You see something's going to happen.
What What's going to happen? I'll take one.
What. Welcome to the Occult Rejects tonight. We are going over sacred sound, sound of the Spirit. In the beginning was the word. The word was with God, and the Word was God. So we are going over all of the elements. It's going to be a fantastic journey tonight. I've got Nick with the Cult Rejects, I've got TJ with Contemporary Problems. I've got Robbie Marx and Ethan Indigo. If you guys want to introduce yourselves and plug what you're working on, that would be a great way to start real quick.
Yeah, Nick from the Occult Rejects. One thing that is new that's coming out of will be doing a video documentary on the catacombs in New York City at Saint Patrick's Cathedral or Old Old Cathedral. So that's something new that I'm working on that you can keep an eye out for it. And odds are if you're listening to this,
you already know about the Occult Rejects. But if this is the first time you happen to be hearing me coming across us, Yes, This is the Ocult Rejects and it's on bitchoop Rumble and YouTube and all major podcasts.
Thank you very much, thank you.
Good TJ Contemporary Problems. If you don't know, well now you do, so.
Don't know, Yeah, Bobby, and let them know where you can be found.
Yeah, if anybody wants to check out my other stuff, do artwork for various bands and stuff as well as I have the podcast, and then you know, all the social media sites. You can check out my link tree which is linked tree r M A r X and then I'll pull up everything I got.
All right, then Ethan Indigo.
I got a bunch of articles out there on everything from the political to the esoteric, and I've written a few books as well, and I always honored to be here with you guys.
Well, thank you. So I think this is sort of going along with our elemental series, right, So we've done water consciousness before and now moving into sound and cimatics and talking about Walter Russell talking about the periodic table of the elements, talking about resonance, talking about ancient history. When it comes to this stuff, sound plays such a major role in ancient history. It cannot be understated. How
masterfully sound was used in the ancient world. So many different stories talk about how these shamans were able to levitate stones into place using sound waves alone. So they had a much greater grasp of how the geometry of sound worked, and they had a better idea of their relationship to these resonances. So I think to get a few you know things out of the way, let's talk about what resonance means. So, if you've got two different tones, you're going to create a resonance between the two tones
that meshes up and creates what are called a beat. Right, So these two separate tones together are going to create this beat frequency, right, and that beat frequency is used in hypnosis tapes. That's called the bineural beats, where they've got a slight variation from one resident from one tone to the other, creating a third tone in the beat. I think that's a really important factor when considering how
nature might utilize that. One of the ways that I've seen the bineural beats occurring in nature itself is in the swamps at night when you hear the frogs going off. The tones are slightly different from one side to the other, and if you concentrate really hard in those swamps. You'll understand why these some of these frogs produce five dmt out of their backs, because I believe there is some sort of a thinning of the veil that goes along
with sound and the mastery of sound. So I think having that sort of idea in your mind when it comes to this stuff and how it impacts our DNA, how it impacts the molecules themselves, It's important to remember everything in the world is vibrating, and everything has a resonant frequency. So Walter Russell created a periodic table of the elements using the resonant frequencies of all of the
different elements in that table. So he gives you a really nice visualized version of the periodic table and the associated tones that are, you know, resonant with the different elements. And when you can visualize it in that manner, you can really start to understand how these things fit on a much different level than just the the atomic weight and the protons and electrons in each one of these energy shells. And that do you have that slid ready
to go? Nick, Let's take a look at that. So right here you can see this this periodic table of the elements has these different octaves that the elements are broken down into. So the tenth octave looks like it would be a much wider frequency, much lower, So I think that would be more dense matter. I'm not sure exactly. I'd have to go really into depth to get all
of the different things together. But what's interesting to me is how similar this looks to the idea of the monochord, and the monochord was really important for Pythagoras because Pythagorists determined that if everything has this frequency, you can use a single chord as a way of creating these different tones, these different ratios that would be reflective in nature itself.
So I think from Pythagorasts talking about how music is associated with the spheres and how the sun is the central mover of this monochord type system, and then over to Walter Russell. Between the two of them, they're mapping out the universe sound. So having the idea of the monochord in your head and understanding how resonant frequencies really do bind everything together in a kind of sonic net.
Everything is sort of part of the sonic net, and it's always resonating off of each other because everything is already vibrating. It may be subaudio. You might not be able to hear the vibrations, but those vibrations are there all around you all the time. The only way you're gonna get away from it is if you were in absolute zero. So at that absolute zero level, that would
be where all of the vibrations would stop. To me, it just sounds theoretical because I don't think scientists have been able to get mattered down to absolute zero yet, But I think once you do, that's really good to be uh revealing in terms of baseline vibration. Did anybody have anything to say about this Walter Russell diagram?
No, but I did want to, like just mention there was a few things that you said. I just want to just touch on real quick. Anyway, It was interesting how you said about like, you know this, I think a few different types of theories on people moving things with sound. I mean some people have thought I mean, I don't know if you want to go there with theyank, but some people do think that that has some sort
of capabilities of doing that or whatever. Maybe the Egyptians did that, But I mean there has been people I've even seen do videos that like well like can make rocks move actually at least lift them up, just through like frequencies and stuff. So I did find that interesting that you mentioned that, because I mean, there is proof of being able to do that, and one thing that you just happen to mention that. Really it made me think about Girtschev and then it made me think about
the Fellowship of Friends. And you know, I don't know much about Girtcheffs, so I can't, but I do know he was into like the whole octave stuff with music, and the Fellowship of Friends kind of basically took his
teachings and perverted it to manipulate people. And they started taking music and they would do things in octaves, like when we covered it in the past, they actually had it like certain weeks it was gonna be certain octaves done, and like within those octaves they were like, I guess whatever they were saying or what they were trying to teach or do were supposed to go along with the music to where it made them like absorbent more. It
was very weird. They explained it too, you know, so so sound was you know, it's it's important.
So with gi Gerdjeff, his idea was that you would need to have perfect synchronization between your body and the sound so that you could experience a type of resonant frequency from that experience. So he would have his participants do these dances over and over and over again until they had them absolutely perfect, right and in that perfection, that's where the meditative state would would start to have.
Some OA stuff right there.
Yeah, yeah, definitely, And I think that goes into the water too, because with water you get the cymatics of the different frequencies in the tones. Why would it be any different with your own body. If your body is now having a resonance with that water, with the music and the motions, you're talking about maximizing the energy and creating a type of flow that would be something different than any other of consciousness that you could normally have.
I think that's kind of what goes on with besides other things. I do think that's part of sometimes ritualistic rituals, especially i'd say the Star Ruby because even in the Ruby that Crowley wrote, each direction you're pronouncing whatever word you're saying, you're gonna be pronouncing it a different way.
