Monday, August 29, 2011

In the Beginning Was the Structure of the Vacuum

The Common Origin of All Sacred Symbols

Based on the Grand Unified Field Theory of Nassim Haramein

Galileo Galilei. 1564-1642. Italian astronomer, mathematician, and physicist:  "The universe cannot be read until we have learnt the language and become familiar with the characters in which it is written. It is written in mathematical language, and the letters are triangles, circles and other geometrical figures, without which means it is humanly impossible to comprehend a single word."
Opere Il Saggiatore


Although objects in the physical world appear to be solid, modern science tells us that all atoms are 99.999, 999,999,999% empty space.

"Empty space" is not really empty at all, but is a pulsating field of unfathomable density.  In fact, physicists calculate that "a cubic centimeter of vacuum (about the tip of one's little finger in volume) has so much raw energy in it that, if condensed into matter, there would be more matter than is observable in the universe through the largest telescope!"

The vacuum has very specific properties and structures.  The ancients understood this. They wrote about it in their texts and portrayed in their symbols. 

The structure of the vacuum is the “Logos” described in the Bible:
1In the beginning was the Word [Logos, or the structure of the vacuum], and the Word was with God, and the Word was God. 2He was in the beginning with God. 3All things came into being through Him, and apart from Him nothing came into being that has come into being. 4In Him was life, and the life was the Light of men. 5The Light shines in the darkness, and the darkness did not comprehend [or "overcome"] it.

According to Robert Cox, the Logos is also the Theta, the Veda, the Etz Chaim, the Tree of Life, and the Duat (the hidden  foundation of the world).  These words all describe the structure and dynamics of the hidden reality of the unified field (the structure of hyperspace).  Please see around minutes 14:00 and 55:00 of "Robert Cox: Alchemy and History Lecture 2" at .
The Logos is (or creates) the Merkaba:
… The Mer-Ka-Ba … is the primal pattern that created all things and all universes, both visible and invisible (see "The Ancient Secret of the Flower of Life", volumes I & II)…. Specifically, the geometry used is called Sacred Geometry, as this particular geometry is found in the creation patterns of all things in Creation. The Mer-Ka-Ba field is extremely complex, involving the five Platonic solids and other sacred polyhedrons. It is believed to extend through all possible dimensional and parallel universes, and can possibly change its nature from electro-magnetic to whatever is appropriate….

Sacred Geometry is also called the Flower of Life:

The "Flower of Life" can be found in all major religions of the world. It contains the patterns of creation as they emerged from the "Great Void". Everything is made from the Creator's thought.
After the creation of the Seed of Life the same vortex's motion was continued, creating the next structure known as the Egg of Life.
This structure forms the basis for music, as the distances between the spheres is identical to the distances between the tones and the half tones in music. It is also identical to the cellular structure of the third embryonic division (The first cell divides into two cells, then to four cells then to eight). Thus this same structure as it is further developed, creates the human body and all of the energy systems including the ones used to create the Merkaba. If we continue creating more and more spheres we will end up with the structure called the Flower of Life.

Flower of Life - Oil on canvas by Amy Bird Paintings

This video is a very good introduction to the flower of life:

Spirit Science Episode 6 ~ The Flower of Life ~ Slow Version     (Note the CBS logo at min. 3:03)

The flower of life contains the 64 tetrahedron grid.

Compare to the Sri Yantra:

How to Make a 64 Tetrahedron Grid - Part 1 (how to make a star tetrahedron)

Out of this sacred geometry rises the dual torus, a never-ending feedback loop which produces all matter on  every scale from subatomic particles to the Universe.  The dual torus looks like this:

A MODEL OF THE UNIVERSE Proposed by Nassim Haramein  (featuring the Dual Torus animation)
Compare to the Tree of Life:

and to a 
POINCARE SECTION OF A HYDROGEN ATOM  -  in a strong magnetic field has regions where
the points of the electron's trajectory scatter wildly, indicating chaotic behavior. The section
is a slice out of phase space, an abstract six-dimensional space: the usual three for the
position of a particle and an additional three for the particle's momentum: 

If you wanted to depict the dynamics of the dual torus in a 2 dimensional way, how would you do it?
Most if not all sacred symbols and many other ancient symbols and patterns (like Argyll, plaid, and paisley) are referring to the dual torus (or the properties of the toroid) and/or the Sacred Geometry from which it springs.    

