Fa, a long long way to run So, a needle pulling thread La, a note to follow So
Ti, a drink with jam and bread, That will bring us back to Do!
(In eleventh-century Italy, the music theorist Guido of Arezzo invented solfège
using the first syllable and pitch of each line of the Latin hymn:
Ut queant laxis, the "Hymn to St. John the Baptist" yielding
"ut" (do), re mi, fa, sol, la, and then Saint Iōhannēs (ti))
|The mechanisms of how the 'Law of Seven' interacts with the 'Law of Three' is of the utmost importance in the understanding of Gurdjieff's system which is shown in his famous Enneagram:|
The only places this topic is touched upon is in 'Beelzebub's Tales to his Grandson' Chapter 17, 39, and 40 (where the seven 'gravity centers'/notes are called 'Stopinders' by Gurdjieff) and in Ouspensky's 'In Search of the Miraculous' Chapter 7 (where Gurdjieff calls them note accelerations.) This sparse information has caused confusion of how to apply the Gurdjieff method, referred to as 'Work'. Some would say that 'Work' is following the circle from the beginning to the end as in the 'Enneagram of Personalities', others will study the inscribed order of the unique pattern within the circle by dancing the Gurdjieff 'Movement' entitled 'Enneagram', others will practice the 'Work' at 'mi'-'fa' (Gurdjieff's External Activation) with breathing exercises, others will practice Work at 'sol'-'la' (Gurdjieff's 'Harnel Aoot') 'observing themselves', and others will practice at 'ti'-'do' (Gurdjieff's 'Intentional Activation') storing 'bodily energies' and others will ignore the subject as too difficult and rely on words taken from Chapter 39 such as 'being-Partkdolg-duty', 'impartiality', 'conscious labors' and 'intentional suffering', and 'intentional contemplativeness'. In my essay The Secret Enneagram of Gurdjieff and its relationship to Universal Vortex Math' I describe the construction of the Enneagram, but here I will concentrate on the 'Stopinders' of the law of 'Heptaparaparshinokh' in relation to the law of 'Triamazikamno' which are primarily described in 'Beelzebub's Tales to his Grandson' Chapter 39 'Holy Planet Purgatory'.
|It has always been the technique of Gurdjieff to make up a word in order to prevent the readers from associating their preconceived meaning and this is true of 'Stopinder'.|
The two primary laws of 'Triamazikamno' and 'Heptaparaparshinokh' can be easily substituted the 'Law of Three' (Ch 17 pg 138 'Arch Absurd': "'Holy-Affirming', 'Holy-Denying', and 'Holy-Reconciling'.") and the 'Law of Sevenfoldness' (Ch 30 pg 493: "sacred law of Heptaparaparshinokh, or, as they called it the Law of Sevenfoldness").
However, the problem arises in the inconsistency of Gurdjieff's definition where he describes a 'Stopinder' of which there are seven in the 'Law of Heptaparaparshinokh' as:
|In 'The Law of Heptaparaparshinokh' Ch 40 pg 850, Gurdjieff set out to prove that the 'Law of Sevenfoldness' exists in everything such as opium, light, and sound (pg 827). After many digressions that intended to prove that ancient science was superior, Gurdjieff ends up concentrating on sound in the construction of the 'Lav-Merz-Nokh' (pg 851) which at first is just like a piano with white and black keys.|
"These black strings however he named 'Demisakhsakhsa,' which according to the terminology of the beings of the Earth corresponded to what they call 'half notes,' and these 'half-note strings' on the Lav-Merz-Nokh were not strung between those whole notes between which, according to the indications of the saints Choon-Kil-Tez and Choon-Tro-Pel, there is according to the sacred Heptaparaparshinokh no possibility of the independence of the evolution and involution of the vibrations of sound, and these places they were the first to call 'gaps.' And in the given places of the octave where these gaps ought to be, this learned being King-Too-Toz strung special strings between the whole notes made of the tail-hairs of beings called there 'horse'. These hair strings gave vibrations which were not always the same and King-Too-Toz named these vibrations 'chaotic'."
This experiment did not end there as this 'piano' was improved by adding twice as many strings! The reason for adding ones between the chaotic horse hair strings seems to me to be absurd and perhaps a mistake as I believe only twelve more notes should have been added, not fourteen.:
"On this Lav-Merz-Nokh between these white, black, and hair strings there were also strung in each octave fourteen strings also from 'twisted intestines,' which were painted red and called 'Keesookesschoor,' and if contemporary beings of the Earth were to use these strings they would call them 'quarter notes'."
