Solar System Symmetry and the design pattern of the Hebrew Temple
The banner above was developed to illustrate a phi/Fibonacci relationship in our solar system between Jupiter and Saturn, relative to the Earth, reflected in the line below these planets divided according to the phi ratio. This depicts a phi relationship relative to the mean heliocentric orbits of these planets. As the planets are dispersed in their orbital paths throughout the solar system, they reflect the phi ratio. But this is only one of these relationships among many in our solar system. If it was only one or a few, disconnected incidents of phi, it could be written off to coincidence, but as we will see this is clearly not the case.
We also find relationships of the Fibonacci Series and the phi ratio in the mean sidereal and mean synodic planetary cycles, not to mention their periods of revolution and mean orbital speeds, to include inverse velocity relationships, all based on the ubiquitous phi ratio. Again these many Phi relationships on their own, might not be enough evidence to convince us of an Almighty Creator,
as the Power behind this Intelligent Design, but once each of these individual planets are seen to fit together themselves in a phi or logarithmic spiral operating as an exponential constant, organizing the entire order of our solar system, God’s Creation Symmetry becomes much more difficult to deny. This is especially true when we find the beauty of the celestial phi symphony of our solar system as
a smaller reflection, not only of the same phi spiral highlighting the rotational Symmetry of our spiral Galaxy the Milky Way, but is also inherent in other spiral galaxies of the Universe. Please check the following link, which goes into greater detail regarding these truths than I have space for here.
Plate I. The Milky Way Spiral
A musical analogy is most appropo to describe the symmetrical beauty of the phi dance of planets, not haphazardly but by design. The basic essence of musical Symmetry is
Rhythm consisting of a regular periodic repetition of individual parts, fitting into the constitution of the symmetric whole. The proof of design is in the intelligent ordering
of these individual parts, in concert and ruled by the same phi/ Fibonacci principles governing this spiral system on a larger scale. The design of the Creator’s Symmetry is what is known as “scale-invariant.” Scientists compared “Scale invariant symmetry” to
a “stringed musical instrument that resonates with tuning forks tuned to the same base frequency, or ones that are tuned to entire octaves above or below the base frequency, but not to different frequencies.” 1 No matter the size of the system, it is ruled by the same phi ratio at multiple levels, in a symbiotic and interconnected whole, that points to the only Conductor who is capable of directing this beautiful symphonic Creation, The One and Only Almighty God!
There are numerous examples of individual planets exhibiting the principles of the phi ratio, on their own, one can be found with Saturn and its Ring system. [https://www.goldennumber.net/solar-system/] 1
Plate 2. Saturn with Ring System
The diameter of Saturn is very close to a phi relationship with the diameter of its rings, as illustrated by the green lines. The inner ring division is in a relationship that is very close to phi with the diameter of the rings outside the sphere of the planet, as illustrated by the blue lines. The Cassini division in the rings of Saturn falls at the Golden Section of the width of the lighter outside section of the rings. 2
Taking this a step further, the phi ratio, aligned with the Creator’s Symmetry as He applied His principles of Intelligent Design in Creation, can be organized along the following lines. Music is the harmonious ordering of the temporal world, Geometry is the harmonious ordering of the spatial world, and Astronomy harmoniously orders Space-Time. The chaos that the enemy injected into God’s creation in the 1st Heaven and Earth, God restored first with the light of His own presence, then with His creation of the Sun, Moon and Stars of the firmament, whose purpose is to give light upon the earth. The order of the temporal cycles of the Sun, Moon and Stars provide the standard by which all mankind set his Sundials, Stone circles, atomic clocks, watches, and calendars, while keeping the farmers planting their crops in the proper seasons, [Gen. 8:22]. This represents the unity of space-time that God re-instituted into His Creation, repairing the damage done by the enemy. God had a unified concept of space and time long before Albert Einstein woke up to this truth in the early 20th century. To grasp this in light of the Lord Jesus Christ, and its spiritual elements, let’s look at [Heb. 1:2-3].
