* Translated from Chinese to English using ChatGPT3.5. It will be continued to be revised.(first revision 2023.5.26)
*Click here to view the original web version in Chinese:ch,1.
Chapter 1: The Shape of Sound
Section 1: Who Sees the Sound
Section 2: Language and Writing
Section 3: The Secret of Light and Sound
Section 4: Music and Notes
Section 5: Pythagoras' Dream
When I was about four or five years old, my parents took me back to our hometown in the countryside. In my memory, it was a very beautiful three-courtyard house with a grain-drying yard in the middle. Outside the courtyard were orchards where I still remember the peculiar appearance of bursting pomegranates and rough feeling of pear skin. Beyond the orchard were golden rice fields. One night, while playing alone outside, I looked up at the starry sky twinkling with beautiful and mysterious light. For a moment, I heard them talking to me but didn't understand what they were saying.
Later on, when I started primary school, there was an introduction to world famous paintings in my third-grade art textbook. Although my teacher never taught this part, those few pages became one of my favorites. Among them is a painting that left a deep impression on me - stars swirling into vortexes - Was this what stars said to me?
At that time after-school cleaning time always played "Starry Night"1which accompanied many people through their childhoods.
A heavy rain had just passed,
From that silent sky,
Starlight shone down onto earth,
Shining infinite mystical starlight.
Silent darkness surrounded everything,
All things slept silently.
Constellations filled up space emitting blue light,
Speaking out people's eternal dreams.
Thus infinite mystical starlight continuously swirled around speaking out eternal dreams from within hearts.
Children are always full of imagination until someone tells them "it's all fake."
But is it really so? Do we need to be told how to view the world? If we turn back time, it's not really that difficult. Let's call upon our inner child who possesses all of our freedom and love, then we will understand that the words from above have never left.
Following the vortex of words, let us return to where everything began.
Section 1: Who Sees the Sound
This painting "Starry Night" is a work by Vincent van Gogh in post-impressionism style.
In 1889 after an argument with his friend Gauguin, Van Gogh had a relapse of mental illness and cut off his left ear. He was admitted into Saint-Paul-de-Mausole asylum on May 8th for treatment where he created many oil paintings and sketches. One of these works during this period is "Starry Night" which was painted when doctors allowed him to go outside during daytime walks around Saint-Paul-de-Mausole.
In 1889 after an argument with his friend Gauguin, Van Gogh had a relapse of mental illness and cut off his left ear. He was admitted into Saint-Paul-de-Mausole asylum on May 8th for treatment where he created many oil paintings and sketches. One of these works during this period is "Starry Night" which was painted when doctors allowed him to go outside during daytime walks around Saint-Paul-de-Mausole.
Figure 1.1 "Starry Night",Van Gogh.Museum of Modern Art,New York.*
It is generally believed that the scenery, brushstrokes, color tones as well as strong contrasts and distorted deformations in this painting reflect Van Gogh's melancholy and restless emotions within himself - a lonely world that isn't easily accepted or understood.
However, childhood intuition doesn't see it like this. That kind of intuition isn't art nor science; it's just pure intuition - only what stars say up high. I always stubbornly insist on this idea and believe there are many people who think like me too.
Some modern scientific research has found turbulence2 phenomena similar to physics in Van Gogh's later works frequently suggesting that they were caused by abnormal perceptions resulting from long-term mental illness compared to ordinary people. What exactly is this abnormal perception? It seems like it can also occur at certain special moments in life such as deep meditation during prayer or samadhi, intense spiritual or physical impact near death experiences (NDEs), mediumship, repetitive ritual activities, drug use or even sexual climax. Human society is full of various frequent and sometimes almost fanatical activities that seem to indicate the real world isn't enough for us; we always want to find something more fundamental. Van Gogh's abnormal perception at that time may be similar to the mysterious experiences often mentioned in religious and spiritual civilizations, which somewhat transcend the limitations of reality space-time and limited sensory abilities. That vortex - just like what I thought when I was a child - someone really saw sound, saw words from above, painted them down and appeared in my art textbook. How wonderful!
However, the vortex hasn't disappeared from the sky; we are living within it.
Figure 1.2 V838 Monocerotis. Image source: NASA, ESA Hubble Space Telescope.*
On March 4th, 2004, the National Aeronautics and Space Administration (NASA) and the European Space Agency (ESA) released a photograph taken by the Hubble Space Telescope of the surroundings of star V838 Monocerotis, located 20,000 light years away from Earth. They claimed that "this space photography work has an unusually similar appearance to Van Gogh's masterpiece 'Starry Night'." Perhaps NASA was just joking with us all, but it could also be a coincidence. As we know, our Milky Way galaxy is also a spiral and our sun is located on one of its arms called Orion Arm.
Human sensory abilities are originally integrated.
When I was still in my cradle, I could see colors of sound. I saw warm red when my mother spoke to me and gray-black like smoke when others lied or argued. Later on, I even saw patterns of sound - some looked like sacred geometry while others looked like clouds; there were all kinds of patterns.3
Artists and children knew about the truth behind things before we did.
Science attempts to accurately describe truth and understand its principles. Shape is an ID card for sound waves; geometry is their social security number.
Sound waves cause different densities in media which create nodes where there's no vibration and antinodes where there's intense vibration. When we sprinkle sand onto a metal plate then use a bow to rub it creating resonance vibrations on the plate surface - sand will gradually gather at nodes forming various beautiful shapes known as Chladni Patterns first discovered by Ernst Chladni in 1787 who repeated Robert Hooke’s experiment from previous century then recorded his findings into books which influenced violin & guitar resonator designs.
Figure 1.3 Chladni experiment using strings rubbed against metal plates causing sand to form various Chladni patterns.
Figure 1.4 Patterns recorded from Chladni's experiments in the 18th century.*
Another researcher, Hans Jenny, was a Swiss doctor and follower of Rudolf Steiner's Anthroposophy. From the 1960s until his death in 1972, he continued Chladni's research on sound wave patterns and named it Cymatics. The Greek root meaning of this word is "study of waves," which means that by vibrating water, sand, oil or other media with different frequencies of sound waves we can obtain geometric patterns of their vibrations - sound is not just sound; it can also be seen indirectly proving that everything is a manifestation of vibration.
