№ 70. The Fibonacci Sequence as Aspect Ratios

 

 

The Fibonacci Sequence as Aspect Ratio


This knowledge is represented pictorially by the following image which contains all three elements: the Fibonacci sequence, golden ratio and the golden spiral. Use these three Wikipedia links to learn more about these subjects. I also highly recommend watching Walt Disney cartoons at the bottom of page № 105. My YouTube Library. No kidding.

 

 

 

This is not worldly knowledge. It is not confined to this planet.  It is equally shared by all intelligent life throughout the known universe. This is the mathematics of life itself. Without metaphysics, this is as close as flesh and blood can get to whatever force created the universe in which we live.

 

For the uninitiated, this excerpt from a discussion of that relationship emphasizes the critical point.

 

Around 1200, mathematician Leonardo Fibonacci discovered the unique properties of the Fibonacci sequence. This sequence ties directly into the Golden ratio because if you take any two successive Fibonacci numbers, their ratio is very close to the Golden ratio. As the numbers get higher, the ratio becomes even closer to 1.618. For example, the ratio of 3 to 5 is 1.666. But the ratio of 13 to 21 is 1.625. Getting even higher, the ratio of 144 to 233 is 1.618. These numbers are all successive numbers in the Fibonacci sequence.  —”What is the Golden Ratio?” by Elaine J. Hom from which I borrowed the image at the top of this section.

 

You should read the entire article if you are not familiar with this subject. Unless and until this relationship begins to captivate your mind as much as it does the most intelligent beings in the universe (human and otherwise), you will not accept what I about to tell you.

 

 

The top two rows in this table explain the meaning and significance of 32 and 33 in Freemasonry. The second row is a significant link to their past. 32° E is the exact longitude of Gordium, the capital of the Phrygia. 

 

 

 

 

 

The double-headed eagle is Phrygian, not German.

 

 

I talk about the Phrygian origins of the progeny of Jove in The Phrygians section of page № 8. The Progeny of Jove (think Knights Templar, Freemasons, and European Illuminati).

 

The mark consists of a double headed eagle perched on a sword with its wings outspread. A triangle is placed on the chest of the eagle and displays the number “32”. A belt is draped on the sword and carries the Latin phrase “Spes Mea In Deo Est”, with a star appearing before the word “Spes” and after the word “Est”.

—Official description of trademark serial number 77908914

 

This trademark is registered by (get ready) THE SUPREME COUNCIL (MOTHER COUNCIL OF THE WORLD) OF THE INSPECTORS GENERAL KNIGHTS COMMANDERS OF THE HOUSE OF THE TEMPLE OF SOLOMON OF THE THIRTY-THIRD DEGREE OF THE ANCIENT AND ACCEPTED SCOTTISH RITE OF FREEMASONRY OF THE SOUTHERN JURISDICTION OF THE UNITED STATES OF AMERICA. The English translation of the wording “SPES MEA IN DEO EST” in the mark is “My hope is in God”. Think its German? Think again. It’s Phrygian. Crusaders brought it back to Europe.

 

The double eagle is said to appear on some old Turkish crests, which suggests the possibility that the chief who used it had seen the emblem on the rocks of Boghaz Koi. He may have lived near by and so have come to appropriate it. We may further assume that a crusader obtained possession of a shield of this kind by conquest, or even that he happened to see the rock of Boghaz Koi himself and adopted the design for his coat of arms. In this way it may have found its way into Germany ; but one thing is sure that once in Europe the strange design attracted widespread attention. It pleased many and became frequently used until at last it received a place in the coat of arms of the Empire.  —Persistence of symbols as instanced by the double eagle and the staff of Hermes by Paul Carus, The Open Court, 1908, Issue 7, p.393

 

 

 

 

 

The 2:3 Aspect Ratio


 

Solving angle A using trigonometry very similar to that found on Plimpton 322. Supposedly, the Phrygians and the later Pythagoras predate the use of trigonometry, but Plimpton 322 tells a different story. You can be sure the Phrygians made use of trigonometry on a regular basis. The 666 in Revelation is all the proof of this I need.

 

The next question that must be asked is, Why are the progeny of Jove focused on the 2:3 aspect ratio when it is such a poor approximation of golden triangles? This question has a very simple and practical answer. The 2:3 aspect ratio is easily replicated. In this sense, it is used almost as a symbol to encapsulate the advanced mathematics of the ancients and the spiritual significance with which they imbued that knowledge.

 

The 2:3 aspect ratio is symbolically used to represent the “All is Number” religion of the Pythagoreans because it is easy to replicate.

 

 

 

 

2:3 Aspect Ratios in Freemason Square and Compasses, Georgia Guidestones Capstone, and Skull and Bones Tomb


We find the same 2:3 aspect ratio well hidden in the Freemason square and compasses.

Square & compasses (Insignia of Freemasons) carved into stone. Part of the foundation stone on a masonic hall situated in the centre of Lancaster in the UK. (credit Wikipedia)

 

 

 

 

Now the astute reader would have already noticed that 78 x 116 is not a perfect 2:3 aspect ratio. 78 divided by two is 39. 39 times three is 117. Now let me tell you something, your first thought will probably be that I am fudging the numbers. I am the last person on the planet who would do that. The progeny of Jove are always exact when it comes to numbers. In the case of something like this, where the exact 2:3 aspect ration would be 78:117 instead of the 78:116 reported on the explanatory tablet, there is always an explanation. In this case, it is a profoundly important one. Read about it in The Capstone section of the № 22. Modern Apocalyptic Artifacts page.

 

 

The Skull and Bones tomb as it appeared in its original configuration, with just one rectangular, windowless block. (credit Yale Alumni Magazine)

 

The main “proof” I have that the Order of Skull and Bones are using the same row in this table is the 2:3 aspect ratio of the original Tomb building.

 

 

 

 

 

 

 

 

The 5:8 Aspect Ratio