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November 25, 2021

The principle of rhythm

Hermetic principles and geometry 6/8

principe-de-rythme
« Everything flows, within and without ; everything has its duration ; everything evolves and then degenerates ; The swing of the pendulum is manifest in everything ; the measure of its swing to the right is similar to the measure of its swing to the left ; the rhythm is constant. »
[1]

 

After the publi­ca­tion of the article on the prin­ciple of pola­ri­ty, I felt the need to take a break. In fact, I should say : I thought I was taking a break because I was inter­es­ted in infor­ma­tion that was not rela­ted to the prin­ciple of rhythm — it all star­ted with unex­pec­ted and exci­ting dis­co­ve­ries about water - until the day when the obvious link bet­ween this infor­ma­tion and this prin­ciple became clear to me.

So, as I was going along, the inter­de­pen­dence that I like to empha­size so often on this blog caught up with me ! As I conti­nued my research, I dis­co­ve­red an ama­zing concept of the blood­stream and the heart. It was the moment the com­mon point bet­ween the Kybalion, the work of the artist Frank Chester and that of the phy­si­cist Nassim Haramein was revea­led. It was the moment I knew that all the infor­ma­tion gathe­red would be part of this article.

But what can link the prin­ciple of rhythm, art and phy­sics you may ask ? Nothing less than the sacred geo­me­try of the heart and its inter­ac­tion with the uni­verse. I invite you to join me in this fas­ci­na­ting explo­ra­tion, and to begin with, we will try to bet­ter unders­tand rhythm…

                 

Can we define the rhythm ?


« Rhythm arises in crea­tion, imposes itself on per­cep­tion, which then recons­ti­tutes it, exclai­ming, « Here comes rhythm ! » or bet­ter, « Here comes some rhythm ! », so much so does the word seem to escape any defi­nite article, or even any defi­ni­tion. »
[2]


Although our senses allow us to per­ceive rhythm, it is still mys­te­rious. To per­ceive the alter­na­tion of day and night or the regu­la­ri­ty of the sea­sons, to per­ceive for each phe­no­me­non the begin­ning, the dura­tion, the end and their repe­ti­tion is rather fami­liar to us. But as the prin­ciple of pola­ri­ty has shown us, each phe­no­me­non is the mani­fes­ta­tion of a vibra­tion in a conti­nuum loca­ted bet­ween two pola­ri­ties. For where does the day begin and the night end ? The end of a phe­no­me­non is only the begin­ning of its com­ple­ment. The whole uni­verse is thus sub­ject to the laws of contrac­tion and expan­sion.

The mys­te­ry of the rhythm thi­ckens when we rea­lize that these move­ments have a frac­tal dyna­mic [3], sug­ges­ting rhythms within the rhythm. For example, the human being breathes about 25,920 times per minute, while the sun passes through the 12 signs of the zodiac in 25,920 years [4].

The Kybalion uses the image of the pen­du­lum to illus­trate the prin­ciple of rhythm, but the com­pass is also inter­es­ting. As a typi­cal geo­me­tri­cian’s ins­tru­ment, it repre­sents two pola­ri­ties sepa­ra­ted by an inter­val of more or less ampli­tude. Simply draw a circle and a les­son will appear : there is a centre, a sta­tio­na­ry point bet­ween two pola­ri­ties [5]. This is the zero point, through which the pen­du­lum passes again before going to the other extreme.

In the human being, this point, which balances the pola­ri­ties, is loca­ted in the heart.

                      

Heart, human being and universe

Are you rea­dy to dis­co­ver the sacred geo­me­try hid­den in the left ven­tricle of your heart ? It is a ches­ta­he­dron, so named by Frank Chester, the sculp­tor who unvei­led this shape.

Nassim Haramein’s work converges remar­ka­bly towards the ches­ta­he­dron, from a phi­lo­so­phi­cal and geo­me­tri­cal point of view. Both men seem to say the same thing in dif­ferent ways about the true func­tion of the heart in human beings.

sept-sceaux-steinerAs a phy­si­cist, Nassim Haramein speaks of the heart as a sin­gu­la­ri­ty, a point of access to infi­ni­ty. Frank Chester evokes an organ that works to esta­blish har­mo­ny bet­ween our phy­si­cal body and our spi­ri­tual nature. He was ins­pi­red by Rudolf Steiner’s motif of the seven seals (oppo­site), and by one of his sta­te­ments — to which I will return later — « the heart is not a pump » [6].

                

Between expansion and contraction, the chestaedron

chestaedre

Formed by 4 equi­la­te­ral tri­angles and 3 kites, the ches­ta­he­dron has 7 faces with equal sur­faces and 3 axes of symmetry.