Contrary to the premise that the 'Law of Seven' was forgotten, here is 24 note scale developed in the Middle East in the eighteenth century:
|Next the 'The Nirioonossian-World-Sound' is mentioned and I believe that this is contained in my paper: 'The Secret Enneagram of Gurdjieff and its relationship to Universal Vortex Math' in which I derived all the notes in the Circle of Fifths using Vortex Math.|
|Note: that 'C' is the Physics standard and 'A" is lower than the artificial orchestral standard of 440 that was chosen to make the music brighter, but is really off tone to nature.|
|This chapter 40 ends with a discussion of the Food Octave which will be discussed later on when returning again to the subject of 'Stopinders'.|
|Rather that being told that some now unknown saints Choon-Kil-Tez and Choon-Tro-Pel worked out the position of the 'gaps', I will now discuss how the musical notes are derived by intervals and see if there is any scientific reason for the 'gaps'. Although the frequency of the notes is important for the relationship to our senses, it is not the frequency that creates a melody, but rather the intervals between the frequencies.|
Although Gurdjieff made fun of the Greeks using only five notes (the pentatonic scale), they used seven notes also. In fact Pythagoras was the founder of music theory by discovering a method to create all the notes in the 'Circle of Fifths'. He did this by choosing the most pleasant tone the fifth (2:3) and added 6 perfect fifths successively in a positive (outward direction in the spiral) to create the intervals Root(do), P5(sol), M2(re), M6(la), M3(mi), M7(ti), (Aug4) and then adding 6 perfect fifths in negative (inner direction) then the intervals P4(fa), m7(li), m3(ri), m6(sil), m2(di), tritone(fi), (dim5th) were obtained. All these could be placed in one octave because of the similarity of all octaves. Although this did have a problem with Aug4/Dim5th, the 'wolf tone' not completing a perfect circle, it set the foundation for the Circle of Fifths which is the foundation of all modern music.
See Skye Løfvander's youtube:https://www.youtube.com/watch?v=1DUZsQ2by2s
|Using Pythagoras' intervals as a guide, we can assess all these intervals by listening to them.|
Green is most pleasing
So beginning with the Root, a simple division of the octave is to multiply the frequency by 1.5 (3:2) which is the Perfect Fifth (being the fifth note 'sol') that Pythagoras used. Its sound is as pure as the octave and can be confused by those who have little musical training. Another simple interval is obtained by multiplying the Root by one and one third (4:3) which is called the Perfect Fourth (being the fourth note 'fa'). In both of these, the frequency blends well and sounds aesthetically pleasing and consonant.
|Actually it is well known that when singing a note, the human voice contains overtones that fluctuate within that note.|
In fact a study was done on human speech sounds and it was discovered that there are eight peaks contained these vocalizations that match those that the six we have assigned previously by consonance including two others: the Tritone (x 1.406 45;32) (which is in the middle of the octave) and the minor Seventh: (x 1.8 9:5) (being a half tone down from ti). (Note that the lower the denominator the greater its consonance. Also the more overtones contained, the more its consonance.)
Looking at the gaps three more tones can be added, although they are not as pleasing but dissonant, yet often short dissonance adds flavor. These are Major Seventh (x 1.875 15:8) (being ti), Major Second (x 1.125 9:8) and Minor Second (x 1.06o6 16/15) (Second being the first note 're' and a half tone down). The Tritone is also in this category of dissonant.
|All twelve intervals are shown here:|
The twelve intervals are shown on a piano keyboard octave and the accelerations of the notes are calculated as was done in the previous Ouspensky diagram. In the key of C, it is true that the two places where the black notes are missing do show 'increase retarded' for the white notes, but once the acceleration of of both the white and black notes are calculated, this is no longer true. The reason for this is because the accelerations have been balanced out over the octave. Since the Law of Seven is concerned with seven notes, namely the white keys in the key of C, one might say that the places where the 'increase retarded' (missing black keys) at 'mi'-'fa' and 'ti'-'do' are still valid. Yet, I would suggest that the premise of these being 'discontinuities' is not true and thus would be better called: 'points of action.'
|As to the subject of adding more notes, it is clear that the reason for the two missing black notes has to do with the shortened spacing.|
Certainly, a black key could be placed in each of these places but it would serve no purpose as they would not sound perceptively different. The use of "horse hair" would make these intervals worse. There is certainly significance to the fact that an octave contains three important numbers: seven notes, five sharps notes, and thus twelve notes all together. Given this, let us map the white and black notes on the enneagram to see how they match up with the inner triangle. After all, the closing statement from the Ouspensky diagram shown earlier seems to point to the inner triangle having more significance:
|Before doing this it must be pointed out that pianos are the worse at reproducing the pure "Just Intonation" tones because they have been tampered with by the process of "Equal Temperament" and thus are barely able to reproduce the perfect fifth and fourth.|
This was done to allow the ability of playing in any key without having to retune and thus we have had to accept music that has waves that are out of sync beating against each other. If the objective is to have music that matches Pythagoras' imagined "Music of the Spheres" then one needs to tune to "Just Intonation" and avoid the keys that do not work or retune when desired. Today's technology can do this, but it brings up the question of whether music from nature is superior to mathematics.