So there's a reason for that, I'm sure. Besides it trying to I think go along with the quarters and the elements, like you know, some way you're screaming because it's supposed to be representing an an eagle, you know, something like that, but you're doing things in different sounds. And even like then in like the pentagram ritual and the Hexagram ritual, it may not even just be Crowley. I think like even in other people's representations of it,
they may just be pulling it from Crowley anyway. But it is specified to vibrate certain words to like almost exhaustion. Like there's a reason for that. I'm assuming you know. Then, I do think it's you're doing something with the movements and the vibrating, and I do think it might actually be more maybe just to put your whole body into a certain state.
So I was gonna say, now, with this Walter Russell chart, when when you look at how the vibration makes up the central the central core, it's talked about that the elements basically reflect as above so below. As you're moving up this ladder, the ones above them and above them, and they basically nest into one another depending upon how the frequency resonates and how dense it it becomes versus
how light it becomes. But they're the same elements, but changing form through resonant structure as they move up or down, which I find really interesting.
That is.
Well with this Walter Russell diagram. His uh, his focus was mainly on the light that was given up by these frequencies and how the light interacted with each other. But this also works with the you know, the sound as well, and I think the crossover between sound and light is really interesting to me because that the first thing that comes to my mind is the cavitation bubble. I know, if you've ever had experience with boats, you see the bubbles coming off of the propeller in the
back of the boat. And those bubbles aren't created by the air on the top of the water. Those are cavitation bubbles which occur because of a fast moving object through the fluid well. Cavitation bubbles can actually be held by sonic frequencies, and those cavitation bubbles produce light. And it hasn't been fully explained by science yet, but you can have a bubble producing light held within a sonic structure,
creating resonance. Within the water. Now, this goes straight back into that water consciousness idea, something about the water that is producing an energy that creates this collapsed sort of energy within the water itself. So a cavitation bubble would be like a collapse. You're collapsing the energy. It's a different form of energy than the normal explosive force, which
goes back to the water wizard. You know, if you think about the two different ways of experiencing energy, you've got the heat loss right, and then you would have like a tornado. A tornado is way more powerful than an explosion and its self sustaining. And because the cavitation bubble itself is more on the collapsing path, we all know when these tornadoes happen in the bathtub, what's happening is you're getting that spiraling effect that becomes self sustaining.
So it has to do with the geometry, it has to do with the collapse. And if that is a different way of producing energy than regular explosions, that could be a much more sustainable way of producing energy for consumption. Now, obviously in our world, heat loss is the main way of producing energy. But if you think about the spiral going outward. That would be the heat loss. So let's say you've got an explosion. Whenever you see a fire on a really cold day, you get that fire tornado,
and that sort of represents the heat loss. That would be the spiral outward. And then if you're talking about cold weather mixing with warmer weather, you've got another type of tornado, which would be that inward cycle of energy.
And that inward cycle of energy would be the more sustaining cold cold fusion and type energy, right, and the cavitation bubble being held in stasis by you know, sound and producing light would be the perfect representation of that collapsing type energy, which I think is is perfectly represented by the idea of sound, because sound can not only be explosive, it can also be implosive.
I too, like how you see like the Fibonacci sequence in there too. Kind of yeah, but you know, you with your whole spiral thing, I have wondered if, I mean, I don't know how it works since we're not getting knocked over, But for some reason I have thought that gravity might actually kind of work in that well. I don't think gravity is really what it is, like what we think it is anyway, But I have wondered if it's like a spiraling down type of.
Well, you see within the sound, the active function of the spiral, you see it within the water, you see. I mean, I think everything within creation, from the DNA to potentially gravity, has a relationship with some sort of a spiral dynamic.
It's like a downward spiral by any shows, any shows.
I just wanted to underline some stuff that you mentioned headless, uh than that, and in so many different traditions, from Egyptian and to more primal and indigenous cultures, the sound is kind of the point of creation, right, And it's uh, not only it's a it's a something that we hear and i'm something that we evoke as well. And there's all kinds of different ways to look at it, but I think it's a kind of generative quality that we have. There is one of my favorite little Indian guru metaphors,
if you will. A monk who's learned and has to fulfill his duties by traveling and teaching other people about the dharma or what have you that he was teaching, and he has to, you know, go on pilgrimage and he goes throughout these villages and all over teaching. And one day someone tells him about a hermit on an island in the middle of a lake, and he should go to this island and teach him. And he takes a boat to the island and he goes and he finds this, you know, esthetic this guy living in his
underwear or what have you. And he's like, oh my gosh, oh oh, that's so wonderful that you hear. You have so much to teach me. And the learned monk is, well, yes, yes, i'll teach you. There's so many things, or I'll teach you what I can, but I can't stay for long. And you know, he tastes on the role of teacher and master. And they're sharing their various mantras and the hermit shares his mantra with the monk that the mantra recognizes and he said, no, no, no, no, you're wrong, you're off.
The mantra goes like this, not like that, not like that. Oh oh my goodness, thank you so much for teaching me this. I would have been lost and saying the mantra the wrong way for a lifetime. Thank you, and the monk, the learned monk feels good the next morning or what have you. He leaves, and the hermit blesses him and thanks him, and the boatman is taking him across the water and he stops and he's dumbfounded look
on his face. And the monk turns around just in time to see the hermit walking on water saying wait, wait, how do you say the mantra again correctly? Which I think is a really funny way of noting that behind it, the mental attitude is what is super important rather than the pronunciation. And and to that point, with the one O eight, they often will repeat the mantra with the intent to have one hundred repetitions that are decent enough to be acceptable and eight for incorrect pronunciation or for
other people who haven't said the mantra. So I just wanted to say, and the whole, the whole generative quality of communication. I just wanted to underline, thank headless, this is awesome presentation.
Thank you. So that kind of goes into a little bit of what I sort of think about when it comes to vibrant these words. I think Crowley mentions it in book four. But what you're supposed to be doing while you're vibrating the words is you're supposed to be clearing out the mind, right, So he likens it to sand on a beach towel, and what you're trying to do is you're trying to vibrate that beach towel to
get all the sand off of it. So if you're holding it up and you're kind of shaking it, all that sand kind of creates that climatic effect, and now it's forming that that sort of mandola of frequencies within that thing, and you're trying to vibrate that sand or all of the distractions out of your mind as you're
vibrating it. So it has a cleansing quality to it too, And if you think about it, having that frequency being the basis for how you're doing the cleansing, would really get a lot deeper and a lot more more thorough than other forms of cleansing during rituals. So you're actually taking your voice and using that as an energetic tool to cleanse the mind and cleanse the body of all of the different distractions that may be plaguing you at
the time. So there is that cleansing quality to the sound as you're as you're using it, so I think, uh, I think we're good on this one. We can go over to the next one there.
May I may I underline something too that, uh, the healing power in the rhythm and vibration and those being tenets from the Kaibali, and those are often mixed up, not necessarily mixed up, but maybe considered that maybe one
isn't needed because one could suffice for both. I was kind of thinking about sound and relation to rhythm and vibration when I was doing some chi young and a simple demonstration I think helps, like the rhythm is the rate at which I'm making the tap, but the vibration is what's causing that in my voice, right, So so it's kind of like math and numbers with these causes and effects, if you will. Sorry for interrupting this. I just wanted to add that because I thought it's right, that's the point.