Heb 1:2 Hath in1909 these5130 last2078 days2250 spoken2980 unto us2254 by1722 his Son,5207 whom3739 he hath appointed5087 heir2818 of all things,3956 by1223 whom3739 also2532
he made4160 the3588 worlds;165
“made the worlds” [G165 aion] or ages of time, thus the seven spiritual administrations in God’s Timeline of History. This verse sits in the “Opening Fanfare” of Hebrews, and echoes throughout the entire book [11:3], even as God’s Spoken Words [rhema] do at the start of each of the seven Spiritual Administrations in His Timeline. Jesus as man’s Coming Redeemer, was and is God’s Eternal Purpose and Plan for the Ages, Jesus is the Agent of God’s master-plan of all spiritual history. Everything in time depended upon what JC would do to fulfill the Word of God. Thus, Jesus was and is the consummation of All Time, and is the reason he could say “before Abraham was, I Am,” because in the Creator’s Eternal Purpose and Foreknowledge to redeem the Ages, Christ is the central character/Hero, reordering the temporal ages that the enemy had thrown into chaos.3 strong’s notes on G5481
Heb. 1:2 “by whom [di’ hou; Christ] He [God] made the ages”- the words di or dia’ hou are used to express agency. Dia here takes the genitive case, meaning that there were many agents rather than a sole agent by whom God re-made the ages. Jesus was the primary person by whom God was able to repair the ages that were thrown into ruin as a result of the dragon’s revolt, but it took the collective efforts of all hero’s of faith [Heb. 11] to bring it to pass. In this way, Jesus is seen as the incarnate Word of God that “frames” [G2675–katartizo–completes, restores, perfects] the “ages” [G165-aion] in verse 3, thus God’s temporal order was dependent upon the believing actions of Christ as the basis of God’s plan to restore the ages.
Heb 1:3 Who3739 being5607 the brightness541 of his glory,1391 and2532 the express image5481
of his 848 person,5287 and5037 upholding5342 all things3956 by the3588 word4487 of his846 power,1411 when he had by1223 himself1438 purged4160, 2512 our2257 sins,266 sat down2523 on1722 the right hand1188 of the3588 Majesty3172 on1722 high;5308
“brightness of his glory”-The light of the world or the fulness of God’s manifested power, and the reflection of this power. [only usage; G541]. 4
”express image”-[G5481 character] the Marker, stamp or beacon of God’s Plan of the Ages, that is manifested in the senses realm. [only usage; G5481].109 G5481 character comes from Charasso-to notch or engrave, the root word is charagma; meaning the thing impressed. Thus Jesus is the impression of God’s signet ring, putting the Royal Seal of approval on God’s created glory. 5
“person”-[G5287 hupostasis] That which stands under-a foundational premise. This has nothing
to do with the “2nd person of the Trinity.” Jesus Christ embodies the marker or indicator of God’s redemption plan for mankind. Used in [Heb. 11:1] Faith is the substructure, or substance-a foundational Biblical premise, including temporal sensitivity [see Heb. 11:3 below]. Hupostasis is the “title deed” of believing in Heb. 11:1, the indicator that whatever we believe for is ours before we have it. 6
Heb 11:3 Through faith4102 we understand3539 that the3588 worlds165 were framed2675 by the word4487 of God,2316 so that things which are seen991 were not3361 made1096 of1537 things which do appear.5316
“worlds” [G165 aion] ages of time were repaired, or set back in order by the individual spoken Words [G4487 rhema] of God. Thus we can trace the Audible Spoken Words of God at the inception
of each Spiritual Administration. Each temporal administration represents a step closer in the progression towards the total reparation of Time that was thrown into chaos by the revolt of Lucifer in the 1st Heaven & Earth. As Rom. 8:19-22 tells us in the Amplified Bible; 7
19 For [even the whole] creation [all nature] waits eagerly for the children of God to be revealed. 20 For the creation was subjected to frustration and futility, not willingly [because of some intentional fault on its part], but by the will of Him who subjected it, in hope 21 that the creation itself will also be freed from its bondage to decay [and gain entrance] into the glorious freedom of the children of God. 22 For we know that the whole creation has been moaning together as in the pains of childbirth until now.
The Creator’s temporal order is included in the “whole creation” of Romans 8 above, that is subject to the bondage of decay through the entropy law, which will be vanquished when the children
of God are revealed at the gathering together.
