About a week or two ago, I was Skyping with my friends Randy Masters and Pamela Minton (Pamela is one of the OAP’s Hosting Guardians aka “Priestesses of Sholar”). Randy is a mathematical – musical scholar who is also a metaphysician. Among his many talents, he creates tuning forks that are quite literally “out of this world” – or at least their vibrations take you there!
I will be writing more on Randy’s tuning forks in relation to OAP in the future, but in this article I wish to discuss what Thoth is call the “Golden Tone” or Aku’Ra. Randy asked me to inquire of Thoth about this “Golden Tone” which Thoth brought into our Skype conversation stating that it was the capstone frequency of the Ascension Merkabah.
As a consequence, some days later Thoth led me to the Tetractys. Now, I had heard that word before years ago as associated with the Tetragrammaton. I was familiar with the Tetragrammaton, but not really with the Tetractys. Thoth informed me that the Tetractys was the mathematical wave form of the Aku’Ra Golden Tone or Capstone frequency.
So I went the to Wiki on Tetractys . . .
- The first four numbers symbolize the harmony of the spheres and the Cosmos as:
- The four rows add up to ten, which was unity of a higher order (The Dekad).
- The Tetractys symbolizes the four elements—fire, air, water, and earth.
- The Tetractys represented the organization of space:
A prayer of the Pythagoreans shows the importance of the Tetractys (sometimes called the “Mystic Tetrad”), as the prayer was addressed to it.
- “Bless us, divine number, thou who generated gods and men! O holy, holy Tetractys, thou that containest the root and source of the eternally flowing creation! For the divine number begins with the profound, pure unity until it comes to the holy four; then it begets the mother of all, the all-comprising, all-bounding, the first-born, the never-swerving, the never-tiring holy ten, the keyholder of all”.
The Pythagorean oath also mentioned the Tetractys:
- “By that pure, holy, four lettered name on high,
- nature’s eternal fountain and supply,
- the parent of all souls that living be,
- by him, with faith find oath, I swear to thee.”
It is said that the Pythagorean musical system was based on the Tetractys as the rows can be read as the ratios of 4:3 (perfect fourth), 3:2 (perfect fifth), 2:1 (octave), forming the basic intervals of the Pythagorean scales. That is, Pythagorean scales are generated from combining pure fourths (in a 4:3 relation), pure fifths (in a 3:2 relation), and the simple ratios of the unison 1:1 and the octave 2:1. Note that the diapason, 2:1 (octave), and the diapason plus diapente, 3:1 (compound fifth or perfect twelfth), are consonant intervals according to the tetractys of the decad, but that the diapason plus diatessaron, 8:3 (compound fourth or perfect eleventh), is not.
“The Tetractys [also known as the decad] is an equilateral triangle formed from the sequence of the first ten numbers aligned in four rows. It is both a mathematical idea and a metaphysical symbol that embraces within itself—in seedlike form—the principles of the natural world, the harmony of the cosmos, the ascent to the divine, and the mysteries of the divine realm. So revered was this ancient symbol that it inspired ancient philosophers to swear by the name of the one who brought this gift to humanity.”
Well wow! I had no idea that the Tetractys was associated with music. But it gets even better . . .
There are some who believe that the tetractys and its mysteries influenced the early kabbalists. A Hebrew Tetractys in a similar way has the letters of the Tetragrammaton (the four lettered name of God in Hebrew scripture) inscribed on the ten positions of the tetractys, from right to left. It has been argued that the Kabbalistic Tree of Life, with its ten spheres of emanation, is in some way connected to the tetractys, but its form is not that of a triangle. The well known occult writer Dion Fortune mentions:
- “The point is assigned to Kether;
- the line to Chokmah;
- the two-dimensional plane to Binah;
- consequently the three-dimensional solid naturally falls to Chesed.”
( We must note that the first three-dimensional solid is the tetrahedron. )
The relationship between geometrical shapes and the first four Sephirot is analogous to the geometrical correlations in Tetraktys, shown above under Pythagorean Symbol, and unveils the relevance of the Tree of Life with the Tetraktys.
