Quatrefoil vs Vortex

Below is an old art history paper; it discusses the material and militaristic view of space travel versus the spiritual, consciousness expanding space travel through the vortex symbol and the quatrefoil symbol.

figure 1
Artist: Paul Feeley
Subgenre: Sculpture and paintings
Media: wood and paint
Date: 1960s

figure 2
Artist: Janet Echelman
Subgenre: Sculpture
Media: Poles: 105 feet, 125 feet and 145 feet tall Rings: Outer: 100 feet wide; Inner: 30 feet wide Cable: 1 ¾ -inch cable; 1-inch cable Net Dimensions: 100 feet wide at the top – 15 feet wide at the bottom The lowest part of the net hangs 38 feet above the ground. The highest rises to about 100 feet. Wind Load: designed to withstand summer monsoon winds.
Date: 2009

For my design comparisons I chose sculpture by 1960s’ artist Paul Feeley and contemporary sculpture artist Janet Echelman. I had chosen Echelman’s piece first because the exquisite use of light and color, shape and form really struck a chord with me. I am personally attracted to color and shape as they are often used in symbols and signs… for me, color and form in sculpture is like a really large 3dimensional symbol. The sculptures take on a symbol of their own. For some reason, the 1960s really came to mind when I saw Echelman’s sculpture. I then googled for an artist that resembled Echelman’s pieces and fell upon Paul Feeley. Unfortunately there is not a lot on Paul Feeley. The same symbolic appeal that Echelman uses in her works are mimicked in Feeley’s childlike wooden sculptures.  Echelman’s is almost like a sophisticated contemporary version of Feeley’s sculptures.
Feeley appears to be more of a painter than a sculpturer. He’s taken simple shapes and elaborated them using repetition and distortion to the original form. However, the way Feeley uses shape and color in his sculptures and especially his paintings create a subliminal affect of being symbols. His paintings are not symbolic, they are, rather more like patterns… but even then they are not exactly like a tile pattern. Sometimes a form is repeated through out his paintings, sometimes it is just in a certain location in his paintings. He works a lot with the Gestalt Theory and its’ Law of Figure-ground. Echelman also works with the Law of Figure-ground whether it was intentional or not.

In figure 1, remind me of a particular symbol and sign that is often used in religious architecture is the quatrefoil.  This quatrefoil has a lot of significant esoteric influence on religious architecture. Perhaps Feeley was influenced by such a shape that he felt compelled to sculpt. And while we may never know that Feeley was inspired by the quatrefoil we do know quite a bit about the religious and esoteric influence the quatrefoil has. A blog I follow called, “Reconciliation of Science and Religion” uses art, symbols and signs as a foothold to deliver and reveal many esoteric secretes that were once taught in the ancient mystery schools but have been eliminated from “modern” consciousness. In ancient history the mystics where known as the priest-scientists who devised and developed systems and languages of symbols and signs to preserve knowledge. Mystics preserved ancient knowledge through paintings and cosmologies that often times conveyed scientific meaning through a complex system of mythological themes, symbols, storylines, and words. This method has long been lost to humanity because of the so-called Enlightenment era,

[The] Enlightenment was a desire for human affairs to be guided by rationality rather than by faith, superstition, or revelation; a belief in the power of human reason to change society and liberate the individual from the restraints of custom or arbitrary authority; all backed up by a world view increasingly validated by science rather than by religion or tradition. (Dorinda Outram, historian)

On the blog, “Reconciliation of Science and Religion” the author, known as “Raphael” writes about the constant associations each symbol has to each other and is determined to prove Einstein’s “Theory of Everything”. Dr. Timothy Leary, a professor at Harvard University during the 1960s who was fired due to his experiments with LSD and his belief that this drug was a positive stimulant that could be used for expanding awareness of subconscious structures and aspects of the world not perceived in a normal consciousness state, has propagated the quatrefoil sign as a symbol for the League for Spiritual Discovery, or LSD.  Raphael writes,

ASYMMETRY is KEY, and it is easy to prove the ancients were aware of asymmetry. Yes they were AWARE, and we are rather ignorant of this fact, that they were more aware of asymmetry than we appear to be. It seems we have been focused on SYMMETRY far too much, far too long…probably because symmetry implies perfection, and perfection is ‘god’.

It is illustrated that a quatrefoil is produced when inverting a swastika, a sign that is known for being symmetrical in nature. According to the mystic Hindus the swastika was

originally developed to explain the nature of duality; clockwise represents the physical and counterclockwise represents the spiritual. Now it seems that the inversion of a swastika represents subconscious, inter-dimensional expansion, etc and in the version represents the grounding and a conscious state… of being present. From the student-produced magazine, Knowledge of Reality they write,

The electron’s high probability zone formed spiral standing waves around the carbon atom’s nucleus. When this configuration was viewed from certain angles the physicist was surprised to find that the spirals formed recognizable symbols. In the first view a 3–dimensional Aumkara could be seen. From a different angle that Aumkara became a flat, 2-dimensional Swastika. The Swastika, he concluded, was actually 2-D representation of the 3-D aumkara.