For Hans Jenny, these seemingly mandala-like and commonly seen patterns in nature are all composed of more basic geometry. He particularly observed that the Sanskrit sound of creation, OM' (AUM, A for generation, U for operation, M for destruction), forms a circle with a central point just like how it is written. Interestingly enough, ancient Greek scientist Pythagoras expressed a similar viewpoint: "Geometry is frozen music." This was actually just a hypothesis by Hans Jenny and regardless of whether or not it is correct, it reflects the important perspective from Pythagoras that "geometry is frozen music" which has been fundamental to Western civilization. In essence, sound and geometry are two different manifestations of the same wave on both dynamic and static levels. Geometry serves as the foundation of shape in our world; any whole or part can ultimately be represented by geometry just like laying tiles where you hold small porcelain tiles with basic geometric shapes in your hand and then arrange them into any possible shape.
In other words, there exists a common language - "geometry" - throughout the physical world ranging from cosmic structures to elementary particles. Is it possible that another aspect of geometry connects to the spiritual world? If so, then geometry becomes an interface between mind and matter through which they can work together cooperatively. Humans serve as one prime example where this often appears religiously through spiritual symbols while evolving into national flags or totems within society.
Based on the above perspective, the Sanskrit word OM'is a description of the shape that appears after simulating the sound of OM', which is considered as the sound of creation in this universe, through human language. It is an image of the sound of OM' that humans understand and simulate in their own way.
Figure 1.5 shows the symbol for OM' with a nasal dot (•) above the letter M to indicate its pronunciation. In Romanized script, this dot may be omitted for convenience or written as OM'. The image on the right side represents OM' in Sanskrit while on left bottom it shows a possible correspondence between Sanskrit OM' and Cymatics pattern.
According to this perspective above mentioned earlier on sand-covered metal plates: The plate itself already contains all possible shapes while different sound frequencies select which shape will appear on top of the sand. Perhaps we could say that sound retrieves certain files from universe's database containing various shapes; thus creating unique shapes specific only to each individual sound according to observers' perspectives.
Tracing back its origin source-OM’,the primordial sound created everything via its waves; we can hear it as sounds but also see it as images/forms. Humans link shapes and sounds together through text, making Hans Jenny's study of the Sanskrit OM’ all the more meaningful.
Figure 1.6 In the 20th century, Hans Jenny replaced the strings used by Chladni in the 18th century with a horn as the oscillation source in his experiments. By precisely controlling the vibration frequency through an electronic signal generator, he obtained more complex and delicate patterns.*
Using sound studies, people can capture sound, leave behind its image. Artists allow us to see the dance of sound; marine biologists use it to understand whale and dolphin language while crop circle enthusiasts have another space for imagination.
Figure 1.7 Beethoven's Ninth Symphony. Image source: cymascope.com.*
Figure 1.8 The sound of dolphins. Image source: cymascope.com.*
When you use music playback software on a computer, the ever-changing graphics that dance with the music, or the expressive and dramatic movements of a conductor at a concert, even the habitual gestures people make when speaking - all of these directly or indirectly depict the shape of sound for us. We not only hear it but also see it.
Because geometry and sound are different manifestations of the same universal wave, shapes and geometry also have their own sounds.
Laozi(老子) placed sound, image, and space side by side: "The great sound is rarefied; great form is without shape; great vessel is never full4." The sound of creation in the universe, God's Word5 cannot be heard by ordinary ears because it finely and comprehensively includes all sounds. The created sound creates the universe. Limited vision cannot see its greatest shape. The universe is again an ultimate container for everything - nothing can contain it yet nothing escapes from it - because it is itself made up of space as its most basic element.
Modern science has proven that light propagates through space without relying on any medium to do so. This denies traditional beliefs that space was composed of ether (empty) elements as its most basic building blocks. However, if we consider higher dimensions existing within space itself along with structures inherent to space itself then there exists a possibility that space could be considered as matter's most fundamental layer or at least one aspect thereof while another aspect would be as an arena for mental activity. Both aspects possess multiple dimensions and levels which are actually unified together where spatial structure serves as an interface between them making this world neither empty nor void but rather filled with content constructed via geometric structure describing spatial organization."
"Perhaps we can say this: Space is like a mirror reflecting both real images and virtual images in our mental world. When we observe them, think about them or feel their existence they take on their simplest form which happens to be geometry.
Section 2: Language and Writing
Sound, the most delicate and ancient form of vibration, is organized and filtered through human rational thinking to become language. It connects the inner world with the outer world, allowing people to express their existence and build civilization. Language is a constantly evolving web in time and space that declares who we are as individuals and what the world is like. It also marks all tangible and intangible activities of humanity.
Thought gives meaning to sound, while sound enriches thought through language. However, because sound operates within cultural norms limited by languages that humans can understand, we have become increasingly distant from the true realm of sound.
Since learning how to speak, most people are destined never to see sound again because we forget that all senses including sight and hearing come from one cell at birth. We always live in an illusionary world where we think everything has been separated when it hasn't; just like small waves dancing freely in the ocean forgetting they are part of it too. The elderly and children represent more ocean than wave; less individuality than collectivity - they represent our pasts and futures. If an elderly person or child says they can see sounds, how would you react? Would you dismiss them as imagining things or having hallucinations based on textbook knowledge? Why have we lost our innate ability for holistic perception believing that sounds have nothing to do with images? At a fundamental level of vibration both can be interchanged between each other which was achieved through samadhi internal seeing in ancient times but now science has made this understanding universal.
In fact, humans haven't completely lost their ability for holistic perception since discovering writing which allowed us to see shapes within sounds such as Sanskrit's OM' symbol representing its corresponding flow pattern (see figure).
The earliest forms of writing were indeed pictographs depicting objects but could there exist pictographs for sounds where one could see a shape associated with a particular sound then draw it down? Hans Jenny's hypothesis on the Sanskrit OM' symbol shows us another possibility (see figure).
The Huainanzi(淮南子) records that Cangjie(倉頡)created writing and "when he did so, it rained millet, and at night ghosts wailed."
This record clearly links language sound with the visual world. This link extends the existence of language sound in time as well as its more precise repeatability allowing humans to develop writing more effectively. Writing greatly surpasses the limitations of time's three states by expanding collective memory capacity and highlighting human self-awareness. No wonder it rained millet and ghosts wailed; this realization is based on "I am a part of the whole." When people obtain material and spiritual energy from earth and heaven, life continues while their minds expand - they are between heaven and earth just like how heaven and earth exist within them.
Language carries information energy for civilization while writing plays a role in transmitting this information energy. The recording of written characters allows us to see language sounds dominated by time through geometric means. In simple terms, written characters are an overall shape or geometric structure of language sounds whereas Hans Jenny showed us individual basic shapes which can be compared to bricks made from clay used to build civilized houses.
Understanding sound, language, and writing isn't really that far apart between East and West since there exists close ties beyond culture itself such as Jing Fang's Yi Guas (易卦)8 in Han Dynasty China versus Hebrew text in Jewish culture.