Frank Chester mana­ged to build this poly­he­dron in two dif­ferent ways, star­ting from a tetra­he­dron [7] :

tetraedre

  1. By making the tetra­he­dron rotate like a vor­tex in a cube (contrac­tion move­ment)
  2. By ope­ning the sides of the tetra­he­dron from one of its ver­tices, at an angle of 94.83 degrees (expan­sion move­ment). The 4 equi­la­te­ral tri­angles of the tetra­he­dron are thus arran­ged in the same way as those of the chestahedron.

If these three key­words — contrac­tion / expan­sion / tetra­he­dron — ring a bell, that’s nor­mal ! They are the basis of Nassim Haramein’s theo­ry, in which the tetra­he­dron is consi­de­red as the fun­da­men­tal form of the uni­verse [8]. A uni­verse whose expan­sion and contrac­tion depend pre­ci­se­ly on the dyna­mics of two struc­tures for­med of tetrahedrons :

etoile-tetraedriquecuboctaedreOn the left, the tetra­he­dral star, for­med by 8 tetra­he­drons poin­ting out­wards (expan­sion). On the right, the cuboc­ta­he­dron, for­med by 8 tetra­he­drons poin­ting inwards (contrac­tion).

 

Surprisingly (or not…), the ches­ta­he­dron and the cuboc­ta­he­dron find their place — for dif­ferent rea­sons — bet­ween the same two Platonic solids : the cube and the octa­he­dron. Note that they also both have the par­ti­cu­la­ri­ty of being « irre­gu­lar », com­po­sed of two basic poly­gons, and not of only one as the pla­to­nic solids are.

chestahedron-cuboctahedron-platon

               

At the heart of the chestaedron : the vacuum

chestaedre-etoile-de-davidFrank Chester dis­co­ve­red that in the centre of the ches­ta­he­dron there is a six-pointed star [9]. My first ins­tinct was to trans­form this geo­me­try into a three-dimensional object, in order to have a homo­ge­neous repre­sen­ta­tion (one three-dimensional object in ano­ther). As you may know, the result of this trans­for­ma­tion is… a tetra­he­dral star !

chestaedre-structure-du-vide

According to the prin­ciple of pola­ri­ty, a tetra­he­dral star does not exist without its coun­ter­part : the cuboc­ta­he­dron. Together, these two geo­me­tries form the vacuum struc­ture, dis­co­ve­red by Nassim Haramein. It is com­po­sed of 64 tetra­he­drons and repre­sents the balance bet­ween the forces of contrac­tion and expan­sion. I believe this is the balance that Frank Chester sought in his work.

The vacuum struc­ture is frac­tal, it unfolds conti­nuous­ly from the infi­ni­te­ly small to the infi­ni­te­ly large and back again, exchan­ging infor­ma­tion. Isn’t it remar­kable that Nassim Haramein has shown a simi­la­ri­ty bet­ween the geo­me­try that allows the exchange of infor­ma­tion in the uni­verse and the way a heart beats ?

To come full circle and return to a two-dimensional geo­me­try, let us spe­ci­fy that the vacuum struc­ture cor­res­ponds to the pat­tern of the flo­wer of life (with 37 circles) [10].

etoile-tetraedrique-spheres-fleur-de-vie


And now the ques­tion is : how does the rhythm fit into this geometry ?

              

The expression of the principle of rhythm

Rhythm, or what we per­ceive as such, is lin­ked to time… or what we per­ceive as such ! Beyond our tem­po­ral per­cep­tion exists what Hermetists believe tru­ly governs eve­ry­thing in the uni­verse : vibra­tion. Vibration gives both rhythm and form. Cymatics offers a concrete example of this, vibra­tion being the point of conver­gence bet­ween rhyth­mic struc­tures ins­cri­bed in time and geo­me­tric struc­tures ins­cri­bed in space.

« If you want to des­cribe the entire uni­verse in a single uni­fying theo­ry, you have to take into account and des­cribe in detail the one thing that is present eve­ryw­here in the uni­verse and that connects eve­ry­thing, at all scales from the smal­lest to the lar­gest : space. » [11]

 

Space — and the rhythm expres­sed in it at all scales, I might add — can be des­cri­bed geo­me­tri­cal­ly and mathe­ma­ti­cal­ly through 3 fun­da­men­tal expres­sions accor­ding to Nassim Haramein.

                         

1. Scalar vector geometry : the cuboctahedron

The cuboc­ta­he­dron is the only geo­me­tric solid with all vec­tors equal and is in per­fect equi­li­brium.