What both sculptures have in common is their symbolic associations. According to Raphael’s writing and findings, the quatrefoil represents finding the reality and natural existence of different dimensions in plain view (LSD, consciousness expansion, etc) and then in Echelman’s piece, which visually depicts a vortex, or a kind of inverted wormhole; a technological concept that is used in science-fiction as a means of intergalactic and dimensional travel. One, the quatrefoil, is a rather spiritual version of intergalactic and dimensional travel and the other, the vortex, is a superficial kind of concept for intergalactic and dimensional travel.

Solving E=mc2 ?

While thinking about the conversation I had lately about the manifest world being an interference and that spirals are expressions of intersections of light, I thought about Einsteins’ equation… and remembered that not too long ago I applied the golden mean, 1.61 to Einsteins’ E=MC2… I think I may be getting somewhere with all this physics stuff and think that conventional physics is extremely wrong in some things… but then I realized I already came to this conclusion last March when I wrote my “Traveling Faster than the Speed of Light” post.

E = 12.0107 (amu of carbon) x 2.61803399 (golden mean squared, c2).

E= 31.4444

If we move the decimal point over, it would be E=3.14 and that would be Pi; or the intersection of linear and non-linear reality!

So Carbon would travel 3.14 miles per second*. 

E= 15.9994 (amu of oxygen) x 2.61803399 (golden mean squared, c2).

E= 41.8869 or E=4.1886  … oxygen would travel 4.18 miles per second. 

* this means that it would travel 3.14 miles each second

 Silver would travel…

E= 107.8682 amu (amu of silver) x 2.61803399 (golden mean squared, c2).

E= 282.4026 … E=28.2402 miles per second

According to this treatise… Pi (3.14) is the intersection of linear and non-linear reality. This would also correspond to the idea that spirals are expressions of intersections of light. If carbon is a fundamental element of the manifest world, it could perhaps speed up or slow down light helping to create the interference. Pi creates a spiral, which is seen in nature… http://www.maa.org/mathland/mathtrek_09_02_02.html

E= 1.00794 (amu of Hydrogen) x 2.61803399 (golden mean squared, c2).
E= 2.6388 / 10
E= 0.2638

Hydrogen would travel 0.2638 miles per second

If we wanted to find how fast water traveled, it would travel 4.7162 m/s. ( Hydrogen + Hydrogen + Oxygen)

0.2638 + 0.2638 + 4.1886 = 4.7162 miles per second

The Manifest world is an Interference.

I have one — er, colleague — that I theorize with on occasion because we both study light, sound and form in a similar fashion. For me, its a bit more formal, but she is interested in light, sound and form as well in the same view. We’re often theorizing about ideas and old hypotheses in hopes of retrieving some kind of truth, whatever it may be.

Last night, while procrastinating packing my dorm room up, I ran across an alternative science database that I haven’t found before and this article. The article focused on the age-old idea that the earth is flat. I have had written ideas before suggesting that the earth/universe could indeed be flat: Holographic Reality and the World is Flat and the Universe is Flat. Apparently there are a few people out there that still believe that the world is flat. 

We got into an interesting discussion about the possibility of the Earth being flat and how it could possibly function as a flat surface.

I posted this link onto my colleague’s facebook wall and the conversation began like this:

She commented jokingly, “All photographs of Earth from space are taken with FISH EYE LENSES to TRICK US!!!” 

In all seriousness, I then asked, “No, seriously have you thought about it though?

She responded, “About a flat Earth? Not with my understanding of physics, which may or may not be faulty. But the Sun is visibly spherical, the moon is spherical, and the planets I’ve seen through a telescope also have the same light shading as a sphere rather than a disc. I wouldn’t consider the Earth to be a special case.

Expanding Earth, that I’ve considered.

But isn’t there always a dual option though in this world? What’s the opposite of spherical? Flat. If everything is an illusion in this manifest world, things that would appear flat, would be spherical and vice versa, theoretically,” I insisted.

She then replied, “I don’t really believe the world operates on duality as much as a refracted spectrum of plurality. We could divide numbers as even or odds, but we could also differentiate by multiples of three or fives. I feel it has much more to do with perspective than duality. All illusions are equally false.

And then added, “Can we count a Mobius strip as being flat?

It looks like its technically a spiral, so yes,” I answered.

