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How the West Lost Alchemy

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In conclusion -- mathematicians have never been able to figure out why the ratio 2/3 was sacred in Egypt. Now you know the secret -- or at least to what extent complimentary opposite alchemical harmonics have been covered up.
Err, yea, sure... :blink:


As soon as I figure out what fifths, complimentary opposite harmonics and semitones, etc all are. :lol:

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Yeah well I'm glad you all are still courageous enough to approach me in direct interaction.


Perception -- usually, for modern humans -- is dependent on awareness translated into words.


In fact Gurdjieff uses "awareness" in this way as well, just as Mahayana Buddhism uses the term "wisdom."


But in yoga there is something called DIRECT PERCEPTION which is literally the electromagnetic fields emanating from and into the pineal gland which the brain then directly translates into knowledge.


What is perceived in DIRECT PERCEPTION is






So the perception can be translated into words, images, sounds, etc.


Now then we have to ask what's the difference between formless awareness as a general absolute that contains all spacetime, all energy-matter -- pure consciousness that is always already the true reality and


different levels of consciousness or as Gurdjieff states -- "potentials of consciousness" or as the Mahayana Buddhists state:


"different levels of emptiness."


Essentially the alchemical agent is the combination of the postive-negative-neutral forces or


electromagnetic-electrochemical-consciousness dynamics.


There's just a different expression of the three with different levels of awareness.


What enables your ego awareness to see the future or bend spacetime is to what extent the ego "empties out" or resonates with pure consciousness as




So this process of "different levels of awareness" is guided by our


SUBCONSCIOUS projection of electrochemical energy which is either lost or turned into fluid or it's transduced -- ionized by ultrasound into blissful heat and electromagnetic energy.


The aura as electromagnetic energy is then projected which as light -- or shen -- bends spacetime, just like a blackhole bends spacetime as light is sucked into the blackhole.


In fact it's now known that blackholes are considered the ultimate information "supercomputers" but the Bekenstein Bound has proven that blackholes are translated into a holographic paradigm resonating as the Pythagorean Theorem -- which of course is based on harmonics.


To put this differently DARK ENERGY is called "baryonic acoustic oscillations" -- the "baryonic" is assumed to be matter but remains unknown yet the "acoustic oscillations" is the acknowledgement by science that


SOUND as pressure or phonons (quantum chaos vibrations) is still unmeasurable.


So it is that consciousness can not be contained by any "bound" -- the universe self-organizes through overtone resonance, as the mystics have achieved.


When the electromagnetic fields of the body-mind are strong enough then no food, no water and no sleep are needed.


The top of the head gets soft just like a baby, the hands and feet breathe as ionization of chemicals -- direct intake of oxygen -- while the body remains full of electromagnetic energy. Water is created in the brain as "reverse electrolysis" and this water then flows down through the roof of the mouth as the "ambrosia" -- the golden nectar.


The book "Taoist Yoga: Alchemy and Immortality" trans. by Charles Luk gives the details.


Then a vortex is experienced that bends spacetime itself.


Telepathy becomes the norm as does telekinesis.


But even a little bit of salt tastes like total poison while in this rariefied state that communes with the Cosmic Mother.


As the light radiates from the pineal gland then a person actually restores their body to younger years -- time is bent.


A man in China was in the NY Times obituary in the 1950s as being on government records going back 250 years!!


He just practiced qigong while selling herbs in the mountains. He had something like 14 wives.


Err, yea, sure... :blink:


As soon as I figure out what fifths, complimentary opposite harmonics and semitones, etc all are. :lol:

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I can only say thanks Drew for that explanation.


Thank you.


What you wrote reminds me of Bhagavan Sri Ramana Maharshi saying:


"The feet of bhagavan are everywhere. So where can you gather except at his feet? Time and space are no bar to the gathering of hearts"


".....a rishi's thought concieved in a cave affects the whole world. It is literally true"

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Here it is distributed:


OK I just had a long conversation with my relative

who is an engineer -- about this research of mine.


He described how in his work there are amazing

examples of huge energy systems that have a "natural frequency" resonance which must be avoided since it

will cause the system to self-destruct. He mentioned

one engineer who specialized in harmonics and even

used a tuning fork to fix a system that had always

broken down every 3 years. Another system he

described was designed to work by acoustics but

never became commercially feasible.