A Biblical Administration is generally defined as “a period of time in God’s historical and spiritual timetable during which God deals with man in a particular way. It is governed by principles or spiritual truths that may be unique unto itself. In rightly dividing the Word of Truth, we must understand that these Biblical Administrations must remain within the bounds or confines in which God has placed them within His Word. The rules of life change in these various time periods, so we must see each administration within its distinct context. When we research ‘to whom’ a particular Scripture is addressed, we must also see which Biblical administration governs the rules.” 8
Since Christ is the end of the Law, we are no longer subject to the dictates of Old Testament Law, but we live by the higher Law of the Love of God, upon which “hang all the law and commandments.” Yet the accuracy of these ordinances of heaven continue to set the standard for truth in the important areas, not only of physical but spiritual calendars and timekeeping that we continue to apply in modern times according to the perpetual Covenant of Day and Night [Jer. 33:20 -22]. This is a trait of a “mandate from heaven,” that its truth can remain applicable beyond the scope of its original Biblical Administration. [Gen. 8:22]
As Jon Nessle has taught us, with a panoramic view of all 7 Biblical Administrations or “ages” we can note the step by step progress being made spiritually as we search out the words spoken by God and His prophets at the opening of each Age.
Ultimately the union of Space-time is rooted in the unity of Sound and Light, first found in the Genesis 1, Phrase: AND GOD SAID… When God Thundered forth His Spoken Word, it was the essence of Divine Truth at the foundation of All Creation, which is found by scientists today, as a series of interconnected energy fields that vibrate coherently and on multiple levels, in the symphony of a universal harmony of matter and energy. If there is a unified field theory to be found, this will be its true Source! It is a vibrantly living ALL Truth that resonates through all levels of Creation, not some stale “information theory.” Information is neutral and devoid of the power the Creator has infused in the Word of His Truth. Science is at a loss to fully account for the coherence of repeated cosmic ratios, along with finely tuned universal Anthropic constants like the Fibonacci/ Phi/Lucas number patterns, or the constant of the Mass of the proton, which God has tuned to His energy fields in Creation to produce harmonic ratios that gave rise to the highly improbable conditions that generated life. Empirical Science will remain at a loss as long as they approach the problem from an evolutionary/materialistic context, or from a position that does not honor or acknowledge the Creator for the Work that only His Hands can accomplish. [Rom. 1:19-23].
As we inspect the order of our Solar System, some obvious questions arise. Why are the periods of Jupiter and Saturn in a 2:5 orbital ratio? Why are the periods of Uranus, Neptune and Pluto in a 1:2:3 orbital ratio, and Earth and Venus in an 8:5 orbital ratio and a 13:8 period ratio?
Venus orbits the Sun in 224.695 days while Earth orbits the Sun in 365.242 days, in a ratio of 8/13 (both Fibonacci numbers) or 0.615 (roughly phi.) Thus 5 conjunctions of Earth and Venus occur every 8 orbits of the Earth around the Sun, and every 13 orbits of Venus.
Why are Mars and Jupiter locked into a 1:12 resonance, Saturn and Uranus in a 3:1 resonance, and a 2:3 resonance between Mercury’s rotational and orbital periods? In other words, why does Mercury have an 88-day year and a 59-day rotation period making its day in a 2:3 ratio with its year? When the time period of each planet’s revolution around the sun is compared in round numbers to the one adjacent to it, their fractions are Fibonacci numbers!
Plate 3. Fibonacci and Lucas Ratios and the Outer Planets
Beginning with Neptune and moving inward toward the sun, the ratios are 1/2 (Uranus: 30,688 earth days to Neptune: 60,193 earth days), 1/3 (Saturn: 10,670 to Uranus: 30,688), 2/5 (Jupiter:4,332 to Saturn:10,670), 3/8 (Ceres: 1,681 to Jupiter: 4,332), 5/13 (Mars: 687 to Ceres: 1,681), 8/21 (Venus: 225 to Mars: 687) and 13/34 (Mercury:88 to Venus: 225). These are all Fibonacci numbers in proper sequence, skipping Earth, as if the Designer of this system had foreknowledge that Earth was the vantage point from which this pattern would be observed. The influence of the Fibonacci series in the order of our Solar System, reflects how the orbital distances of the planets approximate the phi ratio.
