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Evokation
 
 
Index
 

 

 

 

 

 

 

 

 

 

...

 

 

 

 

26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
9
-
-
-
-
5
6
-
-
-
1
-
-
-
-
6
-
8
+
=
43
4+3
=
7
=
7
=
7
-
-
-
-
-
-
-
-
8
9
-
-
-
-
14
15
-
-
-
19
-
-
-
-
24
-
26
+
=
115
1+1+5
=
7
=
7
=
7
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
-
-
1
2
3
4
-
-
7
8
9
-
2
3
4
5
-
7
-
+
=
83
8+3
=
11
1+1
2
=
2
-
1
2
3
4
5
6
7
-
-
10
11
12
13
-
-
16
17
18
-
20
21
22
23
-
25
-
+
=
236
2+3+6
=
11
1+1
2
=
2
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
+
=
351
3+5+1
=
9
=
9
=
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
+
=
126
1+2+6
=
9
=
9
=
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
+
=
1
occurs
x
3
=
3
=
3
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
+
=
2
occurs
x
3
=
6
=
6
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
+
=
3
occurs
x
3
=
9
=
9
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
+
=
4
occurs
x
3
=
12
1+2
3
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
+
=
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
+
=
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
+
=
7
occurs
x
3
=
21
2+1
3
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
+
=
8
occurs
x
3
=
24
2+4
6
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
+
=
9
occurs
x
2
=
18
1+8
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
45
-
-
26
-
126
-
54
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
4+5
-
-
2+6
-
1+2+6
-
5+4
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
-
-
-
-
-
-
-
-
-
-
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9

 

 

 

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

....

A

MAZE

IN

ZAZAZA ENTERS AZAZAZ

AZAZAZAZAZAZAZZAZAZAZAZAZAZA

ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ

THE

MAGICALALPHABET

ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA

12345678910111213141516171819202122232425262625242322212019181716151413121110987654321

 

 

18
THE ENGLISH ALPHABET
-
-
-
1
THE
33
15
6
-
ENGLISH
74
38
2
1
ALPHABET
65
29
2
18
THE ENGLISH ALPHABET
172
82
10
1+8
-
1+7+2
8+2
1+0
9
THE ENGLISH ALPHABET
10
10
10
-
-
1+0
1+0
1+0
9
THE ENGLISH ALPHABET
1
1
1

 

 

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

 

BEYOND THE VEIL ANOTHER VEIL ANOTHER VEIL BEYOND

 

 

A

HISTORY OF GOD

Karen Armstrong 1993

The God of the Mystics

Page 250

"Perhaps the most famous of the early Jewish mystical texts is the fifth century Sefer Yezirah (The Book of Creation). There is no attempt to describe the creative process realistically; the account is unashamedly symbolic and shows God creating the world by means of language as though he were writing a book. But language has been entirely transformed and the message of creation is no longer clear. Each letter of the Hebrew alphabet is given a numerical value; by combining the letters with the sacred numbers, rearranging them in endless configurations, the mystic weaned his mind away from the normal connotations of words."

 

Page 250

THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY THE ACCOUNT

IS UNASHAMEDLY SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE AS

THOUGH HE WERE WRITING A BOOK. BUT LANGUAGE HAS BEEN ENTIRELY TRANSFORMED AND THE

MESSAGE OF CREATION IS NO LONGER CLEAR EACH LETTER OF THE HEBREW ALPHABET IS GIVEN

A NUMERICAL VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS REARRANGING

THEM IN ENDLESS CONFIGURATIONS THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL

CONNOTATIONS OF WORDS

 

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

....

 

A
B
C
D
E
F
G
H
I
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
J
K
L
M
N
O
P
Q
R
10
11
12
13
14
15
16
17
18
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
S
T
U
V
W
X
Y
Z
I
19
20
21
22
23
24
25
26
9
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
ME
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
I
ME
I
ME
I
ME
I
ME
I
9
18
9
18
9
18
9
18
9
=
1+8
=
1+8
=
1+8
=
1+8
=
=
9
=
9
=
9
=
9
=
I
ME
I
ME
I
ME
I
ME
1
9
9
9
9
9
9
9
9
9
I
ME
I
ME
I
ME
I
ME
1

 

 

A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
-
-
-
-
-
-
-
-
-
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

 

 

 

LIGHT AND LIFE

Lars Olof Bjorn 1976

Page 197

"By writing the 26 letters of the alphabet in a certain order one may put down almost any message (this book 'is written with the same letters' as the Encyclopaedia Britannica and Winnie the Pooh, only the order of the letters differs). In the same way Nature is able to convey with her language how a cell and a whole organism is to be constructed and how it is to function. Nature has succeeded better than we humans; for the genetic code there is only one universal language which is the same in a man, a bean plant and a bacterium."

"BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER

ONE MAY PUT DOWN ALMOST ANY MESSAGE"

 

 

"FOR THE GENETIC CODE THERE IS ONLY ONE UNIVERSAL LANGUAGE"

 

DNA AND DNA DNA AND DNA DNA AND DNA

DNA AND DNA DNA AND DNA DNA AND DNA

 

 

 

A QUEST FOR THE BEGINNING AND THE END

Graham Hancock 1995

Chapter 32

Speaking to the Unborn

Page 285

"It is understandable that a huge range of myths from all over the ancient world should describe geological catastrophes in graphic detail. Mankind survived the horror of the last Ice Age, and the most plausible source for our enduring traditions of flooding and freezing, massive volcanism and devastating earthquakes is in the tumultuous upheavals unleashed during the great meltdown of 15,000 to 8000 BC. The final retreat of the ice sheets, and the consequent 300-400 foot rise in global sea levels, took place only a few thousand years before the beginning of the historical period. It is therefore not surprising that all our early civilizations should have retained vivid memories of the vast cataclysms that had terrified their forefathers.
Much harder to explain is the peculiar but distinctive way the myths of cataclysm seem to bear the intelligent imprint of a guiding hand.l Indeed the degree of convergence between such ancient stories is frequently remarkable enough to raise the suspicion that they must all have been 'written' by the same 'author'.
Could that author have had anything to do with the wondrous deity, or superhuman, spoken of in so many of the myths we have reviewed, who appears immediately after the world has been shattered by a horrifying geological catastrophe and brings comfort and the gifts of civilization to the shocked and demoralized survivors?
White and bearded, Osiris is the Egyptian manifestation of this / Page 286 / universal figure, and it may not be an accident that one of the first acts he is remembered for in myth is the abolition of cannibalism among the primitive inhabitants of the Nile Valley.2 Viracocha, in South America, was said to have begun his civilizing mission immediately after a great flood; Quetzalcoatl, the discoverer of maize, brought the benefits of crops, mathematics, astronomy and a refined culture to Mexico after the Fourth Sun had been overwhelmed by a destroying deluge.
Could these strange myths contain a record of encounters between scattered palaeolithic tribes which survived the last Ice Age and an as yet unidentified high civilization which passed through the same epoch?
And could the myths be attempts to communicate?

