A secret recovered
The gradual recovery of knowledge that was the property of previous civilizations, that to one extent or
another determined the fate of peoples and the distinctive character of different ages, is a non-accidental
characteristic of our own era, playing an important role in the process by which the material of human
awareness is perfected.
Knowledge — that most cherished of human goals — has at the same time been the cause of many
troubles, especially when the level of morals and ethics was lower than that of knowledge. It is for that very
reason that when knowledge was capable of becoming the cause of misfortunes, of those catastrophic
processes which humans lacked the ability to control, events took place that removed that knowledge. As a
consequence we today, so highly advanced as some believe, do not know what those who lived in the
distant past knew.
Until now, the prevailing current of opinion has been that profound knowledge could not have existed in
the distant past on principle, because the emergence of scientific knowledge proceeds from the simple to
the complex. It follows that mankind has not yet reached the peak of its intellectual ability. There is,
however, a mass of puzzles thrown up by the study of the architectural monuments and writings of the
distant past that forces us to think again about the level of knowledge the Ancients really possessed. In
particular, we are still challenged by the question of what the pyramids are; still trying to grasp their true
purpose and the reasons for their appearance.
Pyramids, which have long troubled human imagination, were constructed in various parts of the globe,
forming systems of their own, but we shall begin our account with an examination of the immense complex
of the Great Pyramids located outside Giza in Egypt.
Of itself the pyramid, its shape and configuration, is an extremely strange structure, while the curious
phenomena that have been observed in the chambers of the pyramids suggest that some kind of energy
processes are taking place there. Today our task is to try to understand the principles lying behind those
processes.
You have probably already heard that there are certain places within the pyramid where foodstuffs of
biological origin will keep for an indefinite length of time. There are also chambers where, if someone
remains for an extended period, they experience an incredible sense of disquiet. However, there are also
areas which engender feelings of a different kind: positive, stimulating creative activity, and fostering
intuition.
Today our task is to gain an understanding of the mechanisms behind these processes.
If we look at the problem of the pyramid from the viewpoint of the simple, visually clear science of
geometry, it turns out that we can come closer to an understanding of the object through describing it in a
very simple manner. Suffice it to recall that in ancient times the laws of geometry were studied in very great
depth and particular attention was devoted to the triangle with sides in the ratio 3:4:5
The idea of this triangle, which the Ancient Egyptian priests considered “sacred”, goes back to
fundamental natural cyclical processes that with its aid were embodied in the structure of the pyramid. As a
consequence the pyramid, embodying the energetics of nature’s rhythms, acquired “magical” properties.
The stone structure became an amplifier of vital flows of energy that gave a human being astonishing
characteristics and even super abilities.
In order to build a structure capable of doing this, you need to have special measuring instruments attuned
to the rhythms of the most important cycles in the energy sources of the Earth and cosmos. A certain set of
(sacred) measuring instruments was connected with the main 12-part cycles: the 12 hours of the day and
night, the 12 months of the year and the main 12-year cycle, made up of three 4-year cycles, the 12 divisions
of the main precessional cycle and so on.
To obtain measuring instruments attuned to the 12-part rhythms and cycles, some initial starting length
was divided into twelve equal parts. Then those parts were folded to make a right-angled triangle with sides
in the ratio 3:4:5 – what Plato described in his Timaeus as the building block of cosmic creation.
Division of a length into twelve equal parts which are then used to make a 3:4:5 triangle
By this fairly simple method, the rhythm of the 12-part cycle could be presented in the form of a geometric
figure, from which, using the appropriate mathematical and geometrical operations, you can produce a set
of measuring tools and mathematical values to design and build works of architecture.
Today we are well aware that the hypotenuse of such a triangle is a fundamental concept relating directly
to the question of harmony. And anything we say about harmony is associated first and foremost with sound.
Sound is what human beings are immediately attuned to, irrespective of their cultural background, level of
education or intelligence.
In this context there are a number of curious facts that need to be pointed out. One is that when a baby
comes into the world its first cry, no matter what its timbre or volume, has as a rule the frequency of A.
Another is that those people who have “perfect pitch” relate other notes back to A.
The sound of A is then a kind of yardstick frequency.
It is also known that the average distance between the human eardrums is an exact fraction of the
wavelength of A. The wavelength of A is 78 centimetres. Divide that by four and you get the distance in
question. We also know that frequencies are only resonant when the one wavelength is an exact multiple of
the other.
That means that nature has constructed the human hearing apparatus is such a way that it is tuned to the
frequency of A, which plays a prime role in the musical scale.
The pyramid is interesting for the fact that its shape contains not vertical planes as in ordinary architecture,
but inclined ones instead. Therefore if you make a cross-section of a pyramid, you get a triangle, or two
right angled triangles back to back. And since you have a right-angled triangle, then you will recognize the
positionof the hypotenuse.
What is the hypotenuse, though?
In respect of a function or phenomenon the hypotenuse expresses the rate of a process, that is to say the
frequency (which is a characteristic of vibratory processes).
The pyramids pose a host of puzzles, that you and I are trying to sort out here, but in order to find the
answer to these questions we need begin with an examination of the principles lying behind the design of
the pyramids.
