 Don't believe or disbelieve anything we discuss in spirit science. Simply have your own experience. In lesson six I showed you an intro to sacred geometry, the flower of life. We looked at the genesis pattern and how it forms the fruit of life, the pattern that all physical matter in existence comes out of. We jumped out of the sacred geometric pool for a few lessons, and today we're going to dive right back in. I've mentioned quite a few times that within the flower of life are found the music and harmonics of everything in existence. Let's find out how that works, shall we? First I want to show you Phi and Fibonacci. It's important to understand for what we're going to talk about. I'll show you what you need to know to continue, and if you want to learn more in depth about these sequences, I will provide sources in the comments. Phi, also known as the golden ratio, or golden mean, is a very simple relationship. If you had a rod and were going to put a mark on it, only two places would mark the Phi ratio, which is here or here. The length of A plus B is equal to the length of C. This ratio is 1.618 0339 and continues on forever. If you multiply the length of C with Phi, it will create the exact same image, only bigger. C and D is equal to E. This ratio could then span on forever, going smaller and smaller or bigger and bigger forever. This ratio is infinite. It has no beginning and no end. It is also believed that Phi is the mathematical root of all other sequences. See, every mathematical sequence in existence needs a minimum of three numbers to figure out the sequence. Phi only needs two. It is the only one. Similar to how the circle and square are the source of all shape, but we'll get to that later on. The next thing that you need to know is that this ratio is found in all life everywhere. Sort of. By sort of, I mean it's really Feminacci, but we'll look at that in a moment. Look at your hand. Not only does each finger have its own ratio moving up each finger, which is Phi to the next bone, but it oscillates back and forth from the tallest finger to the thumb. You wonder why the human hand is like that? It's based on Phi. This relationship is found throughout the body in various ways, moving up the arms and legs in your face throughout the entire body. This is a Greek statue that accurately represents this. The Greeks were very precise when they made their art, because they understood Phi, Feminacci, and the importance of these sequences. When the Romans took over Greece, you could see the perfection in statues just completely disappear. I'm not saying the Romans were bad artists. They just didn't measure everything to the same caliber that the Greeks did. Here is the Phi ratio in butterflies. You can see this ratio everywhere, from the wing size to the body to the antennas. They're all Phi ratios. Here's dragonflies. It's the same story. Phi runs along the entire body and the relation to the body and the wings. Here it is in frogs. Phi is found throughout the body in relation to the head, to the arms, to the fingers, and so on. Well, what about fish? You'd think they wouldn't be found in fish. Well, here's three kinds of fish. Once again, the ratios are consistent. It doesn't just apply to these creatures, though. Regardless of what mammal, insect, avian, plant, or living creature of any kind, you will find this ratio one way or another. There's a reason for this, but we'll get to that in a moment. Let me show you the importance we used to place on this golden ratio. In ancient times, we built many structures based on Phi because we understood divine proportion. This is the pagoda of Yakushiji Temple in Japan. It's built with these same mathematics, from the doorway to the ball on top of the temple. It is a structural embodiment of the proportions that all life holds. The Parthenon in Greece also has the exact same mathematical structure, but even more. I recommend watching Nova's Secrets of the Parthenon if you wish to learn more about this, because the stuff that they find is really cool. The Great Pyramid Giza also has these proportions. They're incredibly precise, perfect in every way. You'd think that by building these structures using the logical and mathematical proportions so carefully, that they would hinder the creativity behind these buildings, but they really don't. In fact, the left brain understanding all of this can even enhance creativity if used correctly. It makes me wonder about all of the world-famous buildings of the modern world. Could Phi be a large factor in what makes them stand out? Let's move on to our next sequence, which is called Fibonacci. Now, the Fibonacci sequence is life's way of creating the golden mean. Allow me to explain. This sequence is continually made from adding the previous number to the current. One and one is two. Two and one is three. Three and two is five. Five and three is eight. You can see how it continues. Now, what most people don't know about Fibonacci is that it actually continually