A message in the bottle of time

'Of all the other stupendous inventions,' Galileo once remarked,

what sublimity of mind must have been his who conceived how to communicate his most secret thoughts to any other person, though very distant either in time or place, speaking with those who are in the Indies, speaking to those who are not yet born, nor shall be this thousand or ten thousand years? And with no greater difficulty than the various arrangements of two dozen little signs on paper? Let this be the seal of all the admirable inventions of men.3

If the 'precessional message' identified by scholars like Santillana, von Dechend and Jane Sellers is indeed a deliberate attempt at communication by some lost civilization of antiquity, how come it wasn't just written down and left for us to find? Wouldn't that have been easier than encoding it in myths? Perhaps.
Nevertheless, suppose that whatever the message was written on got destroyed or worn away after many thousands of years? Or suppose that the language in which it was inscribed was later forgotten utterly (like the enigmatic Indus Valley script, which has been studied closely for more than half a century but has so far resisted all attempts at decoding)? It must be obvious that in such circumstances a written / Page 287 / legacy to the future would be of no value at all, because nobody would be able to make sense of it.
What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them - and the city of Teotihuacan may be the calling-card of a lost civilization written in the eternal language of mathematics.
Geodetic data, related to the exact positioning of fixed geographical points and to the shape and size of the earth, would also remain valid and recognizable for tens of thousands of years, and might be most conveniently expressed by means of cartography (or in the construction of giant geodetic monuments like the Great Pyramid of Egypt, as we shall see).
Another 'constant' in our solar system is the language of time: the great but regular intervals of time calibrated by the inch-worm creep of precessional motion. Now, or ten thousand years in the future, a message that prints out numbers like 72 or 2160 or 4320or 25,920 should be instantly intelligible to any civilization that has evolved a modest talent for mathematics and the ability to detect and measure the almost imperceptible reverse wobble that the sun appears to make along the ecliptic against the background of the fixed stars..."

"What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them"

"WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"

 

 

A
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1
2
3
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5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
-
-
-
-
-
-
-
-
-
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

 

 

THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY

THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE

AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED

THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF

THE

ALPHABET

IS

GIVEN

A

NUMERICAL

VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS

REARRANGING THEM IN ENDLESS CONFIGURATIONS

THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS

 

....

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

 

A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
-
-
-
-
-
-
-
-
-
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

 

 

In Search Of The Miraculous
Fragments of an Unknown Teaching
P.D.Oupensky 1949

Page 96
" There exist not one, but three universal languages. The first of them can be spoken and written while remaining within the limits of ones' own language. The only difference is that when people speak in their ordinary language they do not understand one another but in this other language they do understand. In the second language, written language is the same for all peoples, like say figures or mathematical formulae; but people still speak their own language yet each of them understands the other even though the other speaks in an unknown language. The third language is the same for all both the written and the spoken. The difference of language disappears altogether on this level."

 

 

In Search Of The Miraculous
Fragments of an Unknown Teaching
P.D.Oupensky 1949

Page 279

"The aim of "myths" and "symbols" was to reach mans' higher centres, to transmit to him ideas inaccessible to the intellect and to transmit them in such forms as would exclude the possibility of false interpretation."

Page 283

"In western systems of occultism there is a method known by the name of 'theosophical addition', that is, the definition of numbers consisting of two or more digits by the sum of those digits. To people who do not understand the symbolism of numbers this method of synthesizing numbers seems to be absolutely arbitrary and to lead nowhere. But for a man who understands the unity of everything existing and who has the key to this unity the method of theosophical addition has a profound meaning, for it resolves all diversity into the fundamental laws which govern it and which are expressed in the numbers 1 to 10. As was mentioned earlier in symbology, as represented , numbers are connected with definate geometrical figures  and are mutually complimentary one to another. In the Cabala a symbology of letters is also used and in combination with the symbology of letters a symbology of words.A combination of the four methods of symbolism by numbers, geometrical figures, letters and words, give a complicated but more perfect method."

Page 304

"You must understand ", he said, " that every real religion, that is, one that has been created by learned people for a definite aim, consists of two parts. One part teaches what is to be done. This part becomes common knowledge and in the course of time is distorted and departs from the original. The other part teaches how to do what the first part teaches. This part is preserved in secret in special schools and with its help it is always possible to rectify what has been distorted in the first part or restore what has been forgotten."

"Realizing the weakness and imperfection of ordinary language the people who have possessed objective knowledge have tried to express the idea of unity in "myths" "symbols" and in particular verbal formulas" which, having been transmitted without alteration, have carried on the idea from one school to another, often from one epoch to another."

 

 

NUMEROLOGY

Gedes and Grossett 1999

Page 7

"All numbers greater than nine can be reduced to a single digit by the process of fadic addition, for example:
12 is reduced to 3 by adding 1 and 2;

49 is reduced to 4 by adding 4 and 9 which equals 13 and subsequently adding 1 and 3 to make 4."

 

 

THE

MAGICIAN

AS IF BY MAGIC WILL INTENDED DOTH REAPPEAR AND BEGATS A SECOND READING

AMEN ALL MEN ALL MEN AMEN

AMEN ALLWOMEN ALL WOMEN AMEN

 

 

THE PHILOSOPHERS TONE

NOTE THE TONE

THE TONE NOTE

 

 

 

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

I
=
9
-
1
I
9
9
9
-
-
S
=
1
-
3
SEE
29
11
2
-
2
I
=
9
-
2
IT
29
11
2
-
2
A
=
1
-
3
ALL
25
7
7
-
7
N
=
5
-
3
NOW
52
16
7
-
7
S
=
1
-
4
SAID
33
15
6
-
6
T
=
2
-
3
THE
33
15
6
-
6
B
=
2
-
5
BLIND
41
23
5
-
-
M
=
4
-
3
MAN
28
10
1
-
-
-
-
34
4
27
First
279
117
45
4
30
-
-
3+4
-
2+7
Add
2+7+9
1+1+7
4+5
-
3+0
-
-
7
-
9
Second
18
9
9
-
3
-
-
-
-
-
Reduce
1+8
-
-
-
-
-
-
7
-
9
Essence
9
9
9
-
3

 

 

W
=
5
-
4
WHAT
52
16
7
O
=
6
-
3
ONE
34
16
7
W
=
5
-
5
WOULD
75
21
3
L
=
3
-
4
LOOK
53
17
8
F
=
6
-
3
FOR
30
21
3
T
=
2
-
9
THEREFORE
100
46
1
W
=
5
-
5
WOULD
75
21
3
B
=
2
-
2
BE
7
7
7
A
=
1
-
1
A
1
1
1
U
=
3
-
9
UNIVERSAL
121
40
4
L
=
3
-
8
LANGUAGE
68
32
5
-
-
41
4
53
First Total
616
238
49
-
-
4+1
-
5+3
Add to Reduce
6+1+6
2+3+8
4+9
-
-
5
-
8
Second Total
13
13
13
-
-
-
-
-
Reduce to Deduce
1+3
1+3
1+3
-
-
5
-
8
Essence of Number
4
4
4

 

 

