positive concepts are lodged at the harmonious third, fourth, sixth, eight and ninth "notes", which were considered to be most harmonious with the 12th; while negative concepts are found at the more dissonant fifth, seventh, 10th and 11th.

Kennedy has also found that the enigmatic "divided line" simile in the Republic, in which Plato describes a line divided by an unstated ratio, falls 61.7% of the way through the dialogue. It has been thought that the line refers to the golden mean, which expressed as a percentage is 61.8%.

Copies of the paper have been circulating among senior scholars, who believe Kennedy's argument should be taken seriously.

Professor Andrew Barker, a leading authority on ancient Greek music, said that "the results he's come up with look too neat to be accidental" and that if scholars confirm them, "he will have shown something quite startling about Plato's methods of composition".

Kennedy believes his findings restore what was the standard, mainstream view which held for 2,000 years "from the first generation of Plato's followers, up through the renaissance". This held that "he wrote symbolically and that if you worked hard and became wise you could understand the symbols and penetrate his text to his underlying philosophy." Only in the last few hundred years has an emphasis on the literal meanings of texts led to a neglect of their figurative meanings.

It also explains why it is that Aristotle, Plato's pupil, emphatically claimed that Plato was a follower of Pythagoras, to the bafflement of most contemporary scholars.

The secrecy was because Plato's was "a dangerous idea", claims Kennedy. "It meant that mathematical law governed the universe and not Zeus." Given that Plato's teacher, Socrates, had been executed for sowing impiety among the youth he would have been "very cautious abut revealing doctrines that threaten the gods of Olympus".

For once, Alfred North Whitehead's description of western philosophy as "a series of footnotes to Plato" looks like being an understatement. "We've got some 2,000 pages of Plato," says Kennedy. "We now know that underneath all of those genuine dialogues there's another layer of symbolic meaning. This is the beginning of a big debate. It will take years to make sense of all this."

[David Pinnegar]

Hi!

Doubting Thomases are now starting to be able to thrust their hands into the wounds of a disbelieved concept of God.

The June issue of Scientific American is interesting with an article about "Living in a Quantum World" - http://www.scientificamerican.com/article.cfm?id=living-in-a-quantum-world

It documents all sorts of cutting edge quantum physics experiments which challenge the old ideas that quantum physics is relevant only to the very small scale, hinting that it actually controls the world at large . . . and that, if Stephen Hawkins and others are right, space and time don't exist and that gravitation is only a residual noise emerging from the quantum fuzziness of the other forces in the universe.

The implications are enormous. All sorts of seemingly impossible aspects of belief in the Intelligent, All Powerful, Everywhere and Eternal start to appear not as a curiousity of the seriously weird but as the understanding of the perfectly rational.

The start of the hints perhaps is with experiments with "quantum entanglement" of "electron spin" in lithium flouride salt crystals. Provided there is not too much "information leakage", electrons throughout the crystal appear to know the direction of spin of other electrons and an alignment is achieved between them at far greater lightning speed than is capable of being explained by classical physics.

Electron spin appears to be a product of one of thos other dimensions that I have referred to in earlier posts. It is a mechanism of information transmission hitherto unknown to us, hiding in those hidden dimensions.

The concept that people are linked in prayer and can exert a force on the material world and material events will before long be understood beyond merely the faithful. But to exercise it, the brain has to be focussed, and know.

When will all the world wake up and see the light? No church nor organ should be redundant as the invisible, universal, all controlling and eternal framework within which we exist and within which all matter exists that everyone believing in God has always said existed . . . exists . . .

Best wishes

David P

Postscript:

Electron spin referred to above as a transmitter of intelligence is starting to be understood to be exploitable within the living world. The article summarises research into migratory birds, specifically the Robin, identifying a molecule in the bird's eye in which "two electrons form an entangled pair with zero total spin".

When this molecule absorbs visible light, the electrons get enough energy to separate and become susceptible to external influences, including the earth's magnetic field. If the magnetic field is inclined, it affects the two electrons differently, creating an imbalance that changes the chemical reaction that the molecule undergoes. Chemical pathways in the eye translate this difference into neurological impulses, ultimately creating an image of the magnetic field in the bird's brain.

[David Pinnegar]

Hi!

If ever you happen to be at the seashore paddling in shallow waters with shoals of smal fish abounding, it's interesting to watch their behaviour. In this thread and others, I have compared the path through life to a matrix of interactions between matter and circumstances and somehow the matrix "knows" where to place people to do the right thing at the right time and those upon which the matrix knows it can rely will find that the circumstances comes to them to interact to help others more.