|Measuring all the intervals precisely around the Enneagram using a protractor:|
The surprising result in this diagram is that all three vertices of the triangle exactly match three of the most consonant intervals: the Root note of the octave (unison), the Perfect Fourth ('fa'), and the Major Sixth ('la'). The sequence of 'do' (Unison), 'fa' (Perfect Fourth), 'la' (Major Sixth) clearly leads to the next octave 'do' and this follows the inner triangle.The most consonant Perfect Fifth 'sol' is in the bottom center directly opposite the apex of the triangle as if echoing the Unison. The righthand side is very crowded from 'do' to 'mi' as if it needs the uplift of 'fa', the Perfect Fourth. The note 'ti' wants to resolve in 'do'.
|Now, let us evaluate Gurdjieff's explanations of the Stopinders in 'Beelzebub's Tales to His Grandson: 'Holy Planet Purgatory' chapter 39 pg 753:|
"Our COMMON FATHER OMNI-BEING ENDLESSNESS, having decided to change the principle of the maintenance of the existence of this then still unique cosmic concentration and sole place of HIS most glorious Being, first of all altered the process itself of the functioning of these two primordial fundamental sacred laws, and HE actualized the greater change in the law of the sacred Heptaparaparshinokh."(do, re, mi, fa, sol, la, ti) (As to the Law of Three, the alteration is never addressed.)
"These changes in the functioning of the sacred Heptaparaparshinokh consisted in this, that in three of its Stopinders HE altered the what are called 'subjective actions' which had been until then in the Stopinders, in this respect, that in one (between the third and fourth deflections) HE lengthened the law-conformable successiveness; shortened it in another (between its last deflection and the beginning of a new cycle); and in a third, disharmonized it."
|A Stopinder in 'The Arch Absurd' chapter was clearly a note with a vibration, but now it is being referred to a a frequency change between notes namely between 'mi-fa' and 'ti-do'. As the Ouspensky diagram In Search of the Miraculous" Ch 7 (shown previously), both intervals are 'retarded' and I would expect that 'shortened' means 'retarded' thus the first one cannot be lengthened! Both have an acceleration of 16/15. Perhaps the meaning of 'subjective action' needs to be analyzed and thus 'lengthening' might refers to the crowded righthand side of the triangle containing 'Do', 'di', 'Re', 'ri' 'Mi' and 'shortening' to the sparse lefthand side of the triangle containing 'li' and 'Ti'.|
|Comparing the 'lengthening' of 'mi'-'fa' and 'shortening' of 'ti'-'do' to Ouspensky Ch 7, it appears to be the exact opposite where lesser energy is needed at 'mi'-'fa' and more at 'ti'-'do'. The reasoning given is that the vibration 'ti'-'do' is a 'considerably higher pitch' and this might seem more plausible. It does leave one bewildered as to the scientific explanations given and this essay has already shown that these discontinuities do not exist, but rather are musically created 'points of action'.|
"In an ascending octave the first 'interval' comes between 'mi' and 'fa'. If corresponding additional energy enters at this point the octave will develop without hindrance to 'si', but between 'si' and 'do' it needs a much stronger 'additional shock' for its right development than between 'mi' and 'fa', because the vibrations of the octave at this point are of a considerably higher pitch and to overcome a check in the development of the octave a greater intensity is needed."
"In a descending octave, on the other hand, the greatest 'interval' occurs at the very beginning of the octave, immediately after the first do and the material for filling it is very often found either in 'do' itself or in the lateral vibrations evoked by 'do'. For this reason a descending octave develops much more easily than an ascending octave and in passing beyond 'si' it reaches 'fa' without hindrance; here an 'additional shock' is necessary, though considerably less strong than the first 'shock' between 'do' and 'si'."