T
=
2
-
3
THE
33
15
6
K
=
2
-
4
KIND
38
20
2
O
=
6
-
2
OF
21
12
3
L
=
3
-
8
LANGUAGE
68
32
5
T
=
2
-
4
THAT
49
13
4
W
=
5
-
5
WOULD
75
21
3
B
=
2
-
2
BE
7
7
7
C
=
3
-
14
COMPREHENSIBLE
144
72
9
T
=
2
-
2
TO
35
8
8
A
=
1
-
3
ANY
40
13
4
T
=
2
-
15
TECHNOLOGICALLY
161
71
8
A
=
1
-
2
ADVANCED
54
27
9
S
=
1
-
7
SOCIETY
96
33
6
I
=
9
-
2
IN
23
14
5
A
=
1
-
3
ANY
40
13
4
E
=
5
-
5
EPOCH
47
29
2
-
-
47
4
81
First Total
931
400
85
-
-
4+7
-
8+1
Add to Reduce
9+3+1
4+0+0
8+5
-
-
11
-
9
Second Total
13
4
13
-
-
1+5
-
-
Reduce to Deduce
1+3
-
1+3
-
-
2
-
9
Essence of Number
4
4
4

 

 

S
=
1
-
4
SUCH
51
15
6
L
=
3
-
9
LANGUAGES
87
33
6
A
=
1
-
3
ARE
24
15
6
F
=
6
-
3
FEW
34
16
7
A
=
1
-
3
AND
19
10
1
F
=
6
-
3
FAR
25
16
7
B
=
2
-
7
BETWEEN
74
29
2
B
=
2
-
3
BUT
43
7
7
M
=
4
-
11
MATHEMATICS
112
40
4
I
=
9
-
2
IS
28
10
1
O
=
6
-
3
ONE
34
16
7
O
=
6
-
2
OF
21
12
3
T
=
2
-
4
THEM
46
19
1
-
-
49
4
57
First Total
598
238
58
-
-
4+9
-
5+7
Add to Reduce
5+9+8
2+3+8
5+8
-
-
13
-
12
Second Total
22
13
13
-
-
1+3
-
1+2
Reduce to Deduce
2+2
1+3
1+3
-
-
3
-
3
Essence of Number
4
4
4

 

 

A
=
1
-
1
A
1
1
1
L
=
3
-
8
LANGUAGE
68
32
5
O
=
6
-
2
OF
21
12
3
L
=
3
-
7
LETTERS
99
27
9
A
=
1
-
3
AND
19
10
1
N
=
5
-
7
NUMBERS
73
28
1
-
-
19
4
28
First Total
299
110
20
-
-
1+9
-
2+8
Add to Reduce
2+9+9
1+1+0
2+0
-
-
10
-
10
Second Total
20
2
2
-
-
1+0
-
1+0
Reduce to Deduce
2+0
-
-
-
-
1
-
1
Essence of Number
2
2
2

 

MATHEMATICS A LANGUAGE OF LETTERS AND NUMBERS

 

W
=
5
-
4
WHAT
52
16
7
O
=
6
-
3
ONE
34
16
7
W
=
5
-
5
WOULD
75
21
3
L
=
3
-
4
LOOK
53
17
8
F
=
6
-
3
FOR
30
21
3
T
=
2
-
9
THEREFORE
100
46
1
W
=
5
-
5
WOULD
75
21
3
B
=
2
-
2
BE
7
7
7
A
=
1
-
1
A
1
1
1
U
=
3
-
9
UNIVERSAL
121
40
4
L
=
3
-
8
LANGUAGE
68
32
5
-
-
41
4
53
-
616
238
49
-
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
K
=
2
-
4
KIND
38
20
2
O
=
6
-
2
OF
21
12
3
L
=
3
-
8
LANGUAGE
68
32
5
C
=
3
-
4
THAT
144
72
9
T
=
2
-
5
WOULD
35
8
8
A
=
1
-
2
BE
40
13
4
T
=
2
-
14
COMPREHENSIBLE
161
71
8
A
=
1
-
2
TO
54
27
9
S
=
1
-
3
ANY
96
33
6
I
=
9
-
15
TECHNOLOGICALLY
23
14
5
A
=
1
-
2
ADVANCED
40
13
4
E
=
5
-
7
SOCIETY
48
29
2
T
=
2
-
2
IN
49
13
4
W
=
5
-
3
ANY
75
21
3
B
=
2
-
5
EPOCH
7
7
7
-
-
47
4
81
-
931
400
85
-
-
-
-
-
-
-
-
-
S
=
1
-
4
SUCH
51
15
6
L
=
3
-
9
LANGUAGES
87
33
6
A
=
1
-
3
ARE
24
15
6
F
=
6
-
3
FEW
34
16
7
A
=
1
-
3
AND
19
10
1
F
=
6
-
3
FAR
25
16
7
B
=
2
-
7
BETWEEN
74
29
2
B
=
2
-
3
BUT
43
7
7
M
=
4
-
11
MATHEMATICS
112
40
4
I
=
9
-
2
IS
28
10
1
O
=
6
-
3
ONE
34
16
7
O
=
6
-
2
OF
21
12
3
T
=
2
-
4
THEM
46
19
1
-
-
49
4
57
-
598
238
58
-
-
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
L
=
3
-
8
LANGUAGE
68
32
5
O
=
6
-
2
OF
21
12
3
L
=
3
-
7
LETTERS
99
27
9
A
=
1
-
3
AND
19
10
1
N
=
5
-
7
NUMBERS
73
28
1
-
-
19
4
28
-
299
110
20
-
-
-
-
-
-
-
-
-
-
-
156
-
219
First Total
2444
986
212
-
-
1+5+6
-
2+1+9
Add to Reduce
2+4+4+4
9+8+6
2+1+2
-
-
12
-
12
Second Total
14
23
5
-
-
1+2
-
1+2
Reduce to Deduce
1+4
2+3
-
-
-
3
-
3
Essence of Number
5
5
5

 

MATHEMATICS A LANGUAGE OF LETTER AND NUMBER

 

A
=
1
-
1
A
1
1
1
L
=
3
-
8
LANGUAGE
68
32
5
O
=
6
-
2
OF
21
12
3
L
=
3
-
6
LETTER
80
26
8
A
=
1
-
3
AND
19
10
1
N
=
5
-
6
NUMBER
73
28
1
S
-
19
4
26
First Total
261
108
18
-
-
1+9
-
2+6
Add to Reduce
2+6+1
1+0+8
1+8
-
-
10
-
8
Second Total
9
9
9
-
-
1+0
-
-
Reduce to Deduce
-
-
-
-
-
1
-
8
Essence of Number
9
9
9

 

 