Relative planetary distances average to Phi
The average of the mean orbital distances of each successive planet in relation to the one before it approximates phi: 10
|Degree of variance||(0.00043)|
At times we forget about the asteroids when thinking of the planets in our solar system. Ceres, the largest asteroid, is nearly spherical, comprises over one-third the total mass of all the asteroids and is thus the best of these minor planets to represent the asteroid belt. (Insight on mean orbital distances contributed by Robert Bartlett.)
1,1,2,3,5,8,13,21,34,55,89,144,… But this doesn’t mean Earth is haphazard. It also has an intermediate set of Fibonacci ratios of 8/13 (Earth: 365 to Mars: 687) and 13/21 (Venus: 225 to Earth: 365). There is no way arbitrary haphazard chance that can account for the precision behind this kind of mathematical and geometric order and design. This kind of design demands an Intelligent DESIGNER!
18 For the wrath of God is revealed from heaven against all ungodliness and unrighteousness of men, who [d]suppress the truth in unrighteousness, 19 because what may be known of God is [e]manifest [f]in them, for God has shown it to them. 20 For since the creation of the world His invisible attributes are clearly seen, being understood by the things that are made, even His eternal power and [g]Godhead, so that they are without excuse.
Plate 4. Solar System Periods
Due to the 13:8 ratio of Venus: Earth orbital relationship, every 8 years Venus will be almost in the same place in the sky. It will have had 5 synodic (conjunction) periods of 583.92 days superior or inferior. If each cycle of 5 conjunctions takes 8 years to complete, then the following complete cycle must be divisible by 5 and the year count divisible by 8. However, because of the 2.34 day difference every 8 years, the conjunctions “precess” in the reverse direction. As this data shows, the planets depict phi relationships not only in Orbital and Synodic periods, but this also implies a relationship between the Phi ratio, and the Inverse Square Law which governs both gravity and electro-magnetism. This again illustrates the unity of sound and light, because as explained by certain scientists today Gravity is a form of Sound, or Vibrational Frequency Waves, not just audible sound, which like visible light is a narrow range. We are referring to the spectrum of Sonic waves, including ELF’s (Extra Low Frequency Waves) – ULF’s (Ultra Low Frequency Waves) etc.
The Ancients it seems were aware of some of these truths, as seen in the Vesica Piscis representation wherein two over-lapping of circles shown in the ancient Vesica, the circle on the right represents the act of Creation as the Almighty spoke the Universe into being. The results of this ultimate sound wave, are witnessed in the second circle representing all that was created. As the First Cause uttered the first sound, it continues to reverberate through all creation, bouncing back, off of the created objects returning back on itself, exhibiting the order of sound resonance in symphony, with the Creator’s will, Who upholds all creation by His Word. God is represented symbolically as a Circle of Light as seen in His Covenant with Noah [Gen. 9:12-17], the number seven being the perfect standard of God’s Creation. The Circle perfectly depicts Unity, without beginning or end. In the Vesica Piscis image, the circumference of the Second Circle passes through the center of the first, as a projection and outward image of itself, or Elohim manifesting as El.
Plate 5. Vesica Piscis
The entrance of God’s Word always brings light, [Ps. 119:130], so as God spoke to give Light; the Sound of God’s Voice preceded Light. The Oscillatory Frequency principle rings true, since Sound is an Energy active on a lower Scale building towards light. This is an accurate
way to grasp the Biblical principles of God’s Creation from a scientific viewpoint since based on this Oscillatory Frequency, Sound is Energy acting on a lower Scale, building towards light. As visible Light appears on the 49th Octave, it explains its Divine origin and relation. Since the Number 49 is the product of 7 X 7, it stands for each Circle of the spiral being traversed 7 times as this beautiful Light Energy was preceded by Sound with its Seven Musical Notes, before physical Light was created, with its Seven Spectral Colors.
This Oscillatory Frequency principle can also be expressed as atoms in the energy of a sound wave or vibration. This has led to the first theoretical framing of gravity in a quantum context that I am aware of, as seen in what follows. “At the atomic level, this mechanical energy vibration is known to be quantized in discrete amounts called phonons, just as an atom absorbs or emits the energy contained in the vibrations of the electromagnetic waves we call light, in discrete amounts called photons. And these phonons or “particles of sounds” just as the photons or “particles of light”, imply that the waves they belong to, propagate in discrete amounts called quanta. If a photon is a quantum of light, a phonon would be a quantum of sound. Both quanta were first believed to be massless, but up to very recently — and almost by accident — it was found that phonons do in fact carry a very small amount of mass. They are massive.”