However, the prin­ciple of rhythm teaches us that eve­ry­thing that goes up must come down, that eve­ry­thing that goes in must go out and vice ver­sa. Thus, if the cuboc­ta­he­dron is the struc­ture through which the gra­vi­ta­tio­nal force acts, gene­ra­ting a contrac­tion move­ment, the tetra­he­dral star is the struc­ture through which the elec­tro­ma­gne­tic force acts, gene­ra­ting an expan­sion movement.

             

2. The dynamics of flows : the torus

These two forces form, as we have seen, the vacuum struc­ture, and evolve in a double pola­ri­zed move­ment. It is a double torus in which infor­ma­tion cir­cu­lates from the out­side to the inside and vice ver­sa, always pas­sing through the cen­ter and being rene­wed each time. This is how the ener­gy cir­cu­lates in the double torus :


And here are the some­times unsus­pec­ted forms that are also pola­ri­zed double torus :

rhythm-and-polarity

                               

3. Field dynamics : the spiral

On the repre­sen­ta­tion of the tetra­he­dral star below, in two dimen­sions, we observe 12 Fibonacci spi­rals. They all start from the same cen­tral point and meet at the 12 nodal points of the star, of which 6 points deli­mit a cen­tral hexa­gon (or cuboc­ta­he­dron in 3D). Half of these spi­rals are orien­ted in one direc­tion, and the other half in the other direc­tion. These two inver­ted pola­ri­ties reveal once again the geo­me­tric dyna­mics of the uni­verse : the double torus.

etoile-6-branches-fibonacci

Will you be sur­pri­sed to learn that the mus­cu­la­ture of the heart and arte­ries, right down to the pre-capillaries, is orien­ted in a spi­ral, thus increa­sing the move­ment of the blood ?

What ? Would the blood be moved by some­thing other than the heart ? This is the track I invite you to explore now…

              

The example of the heart and blood circulation


« The first example in the scien­ti­fic lite­ra­ture refu­ting the heart as a pump appea­red in Germany in the 1930s around the same time as the first dis­cus­sions of open phy­sics sys­tems. »
[12]


System far from ther­mo­dy­na­mic equi­li­brium, pro­pul­sive forces coming from a much smal­ler scale (micro­cir­cu­la­tion) [13], feedback…are all notions alrea­dy explo­red on this blog. This was all it took for me to become very inter­es­ted in the ques­tion posed by Professor of Anesthesiology Branko Furst : Is the heart dri­ven by the blood, or the other way around ?

Well, I’m not going to beat around the bush : the heart doesn’t always look like what we were taught at school !

NB : If you are as fami­liar with the ana­to­my of the heart as I was before wri­ting this article, you may want to check out this info­gra­phic now. It tries to illus­trate the main infor­ma­tion in this section.

                   

The heart rhythms the flow of blood in motion

According to Branko Furst the blood­stream has its own dyna­mics. It evolves as a sys­tem far from equi­li­brium, in constant inter­ac­tion with the capil­la­ry envi­ron­ment. Thus, it does not contra­dict the second law of ther­mo­dy­na­mics [14].

Dr. Thomas Cowan [15] explains this dyna­mic by a par­ti­cu­lar state of water present in the body. It is a sort of gel bet­ween the solid and liquid states. This fourth state of water was dis­co­ve­red by resear­cher Dr Gerald Pollack. How is it obtai­ned ? By immer­sing a hydro­phi­lic sur­face (which has an affi­ni­ty for water) in ordi­na­ry water : a struc­tu­red water zone is then obser­ved to form right next to it. This is how gela­tin, for example, which is 96% water by volume, natu­ral­ly « holds together ».

This pro­per­ty of water is cru­cial for bio­lo­gi­cal life. Structured water is for­med at 4°C, or at higher tem­pe­ra­tures in the pre­sence of pro­teins. Thus, water is most­ly struc­tu­red in the cells of the human body. Negatively char­ged, struc­tu­red water has a high vis­co­si­ty, a dif­ferent pH than ordi­na­ry water, and a dif­ferent mole­cu­lar confi­gu­ra­tion : H3O2 ins­tead of H2O.

If you roll a hydro­phi­lic sur­face inside a tube, you get a hydrau­lic tube with a struc­tu­red layer of water run­ning all the way through. Under the influence of sun­light, and in par­ti­cu­lar infra­red light, the elec­tri­cal charges sepa­rate ins­tant­ly and ordi­na­ry water — or in this case blood — begins to flow through the tube without inter­rup­tion. Ultimately, it is the dif­fe­rence in elec­tri­cal poten­tial that trig­gers the flow of blood.