The symbols which describe the dual torus will usually convey some or all of the following:  spin/rotation, a cross-like structure, division into 4 or 8, darkness and light, male/female, unification of opposites, balance, in and out, breathing, Creation/pro-creation, perpetual cycles, connection between Heaven and Earth, the Trinity, and interconnectedness.  

They will often stand for divinity, protection, love, unity, and auspiciousness.  
When we start to see how these symbols move, then we know we’re getting closer to their real meaning.  Each symbol will have its own richness and cultural significance, but they all seem to be talking about the dual torus in their own way. 

If you look at the dual torus from above or below, you see a Yin-Yang shape. 

This is mentioned by Nassim Haramein in part 24 of his video series “The Grand Unified Field Theory,” at minute 7:30.

Also, in part 29 at minute 1, he shows us how the 64 hexagrams of the I Ching combine to form the 64 tetrahedron grid of the structure of the vacuum.

If you look at the dual torus from the front, you will see a cross-like structure within a sphere made up of 2 hemispheres.  The horizontal arms are the radiative part, and the vertical arms are the contractive part.  The horizontal arms are actually a disc, which gives energy/light, and the vertical arms are vortices which take the energy back into darkness.  The horizontal disc radiates electro-magnetic energy, and the vertical vortices pull inwards gravitationally.  So we can see the electro-magnetic/gravitational loop.

The horizontal disc gives us the material world, and the vertical vortices bring it all back to its source, Singularity, the Universe.  Now we know why the horizontal arms of the cross represent the material world, and the vertical arms represent the spiritual realms.  (see Celtic cross, below)  That’s why, if we go within, we connect at our own singularity with the rest of the Universe. 

The Celtic cross symbolizes the bridge between heaven and earth. Horizontal arms represent earth - temporal life. The vertical arms reach [in] to heaven - spiritual life. Union of spiritual and earthly worlds (vertical = spiritual world, Horizontal axis = earthly world). The circle represents the creator's unending love (no beginning and no end). (Aka ring cross). The Celtic cross usually contains many interlinking spirals and/or strands. Usually the lines used to create the cross don't have a beginning or an end, thus representing the immortality of spirit and love. The cross is also a symbol that is believed to protect the Celtic people from harm. 

The Celtic cross is also known as the Cross of Iona, and was popular in Europe during the 6th century AD. It was also known as the Wheel Cross or the Ring Cross. It was believed to have derived from early pagan symbols. The cross or the plus sign was believed to be associated with fertility since it stood for the power of the male, while the circle symbolized the power of the female. As Christianity began to spread, the plus sign became more elongated into the cross that we know today.
Add the elements of light and dark, and we get a checkerboard pattern inside a Celtic cross, which we can see in the BMW logo.  

But what does the blue symbolize?   Does it symbolize water?  (see Unified Field Theory 18/45 min. 8:06)

Does it represent the iridescent blue spot found on the walls of the pyramids where the Arc of the Covenant had been stored?  (see Unified Field Theory 42/45 at 10:40)

or does it represent the aquamarine color emitted by the transportation vehicle described by Ralph Ring:  ?