0
-
Z
=
8
-
4
ZERO
64
28
1
1
-
O
=
6
-
3
ONE
34
16
7
2
-
T
=
2
-
3
TWO
58
13
4
3
-
T
=
2
-
5
THREE
56
29
2
4
-
F
=
6
-
4
FOUR
60
24
6
5
-
F
=
6
-
4
FIVE
42
24
6
6
-
S
=
1
-
3
SIX
52
16
7
7
-
S
=
1
-
5
SEVEN
65
20
2
8
-
E
=
5
-
5
EIGHT
49
31
4
9
-
N
=
5
-
4
NINE
42
24
6
45
-
-
-
42
-
40
Add
522
225
45
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
9
-
-
-
6
-
4
Deduce
9
9
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
1
-
O
=
6
2
3
ONE
34
16
7
-
-
-
-
-
-
-
7
-
-
2
-
T
=
2
3
3
TWO
58
13
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
4
5
THREE
56
29
2
-
-
2
-
-
-
-
-
-
-
4
-
F
=
6
5
4
FOUR
60
24
6
-
-
-
-
-
-
6
-
-
-
5
-
F
=
6
6
4
FIVE
42
24
6
-
-
-
-
-
-
6
-
-
-
6
-
S
=
1
7
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
7
-
S
=
1
8
5
SEVEN
65
20
2
-
-
2
-
-
-
-
-
-
-
8
-
E
=
5
9
5
EIGHT
49
31
4
-
-
-
-
4
-
-
-
-
-
9
-
N
=
5
10
4
NINE
42
24
6
-
-
-
-
-
-
6
-
-
-
45
-
-
-
42
-
40
Add
522
225
45
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
6
-
4
Deduce
9
9
9
-
1
4
3
8
5
9
5
8
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
3
-
T
=
2
4
5
THREE
56
29
2
-
-
2
-
-
-
-
-
-
-
7
-
S
=
1
8
5
SEVEN
65
20
2
-
-
2
-
-
-
-
-
-
-
2
-
T
=
2
3
3
TWO
58
13
4
-
-
-
-
4
-
-
-
-
-
8
-
E
=
5
9
5
EIGHT
49
31
4
-
-
-
-
4
-
-
-
-
-
4
-
F
=
6
5
4
FOUR
60
24
6
-
-
-
-
-
-
6
-
-
-
5
-
F
=
6
6
4
FIVE
42
24
6
-
-
-
-
-
-
6
-
-
-
9
-
N
=
5
10
4
NINE
42
24
6
-
-
-
-
-
-
6
-
-
-
1
-
O
=
6
2
3
ONE
34
16
7
-
-
-
-
-
-
-
7
-
-
6
-
S
=
1
7
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
45
-
-
-
42
-
40
Add
522
225
45
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
6
-
4
Deduce
9
9
9
-
1
4
3
8
5
9
5
8
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
3
-
5
-
-
8
9
3
-
T
=
2
4
5
THREE
56
29
2
-
-
2
3
-
5
-
-
8
9
7
-
S
=
1
8
5
SEVEN
65
20
2
-
-
2
3
-
5
-
-
8
9
2
-
T
=
2
3
3
TWO
58
13
4
-
-
-
3
4
5
-
-
8
9
8
-
E
=
5
9
5
EIGHT
49
31
4
-
-
-
3
4
5
-
-
8
9
4
-
F
=
6
5
4
FOUR
60
24
6
-
-
-
3
-
5
6
-
8
9
5
-
F
=
6
6
4
FIVE
42
24
6
-
-
-
3
-
5
6
-
8
9
9
-
N
=
5
10
4
NINE
42
24
6
-
-
-
3
-
5
6
-
8
9
1
-
O
=
6
2
3
ONE
34
16
7
-
-
-
3
-
5
-
7
8
9
6
-
S
=
1
7
3
SIX
52
16
7
-
-
-
3
-
5
-
7
8
9
45
-
-
-
42
-
40
Add
522
225
45
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
6
-
4
Deduce
9
9
9
-
1
4
3
8
5
9
5
8
9

 

 

1
-
O
=
6
-
3
ONE
34
16
7
2
-
T
=
2
-
3
TWO
58
13
4
3
-
T
=
2
-
5
THREE
56
29
2
4
-
F
=
6
-
4
FOUR
60
24
6
5
-
F
=
6
-
4
FIVE
42
24
6
6
-
S
=
1
-
3
SIX
52
16
7
7
-
S
=
1
-
5
SEVEN
65
20
2
8
-
E
=
5
-
5
EIGHT
49
31
4
9
-
N
=
5
-
4
NINE
42
24
6
45
-
-
-
34
-
36
Add
458
197
44
4+5
-
-
-
3+4
-
3+6
Reduce
4+5+8
1+9+7
4+4
9
-
-
-
7
4
9
Deduce
17
17
8
-
-
-
-
-
-
-
Produce
1+7
1+7
-
9
-
-
-
7
-
9
Essence
8
8
8

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
O
=
6
-
3
ONE
34
16
7
-
-
-
-
-
-
-
7
-
-
2
-
T
=
2
-
3
TWO
58
13
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
-
5
THREE
56
29
2
-
-
2
-
-
-
-
-
-
-
4
-
F
=
6
-
4
FOUR
60
24
6
-
-
-
-
-
-
6
-
-
-
5
-
F
=
6
-
4
FIVE
42
24
6
-
-
-
-
-
-
6
-
-
-
6
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
7
-
S
=
1
-
5
SEVEN
65
20
2
-
-
2
-
-
-
-
-
-
-
8
-
E
=
5
-
5
EIGHT
49
31
4
-
-
-
-
4
-
-
-
-
-
9
-
N
=
5
-
4
NINE
42
24
6
-
-
-
-
-
-
6
-
-
-
45
-
-
-
34
-
36
Add
458
197
44
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
3+4
-
3+6
Reduce
4+5+8
1+9+7
4+4
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
7
4
9
Deduce
17
17
8
-
1
4
3
8
5
18
14
8
9
-
-
-
-
-
-
-
Produce
1+7
1+7
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
7
-
9
Essence
8
8
8
-
1
4
3
8
5
9
5
8
9

 

 

0
-
4
ZERO
8
5
9
6
-
=
28
2+8
=
10
1+0
1
1
-
3
ONE
6
5
5
-
-
=
16
1+6
=
7
-
7
2
-
3
TWO
2
5
6
-
-
=
13
1+3
=
4
-
4
3
-
5
THREE
2
8
9
5
5
=
29
2+9
=
11
1+1
2
4
-
4
FOUR
6
6
3
9
-
=
24
2+4
=
6
-
6
5
-
4
FIVE
6
9
4
5
-
=
24
2+4
=
6
-
6
6
-
3
SIX
1
9
6
-
-
=
16
1+6
=
7
-
7
7
-
5
SEVEN
1
5
4
5
5
=
20
2+0
=
2
-
2
8
-
5
EIGHT
5
9
7
8
2
=
31
3+1
=
4
-
4
9
-
4
NINE
5
9
5
5
-
=
24
2+4
=
6
-
6
45
-
40
Add
42
70
58
43
12
-
225
-
-
63
-
45
4+5
-
4+0
-
4+2
7+0
5+8
4+3
1+2
-
2+2+5
-
-
6+3
-
4+5
9
-
4
Reduce
6
7
13
7
3
-
9
-
-
9
-
-
-
-
-
-
-
-
1+3
-
-
-
-
-
-
-
-
-
9
-
4
Deduce
6
7
4
7
3
-
9
-
-
9
-
9

 

 

ADVENT 1027 ADVENT

 