And what you're doing with all that math is you're creating ratios, right, And the mathematics of music is all about ratios and how they exist in relationship to one another. And I think that's why this, uh, this you know slide right here is really important because what they're trying to show is that it all kind of fits into
the golden ratio. And when you've got the golden ratio as your base level understanding of how sound and light interact with one another, you can kind of start to get the idea of where you can use this sound as a tool to start to transform sound and light.
And if that's really where we're at, you know, you've got string theory, which talks about how, at the very most basic level, it's just vibrating energy, right, And if that's the case, why wouldn't sound and light be more structurally important then maybe the physical matter that we sort of interact with on the scale we exist at. So you know, we're looking around and we see objects when really it's vibrating energy. And if you take it from that perspective, you can kind of see how we're living
in a hologram. If everything's just vibrating strings of energy, then light is at the very basic nature of every thing, and it's that vibrating light that creates the illusion of objects, right, because nothing is really solid if everything is vibrating. And when you understand that, you know the light spectrum is mostly invisible and there's a lot of different sounds that we don't necessarily hear audibly. You could see how having all of that come together would create the illusion of
solidity within the world around us. And by being able to transcend the idea that maybe everything is solid, maybe everything is as you know, concrete, as we think it is. By transcending that idea, we might be able to have a little bit more influence over our lives. And if you think about it, you have to start believing that things are possible to break the cycles that you're stuck in, and believing outside of just the normal physical world of
solidness and form. That takes a lot more energy, internal energy, and it transforms it into a sort of a spiral pattern. And the more you engage with that spiral pattern, the more likely it is that you get out of the cycles that you're stuck in. So, you know, in this case, we're talking about how all of these different frequencies resonate with one another and create these different patterns. You're already
in a pattern. You know, once you've started to identify that pattern, once you get to know yourself a little bit better, you can understand how to break those patterns. You can understand how to resonate outside of the cages that we've produced for ourselves. Also, this one is based off of four point thirty two. Hurt modern tuning is
at four forty. So there is this sort of distinction between the old way of doing things, which was much more and tune with the rest of nature, versus this new tuning which came out of the same people who basically ruin everything the you know, Rockefeller Foundation.
I was gonna bring that up, I.
Was gonna say, and I think to underline the significance of four thirty two, it's one hundred and eight times four, right, which is fascinating, not no coincidence.
And interestingly, I collect a lot of old blues records, and if you take like some of that early Robert Johnson and you put it on the turntable and you can slow it down by about you know, one one and a half revolutions, it sounds much more natural the way that it's They sped it up to increase the frequency,
and it sounds much more agitating. So there's this whole idea of going back to Plato and he talks about the idea that you change the resonant frequency of a society and it can you know, either help them excel or completely break them down.
You know, yeah, absolutely no, I completely agree by By changing how we interact with music and how we interact with the sounds around us, you could start to change the resonant frequencies within the body itself. And there have been cases where sounds have been able to negatively influence the body itself. Right. A lot of right an infrasound are said to create a sense of dread, a sense of fear, and so basically those are those are frequencies that are sub audio, so you're not really going to
hear them. This happens a lot with machinery. So if you're working around machinery that is stuck at these frequencies that are not in tune with the body, you can get sick from it, which I think is just you know, it's the perfect evidence that if people know about this, why wouldn't they use it? And that goes into blue
light spectrums too. If we're stuck in the blue light spectrum, we're supposed to have a pretty good balance of both blue and red light, right, and you're supposed to be able to increase the body's healing capabilities by getting up at dawn and feeling that ultraviolet light from the first rays of sunlight from the dawn. But you know, most people don't get up at dawn, so we're sort of missing out on the ability to have a increased metabolism,
better protection from the sun. All the rest of these things sort of come down to the very light spectrum itself, and once we can, you know, control role how we are interacting with the light spectrum during the early parts of the day. Our eyes send signals to different parts of our brain to produce the type of hormones needed for that day. We may not do it consciously, but our brains and our bodies are optimized to figuring out what is needed based off of the light it receives
at dawn. And you can tell a lot from the dawn light, you know. I mean, I'm sure everybody's heard the saying, what is it red sky? At night? Sailors? The light red sky and morning sailors take warning. The idea there is that you could tell a lot about the coming weather patterns just by looking at the light during these limital time periods.
And I also wanted to say that, you know, in regard to some of those sounds that can agitate and cause you to become sick, like the brown note, which will make you defecate in your pains.
Essentially.
There's also other frequencies that have been used for healing purposes. There's that German scientist doctor Reich. What's what's his full name there right? I think Wilhelm, But there's another one, Reke gearhard Hammer. So there's a couple scientists in the past that have actually, you know, used sound frequency and then uh with who you were talking about there, what was his name, Willhelm Reich?
Willhelm Reich.
Yeah, he actually set up this whole theories of fair day cages inside of faar Day cages, where it would be like four or five fair Day cages deep, and then you would get inside of this device and it would essentially stop all sound wave frequency, cosmic waves, vibrations from the Earth, any electromagnetic frequencies and put you in this ultimate state of stillness where there was no vibration.
And the ultimate theory was that when you were in that state where you weren't being barred by all these alternate frequencies that the world deals with, you know that you would essentially allow your your body to resonate at its own, you know, resonant structure, so that it could heal and restructure itself.
Right. Well, this accumulator that you're talking about was actually this could be apocryphal, this could be a myth, but I remember it was seized by a cop who you know he was Wilhelm Mike was always under scrutiny from the police. It was seized by a cop, but the cop wanted it specifically so that he could put his wife in there right, so that she wouldn't be such
a bitch all the time. So that's funny. So they're stealing his inventions so that they can use themselves, and I think that really kind of plays into the wider notion of what's going on when it comes to these crackpots, as the medical establishment likes to call them. They like to take whatever they want and use it however they want.
I keep forgetting Will Holmes did mess with or going too.
Yeah, the idea there was that he was talking about this orgasmic energy, and the orgasmic energy can be collected through alternating layers of organic and inorganic substances.
So that's what this Faraday cage was. You'd have that layer of metal, and then you'd have a layer of wool, a layer of metal, and then another layer of wool. And the idea is that there was a certain type of life energy that would be transmitted between these layers that would keep it in balance and it wouldn't you know, expose the person to any harmful rays coming through the
those type of things. And there have been experiments with plants that have shown that, yes, plants do grow better in that environment.
So and I think that that reflects also on the Great Pyramid as far as blocking out the resonant frequencies. And you hear the tails in the various you know legends through time of them talking about taking seeds and putting them in the King's chamber and then being more resilient and growing faster. And I've heard there's been some studies done on this, but it's been a long time, you know.