The statement above that "the material for filling it ('do'-'ti') is very often found either in 'do' itself or in the lateral vibrations evoked by 'do'" supports my creation of 'ti'-'do' as the AO Alpha-Omega.
|Gurdjieff's First Stopinder 'lengthened'? the 'mechano-coinciding- Mdnel-In' (mi-fa) (Its location name unchanged by me.)|
"And, namely, with the purpose of providing the 'requisite inherency' for receiving, for its functioning, the automatic affluence of all forces which were near, HE lengthened the Stopinder between its third and fourth deflections. This same Stopinder of the sacred Heptaparaparshinokh is just that one, which is still called the 'mechano-coinciding- Mdnel-In.'"
|Gurdjieff's Second Stopinder ('shortened') (ti-do) (which I have suggested should be called AO (Alpha-Omega)|
"And the Stopinder which HE shortened is between its
last deflection and the beginning of a new cycle of its
completing process; by this same shortening, for the purpose
of facilitating the commencement of a new cycle of
its completing process, HE predetermined the functioning
of the given Stopinder to be dependent only upon the affluence
of forces, obtained from
* I have changed 'outside' to 'inside' because it seems to violate the whole point of results within the octave being manifested in the completed 'Do'. It may have been confused in the sense that in the Creation of the Universe, the shortening allowed our Endlessness to project his 'Theomertmalogos' or 'Word-God' down through the octaves of Creation, thus from the outside.
|Gurdjieff's Third Stopinder ('disharmonized') (sol-la) 'Harnel-Aoot' (which I have suggested would be better called the 'intentionally-actualized- Mdnel-In', moving the label from his Second Stopinder above.)|
"As regards the third Stopinder, then changed in its
'subjective action' and which is fifth in the general successiveness
and is called 'Harnel-Aoot', its disharmony
flowed by itself from the change of the two aforementioned
Stopinders. This disharmony in its subjective functioning, flowing
from its asymmetry so to say in relation to the whole entire
completing process of the sacred
#1. (chaos) If the completing process of this sacred law flows in conditions, where during its process there are many 'extraneously- caused-vibrations,' then all its functioning gives only external results.
#2. (quiet) But if this same process proceeds in absolute quiet without any external 'extraneously-caused-vibrations' whatsoever, then all the results of the action of its functioning remain within that concentration in which it completes its process, and for the outside, these results only become evident on direct and immediate contact with it.
#3. (chaos & quiet) And if however during its functioning there are neither of these two sharply opposite conditions, then the results of the action of its process usually divide themselves into the external and the internal."
|I assume that ('sol'-'la') #3 is 'being-Partkdolg duty' since it is a middle path and since further down, after the need "to understand the fundamental cosmic sacred laws", he mentions: "impartiality":|
"Try very hard to understand everything that will relate to both these fundamental cosmic sacred laws, since knowledge of these sacred laws, particularly knowledge relating to the particularities of the sacred Heptaparaparshinokh, ... data are crystallized for engendering that Divine property which it is indispensable for every normal three-brained being to have and your favorites call it 'impartiality'."
|At the end of the chapter: Holy Planet Purgatory 806-810, posed as a joke about monks, I believe Gurdjieff reveals the need follow ('sol'-'la') #3|
"The knowledge about this will give you additional data for elucidating by a concrete example certain particularities, which I have already explained to you, of the fundamental cosmic sacred law of Heptaparaparshinokh. After the loss of the continent Atlantis, certain knowledge concerning the origin and significance of this same 'being-Exioehary' (Gurdjieff's Second Stopinder 'ti'-'do') also survived, and this knowledge also began to pass from generation to generation. ...
In these though fragmentary yet nevertheless authentic informations, it was very convincingly indicated that by means of the substances 'Exioehary' or sperm formed in them, it was possible to perfect oneself, but unfortunately for them there were no indications, in this information which had survived and reached them, what and how precisely this had to be done...
However hard these same beings of your planet who were first interested in this question strove to get clear about this, they arrived at nothing, and it was only the second generation of them who ultimately, after long conscious observations and intensive active mentations, categorically understood that this was indeed possible, exclusively only on condition of a ceaseless fulfillment of being-Partkdolg-duty (Fifth Stopinder ('sol'-'la) item #3 above: combination of chaos and quiet), ... and those of them, beings of the said generation as well as certain of the subsequent two generations, who began seriously to actualize this, did indeed attain the expected results.
But already the fourth generation of those beings who were first interested in this question and who were followers not from essence-conviction but from a property called 'to imitate,' which had by that time also become inherent in these terrestrial three-brained beings, also began to exist together and to do as it were the same thing.
So from that time it began and until now automatically continues, that such followers organize themselves in separate groups and sometimes form solid sects of various denominations and, putting this same 'abstinence' as the basis of their aim, exist together segregated. Just these same places of theirs for segregated common existence together, are called there 'monasteries,' and the separate beings belonging to these sects, 'monks.' At the present time, very many of these 'monasteries' exist there, and these innumerable 'monks' who enter them do indeed strictly abstain from the ejection from themselves in the customary way of the being-Exioehary or sperm formed in them; but of course, no sensible result at all is ever obtained from this abstinence of theirs, ...