WHAT, ONE, WOULD, LOOK, FOR, THEREFORE,
WOULD, BE, A, UNIVERSAL, LANGUAGE
THE, KIND, OF, LANGUAGE, COMPREHENSIBLE,
TO, ANY, TECHNOLOGICALLY, ADVANCED,
SOCIETY, IN, ANY, EPOCH, THAT, WOULD, BE
SUCH, LANAGUAGES, ARE, FEW, AND, FAR,
BETWEEN, BUT, MATHEMATICS, IS, ONE, OF,
THEM
A, LANGUAGE, OF, LETTERS, AND, NUMBERS
REAL, IS, THE, REALITY, OF, ASTRAL,
PROJECTIONS
MUSIC
THE, MUSICAL, SCALE
THE MUSICAL SCALE
SEVEN, NOTES
THE, SEVEN, NOTES
TRANSCENDANT, CHORDS
TRANSCENDANT, CHORD
TRANS, TRANSCENDANCE, DANCE
TRANSCEND, TRANSCENDS
THE, NUMERICAL, SCALE
HEAD, OF, THE, MEDUSA
RHEAD, ZEUS, HADES, POSEIDON
ANUMBIS
A, NUMBER, IS
THE, HOLY, PLANET, EARTH, LAND, OF, HOPE,
AND, GLORY
MAY, IT, BE, THAT, ONE, DAY, LOVE, SHALL,
MOUNT
ZAHEER, ZAHIR
ZAHEER
NAME, MAN, E
THE, NAME
AND, SO, FAR, SO, GOOD
JIHAD, J, I, HA, D
JIHAD
TO, GO, BEYOND
GNOSIS
THE, UNIVERSE, CANNOT, EXIST
INDEPENDENTLY, OF, A, COMPREHENDING,
MIND
THE, QUESTION
ERWIN, SCHRODINGER
DONT, CUT, OFF, YOUR, NOSE, TO, SPITE, YOUR, FACE
THE, NINE, IS, MINE, MINE, IS, THE, NINE
IS, THIS, THE, OTHER, SIDE, OF, THE, ROAD
NI, ITS, OVER, THERE
I, HAVE, JUST, BEEN, OVER, THERE
AND, THEY, SAID, IT, WAS, OVER, HERE

 

 

4
REAL
36
18
9
2
IS
28
10
1
3
THE
33
15
6
7
REALITY
90
36
9
2
OF
21
12
3
6
ASTRAL
71
17
8
11
PROJECTIONS
144
54
9
35
Add to Reduce
423
162
45
3+5
Reduce to Deduce
4+2+3
1+6+2
4+5
8
Essence of Number
9
9
9

 

 

T
=
2
-
3
THE
33
15
6
M
=
4
-
7
MUSICAL
78
24
6
S
=
1
-
5
SCALE
40
13
4
S
-
7
4
15
Add to Reduce
151
52
16
-
-
-
-
1+5
Reduce to Deduce
1+5+1
5+2
1+6
-
-
7
-
6
Essence of Number
7
7
7

 

 

21-
15
T
H
E
-
M
U
S
I
C
A
L
-
S
C
A
L
E
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
1
9
-
-
-
-
1
-
-
-
-
+
=
19
1+9
=
10
1+0
1
=
1
-
-
-
8
-
-
-
-
19
9
-
-
-
-
19
-
-
-
-
+
=
55
5+5
=
10
1+0
1
=
1
-
15
T
H
E
-
M
U
S
I
C
A
L
-
S
C
A
L
E
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
4
3
-
-
3
1
3
-
-
3
1
3
5
+
=
33
3+3
=
6
-
6
=
6
-
-
20
-
5
-
13
21
-
-
12
1
12
-
-
12
1
12
5
+
=
96
9+6
=
6
-
6
=
6
-
15
T
H
E
-
M
U
S
I
C
A
L
-
S
C
A
L
E
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
13
21
19
9
3
1
12
-
19
3
1
12
5
+
=
151
1+5+1
=
7
=
7
=
7
-
-
2
8
5
-
4
3
1
9
3
1
3
-
1
3
1
3
5
+
=
52
5+2
=
7
=
7
=
7
-
15
T
H
E
-
M
U
S
I
C
A
L
-
S
C
A
L
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
1
-
1
-
-
-
-
1
occurs
x
4
=
4
=
4
-
``-
2
-
-
-`
-
-
-
-
-
-
-
-`
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
-
3
-
-
3
-
3
-
-
3
-
3
-
-
-
3
occurs
x
5
=
15
1+5
6
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
=
9
13
15
T
H
E
-
M
U
S
I
C
A
L
-
S
C
A
L
E
-
-
32
-
-
15
-
52
-
34
1+3
1+5
-
-
-
-
-
3
-
-
3
-
3
-
-
3
-
3
-
-
-
3+2
-
-
1+5
-
5+2
-
3+4
4
6
T
H
E
-
M
U
S
I
C
A
L
-
S
C
A
L
E
-
-
5
-
-
6
-
7
-
7
-
-
2
8
5
-
4
3
1
9
3
1
3
-
1
3
1
3
5
-
-
-
-
-
-
-
-
-
-
4
6
T
H
E
-
M
U
S
I
C
A
L
-
S
C
A
L
E
-
-
5
-
-
6
-
7
-
7

 

 

15
T
H
E
-
M
U
S
I
C
A
L
-
S
C
A
L
E
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
1
9
-
-
-
-
1
-
-
-
-
+
=
19
1+9
=
10
1+0
1
=
1
-
-
8
-
-
-
-
19
9
-
-
-
-
19
-
-
-
-
+
=
55
5+5
=
10
1+0
1
=
1
15
T
H
E
-
M
U
S
I
C
A
L
-
S
C
A
L
E
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
4
3
-
-
3
1
3
-
-
3
1
3
5
+
=
33
3+3
=
6
-
6
=
6
-
20
-
5
-
13
21
-
-
12
1
12
-
-
12
1
12
5
+
=
96
9+6
=
6
-
6
=
6
15
T
H
E
-
M
U
S
I
C
A
L
-
S
C
A
L
E
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
13
21
19
9
3
1
12
-
19
3
1
12
5
+
=
151
1+5+1
=
7
=
7
=
7
-
2
8
5
-
4
3
1
9
3
1
3
-
1
3
1
3
5
+
=
52
5+2
=
7
=
7
=
7
15
T
H
E
-
M
U
S
I
C
A
L
-
S
C
A
L
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
1
-
1
-
-
-
-
1
occurs
x
4
=
4
=
4
``-
2
-
-
-`
-
-
-
-
-
-
-
-`
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
3
-
-
3
-
3
-
-
3
-
3
-
-
-
3
occurs
x
5
=
15
1+5
6
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
5
occurs
x
2
=
10
1+0
1
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
=
9
15
T
H
E
-
M
U
S
I
C
A
L
-
S
C
A
L
E
-
-
32
-
-
15
-
52
-
34
1+5
-
-
-
-
-
3
-
-
3
-
3
-
-
3
-
3
-
-
-
3+2
-
-
1+5
-
5+2
-
3+4
6
T
H
E
-
M
U
S
I
C
A
L
-
S
C
A
L
E
-
-
5
-
-
6
-
7
-
7
-
2
8
5
-
4
3
1
9
3
1
3
-
1
3
1
3
5
-
-
-
-
-
-
-
-
-
-
6
T
H
E
-
M
U
S
I
C
A
L
-
S
C
A
L
E
-
-
5
-
-
6
-
7
-
7

 

 