Add the elements of spin and division into 4, 8 (and 9 if you count the center) and we get a swastika.
Swastika is a compound of su -- a particle meaning 'auspicious,' 'blessed,' 'virtuous,' 'beautiful,' and 'rightly'; and astika derived from the verb-root as -- to be; hence 'that which is blessed and excellent.' The Swastika is a very archaic and sacred symbol which can be found in the religious relics of every ancient nation, for it depicts the whole story of the cosmos and man, their contrasting dual aspects, the four directions of space, the revolution of worlds, cyclic progression, and the union of spirit and matter at the heart of things.  (original source unknown)
From An Illustrated Encyclopedia of Traditional Symbols:

Swastika - One of the oldest and most complex of symbols, prehistoric and universal except for parts of Africa and Sumeria…The swastika did not occur in Egypt until a few centuries BC and not at all in Central Africa and Lower Mesopotamia, but it has been suggested that the four-faced gods [4 sons of Horus] were a swastika symbol, while Count Goblet D'Alviella suggested that the swastika and the crux ansata and the winged disk were basically the same symbol…[Its symbolism] has variously been suggested as the revolving sun; the radiate wheel of the noon sun; the sun chariot; the Pole and the revolution of the stars round it; [Osiris] the four cardinal points; the four quarters of the moon; the four winds and the four seasons; a whirlwind movement; the motion of revolving round the world; the Centre; creative force in motion; the generation of the cycles; the revolution of the wheel of life; the cross as the four quarters over which the solar power revolves converting it into a circle; the cross as the vertical and horizontal lines depicting the spirit and matter and the four grades of existence.

The Ankh is commonly known to mean life in the language of Ancient Kemet (land of the Blacks) renamed Egypt by the Greeks. It is also a symbol for the power to give and sustain life, the Ankh is typically associated with material things such as water (which was believed by Egyptians to regenerate life), air, sun, as well as with the Gods, who are frequently pictured carrying an Ankh.

The genesis of the swastika symbol is often treated in conjunction with cross symbols in general, such as the "sun wheel" of Bronze Age religion. Beyond its certain presence in the "proto-writing" symbol systems emerging in the Neolithic, [8] nothing certain is known about the symbol's origin….

In Hinduism, the two symbols represent the two forms of the creator god Brahma: facing right it represents the evolution of the universe and facing left it represents the involution of the universe. The swastika is one of the 108 symbols of Hindu deity Vishnu and represents the Sun's rays, upon which life depends. It is also seen as pointing in all four directions (north, east, south and west) and thus signifies grounded stability. Its use as a Sun symbol can first be seen in its representation of the god Surya….

In Latvian the symbol is known as either Ugunskrusts, the "Fire cross" (rotating counter-clockwise), or Pērkonkrusts, the "Thunder cross" (rotating clock-wise), and was mainly associated with Pērkons, the god of Thunder and justice.

For the Slavs the swastika is a magic sign manifesting the power and majesty of the sun and fire. It was usually called "The wheel of Svarog." It was often used as an ornament decorating ritualistic utensils of cult cinerary urns with ashes of the dead.  It was the symbol of power (the swastika seen on the coins of Mieszko I) both lay and divine….

File:Jewish swastika.jpg
An unusual swastika, composed of the Hebrew letters Aleph and Resh, appears in the 18th century Kabbalistic work "Parashat Eliezer" by Rabbi Eliezer Fischl of Strizhov, a commentary on the obscure ancient eschatological book "Karnayim", ascribed to Rabbi Aharon of Kardina. The symbol is enclosed by a circle and surrounded by a cyclic hymn in Aramaic. The hymn, which refers explicitly to the power of the Sun, as well as the shape of the symbol, shows strong solar symbolism. According to the book, this mandala-like symbol is meant to help a mystic to contemplate on the cyclic nature and structure of the Universe. The letters are the initial and final characters of the Hebrew word, אוֹר, or "light".

…in ancient Tibet, it was a graphical representation of eternity.[24]  The paired swastika symbols are included, at least since the Liao Dynasty, as part of the Chinese language, the symbolic sign for … "all" or "eternality" (lit. myriad)

 In Greco-Roman art and architecture, and in Romanesque and Gothic art in the West, the swastika often represented perpetual motion, reflecting the design of a rotating windmill or watermill….