It is however unjust to say that no sensible result at all is obtained among these monks there. There are even obtained among them 'sensible results' of two independent kinds:
|Gurdjieff's Third Stopinder now referred to at The Fifth Stopinder ('Harnel-Aoot') ('sol'-'la") is now the engine of World Creation starting with the creation of Stars, whereas in Ouspensky, it appears to be 'mi'-'fa', the 'Automatic Activator' that creates.|
| Still, it is not clear which of the three factors of 'Harnel Aoot' were involved in this first step of World Creation: chaos #1, quiet #2, or a combination of chaos and quiet #3. Since 'Our Endlessness' is shown to have a previous kingdom, although slowly diminishing from Time itself, one might have expected that Harnel-Aoot #2 quiet would be the initial action but then the results would be all internal; no Big Bang here! But considering that 'Our Endlessness' was very vexed at losing his kingdom, it must be Harnel-Aoot #1 chaos that acts to create a 100% external results. (Note that in this case the creation energy of 'Our Endlessness' would be through Gurdjieff's 'Intentional Activator' (intentional for God, but not humans) This is the reason I want to move the Gurdjieff's 'Intentional Activator' to Gurdjieff's 'Harnel-Ahoot position.):|
"Thanks to the new particularity of the fifth Stopinder of the sacred Heptaparaparshinokh, these emanations issuing from the Sun Absolute began to act at certain definite points of the space of the Universe upon the primesource cosmic substance Etherokrilno from which, owing to the totality of the former and the new particularities of the sacred primordial laws, certain definite concentrations began to be concentrated. "
"Further, thanks to these factors and also to their own laws of Heptaparaparshinokh and Triamazikamno which had already begun to arise in these definite concentrations with their action upon each other, everything which had to be gradually began to be crystallized in these concentrations, and as a result of all this, those large concentrations were obtained which exist also until now and which we now call 'Second-order-Suns'." (Stars: the Sun)
|The Law of Three takes over: 'Holy Theomertmalogos' began to
manifest itself in the quality of the third holy force of the
sacred Triamazikamno" with the Stars as Active Force and the Galaxies as Passive Force creating Third-Order Suns (planets).|
"When these newly arisen Suns had been completely actualized and their own functionings of both the fundamental laws had been finally established in them, then in them also, similarly to the Most Most Holy Sun Absolute, their own results began to be transformed and to be radiated, which, together with the emanations issuing from the Most Most Holy Sun Absolute into the space of the Universe, became the factors for the actualization of the common-cosmic fundamental process of the sacred law of Triamazikamno, and that is to say:
The Most Most Holy Theomertmalogos began to manifest itself in the quality of the third holy force of the sacred Triamazikamno; the results of any one of the newly arisen Second-order-Suns began to serve as the first holy force; and the results of all the other newly arisen Second-order- Suns in relation to this mentioned one newly arisen Sun, as the second holy force of this sacred law.
Thanks to the process of the common-cosmic sacred Triamazikamno thus established in the space of the Universe, crystallizations of different what is called ‘density’ gradually began to be formed around each of the Second-order- Suns out of that same prime-source Etherokrilno, and grouping themselves around these newly arisen Suns, new concentrations began to take form, as a result of which more new Suns were obtained, but this time 'Third-order-Suns.' These third-order concentrations are just those cosmic concentrations which at the present time are called planets."
"At this very place in the process of the first outer cycle
of the fundamental sacred Heptaparaparshinokh,
namely, after the formation of the Third-order-Suns or
Planets, just here, owing to the changed fifth deflection of
the sacred Heptaparaparshinokh, which as I have already
said is now called Harnel-Aoot, the initially given momentum
for the fundamental completing process, having
lost half the force of its vivifyingness, began in its further
functioning to have only half of the manifestation of its
action outside itself, and the other half for itself, i.e., for
its very own functioning, the consequences of which were
that on these last big results, i.e., on these said Third-order-
Suns or planets, there began to arise what are called,
Having stated that this action had 'lost half the force of its vivifyingness', suggests that Harnel-Ahoot #3 chaos and quiet 50% is now responsible for the creation of "Similarities-to-the-already-arisen" ("Microcosmos": atoms;organic cells) on the planets.|
"And as after this, surrounding conditions of actualizations were everywhere established corresponding to the manifestation of the second particularity the fifth Stopinder of the fundamental sacred Heptaparaparshinokh, therefore from then on the actualization of the fundamental outer cycle of the sacred Heptaparaparshinokh ceased, and all the action of its functioning entered forever into the results already manifested by it, and in them there began to proceed its inherent permanent processes of transformation, called 'evolution' and 'involution'."
|'Evolution' and 'involution' refers to Holy Planet Purgatory pg 760 "the 'common-cosmic Ansanbaluiazar': 'Everything issuing from everything and again entering into everything'. Clearly, this energy passes through 'do' in both directions. This is just what I signify in my term for 'ti'-'do' as AO (Alpha-Omega).|
"And, namely, they named the Most Most Holy Prime- Source Sun Absolute itself: 'Protocosmos.' Each newly arisen 'Second-order-Sun' with all its consequent definite results they called 'Defterocosmos.' 'Third-order-Suns,' i.e., those we now call 'planets,' they called 'Tritocosmos'."