5
SEVEN
65
20
2
5
NOTES
73
19
1
10
First Total
138
39
3
1+0
Add to Reduce
1+3+8
3+9
-
1
Second Total
12
12
3
-
Reduce to Deduce
1+2
1+2
-
1
Essence of Number
3
3
3

 

 

-
5
M
U
S
I
C
-
-
-
-
-
-
-
-
-
`-
-
-
1
9
-
+
=
10
1+0
=
1
=
1
-
`-
-
-
19
9
-
+
=
28
2+8
=
10
1+0
1
-
5
M
U
S
I
C
-
-
-
-
-
-
-
-
--
-
4
3
-
-
3
+
=
10
1+0
=
1
=
1
--
`-
13
21
-
-
12
+
=
37
3+7
=
10
1+0
1
-
5
M
U
S
I
C
-
-
-
-
-
-
-
-
-
`-
13
21
19
9
3
+
=
65
6+5
=
10
1+0
2
-
-
4
3
1
9
3
+
=
20
2+0
=
2
=
2
-
5
M
U
S
I
C
T
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
occurs
x
1
=
1
2
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
3
-
-
3
-
-
3
occurs
x
2
=
6
-
-
4
-
-
-
-
-
-
4
occurs
x
1
=
4
5
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
6
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
--
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
--
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
28
5
M
U
S
I
C
-
-
17
-
-
5
-
20
2+8
-
-
-
-
9
-
-
-
1+7
-
-
-
-
2+0
10
5
M
U
S
I
C
-
-
8
-
-
5
-
2
1+0
-
4
3
1
9
3
-
-
-
-
-
-
-
-
1
5
M
U
S
I
C
-
-
8
-
-
5
-
2

 

 

5
M
U
S
I
C
-
-
-
-
-
-
-
-
`-
-
-
1
9
-
+
=
10
1+0
=
1
=
1
`-
-
-
19
9
-
+
=
28
2+8
=
10
1+0
1
5
M
U
S
I
C
-
-
-
-
-
-
-
-
-
4
3
-
-
3
+
=
10
1+0
=
1
=
1
`-
13
21
-
-
12
+
=
37
3+7
=
10
1+0
1
5
M
U
S
I
C
-
-
-
-
-
-
-
-
`-
13
21
19
9
3
+
=
65
6+5
=
10
1+0
2
-
4
3
1
9
3
+
=
20
2+0
=
2
=
2
5
M
U
S
I
C
T
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
occurs
x
1
=
1
-
3
-
-
3
-
-
3
occurs
x
2
=
6
-
4
-
-
-
-
-
-
4
occurs
x
1
=
4
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
5
M
U
S
I
C
-
-
17
-
-
5
-
20
-
-
-
-
9
-
-
-
1+7
-
-
-
-
2+0
5
M
U
S
I
C
-
-
8
-
-
5
-
2
-
4
3
1
9
3
-
-
-
-
-
-
-
-
5
M
U
S
I
C
-
-
8
-
-
5
-
2

 

 

3
THE
33
15
6
5
SEVEN
65
20
2
5
NOTES
73
19
1
13
Add to Reduce
171
54
9
1+3
Reduce to Deduce
1+7+1
5+4
-
4
Essence of Number
9
9
9

 

 

12
TRANSCENDANT
133
43
7
5
CHORD
48
30
3
17
First Total
181
73
10
1+7
Add to Reduce
1+8+1
7+3
1+0
8
Second Total
10
10
1
-
Reduce to Deduce
1+0
1+0
-
8
Essence of Number
1
1
1

 

 

12
TRANSCENDANT
133
43
7
6
CHORDS
67
31
4
18
First Total
200
74
11
1+8
Add to Reduce
2+0+0
7+4
1+1
9
Second Total
2
11
2
-
Reduce to Deduce
-
1+1
-
9
Essence of Number
2
2
2

 

 

themindunleashed.org › Ancient Structures & History

15 Sep 2015 - The American Federation of Musicians had already accepted the A440 as ... “This [A=432 Hz] tuning was unanimously approved at the Congress of Italian ..... ... [iii] Mark Brewer, Music of the Spheres: A Case for A=432Hz,
Brendan D. Murphy, Guest

GA=440Hz: Not Quite Music to My Ears

The A=432 Hz Frequency: DNA Tuning and the ...
themindunleashed.org › Ancient Structures & History
15 Sep 2015 - The American Federation of Musicians had already accepted the A440 as ... “This [A=432 Hz] tuning was unanimously approved at the Congress of Italian .....Humankind is the largely unwitting victim of a frequency war on our consciousness that has been waged for decades, if not millennia. The goal has clearly been to keep us as gullible and subservient as possible, through multifarious means.

In modern history in particular, there has been what Dr. Len Horowitz has referred to as the strategic “militarization” of music. This happened in 1939 when the tuning of the note ‘A above Middle C’ to 440 Hz was adopted in the world of music. In 1910 an earlier push to effect the same change was met with limited success. Three decades later, the British Standards Institute (BSI) adopted the A=440Hz standard following staunch promotion by the Rockefeller-Nazi consortium—“at the precise time WWII preparations were being finalized by the petrochemical-pharmaceutical war financiers.”[i] This was the year that A=440 became the international standard.

The American Federation of Musicians had already accepted the A440 as standard pitch in 1917, and the U.S. government followed suit in 1920.[ii] One must surely ask why Nazi propaganda minister, Joseph Goebbels, argued for this odd intrusion into musical creativity, persuading Hitler’s supposed enemies in Britain to adopt this “superior” standard tuning for the “Aryan/Master Race.” What did the Nazis (and their secretive by well-documented US financiers) have to gain from this?

It is interesting, also, to note that in October 1953, despite the British and Nazi push for the arbitrary A=440 standard (which is “disharmonic” vis à vis the physico-acoustic laws of creation governing reality), a referendum of 23,000 French musicians voted overwhelmingly in favour of A=432Hz.[iii] Many, many musicians, through recent centuries have expressed their strong preference for the A=432 reference pitch.

The Vibration of Sound

According to preliminary research, analysis, and professional discussions by Walton, Koehler, Reid, et al., on the web, A=440Hz frequency music conflicts with human energy centers (i.e., chakras) from the heart to the base of the spine [the lower four]. Alternatively, chakras above the heart are stimulated. Theoretically, the vibration stimulates ego and left-brain function, suppressing the “heart-mind,” intuition and creative inspiration.[v]

Interestingly, the difference between 440 and 741 Hz is known in musicology as the Devil’s Interval.

For maximum suppression of human consciousness, the frequencies we naturally resonate with, and which are the most biologically and psycho-spiritually enhancing, must be maximally suppressed. Ancient Egyptian and Greek instruments have reportedly been found to be tuned to 432 Hz. As far as many guitarists are concerned, A=432 Hz seems to be the most practical, optimal, and most bio-friendly resonant tuning we have, although many musicians have also favoured A=444. (A=444 Hz belongs to a different scale, where

But there’s more: the cochlea, the part of the inner ear that converts acoustic impulses into electrical signals, has a seashell-like spiral shape. A bilateral cross-section of the cochlea is mathematically describable through the Fibonacci series (the Golden Ratio/Phi as manifested in nature). [vi] According to Chas Stoddard inA Short History of Tuning and Temperament, this fractality/recursiveness allows octaves to be decoded at the same point in each layer of the spiral, and may therefore be why we can discern octaves at all (meaning, that without this cochlea design, we would just hear pitch rising or lowering, we would not be able to identify that, for example, 256 Hz is C, as is 512 Hz also C).[vii] The octave concept would be almost meaningless and sonically undetectable to us.