The number eight was important among Sufi mystics. “The octagon, with a ninth point in the center, is also central to the mystical symbology of Sufism. It is the seal or design which Ernest Scott says ‘reaches for the innermost secrets of man’. Meaning wholeness, power and perfection, this primary geometrical symbol is one which Sufis associate with Shambhala …” 7

On his website of natural patterns, Ian Alexander refers to the eight-point star as both the Sufi star and the Moroccan star. He offers the following explanation, as quoted from Friday mosque in Iran “Form is symbolized by the square. Expansion is symbolized by the square with triangles pointing outwards (an 8-pointed star). Contraction is symbolized by the square with triangles pointing inwards (a 4-pointed star). The two star-shapes together symbolize the cycle of creation, ‘the breath of the compassionate.’”

Breath of the Compassionate

The following pattern is created by repeating the khatam. The cross-like four-point star mentioned above appears in the negative space. This pattern is called the Breath of the Compassionate. Of the ninety-nine knowable names of God in Islamic tradition, the Compassionate is the highest pronounceable name. “Through the polar cycle of the divine breath the universe is periodically created, maintained, dissolved, and renewed…More than just an ornamental motif, the Breath of the Compassionate is a cosmological model symbolizing the interplay of polarities that manifest form.” See #4

The eight-point star as a symbol marks early human understanding of the intelligent order that underlies our universe. Today, it carries religious and mystical associations. Known as the khatam in Islamic cultures, it and its variants are found at the center of stunning zillij masterpieces throughout Morocco. Amidst the color and composition, the khatam stands as a symbol of early astronomy, interconnectedness, and faith in the ultimate harmony of Creation. In this way, the khatam represents the highest virtues in Moroccan culture: learning, community, faith, and love of beauty.

Form is symbolized by the square.
Expansion is symbolized by the square with triangles pointing outwards (an 8-pointed star).
Contraction is symbolized by the square with triangles pointing inwards (a 4-pointed star).
The two star-shapes together symbolize the cycle of creation, 'the breath of the compassionate'.

Defined as the giver of movement and measure, the Hunab Ku is the primal intelligence that pervades the entire universe.  [See Logos]  Of virtually the same meaning and form is the yin-yang, which is created as the activating DNA spirals out from the center and crosses Stonehenge. This Chinese symbol represents the ever-changing and omnipresent Tao with its yin and yang polarities in constant flux yet in constant balance.
From the microcosm to the macrocosm, all physicality arises from the flower of life

The Hunab Ku has been described by the Mayans as a web. The brain streams of suttle life force energy form  a cosmic web. This energy is spun out into  a web by the "maya" or the " chitta."

Robert Cox: Alchemy and History Lecture 2 (see minute 13:39)
The Ouroboros connects the Above and Below

The Ouroboros encircles the Universe; everything known and unknown is encompassed in its embracing coils, supporting and maintaining the earthly balance. It injects life into death and death into budding life. Its form suggests immobility with its locked jaws upon itself, yet at the same time it pushes the insistent message of perpetual movement through its twined coils. The first clues to this symbol go back as far as 1600-1700 BC in Egypt. Through the years the serpent moved on to the Phoenicians and the Greeks-who were what, gave it the name "Ouroboros." The Greek translation means, "tail eater."…
It has a strong relation to what is known as the Androgyny. The androgyny is the united male and female principles together. This is the prime primordial end to human endeavor, the reunion which births totality and creation. It is not unlike the idea of androgyny, which is a duality complete. "A return to wholeness."…

This symbol appears principally among the Gnostics and is depicted as a dragon, snake or serpent biting its own tail. In the broadest sense, it is symbolic of time and the continuity of life. It sometimes bears the caption Hen to pan - 'The One, the All', as in the Codex Marcianus, for instance, of the 2nd century A.D. It has also been explained as the union between the chthonian principles as represented by the serpent and the celestial principal as signified by the bird (a synthesis which can also be applied to the dragon). … [Quetzalcoatl]