Well, what they found is that at places like Stonehenge, in places with megaliths, more often than not, these sacred sites had magnetic anomalies, and you know magnetics, that's the same kind of frequencies, and these magnetic anomalies would would create more sprouting seeds than normal so they think that they were used as a way of getting all the seeds the sprout a more you know, even fashion, so you would get a lot less duds and you can
actually grow more. So I think the ancients had this stuff from lock and I think they were seeing it through visions. And the idea behind these visions is maybe you don't have all of the right jargon and lingo, but what they're seeing is something real right.
Well.
And also yeah, with those monuments, as far as the stone circles, the pyramids, the various temples, it's interesting that they would set those up on certain points of the earth that had a certain resonant frequency.
Exactly exactly, and some of these places can make you sick, and other of these places will, you know, induce visions. They've got what they call the god helmet. Now where they.
People use that shit? You know, you know who is big on that? Which I all, right, whatever, just my opinion of the whole show. I think it's reality TV. But what was that hellier? They used that shit? You know, trying to cut talking about Pin at the end of net.
Right, Well, Pan is heavily associated with music as well, and you also have the idea of these the seven notes of the ancient world being associated with the seven planets, and all of these things are sort of in residence with each other to create the type of environment that
will allow you to transcend regular physical matter. And I believe you know, if you think about sacred sites like the Delphic site where they would have all this prophecy, you would have to have everything in perfect resonance so that you could get the right type of oracle coming through.
So I was listening the other day they were talking about how if the oracle wasn't delivered in hexamic pentameter, they would doubt the veracity of the predictions being made, right, I think, yeah, you were the one talking about that, Nick, So I don't they have everything in that perfect beat structure so that it would come through in the right And if you think about it, what better test for the spirits is there as to their veracity if you can get what they should be in time with, because
that will show their resonant frequency as well. So if the spirits are delivering messages in a perfect poetry, then you can tell that this is not in disharmony. Right, It's a good test.
I think Jim Morrison wrote in that a lot of people do itama.
Interesting also when you go back to the mystery schools and the bringing of music up as a whole, you know, it's always based around these pan flutes or the leer or the lyar, you know, and then you have the tamburroborism and the simple the symbol symbols that come later, you know, but there's always this intrinsic thing in regard to using these instruments to create trans states.
Right That goes back to the frogs. You know, once they start that resident frequency and you get into it, that's that sort of state is very powerful, and you know, creating an altered frame of consciousness. And I think that's that's what a lot of the music was back then, was a way of trying to alter consciousness using these sonic frequencies. But yeah, I think I think if people want to see that more, you know, they can screenshot it. But that's a that's a pretty powerful symbol right there.
I mean, we all know that the way that the golden ratio works is found within all these different you know, plants and animals and structures and the human body and all the rest of it. So there has to be some sort of a resonant frequency that goes along with that golden ratio that starts to make everything make sense within this hologram. You know, Can we go to the next one?
Sure, I got you, budd there we go.
I like this one right, this one is in German. But what I think it's it's really showing well is the idea of the three dimensional nature of these spirals. Right, So as we're watching a spiral occur in a plant or an animal, it's occurring in three dimensional space as well.
So you've got the bottom layer, right, which would be the flat layer, and then on top you can see exactly what's going on within that spiral, that spiral shape itself, so this would be more of a helical structure, but that helical structure is sort of an indicator of some other energy emanating from that spiral itself, right, all of
it in perfect golden ratio as well. So understanding that will give you a better idea of auras if you ever, you know, get the opportunity to do or viewing on trees, you'll notice that in certain points in the tree, certain types of energy is changing and transforming. Pine trees themselves are part of this golden ratio structure. So on the outside the energy layer that's that's created by that object, you end up seeing that energy taking shape outside of
the thing itself. And if you think about all the different ideas about the soul, you can see, you know, the Christians have their halos, the Greeks talk about the wide shining one. That's one of their favorite phrases to use. But the idea there is that there is some kind of an energy that is given off by people and things that resonates with other stuff. And we're talking about
light energy, we're talking about electromagnetic energy. There are ways of seeing and experiencing these things that connect all of us. And this really does go into ancient philosophy and how they were trying to rectify that using the type of logical capacity that they had. So you would have guys like Parmanodes which said that all things are one and motion is impossible. Motion is just an illusion, nothing is actually moving. We're all part of the same thing.
Walter Russell said a very similar thing.
I said that when when I said I have had this, when I have my experiences with magical experiences, when it gets really dark. Right before the eclipse starts to show and it gets really dark. I said, there's a time where it looks like it turns into a white like a black wave, like it looks like a black oil.
But I said, for some reason, after a few times of seeing it and looking at it differently, I was like, honestly, to me, it looks like a white light shining on something, and given the illusion that it's waving, I don't think it's actually I that's what I think is actually happening something to that.
Well, I could go into the idea of the the Flame of Aphrodite. I love that in that episode when you're talking about the Flame of Aphrodite dancing in the back of the eyeballs.
Yeah.
Empedocles was talking about the four Elements and he said, the way that we view things is there's light, invisible light coming from our eyes hitting the object and then coming back to us. Now, in some ways you have to kind of see that as maybe an early attempt at describing this sort of aura phenomenon, because it's sort of like we're the emanators and we're the collectors as well, so it's like we're seeing what is inside of us. And in some ways I think there is that kind
of a concept of as above so below. Within the flame of aphrodite dancing in the eyes.
There's a I forget his name, so I apologize, but Indian guru kind of not so ancient but fairly modern. He says, effectively, nothing happened, nothing has happened. Also in in martial arts, uh, and I like to correlate this with the four dimensions of geometry. In martial arts, you can deduce four sets of posturing and and four ways of moving.
Uh.
Stillness as a point, linear, a straight line, uh, circular hook kind of thing. If if we're just going with demonstration of forgive my crude demonstration of punching and spiraling energy, right, and the spiraling energy is considered to have three directions, uh and and those, excuse me, those are made those have the points, lines, planes, and solid correspondence with the geometry, the four dimensions of geometry. But the spiral movement, the spiral flow is noted to be kind of the highest.
Not that it's maybe the perfect choice all the time, but what happens is you in a spiral energy, you're inputting force in three directions and that is that overwhelms the human system. Ninety percent of the time. Ninety percent of people can't withstand the forces coming at them in three directions in that spiral thing. So forgive my crudeness of being the martial arts correspondence, but I think it's so basic that it's neat Well.