Somehow, Austrian genius visionary Rudolph Steiner (1861-1925) was on to all of this. He said:

“Music based on C=128hz (C note in concert A=432hz) will support humanity on its way towards spiritual freedom. The inner ear of the human being is built on C=128 hz.”

The fact that Phi/Golden Ratio is so key in morphogenesis (the biological process that causes an organism to develop its shape) in humans and throughout nature suggests that there may be an interesting yet little-known relationship between the galactic harmonic of 432 that shows up in our solar system and the Golden Ratio.
To return to the main thrust now. Maria Renold, in her book Intervals Scales Tones and the Concert Pitch C=128hz, claims conclusive evidence that A=440Hz tuning (above scientific “C” Prime=128/256/512 Hz, where A=432 Hz) “disassociates the connection of consciousness to the body and creates anti-social conditions in humanity.” Modern “Equal Temperament (ET)” tuning was supposedly the excuse for musicians to play consonance, but, according to researcher Brian T. Collins (who strongly endorses Renold’s book), it actually diminishes perception of tone and resonant harmony.[viii]

Many people appear to endorse the view that, while A=440 music is more exciting (or aggressive, for some), it is more mind-oriented and disconnected from the human feeling centres, particularly the heart (which has by far the largest EM field of all bodily organs, including the brain, which it can actually entrain). Disconnecting the heart from the brain is — as history (and our present condition) shows us — catastrophic on a planetary scale; for many reasons, but fundamentally, it disconnects us from our innate wisdom and compassion as sentient beings, thus disconnecting us from each other and the other intelligent beings we share this planet with (not to mention the planet itself which is a living intelligence).

Ancient tuning practices employed the “Just Intonation” system of tuning. It featured “pure intervals between every note that were mathematically related by ratios of small whole numbers leading to a much purer sound.” From about the 16th century onwards, “Twelve-Tone Equal Temperament” tuning, according to Joachim Ernst-Berendt, commenced the mistuning of all consonant intervalsexcept the octave.[ix]

As a guitarist(who writes music primarily on an electric guitar, I prefer to tune up to A=444/C=528 rather than further down-tuning to 432 (I already drop a full step down on the electric and one of my acoustics and don’t want to lower string tension any further). 528 derives from the ancient Solfeggio scale, as re-discovered by Dr. Joseph Puleo, a co-researcher and co-author with Dr. Len Horowitz of the well-researched and confronting book Healing Codes for the Biological Apocalypse. At A=444 I can feel the resonance almost on a cellular level—the vibrations go right through me, and the guitar feels almost like a part of me. The tone is beautiful and bright; highly resonant. This is not the case when I use 440 Hz (standard Western tuning). Electric guitars, lacking a resonant cavity, don’t make the distinction as easy, however, that doesn’t mean that our cells don’t appreciate the subtle difference.

I will discuss more on the Solfeggio scale and why 528 is so important in a coming article.

The Curious Case of 432

We see above an interesting relationship between the 432 and the number of completion arising as we look at this material below. The numbers suggest that the “universal” or solar constant of 432 has to do with the “completion” (or completeness) of the manifest material world.

Diameter of sun = 864,000 miles (432 x 2)
•Interestingly 8+6+4 = 18 (1+ 8) = 9 the number of completion

Diameter of moon = 2,160 miles (5 x 432 = 2,160)
•2+1+6+0 resolves to a 9, as does 4+3+2 = 9 and 5 x 9 = 45 and 4 + 5 = 9 as well.

Precession of the Equinoxes of Earth = 25,920 years (60 x 432) [x]
•2+5+9+2+0 also equals 9, while 6 x 9 = 54 and 5 + 4 = 9 also.

Interestingly, the leading acoustician in Beethoven’s time was Ernst Chladni (1756-1827), the godfather of cymatics. His music theory textbook explicitly defined C as 256/512 Hz, the “scientific” tuning. (The A above middle C in this standard scale is 432 Hz.)

Perhaps this is to do with 432 squared — 186,624 (1+8+6+6+2+4 = 9) — being within 1 percent accuracy of the speed of light, (186,282 miles per second, which also resolves to a 9!). The square root of the measured speed of light is 431.6(!) By deductive reasoning, we might speculate that “notes tuned relative to A432 harmonize directly with the light body [auric fields] allowing the vibrations to penetrate, and through entrainment, bring your energetic essence into balance. Entrainment is the tendency for a strong vibration to influence a weaker vibration.”[xi]

Inversely, A=440 tuning may produce a dissonant or “agitative” effect on the aura/mind — and anything that disrupts/disturbs DNA will create contraindications in the aura due to DNA’s innate sound-light translation mechanism. The human aura, of course, is the closest thing we have yet been able to point to as “consciousness” or “mind” in the manifest measurable world, as I demonstrate in The Grand Illusion : a Synthesis of Science & Spirituality.

 

Using 256Hz as the reference for C (where A=432), all occurrences of C are a power of 2. Interestingly, the Schumann resonance — earth’s electromagnetic “heartbeat” existing within the atmosphere between the earth’s surface and our ionisphere — ranges from about 7.83 to 8 Hz on average — very close to (and even the same as) 23. This isn’t terribly surprising if you consider the frequency of earth’s axial rotation: “Earth’s ‘pitch’ (cycles per second/Hertz) as it rotates is G, a fourth below the theoretical C that lies 24 octaves below middle C, when C=256Hz. So C=256/A=432 is in tune with the Earth’s rotation,”[xii] which is “in tune” with the speed of light, which is “in tune” with the diameter of the sun, which is “in tune” with the diameter of the moon, which is “in tune” with the precession of the equinoxes!
 
That’s a lot of harmony, which is exactly what we should expect from a holofractal (scaled) plasma-based universe

 

 

T
H
E
-
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
20
8
5
-
13
21
19
9
3
-
15
6
-
20
8
5
-
19
16
8
5
18
5
19
2
8
5
-
4
3
1
9
3
-
6
6
-
2
8
5
-
1
7
8
5
9
5
1
T
H
E
-
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
 
 
 
 
 
 
1
 
 
 
 
 
 
 
 
 
 
1
 
 
 
 
 
1
2
 
 
 
 
 
 
 
 
 
 
 
 
2
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
3
 
 
3
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
4
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
5
 
 
 
 
 
 
 
 
 
 
 
 
5
 
 
 
 
5
 
5
 
 
 
 
 
 
 
 
 
 
 
6
6
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
7
 
 
 
 
 
 
8
 
 
 
 
 
 
 
 
 
 
 
 
8
 
 
 
 
8
 
 
 
 
 
 
 
 
 
 
 
9
 
 
 
 
 
 
 
 
 
 
 
 
 
9
 
 
T
H
E
-
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S

 

 