Jing Fang6 was a pioneer who founded Jing’s School of Thought (京氏學Jing'sology), proposing Eight Palacess(八宮), Shi-Ying(世應), Fei-Fu(飛伏), Na-Jia（納甲）, Five Elements(五行), Gua-Qi(卦氣), Yin Yang two Qi(陰陽二氣) etc., creating many divination methods from Zhou Yi. He wrote extensively about divination but only his book Jing’s Yi Zhuan(京氏易傳) remains today.
As history progressed, Yi Gua7 gradually split into philosophical and divination studies. Confucius said "A good Yi diviner does not use divination" (善易者不卜)which shows the path of civilization. With modern science's strong impact, people began to explore various possibilities from different angles; this is an organic growth process where the basic spirit of Yi - unchanging, changing, simple - is actually a universal theory attempt based on fundamental Yi Gua. Two symbols for Yang Yao(陽爻) and Yin Yao(陰爻) combine in three levels (upper-middle-lower or outer-middle-inner) to form eight Guas, then again forming 64 Guas. Mathematically it can be expressed as 2³=8 ， 8²=64. The Eight Gua establish the tangible world while there exists another intangible world with its own Eight Gua; they exist together in the universe communicating between existence and non-existence creating 64 possible changes. This is a symphony resonance between matter and spiritual consciousness as well as a colorful stage for life.
The Yi Gua can be reduced to a simple geometric structure that corresponds one-to-one with its mathematical form. It represents the process of creation of the universe from nothingness to Taiji(太極) point, Two Yi(兩儀) line, Four Xiang(四象) surface, and Eight Gua(八卦) body - as described by Laozi in "Dao De Jing"(道德經): Dao gives birth to one; one gives birth to two; two gives birth to three; three gives birth to all things.(道生一，一生二，二生三，三生萬物)
For a long time, traditional Yi Studies has used the linear arrangement of Gua Yao(卦爻) in Zhou Yi(周易). However, this is different from what is depicted in the three-dimensional geometric structure of 64 Gua(hexagrams) in Jing Fang's Eight Palacess Gua8. This kind of geometry corresponds closely with the Silk Book Yi Gua(帛書易卦) that was popular during Han Dynasty times. It shows that Yi Gua is a geometric model about the creation of the universe rather than just philosophy or divination application within traditional Yi Studies . Such a geometric model has profound connections with sacred geometry rooted in Egypt and Greece as well as Mesopotamian civilization - far beyond our limited historical knowledge.
By observing the geometrical commonality between Hebrew texts at the intersection of Jing Fang's Eight Palacess Gua and Egyptian-Greek Mesopotamian civilizations, we can explore what lies behind language.
Figure 1.9 shows the original Jing Fang’s Eight Palacess Gua arranged linearly according to the Zhou Yi hexagrams Gua, with each of the Eight Palacess ruled seven hexagrams Gua from 1st Shi to Returning Hun（1st-5th Shi，Wandering & Returning Hun）. Reorganize Jing Fang’s Eight Palacess Gua to the geometric structure of Yi Gua, as shown in the figure, where each palace remains unchanged for Upper-1st-2nd-3rd Shi and changes for 4th-5th Shi until Wandering & Returning Hun. This figure corresponds to the following two figures.
Figure 1.10 Jing Fang Eight Palacess 64 hexagrams Gua
Figure 1.11 illustrates how the six lines(Yao) of a hexagram Gua correspond to two sets of three lines in an upper and lower trigram Gua (上卦、下卦)within a cube composed of eight tetrahedrons forming a fractal relationship between dimensions. Each individual line can be represented by white, red or black colors from top to bottom, creating a regular tetrahedron that forms one eighth of a larger cube composed of eight such tetrahedra (as shown on the left side). This larger cube is known as Eight Gua and consists of sixty-four regular tetrahedra representing all possible combinations.
Six hexgrams Gua(六爻卦) composed of upper trigrams three lines(Yao) Gua and lower trigrams three lines Gua(上卦、下卦三爻). Corresponding to the sixty-four hexgrams Gua cube, the upper trigram three Yao(上卦三爻) are in the large cube, the lower trigram threeYao(下卦三爻) are in the small cube, and the relative relationship is outer trigram Gua(外卦) and inner trigram Gua(內卦). The large cube sixty-four hexgrams Gua are composed of 8 small cube eight trigrams Gua, the large and small cubes are fractal relations, the single trigram Gua’s three Yao lines from top to bottom with white, red and black three colors can form a regular tetrahedral single Gua, eight regular tetrahedral single trigrams Gua form a small cube eight trigrams Gua (as shown on the left, it is actually a tetrahedral star geometry containing eight regular tetrahedra). Thus the large cube sixty-four hexgrams Gua can be broken down into eight small cubes or tetrahedral star trigrams Gua, which is a matrix of 64 regular tetrahedra. The Upper Shi is eight vertices and eight pure hexgrams Gua (八純卦the midpoint of the vertex is still the vertex), the first, fifth Shi, and returning Hun are twelve midpoints of the twelve sides, each point have two trigrams Gua are a total of twenty-four trigrams Gua, the second, fourth, and wandering Hun are six midpoints of six faces, each point have four hexgrams Gua ,is a total of twenty-four hexgrams Gua, and the third Shi is the center point of the whole cube with a total of eight hexgrams Gua, all a total of twenty-seven points and sixty-four hexgrams Gua.
Figure 1.12, The process of trigram from one dimension to two dimensions and three dimensions, taking the Qian Gua’s three Yang Yao lines as an example in the figure, it can be seen that the composition of the traditional Zhou Yi trigram is one-dimensional linear junior second and third Yao from bottom to top, and the two-dimensional regular triangle rotates counterclockwise and clockwise or left and right when the reverse is in reverse, and the three-dimensional regular tetrahedron is the spiral obtained by linear motion in the vertical direction of the spin. Statically, it is the development of line, surface and body, and dynamically it is manifested as linear motion, circular spin motion and spiral motion.
Figure 1.13 shows how these same sixty-four hexagrams can be derived from eight regular tetrahedra formed by combining their respective upper and lower trigrams at their centers.
The eight trigrams evolve according to the dimensions of the three trigrams Yao, and the eight regular tetrahedral three Yao trigrams Gua finally form a tetrahedral star Eight trigrams Gua.