strives closer and closer to the Phi ratio. By dividing the current number into the last, you can see this happening. One into one is one. Well, that's not close at all. Two into one is two. This time, it's over Phi, but closer. Three into two is 1.5, which is under, but closer still. Five into three is 1.666. This time, it's over, but even closer. Continuing with that, it's 1.6, and then 1.625, 1.615384, 1.619048, and so on. It continually oscillates over and under the Phi ratio, never quite making it there, but continuing on closer and closer every time, until eventually you can't even tell the difference. Because Phi is an infinite number, this sequence will go on forever. Let's look at some spirals in nature, another way that Phi and Fibonacci can manifest. This is a nautilus shell. Many people will say it's Phi, but it's really Fibonacci. See how when it's in its earliest form, it's crude, not smooth or anything? One look and you can tell that's not Phi, but as it goes out farther and farther, it gets closer and closer to Phi. It becomes a nearly perfect Phi spiral by the time it's all the way out here. This also happens with sunflowers, pinecones, and many plants in nature. In many cases, such as the pinecones and sunflowers, it flows in a double spiral or more, much like the spiraling arms of a galaxy. From the microcosm to the macrocosm, spirals are always present. So Phi is basically source, or spirits, or God, in a mathematical way of thinking. The math of God. Don't forget that this sequence is an intimate part of nature itself. I'm going to call it source. It is the source of all mathematical sequences and all life in existence grows based on Phi. However, Phi has no beginning and no end. Life doesn't know how to deal with that. It's like Source says, go and replicate this, and life says, we don't know how. Because life doesn't know how to create from something that has no beginning. So it creates the Fibonacci sequence instead, which has a beginning, but starts out crude, very basic, and then continually goes closer and closer to Source, becoming more divine every step. It does take steps too, which actually has quite a bit to do with evolution. Let's move on for now, though. The only other sequence you need to know for this is binary sequences. This is a sequence, like 2, 4, 8, 16, 32. We're just doubling the last number instead of adding it to the previous one. We're all very familiar with this. Binary sequences are found in life as well. For example, mitotic cell divisions are binary. We go from being a single cell being to having over 100 trillion cells in only 46 divisions. Binary sequences are also how computers work by turning on and off chips. Computing at its core, anyways, is binary. Okay, let's move on to something different for now, but what we just looked at will reveal itself in time. This is how a polar graph usually looks, with 36 radial lines in 10 degree increments, representing the 360 degrees. Then, concentric circles are drawn, each with the same distance away as the last, creating eight equal demarcations as the one before, counting the inside circle as one. Think about what this represents, too. It's a two-dimensional drawing of a three-dimensional sphere, one of the sacred forms, by projecting it onto a flat surface. This is also called a shadow form, and casting shadows is a sacred way to obtain information. Also, a polar graph has both straight male lines and circular female lines, both male and female energies interacting at once. If you plot a golden mean spiral at zero degrees on the polar graph, it will loop all the way around before hitting zero again, exactly at the eighth circle. You'll find that this golden mean line crosses five specific places as it goes out. These places are where the female circular lines meet the male lines. It crosses at 120 degrees, 190 degrees, 240 degrees, 280 degrees, and then it jumps to 360, or back at zero, depending on how you look at it. What's interesting about this is that it creates both a binary and Fibonacci sequence. Looking at the radial increments from the center, it crosses at one, two, three, five, and eight. Well, that's Fibonacci, but it also crosses at two, four, and eight. Well, that's a binary sequence. We're going to look at the binary sequence in particular, though, because what you find is very cool. If you draw lines from the outermost circles on the lines where the binary sequence was formed, you get this image. It is an equilateral triangle. If you continue the spiral outward, it would continue to hit these exact same places, and continue to form larger equilateral triangles. Let's divert yet again to look at something very interesting. There was a man named Keith Critchlow who discovered something very important to understanding the geometry of music. First, he drew a straight line through an equilateral triangle, and then he measured from the middle of the center line and drew a straight line up to the top edge and back down to the bottom corner. Then he did the same, but passed through the center line of the top and back down again. He did this yet again on the other side. You can keep doing this on either side as well. By drawing this funny little form, he discovered something of great importance. He writes, Continuing in this way, each success of proportion will be the harmonic mean between the previous proportion and the total length, and all of these proportions will be musically significant. 