Continuing, she said, “I don’t know if there’s physical evidence to support this, but I still think of the universe as expanding from a central point and collapsing back into itself when its expansion is no longer enough to overcome its gravity.

Yes. I’ve seen that in Tibetan art,” I said confidently. 

Then I asked, “what if our eyes are natural fish eye lenses?

She answered, “That’s still assuming physical matter is actual rather than perceptual. But we could also be light, shining onto inert information and perceiving it as experience…

I then asked, “Light shining upon light equals what?   

Experience,” she said simply.

Then she added, “We could equate light with attention, as we equate darkness with the unseen. There has to be an interaction of some sort for there to be anything to experience.”   

A world between worlds,” I said.
 Then she asked, “If we perceive no opposition, interference, interaction, can we perceive otherness or plurality?

Are we built to do that? I don’t think so, if we could, there would be no division,” I responded.

Light absorption,” I then added.

 “That would be the point where illusion refracts as a distortion of reality. We can take a flat sheet of paper and pinch it somewhere, perceiving it as something other than paper, just because it has an apparent shape other than that which surrounds it. It’s still the same thing though,” she responded.

Exactly,” I said.

Then I added, “If we are beings of light, entering a world of light — a different kind of light — we would distort that reality because the present reality of who we are is already light … the distorted reality is the reality we perceive to be real, as in the world we exist in now.

Continuing, she said, “Holographic apparitions rather than solid, actually separate entities. Perhaps this is why dimensions intersect each other at 90 degree angles. It’s just us coming back on ourselves in new ways to experience multiplicity.

So particles are twists of space-time…  

Intersections of light. And! If absolute zero is no vibratory motion of any particle, it’s because there is no interaction. It would be uninterrupted flatness,” she added.

 “Ah ha! Flat,” I exclaimed.
Then she asked, “We can extend on forever uninterrupted, but projecting requires an other to bounce off of. 0D as a source?” She laughed.

Laughing with her, I responded, “0D would be light though, it has to be.

Thinking out loud, I said, but things can’t bounce off if there is no density to it…

It’s pretty awesome that we had the same thought train about interrupted light and projections,” she said.

Then she asked, “But what -is- light? Consciousness? Beingness? That Which Is or the attention thereof? We seemingly innately equate it with positivity. So that which we see is light and that which we refuse to attend to is dark? I feel like the metaphor works in a literal way, I’m just not sure how.

Oh shiny!!” I exclaimed.

Actually, I think “oh shiny” may be the answer to your question,” I added.

Pondering, she asked, “How does the light in a holograph work? Bounced off of a reflection?

What happens when physical light reflects off a metallic surface? It catches our attention, because we somehow can relate to it, for whatever reason,” I said.

Continuing, she said, “That is precisely why, as I’ve gotten older, I’ve become more interested in sparkly sorts of things. Every living thing flourishes with light, and many animals instinctively collect shinies.

Finishing the conversation, I said, “By the way… spirals as expressions of light intersecting with each other? perhaps why they appear -everywhere- in nature?

Tattwas – Sanskrit language of shapes and designs

My current inspiration is the Tattwas:

Tattwa are geometric images from India. they are  symbols  that can be used in mandala.  One of the most traditional symbol sets and one considered to have innate power to effect realization is by using  Tattwa. These simple geometric symbols can be used in  meditation.

 Tattwa is a Sanskrit word meaning energy. Tattwas are  five geometric symbols which represent the five universal energies.  Each Tattwas symbolizes unique energies with specific properties, potentials and frequencies. In varying combinations, these five energies make up the sum totality of everything in our physical and spiritual universe. These five basic symbols are combined to create symbols of many different kinds.
 The  tattwa symbols are the ovoid, the triangle, the half-moon, the circle, and the square. These definitions are minimal and in no way represent the totality of the symbol.  Source: http://pjentoft.com/on-Tattwa.html

These would make an interesting language. For example the Circle represents air, and we could have all words associated with the element of air. The prominent shape in the mandala would represent the main theme of what is being expressed. So if we are talking about miscommunication, we would probably have a large circle, in orange. As that is the complimentary color of blue (opposite). So a plain orange circle would mean no communication.

If we were talking about something about selling something like a house, the prominent shape would be yellow square it is represents Earth. Earth is all things materialistic. It would be paired with a smaller blue circle since blue circles represent thought and communication, etc.

They [the shapes] would be layered on top of each other above to create a geometrical story…

Shadow Divides

One of the twitter accounts I follow called, “Spacefuture” posts tweets about space and everything about it. They posted today this: http://robertlorayn.computersclub.org/universe.html it is a computer generated model of a cyclic universe. Using the idea of the big bang and the ever expanding vastness of the vacuum.

It got me thinking, it really did.

The page begins as a white screen. Think of this white screen as light, and all the things of this world are united within this glowing, white light.