RRegarding the composition of the 64 hexagrams Gua in the Yi Jing, Jing Fang had his own set of principles called "Shi-Hun(世魂)9 Principles" that differed from the Zhou Yi system. From a perspective of solid geometry, Jing Fang's Eight Palacess and 64 hexagrams Gua established according to Shi-Hun principles describe the points (8 vertices), lines (12 edges), faces (6 sides) and body (1 entity) of a cube (regular hexahedron). From a geometric point of view, Jing Fang's Eight Palacess and 64 hexagrams Gua correspond perfectly with the Flower of Life in Western sacred geometry. This reveals a possibility that human civilization actually has a common origin, and that East and West are indeed closer than we know. Further detailed exploration on how Yi Gua's geometric structure is formed and its relationship with Western sacred geometry will be discussed in later chapters.
In terms of Jing Fang's Eight Palacess' Shi-Hun twenty-seven points for sixty-four hexagrams Gua alone, it was surprising to find similar geometric structures in Hebrew language. How could this be?
Hebrew belongs to the Canaanite branch under Northwest Semitic languages10; Arabic is its sister language. Throughout history, Hebrew has mainly been used for religious purposes such as Bible study until modern times when it became spoken again by Jews after Israel was re-established as their homeland. The alphabet is written horizontally from right to left.
Hebrew scholar Stan Tenen11 once studied Hebrew as a divine language back in 1992 where he researched into mathematical structures hidden within Genesis' alphabetical order origins using three-dimensional tubular torus placed inside tetrahedrons which led him to discover twenty-seven primary systemic positions before deducing all Hebrew letters whose sequence matched exactly with those found earlier. Tenen also applied similar geometrical structures to derive Greek and Arabic alphabets which proved their sacred nature.
Figure 1.14: Hebrew letter codes are one of the ways in which Kabbalah, a mystical philosophy within Judaism, is used to interpret scripture. There are a total of 27 letters ranging from 1-9, 10-90, and 100-900. This is a form of numerology where Hebrew letters are interchanged with numbers. The first letter Alef represents Master or Allah (God) in Hebrew and Arabic respectively according to Stan Tenen who calls it All Consciousness.Conceptually corresponds to the Qian Heaven(乾天).
For more information on Stan Tenen's research, please refer to Meru Foundation at http://www.meru.org.
TTenen's research provides strong evidence for the close relationship between language sounds and geometry, as reflected in phonetics and Pythagoras'12 theory. Using this as an example, we can observe that the cube formed by the principle of Yi Gua Shi-Hun (世魂) in the Eight Palacess of Jing Fang corresponds to the cube formed by the 64 hexagrams (composed of eight tetrahedrons forming a tetrahedron star Eight Gua; eight tetrahedron star forming one 64 hexagram Gua; and finally sixty-four regular tetrahedra composing a matrix). Both structures have states of Yin-Yang polarity and correspond to heaven-human-earth or spirit-mind-body as described by Western religions.
Thus "Gua" corresponds precisely to all basic phonemes in language sound through geometric connections between mind and matter resulting from phonemes13 becoming outward expressions. At a more micro level involving body-mind structure, geometric aspects of language may play an encoding role ,hence twenty-seven links between language and geometry; sixty-four links between DNA and geometry; fifty links according to Yoga's Sanskrit alphabet theory linking language with glandular/nervous systems/cakra energy system ultimately related to geometries14.
Geometry is thus common ground for all aspects of body-mind experience - indeed it is their common tongue.
The geometric structure of phonetic scripts such as Hebrew, Arabic, and Greek corresponds to the geometry of the 64 hexagrams in the Jing Fang’s Eight Places Yi Gua, indicating a relationship between the 64 hexagrams Gua and sounds. This forms a system that includes phonetics, human energy centers (corresponding to Sanskrit's fifty-sound root), and the 64 hexagrams. Language is an expression and communication of human physical and mental energy. Writing is a derivative of this fundamental geometric structure.
Section 3: The Secrets of Light and Sound
In the human brain, there are two main biological clocks that control the rhythms necessary for life. One is located in the optic nerve cross nucleus within the range of the brow chakra, which calculates time through light signals received by the optic nerve. It is related to our immediate survival in this world. The other clock is located in the pineal gland within the range of the crown chakra. From an evolutionary perspective, this gland was once a third eye that has since degenerated. It receives changes in light and darkness from both eyes to determine how much melatonin should be secreted, thereby controlling rest and activity cycles in living organisms. Additionally, it may directly sense various subtle vibrations in its environment, which relates to long-term evolution15 beyond our current reality.
From this perspective, it appears that surface-level degeneration of our "third eye" is actually a result of true evolution. In other words, we have one clock facing towards material existence while another hidden clock faces towards spiritual existence inside us all naturally allowing us to move between these worlds during waking and sleeping states with dreams being their intersection or connection point - representing individual life as well as collective culture's essence.
Dreams serve as a link between wakefulness and sleepiness; thus forming an interlocking switch between these two clocks where they coexist dynamically rather than statically opening or closing together at once like yin-yang complementing each other but also competing against each other simultaneously reflecting a fundamental nature: when viewed from afar time seems like solid lines but up close it reveals itself as dotted lines jumping forward discontinuously like skipping stones on water ripples moving forward continuously.
Light represents those small stones skipping across water on time's abacus beads tirelessly calculating time allowing us to hear heartbeats' rhythm and universe's melody.
Thanks to light we can feel space-time along with our own existence giving us courage to explore unknown territories.
In the first chapter of Genesis in the Bible,
In the beginning when God created the heavens and the earth, the earth was a formless void and darkness covered the face of the deep, while a wind from God swept over theface of the waters.Then God said, "Let there be light"; and there was light. And God saw that the light was good; and God separated the light from the darkness. God called the light Day, and the darkness he called Night. And there was evening and there was morning, the first day.
On this first day of creation according to Genesis, light was created by God's word. Over several days following this event, atmosphere, dry land, plants, celestial bodies and animals were all created; on day six Yahweh Elohim (God) created Adam & Eve as humans in his own image while on seventh day he rested satisfied with his work creating Sabbath for rest which is possible due to biological clock rhythms formed by sunlight allowing us to express ourselves through language sound waves.
If both creator and creature are mirrors reflecting each other then their mutual reflection results in an infinite regression towards a golden ratio spiral like Fibonacci sequence representing basic laws governing life's growth evolution.
The Sutra of Longevity or Century Sutra found within Buddhist scripture Four Agamas describes how human beings originated from Light-Sound Heaven before descending onto Earth as living beings. In Buddhism heavens are divided into 28 levels: 6 realms of desire heaven; 18 realms of form heaven; 4 realms without form heaven where Light-Sound Heaven belongs to second level realm known as Second Dhyana Realm where its inhabitants could fly freely using divine feet speaking Light Language possessing Heavenly Eye Ear Past Life Knowledge etc., they eventually came down to Earth assimilating themselves into earthly environment becoming mortals losing their divinity along way.