Naturally inser­ting itself into this alrea­dy moving blood­stream, the heart’s dyna­mics are more like a hydrau­lic ram than a pump. Below are Thomas Cowan’s explanations :

The heart is a double vortex

chestaedre-a-36-degresLet’s go back to the geo­me­try for a moment. The tip of the ches­ta­he­dron cor­res­ponds to the tip of the left ven­tricle, cal­led the apex. Frank Chester has shown that it fits per­fect­ly into the angle of a cube when the ches­ta­he­dron is orien­ted at 36° to the cen­ter. This is pre­ci­se­ly the angle that the heart forms bet­ween the middle andcoeur-36-degres the left of the chest. This orien­ta­tion explains the asym­me­tri­cal shape of the heart. The artist has indeed obser­ved that if a ches­ta­he­dron is rota­ted ver­ti­cal­ly in water, it gene­rates a stable vor­tex, whe­reas if it is til­ted at 36°, a pocket of water is for­med next to the first vor­tex, which recalls the shape of the right ven­tricle and its attach­ment to the left ventricle.

These two vor­tices exist within the heart, chan­ging the nature of the blood flow. This is how the lami­nar blood flow that arrives in the right ven­tricle becomes a vor­tex. So does the blood flo­wing back from the lungs to the left ven­tricle. And just to make things a lit­tle more com­plex, remem­ber that the vor­tex of the left ven­tricle is a double vor­tex itself…!

Laminar flows thus become tur­bu­lent, com­po­sed of large vor­tices that split into smal­ler vor­tices, like frac­tals [16]. Oh ama­zing that the muscle bands that line the heart, the fle­shy tra­be­cu­lae, unfold in a frac­tal bran­ching pat­tern that helps main­tain car­diac per­for­mance ! [17]

Anatomist James Bell Pettigrew conduc­ted detai­led dis­sec­tions of the heart, only to dis­co­ver that at many points in the heart, the num­ber of muscle fiber stra­ta varies from one (for the apex) to seven. This model explains why the apex is never expo­sed to high-pressure dyna­mics, whe­reas the pump model does not.

 

The heart balances the polarities


« The prin­ciple of rhythm implies the truth that in eve­ry­thing there is mani­fes­ted a mea­su­red move­ment, a coming and going, an ebb and flow (…) Rhythm is mani­fes­ted bet­ween the two poles of which the Principle of Polarity has shown the exis­tence (…) There is always an action and a reac­tion, an advance and a retreat, a rise and a fall in all the phe­no­me­na of the universe. »

 

We have seen that the ches­ta­he­dron fits pre­ci­se­ly into a cube if it is orien­ted at 36°. According to Frank Chester, this orien­ta­tion reflects the per­fect balance bet­ween dif­ferent pola­ri­ties : up and down, right and left, front and back.

Other pola­ri­ties are active in the human heart, balan­ced by the shape and orien­ta­tion of the heart at 36° in the chest : contrac­tion and expan­sion, acce­le­ra­tion and dece­le­ra­tion, clo­ck­wise and counter-clockwise. The move­ment bet­ween these pola­ri­ties is the key to the rhyth­mic sys­tem of the human being.

 

Summary in infographic

And here is the pre­vious infor­ma­tion in pers­pec­tive with the ana­to­my of the heart, all « sum­ma­ri­zed » in an infographic :


heart-and-blood-circulation-an other-model


Did you find any clues that would sug­gest that the rhythm can be neu­tra­li­zed ? Let’s fol­low that trail now.

 

Neutralize the rhythm

The zero point

Motion is defi­ned in rela­tion to immo­bi­li­ty, the refe­rence point that allows us to fix the rota­tion. It is the zero point, at the cen­ter of all the double vor­texes that consti­tute the uni­verse and through which all infor­ma­tion passes [18].

The left ven­tricle of the heart is one of these double vor­tices. The blood flows clo­ck­wise, then swirls around to emerge in the oppo­site direc­tion. At the moment when the blood flow reverses, there is no move­ment, abso­lute immo­bi­li­ty rei­gns. This is the point that balances the pola­ri­ties.

The prin­ciple of cor­res­pon­dence tells us that any fre­quen­cy attracts a simi­lar fre­quen­cy. So when the pen­du­lum reaches a fre­quen­cy, it goes back the other way, attrac­ted by the cor­res­pon­ding fre­quen­cy on the other side. Except at the zero point. At zero point is the stil­l­ness vibra­ting with vita­li­ty that reso­nates upon itself.

I’d like to digress for a moment in rela­tion to the expe­rience I had fol­lo­wing the aneu­rysm I had a few years ago. My mind was unplug­ged, so to speak, allo­wing me to access my heart direct­ly. Did I have a ground zero expe­rience there ? I could indeed inter­pret the favo­rable after­math of this acci­dent as a neu­tra­li­za­tion of the dama­ging effects that could have occur­red.