This type of analysis misses the point of what I'm

getting at -- the West defines frequency as a

materialistic phenomenon, the vibration of an

object, using symmetric-based measurements (divide

and average, and doubling of harmonics for geometric

mean). But if we are honest about frequency we need

to recognize that the overtones are not based on

symmetry but rather complimentary opposites. That

in fact the West has a psychological imbalance --

with a patriarchal use of technology, through

left-brain and right hand dominance.


It would appear that what I'm advocating is

right-brain dominant -- through nonwestern music, but in fact the logical inference of harmonics relies on left-brain analysis. Only the results of the logical inference

are not repeatable because the results are beyond time itself!


Pure consciousness is also not something "neutral"

but in fact is female since it's listened to as the complimnetary opposite source of the one or the



So the West may seem practical but psychologically

it's cut off from this female formless awareness

foundation and the trajectory of the West is

increasing tension and materialistic destruction.

This is not to say that technology is not part of

Nature, only that there is also something beyond

technology which is the foundation of Nature: pure consciousness.


To resonate with consciousness is to go the

opposite direction of Western technology and it's an experiential practice of physiology and light synchronization and bending of spacetime.


While this path is unrealistic in a modern environment since it involves a deeper transformation of psychology,

the process of seeming results inherently relies on a foundation that is more solid than the structure of


Edited by drew hempel

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Hey Jeff I ate 3 BULBS of garlic in 12 hours -- it completely destroyed the flu! I also did the below following research as a follow up to the article you posted. Thanks and happy holidays.


"How Birds Sing" by Crawford H. Greenewalt, Scientific American, Nov., 1969 has the secret of "positive coupling" so that an increase in membrane tension increases frequency but also retracts the membrane from the air tube thereby increasing amplitude.


A normal resonant chamber has an exponential decrease in amplitude as harmonics increase exponentially with increase in tension or string length inverse to frequency.


The secret again is waveform with it being a pyramid, tetrahedron, spirochete, vortex or full-lotus body position, that must be measured from logical inference complimentary opposites.


For Descartes a body thrown up vertically with twice the velocity takes twice the time to descend. This is force(t) = momentum x velocity. To convert this back to Archtyas -- mass = the square

root of momentum x velocity just as string length or geometric mean equals the square root of arithmetic mean times harmonic mean.


Leibniz used work as Fs = mv(squared) divided by two -- which is equating arithmetic mean with harmonic mean as an average.


So, like the secret of bird song, this also is a

"positive coupling" because normally the Law of Pythagoras

states that twice the string length = 1/2 the

frequency. So the longer the string the lower the

frequency, as an inverse ratio.


The secret of Archytas was that geometric mean changes

the harmonic mean to arithmetic by using WEIGHT for

geometric mean and in classical physics this means

momentum and velocity HIDE the complimentary opposites

because weight is the average of the extremes. So

twice the velocity is Archytas' "twice the string

length" or 3/2 (Arithmetic Mean) x 4/3 (Harmonic Mean)

= 2 which also means 1/2 the frequency.


But since it's also geometric mean squared the same

new "positive coupling" creates an increase in

string length as momentum or amplitude and an

increase in frequency NOW AS TENSION from weight.

This is where Newton got his "inverse square law"

with 4 times the weight (or pressure) stretching

the string length to twice the frequency, again

in contrast to the law of Pythagoras stating that

twice the string length would be half the frequency.


What Einstein did was just consider that at the speed of light the change in velocity © now just converges

at its own maximum (so it's c squared) while the

weight or momentum changes as mass.


Again Einstein is relying on mass which was originally weight

as frequency turned into amplitude as string length --

the concepts combined as geometric mean to create mass

while the concept of complimentary opposites was lost.


But the "positive coupling" of natural resonance whereby

subharmonics of frequency create a significant increase

in amplitude, as biology professor Brian Goodwin

details in his "Temporal Order of Cells" book, indicates

not the use of weight as mass, with geometric mean,

but instead the change of wave-form with nonlinear

feedback that actually diverges to consciousness

or what some biologists call "sound-pictures." This

positive coupling, instead of being based on weight,

is simply using the complimentary opposite harmonics

and is modeled in science as the Time-Frequency

Uncertainty Principle.

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OK I just found an excellent article on the "comma" called "Musimatics and the Nun's Fiddle" by A. L. Leigh Silver (American Math Monthly, 1971).