Language expresses thoughts through sound wave vibrations whereas Light-Sound Beings use relatively finer faster oscillations of light waves instead. Modern fiber optics or electromagnetic wireless communication can be seen as lower-level forms of Light Language requiring translation into actual sound waves to be understood by humans. Meanwhile, telepathy or extrasensory perception is closer to Light Language. From this perspective, Hans Jenny's discoveries in cymatics become even more significant.
Clearly both Buddha and the Old Testament do not believe that humans evolved from primates such as monkeys. The Bible states that God created man in his own image while Buddhism suggests that human beings are projections of higher or finer forms of existence onto the material world. Humans originated from a higher form of life which degenerated into what we are now; religions advocate for spiritual practice allowing us to return to our original ideal state which may have multiple levels with ultimate goal being unity with universe's source beyond life itself - expressed scientifically through pursuit of Theory of Everything.
For humans possessing physical bodies, they exist on deeper level as light entities; I am merely a crude projection of this purer entity within reality like my shadow cast upon ground changing shape according to terrain fluctuations.
This higher or more refined being is widely known as "God" in human religious beliefs. The theory of cosmic seeding suggests that the initial form of life on Earth came from outside the planet, possibly through the impact of other celestial bodies, which cannot exclude the possibility of implantation by extraterrestrial intelligent life.
Evolution is a spiritual practice in the vast universe, and spiritual practice is an immediate evolution of individual microcosms. Therefore, time appears different during spiritual practice than it does during natural states, and there are significant changes in physical and mental structures that far exceed those seen in general evolution under natural conditions. At the moment of death, physiological manifestations begin with brain hypoxia. At this point, self-rescue mechanisms within the brain will concentrate on preserving only remaining energy (similar to how qi concentrates at the brow chakra during meditation) while simultaneously amplifying its real-time survival time to approach long-term evolutionary time at crown chakra level. The individual weakens or even disappears for a short period while universal evolution relatively strengthens over a longer period. As individuals become increasingly integrated into subjective consciousness and universal wholeness as one entity, all experiences become real to them; these experiences are built upon dimensions beyond material levels.
A moment or eternity is simply a focus of consciousness. The brain (pineal gland at third eye chakra and crown chakra) measures time using light; music becomes temporal art because it exists through sound; painting becomes spatial art because it exists through light; when speed reaches that of light speed then time stops - sounds existing due to time return to their spatial nature - i.e., space-time unity - this is what light and sound originally were.
Section 4: Music and Notes
Music is another identity of sound that has been left for us.
One day in the 1980s, I stumbled upon a set of cassette tapes of guqin(古琴)16 music in a corner of a bookstore. It was my first real encounter with ancient melodies played on the seven strings of the guqin, which are rarely heard nowadays. As they say, learning to play the guqin is difficult but easy to forget. This is due to its unique system of notation, which historically only circulated among scholars and therefore had limited popularity. Additionally, because its melodies are soothing and introspective with low volume levels, music played on the guqin tends towards self-cultivation rather than performance.
Figure 1.15: Handwritten character notation of the " Jieshi Tone -Youlan " （碣石調-幽蘭)from the Tang Dynasty. Currently held at the Tokyo National Museum in Japan.*
FFigure 1.16: The "Guyuan"（古怨）Ancient Melodies with reduced character notation by Jiang Baishi(姜白石).This is a reproduction from an original copy included in Qin Fu（琴府）, edited by Tang Jianyuan(唐健垣).*
Figure 1.17: A side-by-side comparison of the character notation of the"Youlan" （幽蘭）and the reduced character version. This is a reproduction from an original copy included in Qin Fu, edited by Tang Jianyuan.*
The earliest known surviving guqin handwritten character notation is "Jieshi Tone -Youlan"（碣石調-幽蘭） from Tang Dynasty(唐朝) copied by Qiu Ming(丘明) during Southern Dynasty(南朝) period as well as Jiang Baishi's reduced character notation "Guyuan"（古怨） from Song Dynasty(宋朝). The character notation merely describes fingerings for playing techniques such as which string to pluck or press down on and how to use one's fingers; it does not indicate pitch or rhythm like gongche notation(工尺譜) used in classical Chinese opera or modern Western staff notation do. Therefore, melody and rhythm can only be learned through oral transmission or actual practice using these texts as reminders rather than precise representations of musical pieces themselves. Consequently, different interpretations arise when different people transcribe and perform from identical texts leading to diverse expressions reflecting deep cultural characteristics.
Due to difficulties associated with character notations during Tang dynasty era onwards , further simplification led eventually into reduced character notation, where characters were abbreviated into symbols resembling those found in shorthand writing systems such as “人” representing index finger(食指) plucking technique，”夕“ representing ring finger(無名指) pressing technique，“木“ representing strumming(抹) technique，“丁“ representing striking(打) technique，“卜“ representing sliding(綽) technique, “氵” representing harmonics(注)，”亍“ representing trill(吟)，”尚“ representing glissando(淌)，"立"representing stopping the string with left hand finger(撞) and "弓"representing bowing(引)，“乏”representing“泛”,“早”representing“撮”,“弗”representing“拂”. These symbols were then combined into composite characters to represent specific notes or playing techniques. Reading reduced notaion is like calligraphy or martial arts; it requires a certain level of skill and knowledge to understand its meaning. In fact, in Jin Yong's (金庸)novel "The Smiling Proud Wanderer" (笑傲江湖)Linghu Chong(令狐沖) carries a guqin notation that others mistake for a secret martial arts manual.Because don’t understand how to read this notaion,the others feel the martial must be unpredictable.
Sound is transformed into gestures of Yin and Yang movements; sound is the result of Yin-Yang changes known as vibrations. Everything in existence arises from vibration including sound itself. From this perspective, seeing sound is natural just as hearing shape can be considered normal too. The term "hearing"(聽見，In Chinese this word is composed of “listen”and“see”) does not only refer to literary rhetoric but rather describes an actual phenomenon which whales and dolphins who roam freely in the ocean are most familiar with.
In chapter 86 of Dream of Red Chamber(紅樓夢), Jia Baoyu(賈寶玉) fails to recognize guqin notation mistaking it for divine scripture written in unintelligible characters ,and mock up by Lin Daiyu:
"He looked at the book that Daiyu was reading: he didn't recognize any character on it - some looked like 'shao'(芍), some like 'mang'(茫); there was one character with 'da'(大) next to 'jiu'(九) plus a hook, with 'wu'(五) added between them; another had 'wu'(五) and 'liu'(六), then adding another word“mu”(木)and“wu”(五) below... He felt strange looking at these characters without understanding their meaning so he said: "Sister Daiyu has become more advanced recently even able to read heavenly scriptures."