“This is no surprise, since Einstein’s famous equation E=mc2 tells us that there is an exact equivalence between energy and mass. To understand the meaning of the equation, we use the following image. Very roughly speaking, mass is confined vibration; it translates into a gravitational effect. Meanwhile, light is a propagating vibration, such that the boundary condition between propagating and confined vibration is precisely the proportional constant known as the speed of light; c, which sets the limit to the speed a mass can travel, i.e., a limit for the vibrations to remain confined, and hence exercise gravity. For this reason, electromagnetic (light) vibrations are energy carriers that remain massless in motion because they propagate at the speed of light. Since sound concerns propagating vibrations through phonons traveling slower than the speed of light, some mass is implied, even if traveling in air.”
We show that, in fact, sound waves do carry mass—in particular, gravitational mass. This implies that a sound wave not only is affected by gravity but also generates a tiny gravitational field, an aspect not appreciated thus far. Our findings are valid for nonrelativistic media as well, and could have intriguing experimental potential.”12
This new light from scientific research depicts the unity of Space-time based upon a unity of sound and light, from a quantum view, again upholding the accuracy of God’s Word, even as elements of modern science are bearing this out. The ramifications for Cause and Effect remain to be seen for this new Quantum theory of sound, but it bears watching.
The image of the Vesica Piscis, above is an expression of God speaking Creation into being, but is not limited to philosophical discourses, since it can be witnessed as we behold this pattern of Creation in the order of the Heavens.
The graphic below shows another view of the precession of the poles from the perspective of the interlocking circles of the ecliptic and Equator, at the North pole, with the fish-shaped lozenge of the vesica between them. This “vessel of the fish” is formed from the lozenge of these two over-lapping circles, of the Venn Diagram or Vesica Piscis, the center of each located on the perimeter
of the other. Archimedes called the formula linked with this, the “Measure of the fish.” This can also be representative of Christ, who is the One mediator between God and man, the Man Christ Jesus, [1 Tim. 2:5]. Its import to math and geometry was found in the ratio of its height to its length [153:265], and the fact that it represented the nearest whole number approximation of the square root of 3, along with the controlling ratio of equilateral triangles.11 This provides a sonic signature from which we can explore the genuine patterns of God’s voice-print of creation, and His application of mathematics and geometry in His structure and ordering of Creation.
Plate 6. The Astronomical Vesica in the Northern Skies.
In the act of Creation the Infinite, Omnipotent, Omniscient, and Omnipresent Heavenly Father revealed some of his attributes in His Spoken, Written and Incarnate Word. We find this illustrated in the Vesica Piscis above. As the first Circle spoke the second circle into manifestation, it revealed this double circle Vesica form. These are the extreme Northern Skies, around which all creation turns, representing God’s dwelling in the Mount of the Congregation in the Sides of the North, where Lucifer desired to exalt his throne above the stars of the True God, [Isa. 14:13, Job 26:7-10]. Here resides the secret knowledge of God, that He has not yet revealed. These are some of the Mysteries that He will take eternity to reveal unto His Church in the spiritual body of Christ, [Deut. 29:29]. We can also see God’s secret and infinite Attributes under Elohim/Eloah, vs. those He shared with Christ in the Vesica and the Northern skies, vs. those He shares in Christ with the Church in the outer third of the Vesica, depicting a dynamic pattern of revelation, not only concerning God’s attributes, but also concerning precessional time of the Northern pole stars, relative to the earth’s astronomical history. As we consider the Vesica and its sacred geometry, the following root rectangles can be found within the Vesica Piscis: √2, √3 and √5.
Plate. 6 Root rectangles in the “Vessel of the fish.” 13
Plate 7. Square Root of Two — 1.414 : 1 — the Square. 14
The Square Side (AB)
= 1 Diagonal (AC)
= Sq Root of Two, 1.414
|In sacred geometry, the square represents the physical world. If its side is one, its perimeter is exactly four, and its area is one square – exactly.