The ouroboros is a dramatic symbol for the integration and assimilation of the opposite, i.e. of the shadow. This 'feed-back' process is at the same time a symbol of immortality, since it is said of the ouroboros that he slays himself and brings himself to life, fertilizes himself and gives birth to himself. He symbolizes the One, who proceeds from the clash of opposites, and he therefore constitutes the secret of the prima materia which [...] unquestionably stems from man's unconscious'. (Collected Works, Vol. 14 para.513)…

The Isis Knot
The Isis knot (tiet) also called "The Blood of Isis" is believed to be a stylized rendering of female genitalia symbolizing the womb of the Goddess.  (See also The Philosophy Behind Sacred Geometry  at min 9:38, and Sacred Geometry 101B: The Vesica Piscis )
 Isis was the wife of Osiris, god of nature, death and resurrection whose backbone was the djed pillar.
The four rungs of the djed pillar represented the four elements and dimensions of the created world. Embodying the divine masculine and the creative feminine principles, the tiet knot and the djed pillar together provided powerful protection and were two of the most popular amulets in ancient Egypt.

This takes us to Isis as an archetype for Female Creator, blood, human bloodlines stories, which we trace from Egypt and Mother Mary, Jesus and Mary Magdalene.

The djed pillar is associated with trees in the Isis-Osiris-Horus myth about death and resurrection.
In at least one variation of this story, derived from Pyramid Texts and other early writings, by Plutarch, Osiris was apparently invited to a banquet by Seth, where he was murdered by Set - Seth. Osiris' wife, Isis learned of this tragedy and went looking for his body. Eventually, she heard that the body had been washed ashore at a place called Byblos on the coast of Syria, though there is disagreement over this location, and this only a myth. 

Djed as a Tree (Of Life)
There, waves had carried it ashore and lifted it into the branches of a tamarisk tree, which grew to encompass and hide the coffin. The tree grew to be gigantic with such beautiful flowers that eventually the king and queen came from the palace to see the marvelous site. He ordered the tree to be cut down and used as a pillar to support the roof of his palace.
According to the story, Isis apparently traced her husband Osiris' body to this foreign city, where she made the acquaintance of the king and queen. As it turns out, the son of the king was mortally ill, and after ministering to the child, she was offered a gift. What she asked for was the beautiful pillar supporting the roof of the palace, which was granted to her. Next she sent for carpenters who split open the trunk and removed the chest. Afterward, the men bound the tree back together and wrapped it in fine linen. She strewed it with spices and scented flowers and returned it to the king and queen.

This became the djed pillar, which was worshipped from that day on by the people of Byblos, because it had once held the remains of Osiris. Afterwards, its use spread throughout Egypt, where it became a symbol of strength.
This tale also seems in some way to support the concept R. T. Rundle Clark, for the djed pillar is often portrayed as a support, as in the palace at Byblos. Vincent Brown has advanced the ideas of Clark, with a theory that the djed pillar was seen as a support for the sky.  [This sounds like an allusion to the structure of the vacuum.]
Ptah is often depicted holding the djed symbol as a staff, and lending further support to this theory are the bands found below the crossbars of some djed pillars that correspond to the papyrus and other columns in ancient temples, which symbolically held together the papyrus stalks. 
It should be noted that the four gods who were responsible for holding up the sky were the Four Sons of Horus, and it is interesting to note that they were associated with the four canopic jars that contained the organs of the dead, which often had depictions of djed pillars adorning the exterior of the chest that held the jars. They also provided various services to the dead in the afterlife, strongly relating them to Osiris.