The fact that even Jia Baoyu, an avid reader, is unfamiliar with guqin notation shows how obscure it was. Later in this chapter, Daiyu explains reduced character notation:
Baoyu said, "I am a foolish person. Please teach me how to write the character 'da(大)' with an added hook and the character 'wu'(五) in the middle."
Daiyu laughed and replied, "The character 'da'(大) is written by pressing down on the ninth fret of a qin with your left thumb. The hook added to it along with the character 'wu'(五) is played by plucking the fifth string of the qin with your right hand. It's not just one character but rather one sound that requires specific techniques such as chanting(吟),rubbing(揉), flicking (綽),annotating(注), striking(撞), walking(走), flying(飛) and pushing(推).It’s very sophiscated approach."17
Figure 1.18 (of this text), if we compare pinyin characters which are spelled using basic phonemes of language to guqin reduced character notation , then each symbol in reduced character notation represents a gesture or movement made by hands along with its corresponding position on strings of guqin. While pinyin allows us to speak words accurately, reduced character enables us to play melodies.
IIn the reduced character notation system sounds are first seen through gestures before they can be heard after being transmitted through space over time. Compared to staff notation which is more precise and refined; primitive forms like reduced character notation actually express human beings’ innate undifferentiated abilities at their core level. In his early works Kitaro(喜多郎) - a New Age musician from Japan who did not know how to read staff notation - created his own form of graphic score18 that only he could understand; similar in nature yet even more direct than guqin’s reduced character notation
Whether it's light waves or sound waves or matter or thoughts or ideas ultimately everything can be traced back to wave-like properties at their fundamental level where all things become one while still retaining individuality within consciousness. The interplay between reality and dreams, the transformation of consciousness and its focus determine what constitutes an individual self versus the universe as a whole.
The wave-like properties that constitute sound also manifest themselves in basic geometric shapes which was one of Pythagoras' most important discoveries.
Section 5: Pythagoras' Dream
IIn the world of mathematics, what is important is not what we know, but how we know it. - Pythagoras
Around 580 BC, Pythagoras was born on the island of Samos in Greece. Samos was a major city-state located near the coast of Asia Minor (now Turkey), and was economically and culturally advanced, even surpassing mainland Greece at that time. Growing up in such an environment, Pythagoras had early exposure to religious cultures from various eastern Greek countries. When he was nearly thirty years old, he became a student of Thales19. At that time Confucius had just been born in distant East Asia and Siddhartha Gautama was still a young prince. Due to his peculiar thoughts and style, local people did not like him very much; after several years he left Samos for Egypt where he traveled for at least sixteen years or more according to some sources; it is said that he also went to Arabia, Phoenicia, Babylonian Empire , Judea and even India during this period which had a significant impact on him as well as his ideas about geometry20 which developed due to the need for remeasuring land after Nile floods in Egypt as well as spiritual practices immersed in religious mysticism within temples there . During this same period Buddha began his great journey towards enlightenment by renouncing worldly life while Confucius experienced many hardships before entering into adulthood.
When Pythagoras returned home to Samos from Egypt around age fifty ,he immediately embarked on his teaching career but with little success; ten years later he moved into Greek territory now known as southern Italy where eventually established a secret society similar to religion called Croton21 which accepted both men and women members who shared their property under strict organizational discipline without revealing any sacred knowledge outside its circle . Here Pythagoras fully realized his philosophy laying foundation for the Pythagorean school which lasted for two hundred years.
Pythagoras ended his brilliant life in 500 BC at the age of eighty. The following year Confucius became the Minster of Justice of Lu(魯國司寇) and began to promote his ideas on governance.
Figure 1.19 Pythagoras transformed the geometric knowledge of land surveying into a science of logical deduction through the unity of form and number, thus transforming geometry from an empirical science to a deductive one.
Pythagoras and his school are best known for their contributions to mathematics. Even before Pythagoras, China and Babylon knew about the theorem of right-angled triangles, later called the Pythagorean theorem. Geometry originated from geodesy, land surveying in ancient Egypt but prior to Pythagoras it was still an empirical science; after he mathematized geometry it became a systematic deductive science that did not exist solely for practical purposes such as measuring land but rather had its own intrinsic value . He proved by deduction that the square of the hypotenuse is equal to the sum of squares of other two sides using atomic theory combining numbers with shapes into one entity where "one" represents a point thus forming elements: points, lines, surfaces and solids. Numbers not only have quantity but also geometric shape such as triangular numbers ,square numbers or pentagonal numbers which determine all natural forms in physical world ;in his view "all things are number", number is fundamental to everything; without number there would be no point then no surface ,line or solid . He also discovered and proved that there were only five regular polyhedra (tetrahedron,cube,octahedron,dodecahedron,icosahedron) out of which four corresponded respectively with fire, earth, air and water -the four basic elements21 constituting material world.Thus matter came after number;number is source of all things requiring harmony among them .
This especially applies to Pythagoras' exploration into music theory where he was more concerned with physical phenomenon behind sound than musical content itself since music content ultimately relates back to worldly materialism.He found that string length ratios could define musical scales, for example when the string length is 1 and 2 respectively ,the resulting sounds are two notes an octave apart; thus musical scales and their harmonious relationships ultimately became a simple mathematical ratio of integers. He conducted experiments using a monochord to establish his music theory:
Scale: C D E F G A B C'
String Length: 1 8/9 4/5 3/4 2/3 3/5 8/15 1/2
This same principle was also applied to celestial movements known as " Musica universalis " where sound, shape and number were combined into one entity with each planet having its own unique sound corresponding to its movement in harmony with others.
Due to the fact that everything is numerical, and the purity of numbers can allow people to ascend to higher states of spirituality through learning about numbers. Through external moral requirements and internal mathematical learning, the soul can be purified. Therefore, the purpose of science is not to control the material world but rather to purify the soul22. Science is a means for helping people remove their blinders in order to purify their souls.
In modern Western philosophy, it seems that Pythagoras' intentions are not well understood. Russell's A History of Western Philosophy Chapter 3 says:
Pythagoras, whose influence in ancient and modern times is my subject in this chapter, was intellectually one of the most important men that ever lived, both when he was wise and when he was unwise. Mathematics, in the sense of demonstrative deductive argument, begins with him, and in him is intimately connected with a peculiar form of mysticism. The influence of mathematics on philosophy, partly owing to him, has, ever since his time, been both profound and unfortunate.