I think the martial arts correspondence is a good one because that kind of gets into the Fibonacci sequence. So you're talking about one step plus one half step, and if you're thinking about that in terms of music, you can easily see how that would completely go along with the monochord. And then you've got the different threats being spaced the way they are because every time you're moving that half step up, you're changing the octave, you're changing
the note being produced. So there's a large crossover between these ideas that is translated directly into music using that Fibonacci sequence, because that is the ratio by which these different notes are then formed. Now, if you're to take the the pentagram, the pentagram is a perfect version of that Fibonacci sequence. So you've got the if the two long legs right, one of those long legs bisected would give you the next figure in that Fibonacci sequence, and
then you would bisect it again and bisected again. Everywhere these lines are bisecting one another, you get another segment in that Fibonacci sequence. So this is one of the reasons why it was such a popular figure geometric figure for the I'll help me out the guy who developed algebra. You know, a square plus b b squared equals c square,
which is pag Fagoras. Yes, Pythagoras always looked at the pentagram as being one of the highest geometric forms, and that was actually one of the ways that they would signal each other is with the pentagram. So when you would have signs like let no man ignorant, ignorant of geometry enter here, which would be at the academic level,
you had to know Pythagoras inside and out. You had to know these different sequences so that you could then make these educated correspondences with the maga mathematics and the geometry, so that your your words and your your actions could then become in harmony. Right, So having that basic idea of geometry would bring your life into harmony because you could see how one action should be in proper proportion to another.
I do find that interesting. Somebody said that looks like what the treble cliff is something I can't remember what I saw it before with it does look a lot like something I've seen in music notes on back in the day when I was a kid and actually knew how to read music, remember there was something that looks like that.
It does have that treble type quality to it. And you know, if you're talking about ways of learning, you would have the ancient ways of learning was the trivium and the quadrivium. So you've got grammar, logic, and rhetoric, and then you've got music, astronomy, arithmetic, geometry, and then
there was one more. I forget the last one, but anyways, Yeah, the agent ways of learning had the sevenfold path, right, which was the most basic, which would be the threefold path, which would be the trivium, which means the three roads,
and then the quadrivium would be the four roads. And I think when you're talking about combining the four and the three, you've created this figure of a seven that is repeated over and over and over again throughout all of nature, throughout all of the ratios required for music. The seven and then the extra step of the eight creates the octave. Right, so you see the.
Fourth part of the quadrivium is indeed sound itself or music.
I think I started with that, Yeah, okay.
If I may add on to the seven idea, actually and more specific the four and the three. The own symbol is has the main four parts, A, U, M, and silence, but it's also noted to have in in between each of those are are the intersections or the you know, going the place where you're going from one and to the other. So it's very much like the human hand. You have the three spaces in between the
four parts, the transitional zones if you will. Of the ohm has that seven in it, and the sound of silence is considered a very important thing right.
When you When you have less physically obsessed cultures, negative space becomes a lot more important in their everyday lives. So they're looking at the negative of space between things
and understanding the connection between these ideas. And if you can think about that, you start to see there's so much going on between the things that we think are important that it makes those things that we think are important a lot less important, And that kind of goes into numerology too, because when you understand all of these different numerological relationships between each other, you can understand how things are going to play out a little bit better.
I think now those numbers again, in terms of Pythagoras, he believed that the base quality of everything was number, and number would be its own thing because it has its own form that is perfect. You cannot mess with numbers, You cannot chisel with numbers. He believed that there was some sort of a base quality to number that humans could mess with and nature could mess with. It just
was and it existed in kind of a perfection. And you know, obviously that was taken to another degree when it comes to Plato and the Platonic solids and the idea of geometry being this world of forms, right forms without substance, and you get that with the golden ratio as well. That golden ratio exists over and over and over again, and yet you can never touch the golden ratio. It's not something you invented. It's something there, but it's
also not there. You know, these ratios and these proportions and numbers represent the kind of blueprint that we live in, and that blueprint has a lot more to do with our mindset and the way that we see the world than we really even fully understand. These numbers all exist in ratios to one another, and it gives you a more clear picture of how these things are relating.
The circle base is very reminiscent of what we know now is the Yin yang symbol and really looks like exactly like more primordial versions of it.
Well, you can see the lines coming down and touching that bottom isometric figure, and it's sort of being, you know, shown on a different scale on the top version, so you're looking straight down at this spiral, and then the other version you're looking at it on the side, So it's an isometric sort of thing. But yeah, you get the golden ratio in there, and you certainly feel the connection between the yin Yang and the golden ratio if basically you split the golden ratio in half and then
blended those those two together. So yeah, oh yeah, Da Vinci's helicopter is like a screw.
Yeah, trying to look it up.
Da Vinci also invented the screw for bringing water uphill as well. It's kind of a screw pipe that like a pump almost that'll move water uphill as well.
Da Vinci worked a lot in spirals.
Absolutely, it's not just our generation that is totally obsessed with spirals and the Golden ratio and FI and all the rest of these concepts. I can tell you anytime I run across another occultist, they're they're straight into that mindset, trying to figure out FI, trying to figure out the golden ratio, trying to figure out the Fibonacci sequence and how it applies and where it goes, what it's doing. And the Fibonacci sequence is sort of like this sort
of material coding. It codes material. This is the most efficient way that material can be coated, not in squares, not in boxes, but in a much more naturalistic way that creates these spirals.
One more thing of correspondence and interest in mathematical significance. I believe it was this guy named Jane as in the Janists, and he's from Australia. He found a twenty four digit sequence in the Fibonacci sequence. Where you add up every twenty four digits, it breaks down to one oh eight.
Wait again, I found that if you take three, multiply it by four multiply it by seven, and then multiply it by seven or twelve you get one thousand and eight, which would be the atomic weight of hydrogen. So, if you're going to go from the per Pythagoras perspective, before you reach matter, you have to have these certain sequences of number that come together and vibrate at a certain frequency, and that vibration then creates what we think of as matter itself.
This makes me think of another thing that I mean, it's a little bit abstract, but there is the notion of the sacred geometry being generational and the word being generational or generative, and then there is a very neat word that has this kind of idea that corresponds with the tetragrammaton, which is the word of creation and God,
and the tetragrammaton. The way it's sometimes laid out is with the tetractyx, which is kind of the Greek version of the tetragrammaton, and it has a number of points in this triangular almost pyramidal, flat surface, triangular depiction of one at the top, two at the next level, then three, and then four, and that kind of has this geometry aspect again again, the point the two point for the line, three point for the plane, and four points for the
minimal number of points needed for a solid. And in the Bible there's a neat word that's used often enough. Certainly wasn't Hebrew more Greek influenced, and there's an old blessing, so maybe it is a Hebrew word or has Hebrew roots, But the word is a countenance. May the countenance of God look upon you and you be able to really do what you want. And for the numerous numerologists out there, the word countenance, if you look at an a dictionary,
it's the face, the facial attitude of a person. We might use it as in conversation, but the etymological roots of it are literally count ten inse I found that fascinating. So the whole face of God with the ten points and the geometry, and there it is in that word that made the countenance. And so it's just this numerological, geometrical root at the end of it.
Right. Well, in the Bible too, you've got Ezekiel ten fourteen and twenty two describes a living creature with four faces, the face of an angel, a human, a lion, and an eagle. And if you go to any Catholic church, you'll find that that fourfold angel somewhere in the motifs in that Catholic church. And if you go back to the Greek version, the the orphic egg is supposed to erupt, right.