The term yantra normally refers to Hindu contexts and practices, while mandala normally refers to Buddhist contexts and practices. [Citation needed] Yet the terms are also used interchangeably, and mandala is sometimes used as a cross-over term in Hindu contexts.
A yantra is a two- or three-dimensional geometric composition used in sadhanas, or meditative rituals. It is thought to be the abode of the deity. Each yantra is unique and calls the deity into the presence of the practitioner through the elaborate symbolic geometric designs. According to one scholar, “Yantras function as revelatory symbols of cosmic truths and as instructional charts of the spiritual aspect of human experience" [7]
Many situate yantras as central focus points for Hindu tantric practice.Yantras are not representations, but are lived, experiential, nondual realities. As Khanna describes:
Despite its cosmic meanings a yantra is a reality lived. Because of the relationship that exists in the Tantras between the outer world (the macrocosm) and man’s [sic] inner world (the microcosm), every symbol in a yantra is ambivalently resonant in inner-outer synthesis, and is associated with the subtle body and aspects of human consciousness.[8]
Note: Mandala is also the term used to describe any of the ten books of Rig Veda, a sacred Vedic and Hindu scripture (sruti).
According to Indian spiritual sciences, God first created sound, and from these sound frequencies came the phenomenal world. Our total existence is constituted of these primal sounds, which give rise to mantras when organized by a desire to communicate, manifest, invoke or materialize. Matter itself is said to have proceeded from sound and OM is said to be the most sacred of all sounds. It is the syllable which preceded the universe and from which the gods were created. It is the "root" syllable (mula mantra), the cosmic vibration that holds together the atoms of the world and heavens.  [Structure of the vacuum Indeed the Upanishads says that AUM is god in the form of sound. Thus OM is the first part of the most important mantras in both Buddhism and Hinduism, for e.g. Om Namoh Shivai and Om Mani Padme Hum.

"Jacob's Ladder" is a biblical concept, but for Hermetic philosophers it was also symbolic of man's transformation, and his connection to the universe.

What is Jacob’s Ladder?
In the book of Genesis (28, 12), Jacob had a dream in which he saw a ladder extending to the gate of heaven.
For Hermetic philosophers, the ladder became an important symbolic motif. It was often used to convey the interlocking world of God, the soul and man. In some Hermetic texts, the ladder was depicted as a series of chains, each representing a different "sphere" of consciousness. All of these spheres were linked together, and like man, were each connected to "the true essence of God."

The Ladder and Other Hermetic Concepts
Often, the ladder was associated with other Hermetic concepts and ideas. It was used to represent a wide range of different theories and philosophical notions. The following list explores some of these ideas.
  • Ladder and Sephiroth
Sometimes, the ladder was interchangeable with the concept of "Sephiroth." The Sephiroth tree comprises the basis of Cabala. Often depicted by ten numbered spheres in alchemical and Hermetic texts, the Sephiroth tree is symbolic of the world of the divine, and the world of material goods. Not only does the Sephiroth tree comprise the foundation of the universe, but it is responsible for mankind as well.
  • Cycle of Nature and Life
Here, each sphere was shown linked together, and represented the cycle of life. The last sphere would connect to the first, thereby linking the cycle of life and death. Hermetics believed everything in the universe ultimately went around in a circle. They believed the universe originated from a single source.
That by the angels of God ascending and descending, is to be understood, that a perpetual intercourse should now be opened between heaven and earth, through the medium of Christ, who was God manifested in the flesh. Our blessed Lord is represented in his mediatorial capacity as the ambassador of God to men; and the angels ascending and descending upon the Son of Man, is a metaphor taken from the custom of dispatching couriers or messengers from the prince to his ambassador in a foreign court, and from the ambassador back to the prince.

In Kabbalah – Jewish Mysticism – the serpent is represented in the tree of life as it follows the natural ascension to the top of the tree. This tree is said to be the tree of knowledge. As Kabbalah is a Gnostic – knowledge – belief system, the idea of the tree of knowledge is central to its philosophy.

The menorah has a historical connection to the tree of life, as described in the following video at minute 23:

Jewish History: "The Menorah" 
The menorah visually represents half of a standing wave. 

The menorah also represents ½ of vector equilibrium (6 of the 12 vectors plus singularity, for a total of 7 candles).  Students of Nassim Haramein will understand why the symbol only represents half of the answer.  (Full explanation
at min. 3:32 – 6:37  Unified Field Theory 39/45

Here is a good description of vector equilibrium:
We now elaborate on our description of the VE, and before the end of this investigation we shall know almost everything about this extremely important shape. Let's begin here with its major characteristics.