1 over 2 being the octave, 2 over 3 being the fifth, 4 over 5 being the major third, 8 over 9 being the major toner step, and 16 over 17 being the half toner step. In other words, he discovered the geometries of music, or at least one aspect of them. Then he tried measuring it in a different way, starting at a different point of the center line. At 3 fourths, he found the measurements were 1 over 7, 1 over 4, 2 over 5, 4 over 7, 8 over 11, and 16 over 19. All of these numbers are musically significant. This is very interesting. It means that the harmonics of music are somehow related to the proportions of the central line moving through a tetrahedron. Back to the polygraph, you can see that this drawing has a much greater value all of a sudden. Not only that, but it becomes even easier to make your measurements thanks to the polygraph itself. You can just draw a straight line through the drawing on the graph, and it will give you the center line. This information has been taken light years beyond what I just showed you though. A research team found that you can draw these lines not only from the center, but from any nodal points inside the upper half of the triangle, and you will come up with all known harmonics in existence. Basically, this means that anywhere the straight line and curve lines on the polygraph cross from 0 to 120 degrees and start making the pattern, you will come up with all known harmonic systems. Not only the western keyboard, but the eastern, and even many unknown systems that have never been used. As I'm not a musician, there's not much more I can show you related to this, but I would love to see what a musician could really do with this knowledge. How far could you take this? All right, I'm running low on time here, so I'll wrap up with this unraveling. Remember when we talked about spirals in nature? They often travel in twos. Usually this is male and female. So on this polygraph, if you're going to copy nature, you don't just plot one spiral, you have to plot two. When you do that, it gives you this image, which is a star tetrahedron inside of a sphere. We mentioned this in Liston 7, and this image is more commonly known as the Star of David. Do you remember the face on Mars? NASA obviously tells us that it's just a random formation on the surface of the planet, but right next to the face, there are also a few pyramids and other anthropomorphic structures. I know what you're thinking. Why on earth would I bring that up all of a sudden? Well, Richard Hoagland and his colleagues have spent a long time researching and deciphering a message on the surface of the red planet. Want to know what that message was? It was a star tetrahedron inscribed in a sphere. Holy balls, right? There's a link in the comments to a page with all of this information if you want to learn more. It's pretty crazy and very eye-opening now that we have this information about what this really means. Inside the star tetrahedron, another one fits perfectly. We can continue to put more and more star tetrahedrons inside or outside of the other star tetrahedrons the same way the golden mean spiral can wrap around the polar graph infinitely big or infinitely small. You'll notice that this smaller tetrahedron also happens to fit perfectly around this sphere. We'll check this out. If you put this same size sphere centered on the point of every single star tetrahedral point, guess what suddenly reveals itself? Of life. It's back. According to the Egyptians, as well as the Ascended Masters, this is one of the holiest, most sacred forms in existence. Of course, we already learned one of its informational systems in Lesson 6, and what you just saw was the second, only in reverse order. What this means is that all of the information of music, harmonics, sound, and spirals come out of this image. Not only that, but light and the dimensional levels work in the same way as harmonics, which we've already discussed in Lesson 2, 7, and 9, meaning that the geometric information about light and dimensions are also related to this star tetrahedron pattern. So just briefly looking at this image that we looked at in Lesson 7, this is the fourth unraveling of the flower of life. It is an infinite spectrum of never-ending fruits of life within more fruits of life. This is the unraveling of dimensions, so it makes a little more sense now, but I won't have time to show you anything more today. So what you just saw was the second unraveling from the third rotational pattern of Genesis, the geometry at the heart of creation.