The orphic egg has a serpent that wraps around it seven times, right, and then once it erupts, you've got that same kind of fourfold angel, which then becomes the twelve signs of the zodiac. And then you've got all of that stuff sort of packed in there. But you know, Ezekiel kind of has that too, so you definitely have a continuity between finest protogonos, the being inside of this orphic egg erupting out and creating all things in the universe,
a very you know, big bangy type creature. And then you know, in the Christian version it's this fourfold foreheaded angel, and you know, you can ask about that four headed angel and they'll just be like, it's a mystery, so they don't really want to talk about it. I think that the writers of the Bible knew a little bit more about this then they were letting go.
Yeah, if you go back into some of the rabbinical writings, there are stories of those four beings. Essentially, they were these forces that were put at the four corners of the four Watchtowers of reality that basically, like you were talking about, takes four to make a plane in regard to the creation of physical matter itself, and they were basically the guardians of the towers to keep cortison or that, you know, the generative chaos out of the plane of created matter.
Right. So the four sorry, well, the four watch towers were very important from the ancient perspective of having this dome of sky over top of us. So at some point you're gonna we're gonna hit that dome of sky, and that would be representative of these four watch towers
at the very edge corners of the universe. And so from what's beyond that, you want to have something powerful protecting this little bubble that we're living in from these ancient you know, horrific beasts and deities that live on the outside of known reality, which is very psychological too if you think about it, like we also live in our own perspective bubbles, and we put out these guardians to keep us from you know, having that unfiltered reality experience.
So yeah, I think, I think we can move on from this one, and I think I've got a couple of oh yeah, yeah. So here we're seeing how the eighty eight keys existed harmony with one another.
I like that.
From eighty eight back to Mercury, back to Mercury.
And again, if we're talking about that sound, sound travels through everything, Everything has a resonant frequency. What better idea than having that mercurial consciousness being able to transcend all borders using vibration. Since everything's made out of vibrating numbers, why not, Why wouldn't it be this vibration between all things. You know, even within this they're trying to give you the idea of the colors of the rainbow being associated
with all of these different octaves as well. And so there is this definite, almost concrete crossover between light and sound that really can't be underplayed because I think it's within that crossover between light and sound that we find all of reality.
And I find it interesting when you look at Pythagoras, and I've seen some tales that talk about he could he could physically hear the singing of all the planets, which inspired him to basically come up with the chord
structured system. That was very much, you know, in line with the song of Osiris as far as the but all of those sounds that create the chord structure came from the different planets in regard to so when you start to look at the colors of the planets and how those relate to the Tree of Life, and how those relate to the platonic solids, and how those relate to the chart you showed in the beginning with Walter Russell and the various elements and how they nest into
one another. All of these things cohesively are within the structured system.
Right And you know, we can we can focus on the positive space, which would be the emergence of these elements, or we could look at the negative space, which would be the ratio of numbers to one another to create
the blueprint of all this stuff coming into existence. And far too often I think we're focused on that positive space, the matter itself, instead of thinking about how we can connect to the idea of how that matter could possibly come into existence using this sort of framework of light and sound.
This is so powerful and inspiring to me.
What I had planned to say.
I thought might be remotely inspiring to others. After what you've said, headless, I'm certain of it, and I swear you, guys and everyone, we didn't talk about what we're going to say together, it almost would appear so one little thing to just build on what you're saying headless. Here there is in tai Chi practice an expression. I couldn't find its root the expression, but I found some high
quality related ideas in the Eastern mind. But in tai Chi practice, we'll say, here with your eyes, and see with your ears, and it's very much just a way to switch the brain into being a little bit more sensitive. But this also is depicted in I Love the dar Devil idea right, and many other storylines where the death or blind has their sensory capabilities enhanced because they have to, because it has to write.
But they find.
Ways that they can really see with their ears and here with their eyes.
The whales do.
It too, and and we can do it too. The whales, I forget which ones, but the ones that click well, they send out an audio burst to figure out what's going on around them, possibly for hundreds of miles maybe more, and so they're kind of hearing how their sound interacts and and so the I think it's a really inspiring idea, just a little bit of a mind switch to here with their eyes and see with our ears. And it's related to Confucius ideas, and even beyond that, I believe.
Let me find these quotes real quick. Excuse me. There's there's a body Dharma quote, and there's a Confucius quote. I apologize.
I think that's a really good point though, because it's in the separation of light and sound that our entire world exists. Once you and on a back together, you've got something else, you've got something.
Yeah, yeah, it really just that thought for me has has really enhanced my sensitivity to my surroundings, if you will. And then putting it into practice, certainly the body Dharma quote I was looking for, to your pointless, seeing forms with your eyes, hearing sounds with your ears, smelling odors with your nose, tasting flavors with your tongue, every movement or state is all in your mind. And that kind of goes to the four Wise Monkeys, which has this
kind of sensory aspect to it too. And there is also a Confucious statement that I believe relates to the Wise Monkeys, and it has the word propriety, and I think propriety means kind of cultural influence, cultural controllers, cultural manure that we get kind of caught up into doing a response from things that we've excuse me, a reaction probably from things that we've heard, rather than a thoughtful response. And the quote is look not at what is contrary
to propriety. Listen not to what is contrary to propriety, speak not what is contrary to propriety. Make no movement which is contrary to propriety. So you kind of have this four aspects going on there, and he in in that in that sentiment, he's very much supportive of the cultural dynamic and the the big state. But but I think if it's if it's natural, yeah we probably should be. If it's perverted, then well we should we should uh
you know, flip that on its head. But the fact that they point to those four kind of aspects of input and output is is uh is an interest there. So yeah, that that sentiment I think is a really powerful one, especially with what you just we're talking about headless.
Right, it would be uh, it would be the union of these uh seemingly separate things that we can, right, and so people are mentioning synesthesia. From what I've studied is some synesthetic people will have different associations when it comes to sound and light because they're seeing, uh, they're seeing sounds and they're they're hearing you know, uh, the
the light, right, and so they'll have different associations. But those associations that they make are still powerful and still actually give a lot more insight than what is normally given off by just the sound and light. So the cinis sthetic people have the idea that numbers have a certain color to them and that these these you know, I guess you would call them conceptual objects are flavored in some way, and that flavor is almost irreducible from
the concepts themselves. So things will take on a different quality to them. And it's almost like seeing beyond the veil, because there's a certain aspect or quality that all things have that should be more deeply considered when it comes to interacting with the different signposts in our lives. You know, I mean, what do these numbers mean? What do these sounds mean? Is there a deeper meaning that I'm not seeing right now? Is that keeping me in a pattern that is helpful or harmful to me.
And I do want to say when you look at this chart in regard to how the keys break down and nest within one another, Like we were talking about before with the periodic table of elements, it's essentially created a toward field where you're seeing its spinning in and collapsing and expanding upon itself, as well as also creating a sort of a tree of life with the branches above and the roots below right.