Above all, it is the "omnidirectional arrangement of forces." This equivalence is unique to the VE.

Fig. 7-7. Eight radiating tetrahedron
alternate with six half octahedron.
Secondly, this shape bears an interesting relationship to other familiar polyhedra. Its twelve radii form eight symmetrically arrayed regular tetrahedra—corresponding to the VE's eight triangular faces. Figure 7-7 emphasizes the tetrahedra, which radiate outward edge to edge, creating six cavities in the shape of square-based pyramids. Again, because of the uniform edge lengths everywhere, these cavities are actually perfect half octahedra, corresponding to the six square faces of the VE, which in turn correspond to the six faces of the cube, as was revealed by degenerate truncation in Chapter 4.

Thirdly, "the pattern of this nuclear equilibrium discloses four hexagonal planes symmetrically interacting and symmetrically arrayed... around the nuclear center" (981.11). If you look closely at Figure 7-8 the four hexagons are clearly visible: one parallel to the horizon, one in the plane of the page, and two more, slanted to the right and to the left, at 60 degrees to the horizon. As we might have expected, the vector equilibrium consists—in a way exclusively—of hexagons. The symmetrical properties of hexagons with respect to the plane are evident (refer back to Fig. 7-4), and so the discovery of intersecting hexagons in a spatial equilibrium of vectors is not surprising.

Fig. 7-8. Four hexagonal
cross-section of VE.

However, intuition cannot as easily predict the number of hexagons. An array of equivalent vectors (taking into consideration both magnitude and angular orientation) is achieved by exactly four evenly spaced intersecting hexagons. Thus the existence of four fundamental planar directions ("dimensions"?) describes one aspect of the inherent shape of space.

These hexagons are exactly parallel to the four faces of the tetrahedron; having the same angular orientation, they are identical mathematical planes. The only difference is that in the VE they intersect at a common center, while in the minimum system they together enclose space.

Also fascinating is the fact that each of the twelve radiating vectors is perfectly aligned with an opposite vector—exactly 180 degrees apart. Thus the twelve can be seen as six intersecting lines with a positive and negative direction (each line twice the length of the original unit vector)—just as the XYZ axes are three lines intersecting to define six directions: three positive and three negative, evenly spaced with intervening angles of 90 degrees. Once again, these six intersecting lines are parallel to the tetrahedron's edges. It was not at all obvious from our initial requirements for a vector equilibrium display that the resulting radial lines would be collinear pairs, nor that these six (double-length) vectors would each lay in the same plane as two others, producing four precisely defined hexagons.

Our goal was to create a radial display of evenly spaced unit vectors. In so doing, we arrive at two fundamental observations about the order inherent in space: the existence of four distinct planes of symmetry and six linear elements. Both aspects are first exhibited in nature's choice of minimum system and secondly reinforced by her unique equilibrium configuration.

Electron - Toroidal
…here is a paper by J.G. Williamson and M.B van der Mark: Is the electron a photon with toroidal topology?
"The primary reason that the electron is considered to be elementary is that experimentally it appears to be point-like and hence structureless. At the same time we are confronted with the fact that it has a rich set of properties which are fundamental to its nature. It has an elementary charge, a half-integral spin, a definite mass, a well de ned dipole moment, an anomalous spin factor g-2 and of course a wave-particle nature. It seems inappropriate to think about such things as the elementary charge as a separate building block from the elementary particle which carries it. A deeper understanding requires a unification of the aspects discussed above in terms of an underlying principle." (pdf)

Spiraling closed infinite loops: the (8) and a double loop trivial knot that also resembles to a trefoil-knot and its Torus

This crop circle (appeared July 18, 2011 in Wiltshire) appears to be constructed by a circular division of 32, the proportions of a "squared circle" and a radius point that is the midpoint of the chords between the end circle of the triple sets to each other. It implies the Four Directions of a medicine wheel. What else do you see?