He notes that King-Fang in 40 B.C., China, calculated that the 53rd fifth exceeds the 31st octave by 3.6 cents (which is a logarithmic measurement).


Leigh Silver then states:


"We talk of two octaves as twice the size of one, three octaves as three times the size and so on. Yet the frequencies of these intervals are in the ratio 2:4:8....Base two logarithms are therefore naturally suited for musical purposes and were published in 1670, fifty-six years after Napiers tables."


Leigh Silver notes that in the 19th C. Bosanquet's "Enharmonic Harmonium" used 53 notes.


And of course this was Danielou's final instrument, a 53 note per octave synthesizer.




The crucial issue is defining frequency GEOMETRICALLY as a closed system -- specifically the octaves as a geometric progression.


The Law of Pythagoras states that string length is the inverse ratio of frequency, as per the DIVERGING harmonic series, not defining octaves as a geometric series.


Descartes changed this harmonic series into momentum as DISTANCE using Archytas' concept of geometric mean, thereby making time a CLOSED system.


So Descartes states if you throw something up twice as fast then it takes twice as long to return with force = momentum x velocity. This is the equivalent of stating the string length is twice as long for half of the frequency or twice the time.


So when velocity is measured as speed by Descartes then time is converted to distance through Archytas' use of symmetric-based means from Babylon.


So again if A is 1 and C is 2 as the string length or inverse ratio of the octave, then the arithmetic mean is 3/2 and the harmonic mean is 4/3 and the geometric mean squared is 2.


Or mass equals the octave NOW as geometric mean with 4 times the weight creating an acceleration as velocity squared -- time as distance. This is, again, where Newton got his inverse square law.


4 times the weight stretches the string to twice the frequency - or an octave increase, thereby changing time to a measure of weight and distance (momentum) by utilizing Archytas geometric mean conversion of frequency as COMPLIMENTARY OPPOSITES.


What had been frequency (A = 1 and C = 2) is now reduced to distance (A + C divided by 2) with the perfect fifth now converted to a logarithmic standard.


This is often seen in the calculation of the Pythagorean comma. The 3/2 ratio is reduced to just 3 to a power and the "2" is converted to the octave as 2 to a power.


Now consider an essay called "The Nature of Time" -- I'll give the source details in a bit.


"It will be noted that Hill and I spoke of there being 'at least some aperiodic orbits which extend to infinity' in the classical mechanics of open systems and that we were careful not to assert that every such allowed process extending to infinity is a de facto irreversible one. Instead, we affirmed the existence of a de facto irreversibility which is not predicated on Popper's spontaneity proviso by saying: 'there always exists a class of allowed elementary processes' that are thus de factor irreversible. And for my part, I conceived of this claim as constituting an extension of Popper's recognition of the essential role of coherence in de facto irreversibilty is not conditional on Popper's finitist requirement of spontaneity, because there processes extend to 'infinity' in open systems and would hence have inverses in which matter or energy would have to come from 'infinity' coherently so as to converge upon a point."


from "Frontiers of Science and Philosophy" , the "Nature of Time" is by Adolf Grunbaum. U of Pittsburgh Press, 1962.


OK so Grunbaum states that a "coherent" system can not need to rely on spontaneity but can LOGICALLY reverse time as an infinite open system.


That's EXACTLY what the complimentary opposites as resonance does -- uses COHERENCE to resonate as an open system to time as logical inference of consciousness -- a POSITIVE proof, not needing spontaneity.


For Western science time has been converted to mass which enables greater force as defined by distance and weight and space.


For nonwestern complimentary opposite harmonics time can be reversed with no need of force -- just coherence.

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Have you tried drumming the I CHING?


Ive been doing this for years and its very trancy when you get your vibration with the drum and the universal vibration all as one. This is similar to Taoist, Shaman, African drumming, i also do african drumming which leaves you on a high.



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OK Bryan Olson, you didn't understand Bertrand Russell so well and this may be embarrassing for you.


In consolation, it is true that there is a "positive solution" for the square root of two, given in the

book "Number: The Language of Science" by Dantzig

(praised by Einstein as the best book on number



The positive solution for the square root of two

is only found by SQUARING the continued fraction

series of 1.414 which, while an infinite irrational,

does converge to 2, again when squared.