So essentially, if you can imagine these figures rotate around one another and also creating a spiral with the different notes that are produced, you definitely get that toroidal field right. And that toroidal field of sound also goes right along with the torotal fields produced by electromagnetic energy, because all the electromagnets and all magnetism in general goes along with
that toroidal field. And with the toroidal field of magnetic energy, you also start to come up against Ken Wheeler's concept of the plane of inertia, and it's within the plane of inertia that all life on the planet has the most sway or the most ability to grow and regenerate. But I mean that's Walter Russell's plan right.
There, right there. Yeah, if you flip it on its side, for sure, right and.
So well, I'm just saying like within the rotation and the movement of light and sound, you get magnetism. And there's that crossover again. You know, once you've once you've sort of taken a step back from the material world, and you see how the the blueprints that go into the material world are rotating around each other and creating that energy that brings the material world into form. You could start to have a better connection to the material world.
And if you go back now to the Greek there is the goddess Calliope that is all about the spiraling wave form of the sounds, the calliope of sound as it spins around you. You know, when you're in a setting of you know, large amounts of music, an ambiance and the you know, the calliope itself.
And it's so funny that calliope got transferred over into those organ shows and the you know, traveling kind of a circus idea because it's the muse is all about getting your attention, and she's the muse of music, and so it's all about getting your attention and inspiring, bringing you into a trance. That whole concept is all sort of wrapped up and in the people trying to get your attention. You know, I'm making this harmony so that now I can grab your attention.
And see said, well it looks like moon Goddess, isn't there ms? Right?
But yeah, whenever I'm out at a festival, I always think about calliope, just because the sound is it's it's wrapping around you, it's penetrating, vibrating through you, you know, moving you essentially, you.
Know, right, none of this stuff is two dimensional. Every time you're encountering sound, it is within a three dimensional space. And that three dimensional space is changing the quality of the air around you. And you can change the quality of the air around you to such a significant level that I can could start to rend that veil a little bit, get behind this sort of holographic existence, right.
And I've even heard it was with Ousley who used to cook the acid for the Grateful Dead. When they were building the wall of sound they were there was discussions about the idea that they were going to layer frequency on top of frequency on top of frequency in order to try to affect people's sensibilities and their emotions.
You know, I would not trust the Grateful Dead with that. Those guys were sick bastards. I don't know if you've ever listened to Oh what's his name, he's like one of the og conspiracy podcasters. He came out with the list of all of the corporate logos and how they all have deeper meanings.
Yeah, there was a few between Freeman and who is the other guy? They both did the corporate logos around the same time, and they were arguing with each other, like you stole my so yeah. Yeah, but Freeman was one of them, and then there was the other. One was the Irish author. I wish I've gone through so many of his writings it'll come to me. But yeah, he has some great stuff as well.
Right well, Freeman was talking about how they the Grateful Dad would play at these private events inside of Masodic Tempasonic.
They still do, yeah, and they recently.
They just do it so that they can freak out their fans. It's like, how sick do you have to be if you're messing with your your own fans, I mean, leave them alone?
Yeah, the Dead, I mean, when you get into the whole Masonic velocity and everything they have. One of they have an old song that wasn't released on any of the albums called Mason's Children, and it talks. It's got a kind of a hire Emabyeth kind of story wrapped in it, you know, right, there's something weird about how the Masons treat the profane that just really turns me off to ever being.
Involved with that organization. It's like they think, you know, it's the whole Enlightenment elitist ideal. It's like, well, we can do whatever we want to them because they're profane. They don't really matter. It's just gross. Well, I think there's one more left.
Oh yeah, I don't know why. I feel like I'm looking at some sort of like art that I've seen on the.
Tower card or something the tower, yeah.
Or like some kind of like feminine thing between I don't know.
When it was not flipped.
When it was not flipped, I could see the Jester the Jester hats, like it's like this middle of the circle in the big circle.
If that's like the head you have, like the Gester.
There's a whole lot in here. I think, I don't know.
Yeah, well, what they're showing there is the different harmonies, so which note goes along with which other note and then those create their own resonances. So I wanted to end with this quote by Nikola Tesla and talk about the the secrets of the universe are energy, frequency, and vibration.
He's not talking about material things. He's talking about the blueprints for all the material stuff, and that is how you really should be thinking, because it's within those blueprints that you can then make a better plan for yourself and knowing how you relate with all of it. So I got a lot of these from one of my favorite dudes on Twitter. His name is Welcome to the ABYSS three six'. NINE i encourage everybody watching this to
go give him a follow THE abyss three sixty. Nine he's working on projects having to do with pyramidal energy and how the pyramids are used to create water and all sorts of cool. Stuff if you follow, HIM i guarantee it you will appreciate. It, Also Simatic. Jewel if you're not Following Simatic, jewel definitely give her a. Follow she's always doing experiments with cimatics and how to figure
these things out and. SIMATICS i didn't really get into it too, much but what they've done with cimatics in the past ten years or so is really. Interesting what they'll do is they'll take a speaker and a microphone
and they'll go inside a completely empty. Cathedral they'll put that microphone straight up to the, speaker and within the feedback, loop you'll get simatic sort of figures out of the water that's associated with or that's close to that, speaker and the resonant frequency inside of the cathedrals will be reflected in the simatics of that water on top of the.
Speaker so as you're creating that feedback loop of just. Emptiness, again it's that it's that base, layer it's that complete negative space that's creating a resonant frequency that then can be seen in different parts of the. Structure because each and every one of those cathedrals are built in proportion to one, another so they have the same type of ratios that a lot of well that's what music is made, Of so you can think about those cathedrals as being crystallized. Music and when you get.
Into folconelli and the mysteries of the, cathedrals it specifically gets into the ideas of these ancient symbols being, incorporated but also the ancient mysticism and the.
Sound and.
Frequency and when you look at the stained glass and a lot of the, cathedrals which we can't even, recreate a lot of those colors that those alchemists at the time, were you, know making for those stained. Glass you can actually take those stained glass and directly find the ceimatic frequencies that match them.
Absolutely and it's so interesting how they would be able to figure that stuff. Out AND i think a lot of this stuff came from. Visions it came from people who were able to quiet their minds to the level of being able to put this stuff together on a subconscious. Level and THAT i think that should be one of the, goals is to be able to find the flow within nature to such a degree that it starts to build itself in your. Mind and having that ability to have
your imagination build. Itself that's almost priceless because it then connects to every other part of the piece of the universe in. Harmony that goes back to that frequency and vibration, again.
And what you were saying earlier in regard to make no move that's outside of the natural, waveform or function of the manifestation itself as.
Well very important when it comes to martial. Arts if you're trying to redirect your opponent's, energy you have to work with that. Energy you have to be in harmony with all of.
It did you have anything you wanted to?
Add, yeah, well one thing that's like funny with that energy frequency. Vibration it was just like talking to The jamatria gods a long time, ago AND i just was.
Like what's the best thing you could?
Say SO i type in the best thing you could? Say and that matches with the phrase energy frequency. Vibration and, yeah so it's, like, okay lesson learned.
That's the Bluebritt.
Well and it's also what is it The volkswagen. Symbol i've seen some diagrams that that is actually in accordance with the function of the, three the, six and the nine as far as waveform you know.