1
occurs
x
3
=
3
-
-
3
2
occurs
x
2
=
4
-
-
4
3
occurs
x
2
=
6
-
-
6
4
occurs
x
1
=
4
-
-
4
5
occurs
x
4
=
20
2+0
=
2
6
occurs
x
2
=
12
1+2
=
3
7
occurs
x
1
=
7
-
-
7
8
occurs
x
3
=
24
2+4
=
6
9
occurs
x
2
=
18
1+8
=
9
45
First Total
-
20
-
98
-
-
44
4+5
Reduce
-
2+0
-
9+8
-
-
4+4
9
Second Total
-
2
-
17
-
-
4
-
Reduce
-
-
-
1+7
-
-
-
9
Final Total
-
2
-
8
-
-
8

 

 

17
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
-
-
-
-
-
--
-
-
`-
13
21
19
9
3
-
15
6
-
20
8
5
-
19
16
8
5
18
5
19
+
=
209
2+0+9
=
11
1+1
2
-
4
3
1
9
3
-
6
6
-
2
8
5
-
1
7
8
5
9
5
1
+
=
83
8+3
=
11
1+1
2
17
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
-
-
-
-
-
--
-
-

 

 

-
-
-
17
MUSIC OF THE SPHERES
S
=
1
--
S
19
10
1
-
-
-
-
--
S
19
10
1
3
-
-
-
--
S
19
10
1
-
T
=
2
-
T
20
2
2
2
U
=
3
-
U
21
3
3
-
C
=
-
-
C
3
3
3
2
M
=
4
-
M
13
4
4
1
E
=
5
-
E
5
5
5
-
-
-
-
-
E
5
5
5
3
-
-
-
-
E
5
5
5
-
O
=
6
-
O
15
6
6
2
F
-
-
-
F
6
6
6
-
P
=
7
-
P
16
7
7
1
H
=
8
-
H
8
8
8
-
-
-
-
-
H
8
8
8
2
I
=
9
-
I
9
9
9
-
-
-
-
-
R
18
9
9
2
9
-
45
17
MUSIC OF THE SPHERES
-
-
-
17
-
-
4+5
-
-
-
-
-
1+7
9
-
9
17
MUSIC OF THE SPHERES
-
-
-
8

 

 

1
occurs
x
3
=
3
-
-
3
2
occurs
x
1
=
2
-
-
2
3
occurs
x
2
=
6
-
-
6
4
occurs
x
1
=
4
-
-
4
5
occurs
x
3
=
15
1+5
=
6
6
occurs
x
2
=
12
1+2
=
3
7
occurs
x
1
=
7
-
-
7
8
occurs
x
2
=
16
1+6
=
7
9
occurs
x
2
=
18
1+8
=
9
45
First Total
-
17
-
83
-
-
47
4+5
Reduce
-
1+7
-
8+3
-
-
4+7
9
Second Total
-
8
-
11
-
-
11
-
Reduce
-
-
-
1+1
-
-
-
9
Final Total
-
8
-
2
-
-
2

 

 

17
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
-
-
-
-
-
--
-
-
`-
13
21
19
9
3
-
15
6
-
20
8
5
-
19
16
8
5
18
5
19
+
=
209
2+0+9
=
11
1+1
2
-
4
3
1
9
3
-
6
6
-
2
8
5
-
1
7
8
5
9
5
1
+
=
83
8+3
=
11
1+1
2
17
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
-
-
-
-
-
--
-
-

 

 

q-
17
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
-
-
-
-
-
--
-
-
-
-
-
-
-
-
1
9
-
-
6
-
-
-
8
-
-
1
-
8
-
-
-
1
+
=
34
3+4
=
7
=
7
=
7
-
-
-
-
19
9
-
-
15
-
-
-
8
-
-
19
-
8
-
-
-
19
+
=
97
9+7
=
16
1+6
7
=
7
q-
17
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
-
-
-
-
-
--
-
-
-
-
-
-
4
3
-
-
3
-
-
6
-
2
-
5
-
-
7
-
5
9
5
-
+
=
49
4+9
=
13
1+3
4
=
4
-
-
13
21
-
-
3
-
-
6
-
20
-
5
-
-
16
-
5
18
5
-
+
=
112
1+1+2
=
4
=
4
=
4
q-
17
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
-
-
-
-
-
--
-
-
-
-
-
-
13
21
19
9
3
-
15
6
-
20
8
5
-
19
16
8
5
18
5
19
+
=
209
2+0+9
=
11
1+1
2
=
2
-
-
4
3
1
9
3
-
6
6
-
2
8
5
-
1
7
8
5
9
5
1
+
=
83
8+3
=
11
1+1
2
=
2
-
17
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
-
-
1
occurs
x
3
=
3
=
3
2
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
3
-
-
3
-
--
--
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
2
=
6
=
6
4
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
5
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
-
5
-
-
-
5
occurs
x
3
=
15
1+5
6
6
-
-
-
-
-
-
-
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
occurs
x
2
=
12
1+2
3
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
8
-
-
-
-
-
-
8
occurs
x
2
=
16
1+6
7
9
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
9
occurs
x
2
=
18
1+8
9
45
17
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
-
-
45
-
-
17
-
83
-
47
4+5
1+7
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
4+5
-
-
1+7
-
8+3
-
4+7
9
8
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
-
-
9
-
-
8
-
11
-
11
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1+1
-
1+1
9
8
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
-
-
9
-
-
8
-
2
-
2

 

 

17
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
-
-
-
-
-
--
-
-
`-
13
21
19
9
3
-
15
6
-
20
8
5
-
19
16
8
5
18
5
19
+
=
209
2+0+9
=
11
1+1
2
-
4
3
1
9
3
-
6
6
-
2
8
5
-
1
7
8
5
9
5
1
+
=
83
8+3
=
11
1+1
2
17
M
U
S
I
C
-
O
F
-
T
H
E
-
S
P
H
E
R
E
S
-
-
-
-
-
--
-
-

 

 

Musica universalis - Wikipedia
https://en.wikipedia.org/wiki/Musica_universalis
Musica universalis (literally universal music), also called Music of the spheres or Harmony of the Spheres, is an ancient philosophical concept that regards proportions in the movements of celestial bodies—the Sun, Moon, and planets—as a form of musica (the Medieval Latin term for music).

 

music of the spheres - The William Herschel Society
www.williamherschel.org.uk/wp-content/uploads/.../Harmony-of-the-Spheres.doc

Its founder, Pythagoras (532-497? BC), was probably the first person to associate strictly music and astronomy. He used the word “cosmos” to describe a ...

 

MUSIC OF THE SPHERES

 

-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
M
=
4
-
5
MUSIC
65
29
2
-
-
-
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
S
=
1
-
7
SPHERES
90
54
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
M
=
4
1
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
U
=
3
2
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
S
=
1
3
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
4
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
C
=
3
5
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
-
20
-
5
-
65
29
20
-
-
-
-
-
-
-
-
-
-
O
=
6
6
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
F
=
6
7
1
F
6
6
6
-
-
-
-
-
-
6
-
-
-
-
12
-
2
-
21
123
12
-
-
-
-
-
-
-
-
-
-
T
=
2
8
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
9
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
15
-
3
-
33
15
15
-
-
-
-
-