 

The law of neutralization


« Rhythm can be neu­tra­li­zed by the pro­per appli­ca­tion of the art of polarization. »

 

The art of pola­ri­za­tion is about men­tal trans­mu­ta­tion. This consists in chan­ging one’s level of vibra­tion and thus modi­fying one’s inner state. The law of neu­tra­li­za­tion allows one to reach a par­ti­cu­lar state, a point of detach­ment that can be assi­mi­la­ted to the zero point.

Nothing can escape the influence of the prin­ciple of rhythm on the phy­si­cal plane. However, by the law of neu­tra­li­za­tion, the Initiates manage to reduce the ampli­tude of the pen­du­lum’s swing. Even to neu­tra­lize its rhyth­mic swing which would tend to car­ry them towards the other pole. They reach the zero point and manage to stay there, thus taking the true middle path.

As long as one does not mas­ter the rhythm, one remains sub­ject to its inces­sant mecha­nics of flaw­less accu­ra­cy, that of cause and effect. The next article (online soon) will be dedi­ca­ted to this theme.

In the mean­time, don’t hesi­tate to leave me a mes­sage. I hope I was clear in this article but we can always improve 😉

 

 

Key points

  • There is a conver­gence bet­ween the sacred geo­me­try of the heart (Frank Chester’s ches­ta­he­dron) and its inter­ac­tion with the uni­verse (Nassim Haramein’s theo­ry of the connec­ted uni­verse): the struc­ture of the vacuum is at the heart of the chestahedron.

  • The heart is a double vor­tex : it houses the zero point which balances the pola­ri­ties and can neu­tra­lize the prin­ciple of rhythm.

  • The heart is not a pump : its func­tion is to give rhythm to the blood cir­cu­la­tion alrea­dy in motion.

  • The dyna­mics of the heart obey the 3 fun­da­men­tal expres­sions that govern the uni­verse : the cuboc­ta­he­dron, the torus and the spiral.

 

 



Notes and references

[1] Unless other­wise indi­ca­ted, all quo­ta­tions in ita­lics are from the Kybalion.

Can we define the rhythm

[2] VALERY Paul, quo­ted by the Dictionary of Literary Genres and Notions, Ed. Encyclopaedia Universalis, 2015
[3] For more infor­ma­tion on the vibra­to­ry conti­nuum and frac­tal dyna­mics, you can consult the sec­tion devo­ted to the prin­ciple of pola­ri­ty in the article.
[4] We speak of a pla­to­nic year lin­ked to the pre­ces­sion of the equi­noxes.
[5] Since the com­plete line inva­ria­bly returns to its star­ting point, the com­pass also teaches us that the extremes mean the same thing.

The heart, the human being and the universe

[6] STEINER Rudolph, Psychoanalysis and Spiritual Psychology, Hudson, NY : Anthroposophic Press, 1990, p. 126
[7] You can see the whole gene­sis of his work, and much more, by visi­ting his web­site frank​ches​ter​.com
[8] The tetra­he­dron is the smal­lest pos­sible geo­me­tric volume in rela­tion to the sur­face that contains it.
[9] The video that explains eve­ry­thing : Sacred geo­me­try and ches­ta­he­dron
[10] For more details on the rela­tion­ships bet­ween these geo­me­tries, you can consult the article Sacred connec­tion.

The expression of the principle of rhythm

[11] HARAMEIN Nassim, quo­ted by the The Resonance Project
[12] ALEXENDER Walter, Branko Furst’s Radical Alternative : Is the heart moved by the blood, rather than vice ver­sa ? P&T®, Vol.42 No.1, 2017, pp.33–39
[13] An ana­lo­gy with the rota­tion in the uni­verse that comes from the quan­tum scale, see the article on space-time.
[14] I refer you to the article on entro­py and dis­si­pa­tive struc­tures for a short course on the sub­ject.
[15] COWAN Thomas, Human heart, Cosmic heart, United States : Chelsea Green Publishing, 2016, pp.11–18
[16] About lami­nar and tur­bu­lent flows, you can explore what hap­pens in an aneu­rysm.
[17] See this article from Sciences et Avenir (in french).

Neutralize the rhythm

[18] According to Nassim Haramein’s theo­ry, double worm­holes — or black holes — are frac­tal­ly orga­ni­zed in the uni­verse. They all have in com­mon the zero point, the sin­gu­la­ri­ty that allows the feed­back of infor­ma­tion bet­ween vacuum and matter.

 




 

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