This is the reason that the square root of two

is not considered "transcendental" by mainstream

science but, as Bertrand Russell argued, the continued

fraction to solve the square root of two is not a

closed converging geometric set, rather it is a


THINGS or just pure geometry.


This difference between calculus as geometry and

algebra as number theory is also the focus of the 1999 Philosophy journal article, "Did the Greeks Discover

the Irrational?" by Professors Hugly and Sayward.

The proof by contradiction that combines algebra with geometry is a negative proof referring to AREA and

SIDE (pure geometry notions) not the LENGTH as a

algebraic NUMBER. Again this is why the square root

of two is transcendental, because the algebraic

proof is not logically valid.


What this means is rather esoteric yet crucially

important for the issue of alchemy through

complimentary opposite harmonics.

As I detailed

Stephen Hawkings notes that in India there was no

concept of the GEOMETRY being "incommensurable" or

irregular. Rather the Indians (Babylonians, Chinese,

etc.) understood that the divide and average

continued fraction was infinite as a time-based

iteration but the SACRED geometry was finite and

regular (not incommensurable).


Western science converts time as an infinite process

to space as an infinite process but the space is

IRREGULAR (asymmetric). This means that mathematics

relies on symmetric-based algebraic equations but

the result is a convergence on space through

destructive technology.


In contrast, in alchemy, time is not defined through

distance but rather as something that is listened

to, through complimentary opposite harmonics. Again

this is why the major second, as 9/8 cubed, equals

the Perfect Fifth (YANG) or 2:3 PLUS THE COMMA OF

PYTHAGORAS. Archytas converted the doubling of

frequency through octaves into a SQUARING of frequency

so that there is now a "positive coupling" of

string length (using weight) for time, now as

distance. Now half the octave is the square root

of two, based on 9/8 cubed, in disregard of the

difference between the fifth-fourth inversions and the

octave doubling. In algebra, using the harmonic series,

half of the octave as string length, 2, is 1/2 -- NOT THE SQUARE ROOT OF TWO. What Archytas did is convert

time as an infinite resonance which reverses itself

through consciousness and instead defined space

as an infinite process that is "incommensurable"

or irrational. Time became a linear finite process

that converges to zero or in terms of technology,

the apocalypse.

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As a budding musician and having just figured out the circle of fifths, I find this quite compelling. I now only have to catch up on my physics and... you know... read this everyday for the next couple of years. :lol:


Are there any instances of work or instruments that has or is capable of creating this alchemical harmony? And does this mean that music - western music - is fundamentally flawed as far as being transcendental by the nature of the theory used to play it?


Please pardon my somewhat elementary questions but I'm still trying to get my head around this.

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Yeah this means western music is fundamentally flawed. Instruments and music that are based on alchemy just use intuitive tuning -- for example the sitar has frets but they're adjustable.


I listen to nonwestern traditional music by choice -- preferably beautiful female voices. I listen to Anuradha Paudwal all night long -- her devotional music T-series. Most world music is westernized now but there's shakuhachi Japanese flute music, gamelan, traditional Indian and Traditional Chinese music, tribal music of Africa (Dagomba drumming from Ghana, mbira thumb piano). The best music is the Bushmen female vocal singing -- or so I presume. I haven't heard much of it but Ethiopian traditional music is also from Bushmen music.

Temiar healing music from Malaysia, Berber hand-clapping music, Sufi music.


To practice music as alchemy you want to study the book "Taoist Yoga: Alchemy and Immortality" by Charles Luk -- it's the "small universe" practice of the 12 notes along the outside of the body to transform sound in our heads into ionized ultrasound that creates electromagnetic fields. sells an excellent "level 1 sitting meditation" small universe c.d. or clearance cassette for $3. Have fun.


Full-lotus is just harmonics.

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OK let's review the basic math again. Simon Stevin used the geometric mean equation for equal tempered tuning as such: A/B=C/X. He assumes that the octave is twice that of the fundmental tone and then states that he can split the scale using cube root of two. 1:5/4=8/5:2.