Function, yeah.
Right i've seen some people try to DEBUNK tesla math, saying, oh you, know that's just because they're using the base ten, system but they don't apply it to music because you can have different base level notes that aren't inside of the base octave, movement, Right so there can be other ways of tuning the, instruments but you're still going to have the same ratio. Development and that's WHAT i think you're seeing with that three six nine, figure is the ratio.
Development you're not necessarily focused on the numbers themselves or the you, know the mathematic points on a on a. Line what you're doing is you're highlighting the, relationship and that relationship doesn't change too much based off of changing the base number numbering system that you're. Using so when they're trying to debunk, it they end up coming back with another figure which is very, similar maybe slightly different in some ways from that three sixty nine ratio that you're,
seeing but it still has to do with the. Ratio so when when you're talking about mathematics and all the rest of this, stuff you've got to keep in mind the most important part is the relationship between the, numbers not just the numbers.
Themselves SO i was going to, say GOING i do a lot of music events and stuff for the past like thirty plus, years AND i think that my favorite instruments are the instruments that lied up and down the
scale and hit the points in between that aren't within the. Chord, structure like the dobro or like, this you, know steel pedal, guitar or like the, trombone some of these things that can kind of hit those vibrational frequencies that are within the normal chord, structure just in regard to frequency you don't get normally just through listening to regular, music.
Right AND i think that's so important when you're talking about arcade music, too because we're not exactly sure how to play some of the instruments from Ancient egypt because they were working on a different based numbering. Structure that then becomes difficult for us to understand because we've got our own base. Numbers and you, know this was a problem with a lot Of greek music as well because
they didn't have the. Notation but if you add up all of the other things that you, have all the other metadata about, it you can easily fill in the. Gaps the problem is is who's actually out there. Translating you, know we will find this.
Stuff and when you get into music theory itself as a, whole you, know you have The american chord structure that's based on the four and the eight or the twelve. Count but if you get into Like hindu music. Theory they break it, down some of their progressions will go into the, thousands and they have much, larger much more open musical function and structure than The western, world.
Right and it's all about that. Ratio it's the ratio that binds all these different music theories together.
All right on the on the based like base ten and base, twelve kind of thing you can apply at like music would be base twelve because you have twelve tones in each. Octave so but you can apply the base ten and count your notes, upwards so like your your twelve note would actually be three because it'd be one plus, two so you're keeping it as you're like one to. Nine And Sebastian bach was known for doing, this, yeah and applying applying numerology to the way his music, was.
And how he would write forward for a long progressive period of time and then flip it around backwards and go through the exact same thing. Backward he was doing all kinds of musical. Trickery, yeah some really great.
Stuff and in my oh, SORRY i was in in my experience with like, that THE i called it musical. NUMEROLOGY i said that used to be the name of one of my. Accounts BUT i found like when you would apply the numerology and say you're like, going say you're taking that that sound of the number one and you're moving it to the next octave up or. Whatever like the WAY i could describe it that that numerical valued note that's equal is, like that's what that a
one would have sounded like in a higher. OCTAVE i don't know IF i IF i can explain, that but it's like it would have the same vibe like when it fully did, It like all the one notes would have the same, vibe all the two notes would have the same.
Vibe it was a very, cool cool.
Thing, well and then there is, also like we were talking about, earlier when you're playing one song over itself, exactly you start to get that phase shifting of the. Sounds, yeah but there's also a phenomena where if you create one note here and one note, here as they resonate in the, middle it will actually create a higher chord within the resonant tone and frequency of its own natural.
Progression, awesome. Awesome one other THING i would add to that's.
FUN i was WHEN i was on like this path
of this musical numerology and all these. THINGS i started looking into patents about like understanding, music but also then like it was like astrology and numerology and spiritual kind of patents and the one THAT i was reading on in order to get your astrology, patented if you like kind of create a new, one you have to still align it to twelve, notes and those twelve, notes they have to run it over like thousands of songs and if and if it matches enough with whatever system they,
have then then you get the.
Past you can get the patent for your type of.
Astrology so there's so like astrology and music are very.
Much, connected and there's like a.
History that they are a mystery that they.
Know but it's like if you can prove, it you can get astrology.
Patents that's. COOL i didn't know about. That thank, YOU, ti.
Sir ANYBODY i got anything else they want to add, that we could probably wrap it.
UP i, guess, YEAH i think that's a good good.
Spot, yeah, no thank, you thank. You that was an awesome, presentation real thank. You it's a really good discussion AND i appreciate, everybody everybody coming. ON i Guess i'll wrap it up headless let everybody know where they can find your stuff as.
Well you can find me On i've got a. Cat she likes me and oh, CATS i, mean come, on, man we're all about you, know with the purring something.
Else there's there's actually a thing where the cat will vibrate at a certain resonant frequency that will help, you uh into meditative.
States very.
Nice, Yeah i've heard of. That, yeah well like helps lower your blood pressure right or something like.
That, yeah, yeah.
Something interesting with, That. Ethan let everybody know where they can find your stuff. At.
Please Oh i'm on all the usual social media And. AMAZON i have some books and always willing to communicate with anyone that reaches out an honor to be here. Headless that was awesome presentation.
Everyone, yeah that was that was.
Fun that was really. Interesting robbie marks D.
Og, yeah you can just find all my, stuff my, art my miscellaneous, podcast the mid Of mind cast at my link, tree which is OUR M a R x and that'll pull everything.
Up, listen thank you very much and back to, you. Teach where can they find you if you want to plug any of your social media.
And, Stuff, uh it'll be at contemporary problems most likely with an underscore as. Well, Yeah Link Tree Contemporary Problems, underscore you'll find all kinds of things that do podcasting and all kinds of random.
Things, yes, yes you do Have, ay that's. Right you should promote your podcast more. Often you do have one what's the name of it? Again? Problem it is right, now that's WHY i thought it. Was, yeah but, yeah just making sure because like you really don't ever really mention your. Podcast, YEAH i.
Know well it's LIKE i do plug it, stuff but IT'S i don't know if the struggle is real on like the internet and, stuff like you post anything original and it's just like two hundred views And i'm, like can't, hey, Guys i'm out, here turns into an echo chamber pretty.
Quick, yeah, YEAH i don't. Know it's just you, know, yeah go check out his stuff as. Well and thank you everybody for coming on Again. Headless thank you very much for bringing this topic to the. Show that was an, awesome awesome. Discussion that was really. Great that was good. Stuff and uh, yeah thank you for the chat everybody in the, chat. Man there was a lot of stuff
going on in. THERE i really appreciate. It there was a lot of a lot of stuff going, on and that's what's, up and that's WHY i tried to go. Live so, yeah if people are checking the, replay check out the, chat or at least try to check out the screen and see what the kind of the COMMENTS i threw up too as. Well there was some interesting discussions and comments in. There and that is the end of Another Occult rejects and until the next, one everybody be. Well later