Then suddenly shadow appears. Shadow is the dagger. It cuts and divides objects making them the 3-Dimensional things we know of today.  When the shadow begins and slowly expands, as seen in the model. Stars start to appear. Again this is because shadow divides.

Someone had commented on an earlier post about crop circles and they mentioned that they wondered why everything in this universe was constructed by a sphere. They are not spheres, but balls. Everything is a ball. There is a difference. Spheres are constructed by lines and points. Balls are constructed by the shadows that are created by light.

When you draw a ‘sphere’ or ball on a piece of paper, you don’t start drawing it with lines and points but with shadow and light. 
Just like how in the cyclic universe model, when the shadow begins to expand, it shows stars and stars are balls of light with shadow attached. 
And then just as how shadow expanded, at a certain time when the shadow has completely taken over, the cycle begins again and the shadow begins to retract and dissolve. Then what is left is a shadowless light in which everything and anything is connected to. 

So-called Angelic Script – light is the inspiration for script fonts?

There is an esoteric side to everything, no doubt. That is why I like this school of thought.

Some say script is just the effect of primitive writing. Calligraphy was just a primitive writing style and things developed after the printing press into the print penmanship we know of today.

But one must ask, what made us use flowing inky lines? What in our subconscious told us that flowing lines were easier than architectural letters?

Some say is has to do with the flow of energy and some say it is actually the manifestation of our thoughts (which is light with sound attached).

THE GRIDWORKERS #74 5th dimensional Arcturian lightships assisting in healing and activating the planetary grid system. Vanadinite.

THE SCIENCE OF MIRACLES #71 Original innocence shifts the body consciousness into experiencing more joy and reverence for all of creation; divine creativity. Rhodochrosite

DIE EGO, DIE #67 Aboriginal Dreamtime Accelerator This image organizes the true inner management principals of the mind while gently unraveling the ‘old’ Ego Structure. Your strategies will falter and fail as this accelerator brings all inner conflicts to a halt.

PERCEPTIONTATION #73 Aboriginal Dreamtime Accelerator Serendipitous reunion; a portal into an unexplored dimension now ready to be explored; eliminates prejudice of off-planet creational processes; Higher Self bridge for accessing information of & to the Self; assists one with objective witnessing & infinite perspective.

THE VRIL POWER #75 Activates all energy centers in the body; also called the Kundalini Energy, each individual’s personal power located at the base of the spine; liquid light acceleration fluid. Sugelite and Carnelian.

PILLARS OF HERCULES #5 Manifests divine intervention; calls forth the ‘Power of the Gods’; harmony and balance; strength and courage; support & empowerment.

THE TITAN #62 Seven ships united, bringing the program for rebalancing Earth; ancient shield of protection to impact the current morphogenetic field, allows transcendence of time and space for co-creation; redistributes commonalities throughout the grid.

ETERNAL LIGHT #35 Spark of creation; divine custodian; ignites a chain reaction of sustained light within the physical body; designed by the Progress Helpers and the Superangels.

The artist, Bryan Deflores says about his work:

The channeled art pieces/accelerators contained within these galleries are designed to trigger a dramatic reconfiguration of our consciousness; assisting us to return to our original blueprints of divine perfection and connection. Although many of these images are intense and highly complex, it is important to understand that their primary purpose is to connect you with the new thought fields currently merging with our planetary matrix. All image originals are drawn ‘by hand’ in a matter of minutes and are often created several at a time. To manifest these art pieces, I use Prismacolor pencils and/or gold and silver metallic markers on Canson drawing paper.

Depending on your view of channeling (I prefer the word ‘transmission’) these can have a very powerful effect spiritually but are also a good source of design inspiration.

Electron Diffraction Patterns


Structural investigation of stable quasicrystals
High-resolution transmission electron microscopy in combination with further electron microscopy techniques is employed for the structural characterisation of quasicrystalline alloys such als icosahedral and decagonal Al-Mn-Pd as well as decagonal Al-Co-Ni. These investigations are in collaboration with several research groups especially with Dr. R. Lück at the Max Planck Institute for Metals Research in Stuttgart, Germany, and Dr. S. Ritsch at the Institute for Materials Research of Tohoku University, Sendai, Japan.

isohedral quasicrystal found in Al-Mn Al-Mn-Si Al-Li-Cu * Al-Pd-Mn * Al-Cu-Fe Al-Mg-Zn
Zn-Mg-RE * (RE=La,Ce,Nd,Sm,Gd,Dy,Ho,Y) Ti-TM (TM=Fe, Mn, Co, Ni) Nb-Fe V-Ni-Si Pd-U-Si
picture from http://www.jcrystal.com/steffenweber/qc.html

Hello world.