The key to understanding the laws that formed the basis for the construction of the pyramids is provided by
the tablets on which, according to legend, the Ancient Egyptians expounded their knowledge.
At the beginning of the century Quibell’s expedition to Saqqara discovered the tomb of an Ancient
Egyptian architect from which they extracted a set of wooden boards covered in carvings
Judging by the number of niches in which the panels stood, there were originally eleven of them.
The order in which the panels were placed in the tomb of Hesi-Ra follows what is known as the Lucas
sequence. They are the figures obtained from adding and subtracting the ordinal numbers that form the
Golden Section sequence. The images presented on the panels follow a pulsating rhythm or, as the Ancient
Egyptians themselves said, the BA – КА rhythm.
A many-sided analysis of the panels carried out by the architect I.P. Shmelev, has made it possible to
conclude that they contain information on the parameters governing the interrelation of the measuring
instruments used in deep antiquity during the design and construction of buildings intended to act on the
physical and energy structure of a human being.
The panels in question have proved to be something unique. Several layers of information can be traced on
them, providing the key to recognition of the fact that the Ancient Egyptians knew all about the Golden
Section long before Pythagoras.
Today we know from measurements that have been taken that the principle of the Golden Section was used
in the construction of all the great pyramids.
Another question arises. It is not easy to produce a structure like a pyramid; you need to have the
appropriate constructional technology suited to the purpose, but beyond that its geometrical structure
incorporates the irrational ratios of the Golden Section, which are more difficult than ordinary whole
numbers. Why?
It should be pointed out that the whole musical scale, the whole sonic temperament, obeys the same law of
the Golden Section.
Remember what it says in the Gospel: “In the beginning was the Word” — and the word is sound (a wave
process characterized by frequency). And if the word conveys meaning, then that means that the frequency,
as a characteristic of the energy process, should also have some kind of meaning.
The one cannot exist without the other. That is a principle. The conclusion follows that the principle of the
Golden Section, upon which the great multitude of objects in the biological world are constructed, bears a
very profound, fundamental meaning.
And it is no coincidence that in the human being in particular the law of the Golden Section can be traced in
some many different variations that one can only wonder that nature created us just that way. The
bones of the fingers, three in number; three parts of the arm (the relationship of lengths) — elements of the
Golden Section. The heart beats in this rhythm and pushes blood into the aorta, leaving a portion in the
ventricle; in Golden Section rhythm. The rods and cones of the eye, the cochlea of the ear (the ratio of the
lengths of the spirals), the structure of the whole skeletal framework — examine the statistical averages
and it is all the Golden Section. Even the dynamics of the neural structures in certain mental states obey
the same law.
Can that really be mere chance or a peculiarity of mankind alone? No, the same principle governs the orbital
periods of the planets in the Solar System, the musical scale is founded on it, the system of chemical
elements, and indeed everything connected with natural systems obeys that law.
The wands (mete-wands) held in the left hand of the priest who is depicted on the first main panel are
shown in a ratio connected with the frequency of A.
The standard value accepted for the pitch of A today is 440 Hz, but 441 Hz is more precise. It is astonishing
that no one particularly noticed that if you place the figures 441 after a decimal point, i.e. 0.441, what you
get is a function of the Golden Section. Knowing all that, we arrive at an interesting revelation. Not only do
these panels explain the principle of using the Golden Section, they also present tools that are elementarily
simple, yet work like a computer.
Our arms themselves are already tools of the same type as the “measuring instrument” depicted on the
tablets.
Calculations have shown that this wand is a tool with which it is possible to calculate any value of the
Golden Section directly as a length, without using any complicated mathematical formulae, just manipulating
the “magic wand”, adding on and taking away.
This very idea was central to the “Canon” that explained the method of making and using measuring tools
with the aid of which pyramids and temple complexes were attuned to some particular pharaoh (human
being).
You get the feeling that human beings were created to some kind of standard. It would be more correct,
however, to say that human beings could not have formed differently for the simple reason that they
appeared in an environment that imposes those parameters, and the values of the Golden Section bear a
direct relation to what we call “harmonic resonance”.
Harmonic resonance and Golden Section
Let us examine briefly the idea of “harmonic resonance”.
In order to better picture the mechanisms operating in the great pyramid complex at Giza, let us examine
an easily understood example. Take two guitars and tune them in unison. Then put one of the guitars in the
next room, come back, pick up the other and strike a note — on the sixth, thickest string, say. If you do that,
you will observe that the sixth string of the second guitar, standing in the corner of the other room, has also
begun to vibrate, producing a barely audible note, although you have not touched it. That is the physical
phenomenon of harmonic resonance in action.
The same experiment can be conducted with two pianos standing next to each other. The effect will be
even more pronounced.
It should be noted that when resonance begins it is accompanied by an increase in the energy of oscillation.
The string on the instrument in the other room was initially in a state of rest, but when the string on one
instrument was struck, the resting state of the other gave way to an excited state (an increase in energy).
So, when examining the phenomenon of harmonic resonance, it is important to understand that the source
of thesignal (energy) is capable of raising the energy of another object located at some distance, provided
they aretuned in to one another. One of the factors determining mutual tuning is the Golden Section.
Extract from Valery Uvarov's book 'THE PYRAMIDS', published by RESONANCE BookWorks.
I have not included diagrams - these will be added later.