Russell affirms that Pythagoras introduced mathematics into science while also questioning whether Pythagorean mathematics was closely linked with a special form of mysticism - referring to "purifying the soul." Perhaps he overlooked how important spiritual experiences were during Pythagoras' time in Egypt when geometry combined with Greek logic resulted in true scientific knowledge based on math as its foundation. In reality, Pythagoras found a way for intuition and reason to merge into one spiritual path towards life.
Russell said:
But what has all this to do with mathematics? It is connected by means of an ethic which praised the contemplative life. Burnet sums up this ethic as follows:
"We are strangers in this world, and the body is the tomb of the soul, and yet we must not seek to escape by self-murder; for we are the chattels of God who is our herdsman, and without his command we have no right to make our escape. In this life, there are three kinds of men, just as there are three sorts of people who come to the Olympic Games. The lowest class is made up of those who come to buy and sell, the next above them are those who compete. Best of all, however, are those who come simply to look on. The greatest purification of all is, therefore, disinterested science, and it is the man who devotes himself to that, the true philosopher, who has most effectually released himself from the 'wheel of birth.'" * The changes in the meanings of words are often very instructive. I spoke above about the word "orgy"; now I want to speak about the word "theory." This was originally an Orphic word, which Cornford interprets as "passionate sympathetic contemplation." In this state, he says, "The spectator is identified with the suffering God, dies in his death, and rises again in his new birth." For Pythagoras, the "passionate sympathetic contemplation" was intellectual, and issued in mathematical knowledge. In this way, through Pythagoreanism, "theory" gradually acquired its modern meaning; but for all who were inspired by Pythagoras it retained an element of ecstatic revelation. To those who have reluctantly learnt a little mathematics in school this may seem strange; but to those who have experienced the intoxicating delight of sudden understanding that mathematics gives, from time to time, to those who love it, the Pythagorean view will seem completely natural even if untrue. It might seem that the empirical philosopher is the slave of his material, but that the pure mathematician, like the musician, is a free creator of his world of ordered beauty.
When the soul cannot be purified, it continues endlessly within "the wheel of life," whereas those who only come to observe are observing themselves and this world without seeing anything specific - just like creators witnessing their own creations. By using introspective religious intuition along with exploring all things through math they discovered eternal connections between worlds both inside and outside ourselves which ultimately converge into one entity: small yet large at once.
Pythagoras made astronomy, geometry and music mathematical so that science became an exploration purely conceptualized and non-materialistic. Science became a means of purifying the soul, and math was Pythagoras' way of observing. He served as both a spiritual guide for mysticism and a mathematical philosopher for logic, but their goals were the same - like Yin-Yang Taiji: conflict, contradiction and coordination are two things yet one thing at once.
When developing reason you must temporarily see it as two things; when moving towards intuition you must temporarily see it as one thing. This is dynamic life that presents itself in ultimate aesthetics with mystery beyond relative absolutes entering into an indescribable non-phase realm where the Dao that can be spoken is not the eternal Dao (道可道，非常道).
Russell concludes by saying:
Most sciences, at their inception, have been connected with some form of false belief, which gave them a fictitious value. Astronomy was connected with astrology, chemistry with alchemy. Mathematics was associated with a more refined type of error.
This refers to "everything is numerical." For a long time science was mistaken for being independent from the world of spiritual consciousness, almost exclusively materialistic. However, after the emergence of quantum mechanics this independent kingdom gradually transformed itself - who will reorganize science's territory? Perhaps Pythagoras' illusory values are not so illusory after all because nothing seems more real than purifying and elevating our souls! The material world appears controllable but instead resembles only shadows23.
Due to the operating method of the Pythagorean secret society, when his student Hippasus proposed: for a square with a side length of 1, using its diagonal as the hypotenuse to form a right-angled triangle, proving that this hypotenuse is an irrational number square root of 2. It was said that this revealed divine secrets and destroyed Pythagoras' belief in all rational numbers being integers or ratios of integers. This was an inevitable result of atomic theory in mathematics. Finally, Hippasus was thrown into the sea and died. This prompted Euclid's geometry to break away from Pythagoras' atomic theory and adopt axioms and theorem proofs, truly laying the foundation for science.
Figure 1.20: If the string length of 1 (1/1) is C, then the string length of 2 (2/1) is C1 an octave lower, and the string length of 1/2 is C¹ an octave higher. Similarly, 1/4 represents two octaves higher as C², while 4/1 represents two octaves lower as C2. The term of “NN”(當下) refers to a state where space and time are almost indistinguishable and facing zero in microcosmic Emptiness(空無). This Emptiness is the origin of all things and can be temporarily regarded as a higher-dimensional existence for our four-dimensional spacetime, commonly referred to as "God" in religion.
Pythagoras' study on musical theory was specifically demonstrated by his table of proportions known as Lambdoma - a matrix with dimensions of 16x16 that lists out musical scales based on ratios between string lengths. From this structure we can clearly see how mathematics, geometry, sound exist simultaneously within one unified wave structure which describes the reality of the universe - a spiritual reality containing both space-time and ever-changing material world.
It's through sound that secrets are revealed; next we will head towards East to continue Pythagoras' unfinished dream using different languages in Buddha's homeland or Confucius'.
————
Note:
Chapter 1: 1-23, Chapter 2: 24-66, Chapter 3: 67-103, Chapter 4:104-116
Chapter 1
1. The original author of "Starry Night Sky" is American folk musician William S. Hays. This song was composed in 1872 as "Mollie Darling" and the Chinese lyrics were added by You Mijian(遊彌堅) in 1946.
2. Turbulence, also known as chaotic flow or turbulent flow, is a type of fluid motion. When the flow velocity is very small, the fluid flows in layers without mixing with each other; as the flow velocity gradually increases, wave-like oscillations appear in the fluid streamlines and their frequency and amplitude increase with increasing flow velocity; when the flow velocity becomes very large, the streamlines are no longer clear and there are many small vortices in the flow field called turbulence.
3. In an article titled "The Gift of Seeing Sound," Heart Light Web http//lightweb.uho.com.tw reported on spiritual music performer Yantara Jiro.
4. The common idiom "great things take time" (大器晚成)should actually be translated from the Silk Book Laozi(帛書老子)as "the great container has no contains." (大器免成)Its meaning corresponds to that of "the great tone has no sound" (大音希聲)and "the great phase has no form."(大象無形)
5. In John’s Gospel chapter 1.1 it says that all things began with sound which was with God and was God.
1 From the first he was the Word， and the Word was in relation with God and was God. 2 This Word was from the first in relation with God. 3 All things came into existence through him， and without him nothing was. 4 What came into existence in him was life， and the life was the light of men. 5 And the light goes on shining in the dark; it is not overcome by the dark.