There is an analogy with the fish. When clumping great feet and legs enter the water, as matter, not knowing how to be a fish, suddenly all the fish formerly feeding and swimming in random directions align instantly like quantum electrons and the shoal - the cloud of circumstances - gives the clumsy unknowing legs a wide birth. But if the feet and legs appear to be a fish, or a source of food to the shoal, they will come towards it. It's in this way that the matrix gives a wide berth to matter which doesn't know how to work with the circumstances. Those who don't know what to do will disturb the good work unduly and are bypassed.

If one has not experienced the matrix in action, the only way to test its existence is to try to believe, at least to pretend, that it works. When people do, and mentally say "I will do the work of God", suddenly the matrix clicks into operation and opens up channels and pathways they never believed possible without.

Best wishes

David P

[David Pinnegar]

Hi!

I have slightly edited the post above and in doing so I hope to have brought better clarity to the idea.

The concept of testing the existence of the matrix and its manner of behaviour is not self delusion - the matrix is like an invisible cloak and is only made visible by entering its realm. It is like a great edifice without an apparent door to enter - one has to test the false windows to see if any of them are real to enter within to find the hall, the womb of new life.

The importance of the preservation of buildings (and organs) is that sometimes they preserve the unsaid and the unspoken and the long forgotten.

The analogy of the edifice is not my own. The building without a door but with entrance into the hall through a wall of perfect ashlar wounded by the puncturation of a window providing a kinked passage into the hall as the womb of rebirth is preserved by a building with which I am familiar inspired by the heritage of Count Zinzendorf.

The Moravian ideas, practiced in England at Fetter Lane in London make fascinating reading http://anglicansonline.org/resources/reviews/060129atwood.html in which the entrance to the spirituality of Christ is through the focus of the wound of Christ punctured in his side. There are many who see the figure of Christ but cannot fathom what it's all about nor how to get in . . .

Qui la cerca la troba

Best wishes

David P

[David Pinnegar]

Hi!

Quoting from elsewhere on this forum:

I suppose I don't really have foundation to criticize any form of worship considering my own views and lack of faith. I will stick to the matter of the organ!

The fact is that where an organ is not being used, the capacity is for a 4000 strong congregation and they are NOISY about their faith. Can we expect the organ to be used if we are similarly not NOISY about it?

In contrast to that form of worship which the writer disliked is there a form of faith that allows for the still small quiet voice of God to make his sound and celebrated by the organ? If so, sorry to break the news . . . but if the organ and a quieter form of worship is to be heard, we need to be NOISY about it . . . and so it is that I try to stimulate discussion here to try to celebrate that sound that we know can give so much pleasure to others . . . Among organ loving Christians, are there none who will let their faith shine and shine here to spread the word about how good the sound of the organ and of the Good News of the Sound and Understanding of God can be? Do we live in a Godless society?

At the direction of a wise old man who for 40 years has been researching the encoding of language by number, I've been dipping into a brilliant book "The Music of the Spheres" by Guy Murchie. It links Pythagorian thought to quantum physics, demonstrating that many of the ancient concepts are right.

Earlier in this thread I compared the work of God to a shoal of fish, the fish being circumstances, and recommended anyone who does not believe that God exists to simply pretend that he exists . . . and by pretending to be like a fish, the fish will include you or by providing food to the fish they will come and feed from you . . . and in this way, the circumstances of the work of God are revealed. The problem is that the shoal of fish (circumstances) give a wide berth to people without faith so that that they are too far away for people without faith to be able to see them.

I have also compared the work of God to a giant matrix, a chequerboard perhaps, or one of those puzzles with 9 squares and 8 tiles, but with billions of squares and millions of spaces. In life one can choose to go forwards, backwards, left or right but this matrix is actually a maze whose squares are invisible. When one travels on the chequerboard without faith or knowledge of direction, one thinks one can go forward, left or right but in fact whilst one thinks one goes forward, one is only going through a mirror of going backward.

"We see through a glass darkly, but then face to face" . . . it is only by faith and understanding of true "forwards" that we break the illusion of the mirror and the mirror disappears and we go forward in reality.

In Alice in Wonderland, Alice looks in a mirror and wonders whether looking-glass milk is good to drink. It so happens that milk contains proteins which are counterclockwise spirals which our body enzymes can digest but which cannot digest if the proteins are clockwise spirals.

So looking glass milk is not good to eat . . . but that's all we get to eat if we look at God without wanting to go forward. In order to go forward, one has to say "I will work for the light, I will do God's work", and then the mirror will disappear. In choosing who to work with, one has to say "are you working for the light?" and those without light will simply melt away, indeed they will be frightened by the light and run away, leaving the work of light to go forward.