"The smallest 'relatively independent formation' on the planets, which arose thanks to the new inherency of the fifth Stopinder of the sacred Heptaparaparshinokh and which is the very smallest similarity to the Whole, was called 'Microcosmos,' and, finally, those formations of the 'Microcosmos' and which also became concentrated on the planets, this time thanks to the second-order cosmic law called 'mutual attraction of the similar,' were named 'Tetartocosmoses'." (humans)
|After the creation of Microcosmos "similarities-to-the-already-arisen" (atoms, organic cells), it specifically states that 'the second particularity of the fifth Stopinder' that being Harnel-Ahoot #2 quiet (100% internal) is active. Having occurred after the creation of Microcosmos and before Tetartocosmos (human), it must be responsible for the creation of the next cosmos: Tetartocosmos: humans, even though it seems to attribute it to "the second-order cosmic law called mutual attraction of the similar'". Thus I will add Harnel Ahoot #2 to the creation of Tetartocosmos. And this implies the building of a Spirit and Soul within.|
|In a strange aside, the Last Stopinder for us is defined as the Moon and Anulios instead of within the Earth and is the reason that we have male and female sexes|
"And we are such Keschapmartnian beings because the last fundamental Stopinder of the sacred Heptaparaparshinokh, which at the present time almost all the beings of the Megalocosmos call the sacred Ashagiprotoehary,' is not in the centers of those planets upon which we arise (as it occurs in general in the majority of the planets of our great Megalocosmos) but is in the centers of their satellites, which for our planet Karatas is the little planet of our solar system which we call 'Prnokhpaioch', and for the planet Earth, its former fragments now called the Moon and Anulios."
|In this next section, 'Harnel-Aoot' appears again as creating the subjective properties of all the active elements and likewise their what are called 'proportions of vivifyingness'. At first, I imagined the insane scientist Raven 'Gornahoor Harharkh' or his son 'Gornahoor Rakhoorkh' being the 'independent individual' manipulating the 'active elements', but then I realized that it is most applicable to the 'Food Octave'. In the 'Food Octave' the Fifth Stopinder ('sol'-'la') and 'Attraction-and-Fusion-of-Similarities' are important engines, but most important is you as an 'independent individual' with 'conscious intention'. This supports my labeling of 'sol'-'la' as the 'Intentional Activator'!|
"it is necessary for you to bear in mind, for a clear representation of these processes, that in our Megalocosmos (from results which have already flowed from every kind of Trogoautoegocratic process) there are many hundreds of independent 'active elements' with various specific subjective properties which take part in new formations. These many hundreds of 'active elements' with various properties wherever they might be, proceeding from the seven Stopinders of the fundamental common-cosmic Sacred Heptaparaparshinokh, are, depending upon the Stopinder from which they received their primordial arising, divided and localized, according to what is called the 'affinity of vibrations,' into seven what are called 'Okhtapanatsakhnian classes.' And all without exception of both the large and small already definite concentrations in all our Megalocosmos are formed from these active elements belonging to seven independent classes, and, as I have already told you, they have their own subjective properties."
"And these subjective properties of theirs and likewise their what are called 'proportions of vivifyingness' are actualized
|The enhanced Food Octave shown next is obtained by adding the Stopinders described in the 'Food Octave' section of 'Holy Planet Purgatory' (with corrections from my essays: 'The Key to Soul Is Within The Missing Stopinder in the Food Octave' and 'PhotonicSoul') and incorporating the information gained in mapping the musical intervals:|
|Thus ends the references to Stopinder in 'Holy Planet Purgatory'|
|'Beelzebub's Tales' Chapter 40 The fundamental cosmic law of Heptaparaparshinokh pg 869 gives as example from the piano of passing through the Harnel-Aoot ('sol'-'la').|
Unfortunately, 'being-piandjoehari' is misplaced as this corresponds to 'sol' whereas the meaning intended is the 'missing Stopinder' which I have named as 'Hormoneary' (See 'The Key to Soul Is Within The Missing Stopinder in the Food Octave'. Therefore 'sol' needs to transform into 'Hormoneary'.