The diagonal of a square whose side is 1 is √2, or 1.4142135624∞. This is what is called an “irrational number.” While there are several ways to describe an irrational number, one definition is, “a decimal number that never ends, never repeats.” Never ends? That takes it to infinity (∞) – into the spiritual. So while the square represents the physical, it has within it, a connection to the spiritual. All sacred geometrical figures have this connection.
|The square was found in the Holy of Holies (G,H,F,E) and the Holy Place was a double square [C,D,E,F] in the Temple showing the blueprints of a 1 x 2 rectangle of the Temple housing the Ark of the Covenant. (These dimensions are from the 1st part of Ezek. 41.)|
Plate 8. Jerusalem Temple Cross-section.
This view powerfully depicts how the Temple and Tabernacle symbolized God’s celestial design of the heavens, seen in their two altars, mirroring the two poles of the ecliptic and the Celestial Equator. This also agrees with many of the principles seen in the pattern of God’s Intelligent Design inherent in His Creation. Since the “pattern of the Tabernacle” contains the phi ratio also known as the “divine proportion” or the golden section we can see definitive Biblical evidence that this universally recognized standard of measure is truly divine in origin, since the dimensions of these sacred architectural structures were given by revelation from God to Moses and King David.
Ark of the Covenant is represented in the sacred pole of the ecliptic, around which the equatorial pole moves, both wheels, inter-locked in the form of a Venn Diagram, depicting God’s personal presence among His people.
In the Old Testament, God’s presence was only accessible annually as the people obeyed the guidelines of the Law carried out by the High Priest, to cover for their sins. The pattern of eastern access, holds true not only for Solomon’s Temple of the Old Testament, but also remained intact for the latter Temple referred to in Ezekiel 43.
The Almighty Creator in His infinite wisdom and power built Fibonacci’s golden ratio not only in the foundation of the order of our Solar System, but in all four kingdoms of life on earth, not to mention in the design of the Hebrew Temple and Tabernacle. As our solar system reflects the larger order of the spiral galaxies, so they also reflect the sonic and visible spectrums of the Light of God, emerging from the sound of His spoken Voice. This proof and evidence of Intelligent Design cannot be explained by natural law or natural selection, because it does not serve any evolutionary survival value and no cause other than support for a Creator Who is the First Cause, and Deliberate DESIGNER expressing the beauty and purposes of the Works of His Hands. In order for the Musical order of the solar system to take place, all of the planets had to conform to a certain Mass in order to move in a Certain Period and Distance. If any planet had been smaller or larger than they are, the pattern could not exist. Thus here is evidence that the size of the planets was predetermined by the Creator to have the planets move in a particular Aesthetic Harmony.
Scientist Ray Tomas has developed a theory called the ‘Harmonics of the Universe’. For many years Ray Tomas had been working in business for clients, developing economic models to forecast market developments and commodities pricing. Eventually he discovered cyclic behavior in stock market prices that were harmonics of the planetary periods. He also found musical ratios in the harmonics involving fractions of 3/2, 4/3 and 2 and proportions of 4:5:6:8 that formed major cords in the musical scale. His theory now suggests that many cyclic events occurring in nature such as biological, physical, and economic cycles have harmonic frequencies that are interrelated much like the notes in music. Tomas found that many economic cycles are pure harmonics of the Sun’s rotation, like the Sunspot cycle of 11.07 years. The Sunspot cycle is the cycle in the Sun’s activity that decreases and increases in cycles culminating to a Solar Max every 11.07 years. Tomas believes that the cycles that we find in our Solar System are harmonics of even larger cycles occurring in our galaxy-the Milky Way. All galactic cycles eventually are believed to be harmonics of a single universal cosmic cycle. Even as we find with the witness of Scripture with the unity of Sound and light, and the Vedic (the language of the Vedas, an early Sanskrit form) has always explained that the universe is the result of one primordial resonating vibration, known in eastern religions as the Ohm sound of creation. In a sense it could be said that our uni-verse follows a symphony of one huge song, spoken into being by the Almighty God. 15
Another example of a related area of research in harmonic laws related to the solar system concerns Bode’s Law. When compared to the superior accuracy of the Fibonacci series, Bodes Law shows an average deviation of 15%, while the 8 planets and 2 dwarf planets of our solar system show only an average deviation of 2.75%, from the Fibonacci Series. Bode’s Law relates to the distances of the planetary orbits starting with Mercury and moving away from the Sun. As we consider each planetary orbit, related to the orbit of each planetary neighbor in the solar system, we
can observe a recurring pattern of conjunctions. This provides an innovative way to view planetary conjunctions as musical chords. These planetary observations have noted that regular recurring conjunctions between the planets, take place in cyclical periods producing chords with high accuracy in the diatonic notes of an octave.