But, under the harmonic series, the octave does not use the commutative principle, which Simon Stevin relies on. So when Archytas used the same geometric mean equation he did not have 4 terms (A:B:C:X) to solve. To reduce Simon Stevin's octave to the square root of two is just 1 x 2 = square root of two x square root of two. It's the same as the algebraic equation given for the square root two -- but neither equations show the connection to solving for the number value. To achieve a number value for the square root of two equation, Archytas relied on the Babylonian geometric mean equation with only 3 terms needed (not needing 4), thereby demonstrating how math comes from music ratios. So arithmetic mean times harmonic mean equals geometric mean squared. To plug that back into Simon Stevin's equation 1 divided by 4/3 = 3/2 divided by 2.


So this is the equivalent of stating that 4/3 and 3/2 ARE the square root of two, which may be justified as the "divide and average" continued fraction solution but it's NOT justified as the harmonic series which violates the commutative principle. Since the octave as string length, 1/2, does not equal the octave as square root of 2, Archytas' proof violates the arithmetic doubling of the octave as the harmonic series. Archytas relies on using string length as 3/2 and 4/3 (instead of frequency less than 2, or 2/3 and 3/4, because he has to double the octave to justify it's square root value, with the double octave, 4, having the octave value, 2, through string length tension. The same "squaring of the octave" continues using the arithmetic mean x harmonic mean = geometric mean squared equation. In other words Archtyas ONLY justifies a number value solution for the square root of two "divide and average" geometric mean by VIOLATING the complimentary opposite harmonics of the perfect fifth, 2/3, and the perfect fourth, 3/4, of the Pythagorean Tetrad -- or the yin and yang of Taoist alchemy.


Again this means that time has been reduced to space as length (now measured with weight as momentum) and thereby ushering in modern science when rediscovered by Galileo, Descartes and Newton. The square root of two proof by contradiction ALSO relies on the commutative principle, just as Archytas and Simon Stevin used to solve for equal-tempered tuning. But again logically the proof by contradiction refers to geometry (area and size) NOT to length as number. It would appeared justified to equate the two (especially since you can square the "divide and average" number so that the infinite irrational converges to the number two as area) but now that it's been proven that such equation DIRECTLY VIOLATES the complimentary opposite harmonics of number as string length, we can see exactly why science is inherently destructive (not for moral reasons but for illogical reasons).

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Yeah there's a lot out there on harmonics and healing and shamanism, etc.


I've corresponded with professor Joscelyn godwin about my research on yin and yang as complimentary opposites. It amazes me that this angle is still left untouched by all these occult harmonic, sacred sound analysts! This site has a lot on this issue -- geometric mean, ratios, etc. but completely ignores this violation of the commutative principle as the secret of the law of three.


There is one way in which Godwins' analysis is justified: The Pythagorean Lambdoma or the Law of Pythagoras frequency as inverse of string length 1/2 to 2/1, 2/3 to 3/2, etc., as a graph, is the SAME as Cantor's "domain of rational numbers." Cantor argued that the domain of real numbers is a greater infinity even though it can't be graphed, since there's a greater number of irrational roots than there are rational roots of squares.


This argument would be the acceptable counter-explanation to my analysis on harmonics except that, as I've pointed out, there is a fundmental difference between geometry and number, whereby the first irrational root is not justified as a number. This fundamental difference also exposes the asymmetry built into the rational number domain (because of the comma of pythagoras), thereby disproving Cantor.


Cantor defines a lower infinite as that which does NOT include -- without defining what it does include. Cantor is relying on the proof by contradiction -- the conversion of number to geometry.

Edited by drew hempel

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Drew, anyone.. Where do I get started in understanding this article. What are some good resources, books or websites to get started on understanding the music theory and all? I have "Pythagorean Plato" and "The Myth of Invariance" by Ernest G. McClain which also go into a similar area I believe. Discuss the ratio 6:8::9:12, which I don't really understand too well at all. I wasn't sure where to get started with McClain's books either. But gut feeling tells me this is a good place to be looking. Read "In Search of the Miraculous" some time back learning about the "shocks", but forgotten it now.


Any stuff on pineal/pituatory is also interesting, or any resources for that. Recently found this: about pineal and sungazing.


Drew talks about square root 2 and devil's interval, tritone or something -- which is new to me. I know McClain talks about square root 2 in relation to the Jubilee comma and a ratio of 35:49::50:70.


Yes, so, please, if you know, can you tell me what books you'd recommend me to buy to learn about this stuff? I learnt musical instruments in my childhood, but don't have a good basis in music theory and don't know where to get started.


Many thanks,


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