So here we have the Tree of Life which Thoth equates with Osiris’ Tree that he says is to be found in the Orion Nebula as a vast net of “neuron stars” in the center of the “Holos Brain” of Orion / Osiris.
The Tetratragrammaton is the Name of God or YHWH. According to Thoth, “YHWH” is the activator of the Oritronic or half-light dimensional platform in which we current exist. Yet it is also the Divine Receptor to the Metatronic Full Light spectrum!
As we decode YHWH within our DNA, the codons which restore our Pure Light Gematria will open and receive the Metatronic quickening. As the 72 gematria unfolds its codons so it becomes what Thoth refers to as the Rose Mystica.
The Isotropic Vector
To understand the Isotropic Vector one must begin with the Vector Equilibrium (quoting here from Cosmometry. . .
The Vector Equilibrium, as its name describes, is the only geometric form wherein all of the vectors are of equal length. This includes both from its center point out to its circumferential vertices, and the edges (vectors) connecting all of those vertices. Having the same form as a cuboctahedron, it was Buckminster Fuller who discovered the significance of the full vector symmetry in 1917 and called it the Vector Equilibrium in 1940. With all vectors being exactly the same length and angular relationship, from an energetic perspective, the VE represents the ultimate and perfect condition wherein the movement of energy comes to a state of absolute equilibrium, and therefore absolute stillness and nothingness. As Fuller states, because of this it is the zero-phase from which all other forms emerge (as well as all dynamic energy events)
The most fundamental aspect of the VE to understand is that, being a geometry of absolute equilibrium wherein all fluctuation (and therefore differential) ceases, it is conceptually the geometry of what we call the zero-point or Unified Field — also called the “vacuum” of space. In order for anything to become manifest in the universe, both physically (energy) and metaphysically (consciousness), it requires a fluctuation in the Unified Field, the result of which fluctuation and differential manifests as the Quantum and Spacetime fields that are observable and measurable. Prior to this fluctuation, though, the Unified Field exists as pure potential, and according to contemporary theory in physics it contains an infinite amount of energy (and in cosmometry, as well as spiritual philosophies, an infinite creative potential of consciousness).
Being a geometry of equal vectors and equal 60° angles, it is possible to extend this equilibrium array infinitely outward from the center point of the VE, producing what is called the Isotropic Vector Matrix (IVM). Isotropic means “all the same”, Vector means “line of energy”, and Matrix means “a pattern of lines of energy”. It is this full isotropic vector matrix that can be seen as the infinitely-present-at-all-scales-and-in-perfect-equilibrium geometry of the zero-point Unified Field. Every point in this matrix is a potential center point of a VE around which a condition of dynamic fluctuation may arise to manifest. And as has been stated and is seen in this image, this VE geometry is inherent in this matrix.
Given this primary presence of tetrahedons in the VE and IVM, researcher Nassim Haramein sought to determine the most balanced symmetry of them that takes into account the positive and negative polarity of the IVM structure (i.e. “upward” and “downward” pointing tetrahedrons). He identified an arrangement of tetrahedrons in the IVM that, at a scale of complexity one level greater than the primary VE geometry, defines the most balanced array of energy structures (tetrahedons) wherein the positive and negative polarities are equal and without “gaps” in the symmetry. This arrangement consists of 32 positive and 32 negative tetrahedrons for a total 64.
Beyond the VE’s primary zero-phase symmetry, the 64 Tetrahedron Grid, as it is known, represents the first conceptual fractal of structural wholeness in balanced integrity. It is noteworthy that the quantity of 64 is found in numerous systems in the cosmos, including the 64 codons in our DNA, the 64 hexagrams of the I Ching (Chinese Book of Changes), the 64 tantric arts of the Kama Sutra, as well as in the Mayan Calendar’s underlying structure. It appears that the 64-based quantitative value is of primary importance in the fundamental structure of the Unified Field and how that field manifests from its implicate (pre-manifest) order to its explicate (manifest) order, both physically and metaphysically. (See also the relationship between the Analog and Digital realms describing numerically how both the binary 64-based system and the Phi-based Fibonacci system are in intimate coordination.)