Chart from the [Secret Power of Music. p. 239]. 16
Planetary Conjunctions as Chords
DO RE MI FA SOL LA SI DO
Jupiter 22 33 44
Asteroids 21 28 35
Mars 14 21
Venus 15 20 25 30
Mercury 75 100 125 150
Years 24 27 30 32 36 40 45 48
“The numbers above the “Years line” indicate the conjunctions of each planet with the Sun and the Earth. The numbers in the Planet rows depict the number of conjunctions the planet makes with the Sun and earth in the related time periods. As Jupiter completes 11 conjunctions nearly every 12 years, so it appears on the 24th, 36th & 48th year. However, every 24 years Jupiter not only conjuncts with the Earth, but also Mercury and Venus, producing a four-planet alignment. Every 36th year Jupiter conjuncts not only the Earth again, but also the Asteroid Belt. Then again in the 48th year, Jupiter repeats its union with Mercury and Venus, completing this Octave of planetary unions, suggesting a series of Cosmic Chords.” 17
The regular planetary conjunctions depicted in this chart, take place in specific time intervals and their ratios of orbital resonance reflect with high accuracy the diatonic notes of an octave.
Because the Phi ratio is pervasive through the kingdoms of life, from the telescopic to the micro–scopic, it represents more than just a geometric pattern ruling life. It also lays down a pattern that life follows to reach a closer fellowship with the Creator. As with the Nautilus shell based on the numbers of an algorithmic spiral provide the ideal environs for the Nautilus at each stage of its physical growth-life, so we see this principle illustrated in the structure of the Hebrew Temple and Tabernacle. In a previous teaching called the Father of Lights, we illustrated in Gen. 1, that whenever God spoke, something wonderful resulted. The Sound of His voice is antecedent to light which we can see in the following reference:
“And God said, Let there be Light and there was Light. And God saw the Light, that it was good: and God divided the Light from the darkness.” The entrance of God’s Word always brings light, [Ps. 119:130], so as God spoke to give Light; the Sound of His voice precedes Light.
The graphic above depicts a universal musical scale based on the sonic frequencies of color and light.
The most elemental state of vibration is that of sound. Everything has an optimum range of vibration (frequency), and that rate is called resonance.
It seems that the Fibonacci series and the Phi ratio or golden section holds a unique piece of property at the perceived cross-current between science and religion, although there is more code of the Fibonacci series on the sub-atomic level in DNA than anything man has ever developed. This information did not appear by chance or out of nowhere, it was already put there by the same Designer that put His own “seal of approval” on some of the other aspects of His kingdoms of Creation, marked by the same math and geometry.
These divine ratios and proportions, being the Golden Section, Pi, Phi and others, identifies these as a conscious exercise in the laws of harmony and proportion as found in nature and in the human body, culminating in the awakening of divine consciousness in Solomon’s Temple, but even more in the Church and Spiritual body of Christ. [I Cor. 6:19, Jn. 2:21]
Ultimately, it is only the fool in his heart that says there is no God! [Ps. 14:1]
2. PhiMatrix software
3. Strong’s Concordance notes on G5481, James Strong
4. IBID, G541
5. IBID, G5481 character
6. IBID, G5287 hupostasis
7. Amplified Bible for Rom. 8:19-22
8. Living in God’s Power-Class Syllabus, Part 2, p.59
9. Plate 3. Fibonacci and Lucas www.spirasolaris.ca
13. Plate. 6 Root rectangles in the “Vessel of the fish.”Plate 7. Square Root of Two
14. Plate 7. Square Root of Two. [https://www.geomancy.org/index.php/sacred-geometry/square-root-2]
16. Chart from the Secret Power of Music. p. 239