In Greek λόγος (logos) means word which is equivalent to Tao mentioned by Laozi saying “The Dao that can be spoken is not the eternal Dao”. It refers to speech or language while writing records words into text which is word itself.
Logos (word/Tao) refers to “God’s Word” in John's Gospel i.e., what this passage calls “sound.”
6.Jing Fang (77 BC-37 BC) was originally surnamed Li and styled Junming(李君明). He was fond of music theory and created his own system, calling himself Jing (京氏). During the reign of Emperor Yuan in the Han Dynasty(漢元帝), he was appointed as a doctorate scholar. Jing Fang learned Yi from Jiao Yanshou(焦延壽), a student of Meng Xi(孟喜). Jiao once said "If anyone get into touble and die because of getting my whole knowledge it would be Jing Fang." Unfortunately Jiao got it right, Jing Fang repeatedly criticized current affairs using divination techniques such as Gua qi (卦氣), Yin-Yang and natural disasters which offended Zhongshu-Ling Shixian(中書令石顯) who exiled him to Wei County Magistrate(魏郡太守) where he was soon imprisoned and executed at the age of forty-one.
The Imperial Library Bureau in charge of organizing palace archives is called Zhongshu(中書) during Western Han dynasty; they had frequent contact with emperors with their chief official being Zhongshu Ling. During Emperor Yuan's reign, the power of Zhongshu Ling even surpassed that of prime ministers.
7.The descriptions and illustrations related to Yi Gua in this section will be further discussed in Chapter Three Section One. The following four pictures may overlap with some parts of Chapter Three Section One but have different text description of the figure..
8.This section mainly compares the geometric structures between Jing Fang's Eight Palacess 64 Gua (hexagrams) and Hebrew 27 letters. As for how this geometric structure is formed? Please refer to Chapters Three and Four for detailed discussion.
9.Jing Fang's Eight Palacess Sixty-Four Gua includes Qian Zhen Kan Gen Kun Xun Li Dui(乾震坎艮坤巽離兌) eight trigrams Gua each consisting seven Gua from First Shi to Fifth Shi as well as Wandering Hun (遊魂wandering souls)and Returning Hun (歸魂returning souls). Traditionally these are understood through changes in hexagrams(卦變) but explanations regarding wandering Hun or returning Hun seem far-fetched due to the one-dimensional thinking of the linear Zhou Yi Gua and Yao. In terms of three-dimensional geometry, hexagrams are not limited by this unidirectional linear constraint. Please refer to Chapter Four for observing a single tetrahedral Gua structure and comparing the differences between them.
10.The Semito-Hamitic family, also known as Afro-Asiatic language family or Shemite languages, is mainly distributed in the Arabian Peninsula in Asia and North Africa. It originated from Noah's two sons mentioned in the Bible: Shem was the ancestor of Hebrews while Ham was the ancestor of Assyrians and Africans.
11. Secrets in the Fild:The Science & Mysticism of Crop Circles by Silva, Chapter 10: Geometry of Crop Circles. For more information on Stan Tenen's research, please visit Meru Foundation at http://www.meru.org.
12. Pythagoras believed that geometry was solidified sound and that all scales could ultimately be represented by mathematical ratios of string lengths - this is frequency.
13. Phonemic writing systems are phonetic scripts formed using basic sound elements in human languages as phonetic symbols. These usually include 26 or 27 letters; in Sanskrit they are counted as fifty sound roots made up of compound sounds. The sixty-four hexagrams Gua were originally represented by Yin-Yang linesYao or numbers representing Yin-Yang which eventually developed into convenient memory aids for divination purposes called Gua names; their essence lies in phonemes whose vibrational frequencies connect with external vibrations through mathematical geometric relationships within musical scales thereby resonating with them - this represents communication through inner mental energy expressed outwardly via language.
14. Chapters Two and Three will continue discussing this topic.
15. Scalar Wave Theory and Scientific Revolution author Tohru Matsuoka(實藤遠) proposed a very interesting explanation system called Clock Theory which can be observed at least on human biological clocks including upper clock crown Cakra pineal gland reaction to day-night changes (third eye) and lower brow Cakra reaction to present time (two eyes). When neutralized consciousness penetrates material world's Yin-Yang opposition or different states it comes back-and-forth between high and low dimensions. The concept of scalar waves describes this neutralized state, while modern physics generally describes the non-neutralized state. This theory provides a good scientific explanation for "the middle way"(中道) beyond philosophy, which can be more empirical and avoid the danger of idealism.
The portal between entry and exit points at various levels/dimensions is represented by Taiji in each dimension; for our 4-dimensional spacetime it is described as Planck scale. As we approach that point of reality's Taiji, we become more integrated into the universe as a whole. In short, this tangible/intangible world resonates with both materialism and idealism through gravity/anti-gravity (repulsion) duality - it also represents consciousness evolution from individual or collective perspectives which need to be distinguished but not disputed.
16. Voyager 2 spacecraft has flown out of our solar system carrying a golden-plated disc as an Earth-alien intelligence greeting containing greetings in 55 languages, 27 pieces of music and 35 sounds from nature including one piece played by Guan Pinghu(管平湖) based on Tianwen Ge Qin Notation(天聞閣琴譜)called "Flowing Water" (流水，High Mountain and Flowing Water was originally one song divided into two during Tang Dynasty).
17. The ancient Chinese guqin has seven strings with thirteen Hui(徽); right hand plucks strings while left hand presses them according to Hui positions using techniques such as yin (吟), rou (揉), chuo (綽), zhu (注), zhuang (撞), zou(走, fei(飛)and tui(推).
18. A report in China Times' Humanity Supplement(中國時報人間副刊) in the 1980s featured Kitaro's(喜多郎)picture score.
19.Thales was the founder of Ionian school who first explored cosmic structure and composition proposing that everything originated from water believing there was order amidst chaos in nature; his scientific viewpoint explained nature by natural causes rather than mythology.
20. See Figure 3.44 caption and Chapter Three Section Four discussing Thoth, the god of measurement.
21. The regular dodecahedron represents the fifth element "ether" with each face being a regular pentagon.
22. "Watching over the soul，Pythagoras' Mission" by Du Liyan(杜麗燕).
23. Similarly, Russell was reserved when talking about Plato's Timaeus which mentioned that the universe was generated from basic elemental triangles; he found it incomprehensible - this seems to be a common problem encountered in materialistic science. Many discoveries come from divine inspiration or prophecy which is not exclusive to religion; spirituality is simply an unexplored science while science is already understood spirituality. Both are neutral without moral content; morality exists within our limited understanding of them as they continue to evolve through mental elevation - morality manifests its significance during continuous evolution