…the VE itself can be seen to consist of a symmetrical array of eight tetrahedons with their bases representing the triangular faces of the VE, and all pointing towards the VE’s center point. (The square faces are the bases of half-octahedron, like the form of the pyramids in Eqypt.)
To return to my Thothic understanding, he guided me to create a medallion with activational encoding, for one to meditate upon and charge the frequency of rooms and objects such a crystals. It can also be used to charge water or elixirs, with the Aku’Ra Golden Tone Capstone Frequency.
He had me combine the images of the Tetractys and the Isotropic Vector/Matrix. On this medallion you will also see Osiris in his “Vault” (under the Temple of the Risen One / Great Pyramid) flanked by Thoth and his wife and sister (two different women) who were both Seshat – a title as was “Thoth.” The Seshat held the balance of tone as it escaped in the Last Breathe from the body at death, to begin the Birth into the True Life. This breath was therefor the tone of transport from the Lesser Realms to the Greater. Now I admit that this is what I am told by Thoth and I have never read it anywhere, so I pause for a Google Moment and find on Crystalinks . . .
Seshat bore the title ‘Egyptian Fairy Godmother’. Her magic wand, with its seven pointed star, was the symbol which represented the source of all creative ideas, consciousness. Her powers of cause and effect for any affectation were legendary before the founding of Egypt. Seshat was the essence of cosmic intuition, creating the geometry of the heavens alongside Thoth. In Egyptian mythology, Seshat was originally the deification of the concept of wisdom, and so became a goddess of writing, astronomy, astrology, architecture, and mathematics. Her headdress was also her hieroglyph which may represent either a stylized flower or seven pointed star on a standing goddess that is beneath a set of down-turned horns. The horns may have originally been a crescent, linking Seshat to the moon and hence to her spouse, the moon god of writing and knowledge, Thoth.
Safekh-Aubi (Sefekh-Aubi) is a title that came from Seshat’s headdress, that may have become an aspect of Seshat or an actual goddess. Safekh-Aubi means ‘She Who Wears the Two Horns’ and relates to the horns that appear above Seshat’s head. In art, she was depicted as a woman, with a stylized papyrus plant above her head, symbolizing writing, since the Egyptians wrote on a material derived from papyrus. The plant, her symbol, was shown having 6 spurs from the tip of the central stem, making it resemble a 7 pointed star. After the association with Thoth, who had originally been a moon god, the stylized papyrus was shown surmounted by a crescent moon, which, over time, degenerated into being shown as two horns arranged to form a crescent shape between them. When the crescent symbol had degenerated into the horns, she was sometimes known as Safekh-Aubi, meaning (she who) wears the two horns.
Nothing about the Breathe, maybe that part became lost to history. However…
When I was working on this medallion, Thoth requested that I include a Dandelion on either side of the main image. I thought this a rather odd request. I don’t believe there are any Dandelions in Egypt, nor have I ever seen anything on their value esoterically. He then informed me that they were in the LOTUS or First Time of Earth, and also in MU and Atlantis and he wanted them in the medallion.
So now I am reading about Seshat’s headdress and looking at it. While not exactly a Dandelion….what if it originally was meant to depict one?
Then at this moment I go back to Thoth and ask him if Seshat’s headdress is indeed an ancient Dandelion. He confirms this. I follow with the question as to the Dandelion’s significance re: Seshat and the Aka’Ra Medallion…
Thoth: When the breath of the wind or a living creature is upon it, the Dandelion segments into perfect petals into the air. It travels forth to seed the Earth and in the esoteric “value” of it’s plight, the entire cosmos. It therefor, is commanded by the Last Breath to seed New Creation.
A final note on Seshat and the “Breath” just occurred to me. Thoth informed me years ago that ‘Thoth’, ‘Toth’, Tat-tet and ‘Tehuti’ are all forms of the same root, which are titles meaning, ‘one who gives breath to’, or the ‘Grand Communicator’.
The Aku’Ra Medallion
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