As to 'mi' or 'si'('ti') this relates to the 'gaps' which is impossible to prove in a vacuum because in a vacuum there is no sound!
"It is necessary at this point in connection with the actualization of the fifth Stopinder of the sacred Heptaparaparshinokh to trace a parallel between two processes which externally have nothing in common with one another, namely: in the same manner as the first being-food cannot acquire its vivifying power until after its transformation into being-piandjoehari, in the same manner on this piano the vibrations of a chord do not acquire a corresponding vivifying power until they have been fused with the preceding vibrations produced, starting from the center of gravity of the totality of the vibrations of the note 'sol'."
"This last particularity of the sacred law of Heptaparaparshinokh is absolutely certain in this given case, that is to say on the piano, but uniquely in consequence of the fact that if the vibrations of 'mi' and 'si' are produced in a hermetically sealed room, these vibrations either cease instantaneously or else the notes 'mi' and 'si' by reason of the momentum obtained from the first shock given for their arising undergo involution and immediately cease, that is to say, as soon as the note 'mi' reaches the note 'do' and the note 'si' the lower 'fa.'"
|Having seen how the musical intervals map exactly to the points of the triangle, we must no longer think of these as discontinuities, but rather as 'points of action'. These are the places where the octaves of of Body, Spirit, and Soul interact with one each other. (See 'Three Body Enneagram'). I will now present a more precise and less confusing presentation of the three 'points of action'.|
|Each 'point of action' is governed by the inner triangle which is the Law of Three acting in the Law of Seven and each point of action has an inner Law of Three.|
|Here is my new diagram showing the engine that governs these seven notes by a central triangle is the Enneagram|
Definition of Harnel-Aoot:
Other than the joke about 'fat monks' and 'Jesuits', there does not seem to be anything of value other than #3 the creation of 'fat Jesuit monks'. This is similar to what Gurdjieff told Ouspensky about three methods of self-development:
Assuming that Harnel-Aoot #3 is: 'being-Partkdolg-duty' then its description of outer and inner results still does not define the 'Work'. Would not the way of 'fat monks' be better because 100% towards a Soul is better than 50%!
Logic says that the position 'sol'-'la' must be the whole engine for self development. It is the point where conscious action can create the energy that can bridge 'ti'-'do' into 'the higher Do'. It is, after all, the mechanism that created the whole Universe! But, do you really want to go around saying I practice 'Harnel-Aoot' as that poor follower of Beelzebub: Ahoon would no doubt say? This is a good reason, but the primary one is because this is the place where intentional action is needed. Besides, 'ti'-'do' is better to be called Alpha Omega (AO) because once 'ti' is incorporated into 'do', it is the place where, as in Revelation, 'the first shall be last and the last shall be first', as the beginning and the end inside itself. The 'do' is paramount to the creation of the higher bodies of Spirt and Soul because the competed Body is their springboard. At 'ti', 'intentional activation' is already too late.
As to the intervals 'ti'-'do' and 'mi'-'fa', this essay showed that the 'missing black notes' are just there because of 'just intonation' musical choices thus one needs to look for musical reasons rather than seeing missing black notes on a piano. For instance, when you play 'ti' on a piano, you can hear it wanting to resolve into 'the higher Do' and in the same way you can also hear the 'do', 're' 'mi' wanting to resolve into 'fa'.
The three important intervals in the Enneagram which are due to the symmetry of the Law of Three within the octave are:
These three 'points of action' are needed to connect Body, Spirit, and Soul in a Three Body Enneagram (See my essay 'Three Body Enneagram').
|Thoughts on how our ENDLESSNESS (in Holy Planet Purgatory Ch 39 pg 749-755 solved "the gradual diminishing of the volume of His dwelling place on the Holy Sun Absolute"|
"From the third most sacred canticle of our cherubim and seraphim, we were worthy of learning that our CREATOR
OMNIPOTENT once ascertained that this same Sun Absolute, on which HE dwelt with HIS cherubim and seraphim was, although almost imperceptibly yet nevertheless gradually, diminishing in volume. ..."
This wonderful story is a metaphor for ourselves growing old. Having shown in this essay that the three changes that 'Our Endlessness' made to the Law of Heptaparaparshinokh never happened, it does not mean that we cannot use our knowledge of the 'Law of Three' and the 'Law of Seven' to find a way to defeat Time. We need only to look at the at the theme of 'The Law of Heptaparaparshinokh' Ch 40 about "how people learned and again forgot about the fundamental cosmic law of Heptaparaparshinokh". This is what we do every day; we forget.