Guy Murchie points out that we do not know what makes electrons, protons or photons do whatever they do: we only know their effects. Matter is manifest behaviour, palpable or deducible occurrance. He continues:

And this may be the prime clue as to what the Apostle Paul meant when he said "The world was created by the word of God so that what is seen is made out of things that do not appear"

He continues:

No one will deny that it take more than four separate wheels, two axles, some springs and a body to make a cart. Or more than body cells to make a horse or a man. If you were given three or four individual notes on a harp, would it be possible to imagine the sound of a musical chord before you had ever heard one?

It's in this way that in life there are many notes, but one has to start to believe (or at least be aware of  or understand the possibility) they be linked  in order to tie them together to hear the chord . . .

Best wishes

David P

[KB7DQH]

A while back in this post...http://www.organmatters.com/index.php/topic,140.msg5271.html#new

I linked to a fascinating article...  BUT I neglected to read through Part One... Which does an excellent job of "backfilling" ideas which David has so eloquently presented thus far... and may be more appropriately presented into this thread as the ideas presented in this http://larouchepac.com/node/20186
seem to support this hypothesis so beautifully...

I will quote the beginning as it relates most directly to the nature of the forum as a whole...

In March of this year Italy celebrated its unification's 150th anniversary, and during the major ceremonies, Verdi's Nabucco was performed in Rome's opera theater. Once the famous chorus piece, Va pensiero was sung, the audience applauded loudly and demanded an encore. As the applause died down, the shout was heard from the audience of: "Long live Italy!" At which point, something unprecedented in the history of opera performances took place, the conductor turned around to the audience and made a short speech. He spoke to them about the shame he felt that the economic crisis has lead to the killing of education programs, art, music and therefore the Italian culture. "I thought that if we kill the culture on which the history of Italy is based," he said to the silent audience, rapt in attention, "then we, our fatherland, will really be [as this song says] beautiful but lost." To this the audience rose to their feet, shouting and clapping even louder and longer than before – even the performers on stage stood up in this overwhelming ovation of support of his words. After the cheering again was calmed, the conductor agreed to perform an encore of this chorus, but included that he wished that the audience would join in and sing along. Once the second performance was concluded, the applause continued and tears were passionately flowing. Despite all the problems in the world at this moment, and admittedly the problems in the culture of the world today, this was an electric moment of human beauty and truth.

http://youtu.be/G_gmtO6JnRs

Now, step back for a moment: what is happening? Thousands of human beings gathered together, all strangely reacting, almost unconsciously, in a completely new way to something which only a few of them were doing, and something that was created 150 years ago before any of them were born. To what are they reacting? Could you explain this as a phenomenon of physics or biology? Some animals have the ability to migrate long distances by instinct and the sensing of magnetic fields, others communicate important momentary information by a specific sound pattern propagating in their immediate location. Where are the means of this communication amongst humans? Is it in the sounds? Is it readable in the smallest vibrations of the air? Is it in the total magnetic field created by the audience? Could any of this have happened if only one person was in the audience? Another degree of complexity is the context of this event. Would this performance have the same effect if it were done in another country?

A decent working hypothesis for the beginning here is simply that: An effective connection exists between human beings, which moves them to act in a new way, which is created beyond all explainable phenomena of life and non-life, which has connections beyond the conventional boundaries of time and space, and that this communication, by the aid of these instruments and voices, is something much more than information.

A brief view of the history of this chorus piece and the Italian people of the audience shall help us figure out what had actually taken place that night.
Awakening a People

After the defeat of the little man, Napoleon Bonaparte, in 1815, the Congress of Vienna was convened to divide Napoleon's spoils into several provinces. The Italian people were split into several duchies, each controlled by a duke or king. The south was controlled by the Spanish lineages, Catholic Rome held the papal states, and the north was controlled by the Austrian Empire.


In the northern duchy of Parma, from years of age, Giuseppe Verdi was trained on the pipe organ at the church across the street from his home, where he quickly developed a love for music and composition.

The article continues with more of Verdi's biography, etc... and ends with...

If such a space is an efficient principle in development of mankind and the biosphere, how might one investigate such a space of thought? What would be its reflections and properties? Vernadsky, among many things, does leave a few very interesting clues.

Perhaps an individual person may receive the greatest understanding not from the science of his time, but from the world of sounds and music.

It is this hint which should remind us of the beginning of this paper, and which shall bring us into Part II of this report.

Which can be found online here...

http://larouchepac.com/node/20259

Verdi an organist? Who knew...

Eric
KB7DQH