We tend to want to exist within our own minds (egos). The outside world affects us, but we insulate ourselves from it and ignore the the times that it threatened us. Thus, the 'Law of Seven' and the 'Law of Three' just spin around like the hands on a clock and Time eventually takes its toll with death.
With the knowledge of where to intervene in the 'Law of Seven' as shown in the Enneagram, we can defeat death. In that all important place of 'sol'-'la', we must apply the necessary actions, every minute of every day, which I have described in detail in 'Photonic Soul - Beyond Gurdjieff'. Ironically, it is the Heropass (the flow of time) which supplies the challenges that give each one of us the chance to build an eternal Soul. Without the flow of Time, we would not exist. Death is the absence of Time. In those states of deep meditation, love, or thought when Time stands still; it is then that we can sense that place where Time no longer exists, but it is not death; it is Time Eternal; it is your Soul!
The Enneagram of ColorCertainly, the spectrum of light is said to have seven colors like sound has seven notes, so it would be appropriate to map thus placing the RGB and CMY Color Triangles into the Enneagram using Newton's Color Wheel
The concept of the octaves in the Enneagram relates to audible sound and everyone knows that the notes on the piano do not sound in a vacuum. This is because sound requires the displacement of air into waves of certain frequencies that carry the sound out from the source. I wondered, therefore, whether the sound octaves would exist in places outside of the earth's atmosphere?"
Although we can ascribe sound to all sorts of mediums in the cosmos, these sounds can only exist up to the edge of the medium. I remember asking myself this question and it starting me thinking about color because it is based photons of light from distant stars that can travel through the empty vacuum of space. Their color is dependent on their spin that produces a measurable vibration.
"Given that there are seven colors in the solar spectrum, it makes sense to try to place them into the Enneagram as we do for Musical Octave, but it is not entirely obvious how to map them into a circle as the solar spectrum is a straight line.
"In 1671 Isaac Newton described the colors using a prism as the famous Roy G. Biv mnemonic for red, orange, yellow, blue, indigo, violet. He pushed the color indigo because he was anxious to use the magic seven number, but indigo has now fallen into disuse as no one has been able to see it as distinct. It is also not clear what he meant by the colors blue, indigo, and violet.
"In 1810 Johann Wolfgang von Goethe published the 'Theory of Colors' which explored the idea that colors were related to perception and that darkness is not merely the absence of light, but is its polar opposite, capable of interacting with light. He also showed how different colors were visible based on the position of the prism and the size of the slits, thus showing that Newton's experiment was just a special case. He recognized only six primary colors in his color wheel. but it does appear that he recognized 'magenta' which he called purple. (This is one of the three primary pigments used in printers which was officially patented as a color in 1859 and renamed after the Italian town where a battle was won by Napoleon III in that year.)
"In this concept of perception, Goethe foreshadowed the scientific experiments which showed that the retinas of the human eye have three color receptors:
"Despite these receptors not being equally spread over the spectrum, the brain is capable of seeing all the colors, including 'magenta', which is not in the solar spectrum. (Interestingly, when staring at green and turning off the lights, magenta appears, because its vibration is halfway between violet and red of the spectrum with the same vibration as green, thus it is the polar opposite of green, like an anti-photon.)
"After placing the colors in the first obvious correspondence to 'do'-'ti' with their average vibration within their ranges, their vibration ratios were compared to see if it was similar to the notes with their vibration retardation at 'mi'-'fa' and 'ti'-'do', but they were all uniform with the only large changes at each end of the spectrum, which are attributable to the large ranges of red and violet. It is possible that the short range of yellow might be a clue to its position near 'mi'-'fa' and the interesting observation that yellow and cyan look like bookends to green,
but other than that there appears to be no correspondence to the enneagram positioning of notes:
"Looking at the color wheel below, I was amazed by its symmetry as it shows the primary (additive) colors of light: red, green, and blue used in TV screens as a triangle and the secondary (subtractive) pigment colors of cyan, magenta, and yellow used for printing as an upside down triangle. The tertiary colors are between them on two other triangles turned 30 & 60 degrees. There are six colors which come from the primary triangle and the inverted secondary triangle and, when added to the important tertiary colors of orange and violet, they add up to eight colors. (Note that the hexagram in the center with its sides black and white to indicate that 'rgb' together make white and 'cmy' make black.):
"At first, it appeared to me that is was impossible to relate this to the Enneagram, until I looked at Newton's color circle:
"Here Newton placed violet at 'C' ('do'), which is strange, but this was a perfect clue to rotating the Color Wheel above so that Magenta is at the top. Then removing the tertiary colors with the exception of orange and violet, with orange needed to make 'mi' and violet being a perfect candidate for the 'higher Do'; the result is below: