From
Lifecycles Astrology
For some 25 years I have observed
the accuracy of this pattern. For me, the question of why it works has
been a burning one. My search for an answer has carried me in a lot of
different directions. One of the most fruitful has been in seeing the
analogy between the "rules" of this pattern and mathematical rules
governing musical harmony. In modern western music, their can be said to
be two primary scales that are utilized most universally, the 12 tone
chromatic scale and the 7 tone diatonic. In exploring the mathematical
"whys" of the chromatic and diatonic scale, and their relationship to
each other, I found an exact correlation or analogy, if you will, for
the universal pattern of human growth that I have observed over these
many years. This was a revelation to me, not having had any formal
training in music or music theory. As I continued my search I found that
this discovery of a correlation between the laws of musical harmony and
a set of observations about how a holistic system works is a very
ancient one, and hardly unique to me. To state this another way, one of
the earliest observations that man made about his world, and what you
might term (as others have) the beginnings of science, was that the
rules or mathematical laws governing musical harmony correlate with laws
governing physical reality. In other words, the laws of harmony in what
can be heard correlate to the laws of harmony in what can be seen or
observed. This insight has driven the development of science from its
earliest beginnings, and it is my assertion that it continues to do so.
Before moving to examples of how
this paradigm has been at the core of science from ancient times, I want
to show the correlation between the pattern of growth I have outlined in
this web site and musical harmony. The following explanation is of
course somewhat simplified in its musical theory, but serves the
purpose. The dictionary definition of harmony is:
1. Agreement in feeling or
opinion; accord
2. A pleasing combination of elements in a whole
In music this refers to how two
notes or tones sound together, and the development of all the possible
notes/tones that sounded well with a "neighboring" note/tone within the
most basic "consonance" of an octave produced the scales referred to
earlier. The octave in music is actually a ratio of frequency between
two notes. The ratio is 1:2. This ratio is considered to be the most
consonant or "harmonious" of all. The octave cosonance was recognized by
many ancient civilizations as a basic construct and is why two
notes/tones with this frequency ratio are considered the same note but
an octave higher or lower in "the scale".(3) The next ratio that
produced the next most consonant or harmonious sound was 2:3 or 3:2, in
musical terminology the ratio of the fifth. (Dont become confused with
the terminology, as it is secondary). All the other primary scales,
including the diatonic (7 tone) and chromatic (12 tone) were developed
historically so that their notes/tones related to the frequency of the
fundamental or beginning tone by the smallest possible interger ratios
that would produce the most consonant sounds. These were 3/2 ,4/3, 5/3,
5/4, 6/5. Thus the scales in use today grew directly out of a long
history, a very ancient history of exploration of the
mathematical/auditory relationships between different tones based on
these number ratios.
Consonance is a basic concept in
music and is similar to harmony, in other words, tones that sound well
together. As John Pierce stated: "It is these experiences of consonance
and dissonance that underlie the evolution of the musical theory of
harmony."(19) In exploring what is perceived by the human ear as
consonant or dissonant, John Pierce concludes that though custom and
rules developed over millennia presently define what is and what isn't
consonant, these customs and rules "are based on experiences of
consonance and dissonance that are inherent in normal hearing." In music
it is universally accepted that notes/tones that are most consonant
together are those "whose fundamental frequencies have integer ratios,
such as 3:2, 4:3, 5:4, 5:3, 6:5." As John Pierce further states: "In a
very real sense, perfect intervals, whose frequencies ratios are the
ratios of small integers, are the very foundation of music. These
intervals derive from the harmonics present in musical tones. They are
important to the human ear."(19)
In the observation of the
existence and universality of the 7 tone diatonic and 12 tone chromatic
scale, and in the exploration of the relationship between the two
scales, I intuited that I might be on to some of the "whyness" for the
universal pattern of growth I had uncovered. The rational for these
scales lie in the fact they were built up from the most consonant ratios
of frequencies, and this lies in the nature of what is perceived as
harmonious by the ear. You cannot "fool" around with these "ratio laws"
and have music still sound harmonious. So these scales take on an order
of "law", akin to a basic principal. As John Pierce concludes about the
diatonic scale : "If either the diatonic scale or the harmonic partials
essential to it is slightly tampered with, overall music or consonant
effect is destroyed."(19)
Now in looking at the correlation
between these two scales , the diatonic and the chromatic, and the
universal pattern of growth that I have outlined, the primary feature of
this pattern of growth is that it consists of a seven year cycle of 12
phases, each of which consist of 7 months with their own unique lesson
and characteristic flavor. The most obvious first thing to notice about
musical harmony is that there does exist the two scales in music, the
diatonic with 7 tones and the chromatic, with 12 tones, both of which
are related to each other in a fashion that is very similar to the way
the 12 phases relate to the 7 year cycle. This relationship in music is
illustrated by what is referred to as the "cycle of fifths". As we have
said, the next most perfectly harmonious ratio that can exist between
two tones after the octave ratio of 2:1, is 3:2. In multiplying this
ratio, represented as 1.5, times a frequency of a fundamental tone, such
as a "c" with a frequency of 16, we will return to a "c" of frequency
2076 seven octaves higher. In other words, we have 12 tones within 7
octaves, correlating in our growth pattern to having 12 phases within 7
years. In addition, each of the 7 octaves has 12 notes,
corresponding to having 12 months during a year within each of the 7
years. Obvious arithmetic, but deserved of mention. (Actually, the
frequency of 2076 overshoots exactly 7 octaves higher, which would have
been a frequency of 2048. The amount that is overshot or the difference
between these two frequencies is known as the "pythagorean comma" and
was dealt with in music through the adoption of different tuning
systems. As we will see, instead of this spoiling the idea that there is
a correlation between music and this universal pattern of growth, it
actually reinforces it.)
In summary, in finding that these
two scales that are so fundamental to the development of musical harmony
and their relationship to each other could serve as analogy for the
universal pattern I had uncovered, I was spurred on to find other
correlation's between this "pattern of scales and harmony" and other
systems of "knowledge" that man has developed. The following are some of
these 'findings'.
Musical Math: 7 and 12 in
Ancient Science and Cosmology
In his book The Myth of
Invariance Ernest McClain uses a musical analysis of the imagery in
Indias oldest sacred text, the Rig Veda. Mr. McClain shows
clearly the very ancient origin and mutual dependence "of science, of
our calendar, of musical theory, and of our civilization." From the
earliest origins of science in prehistory, the relationships between
number and tone have been fundamental in mans attempt to understand his
world. To quote Mr. McClain, "What seemed most certain to our ancestors
was that physically nothing endured. In this sea of restless change man
discovered an island he could trust, the octave of ratio 1:2--the basic
miracle of music functioning as a matrix for all smaller intervals and
providing a metric basis for a tonal algebra. From what we know at the
present time it seems likely that the octave invariance was recognized
in India, Sumer, Babylon, Egypt, and Palestine well before the variant
cycles of sun, moon, and planets were coordinated with even modest
accuracy. Calendrical periods of 30, 60, 360, and 720 units and their
multiples belong to the essential arithmetic of a systematic
mathematical harmonics. Their source was not astronomy though they found
a ready application in early astronomy, which knew them to be unsuitable
for its own cycles."(3) In other words, the observations of the
fundamental environmental cycles that regulated mans life, the daily
cycle of light and dark, the monthly lunar cycle of approximately 30
days, and the yearly seasonal cycle found a ready harmonious
correspondence with the "musical arithmetic" that was developed by
ancient man. It is not presumptuous to assume that these early
observations of these cycles were a contributing factor to the
beginnings of mathematics. For as Plato observed: "The sight of day and
night, of months and the revolving years, of equinox and solstice, has
caused the invention of number.whence we have derived all
philosophy".(14)
Early man saw in the rules and
mathematics of the division of the octave into scales a universal
applicability of the division of any whole into its parts. This "Musical
arithmetic" according to Mr. McClain, "fueled a radiant vision of
universal harmony while providing both a model and a motive for the
development of a rigorously abstract number theory and a related
geometrical algebra." Plato expressed this vision of a universal harmony
thus: "To the man who pursues his studies in the proper way, all
geometric constructions, all systems of numbers, all duly constituted
melodic progressions, the single ordered scheme of all celestial
revolutions, should disclose themselves.by the revelation of a single
bond of natural interconnection."(14) In mans early observations of the
primary cycles of time that governed his life, the day, the month, the
year, he saw a metaphor for all change and incorporated it with a view
of time as cyclic. This view was reinforced when he began to explore the
transient, dynamic rhythms of music. To quote Marius Schneider: "In view
of the inconstancy of the world of form, primitive man questions the
reality of static (spatial) phenomena and believes that transient
(temporal) dynamic rhythms are a better guide to the substance of
things."(18) As we shall see later, this perspective is remarkably
similar to the perspective being forced upon us by the new sciences of
chaos and complexity.
So how was the connection between
astronomical cycles and the musical scales made? The mathematics of Rg
Veda man was limited to rational numbers, defined as: "A number capable
of being expressed as an integer or a quotient of integers, excluding
zero as a denominator." Thus he was limited to expressing his
mathematical relationships as integers. But even though this early
science and math may have been primitive from our technological
perspective, it does not follow that the philosophy was. As Mr. McClain
points out, in studying these source texts "we are dealing with a
primitive science of music and number, and a mature philosophy." It is
the egoism of our times to presume that the holistic concepts of early
man were in fact as primitive as their technology.
As it turns out, and Mr. McClain
so clearly demonstrates, "the smallest integers which can define a
diatonic scale with two similar tetrachords---a fundamental concept in
both Hindu and Greek tunings---occupy a space of thirty units in the
octave double 30:60". This "cycle of thirty units harmonizes the month
with the diatonic scale". In addition, the smallest integers which can
define the tones of the reciprocal diatonic scale "in chromatic order
lie within the octave double 720:360", thus harmonizing the idealized
year of 360 days with the chromatic scale. The two fundamental cycles of
time, the month and the year, were thus harmonized with the diatonic 7
tone and chromatic 12 tone musical scales. And the harmonization was not
forced. It was a harmonization that was required by the mathematics of
whole integers.
Another factor that contributed to
our early mans observation that the science of scaling in music
harmonized with the basic astronomical cycles has to do with what I
referred to earlier as "the comma of Pythagoras". As we noted
previously, the cycle of fifths brings us to a musical frequency of 2076
which is 7 octaves from a starting frequency of 16. The exact frequency
of the 7th octave is 2048. This produced a discrepancy of 28 units which
represents overshooting the 7th octave by .0137. As we referred to
above, the octave double of 360:720 is the smallest integer set that can
produce the chromatic ordering of notes. Thus this scale of 12 notes was
harmonized with the number 360, which is the number of the idealized
year. Now we also know that the actual year is 365.25 days long, not
360. The 5.25 days represents overshooting the idealized year by a
factor of .0146, very close to our musical discrepancy of .0137. This
seemed even more verification to our early scientists that there was a
fundamental relationship that existed between musical math and
calendrical reality. This was not all. The second most significant
tuning of our ancient musical math produced a scale of 12 notes with a
shortfall discrepancy between two notes that represented the 12th note
on an idealized 360 unit mandala. This discrepancy translated into a
shortfall of .0333 in our musical math. Remarkably, this correlates with
the calendrical shortfall of 11 days that exists between the number of
days that span a lunar year of 12 lunations (354 days) and the idealized
360 unit calendrical cycle. This discrepancy of .0305 (11 days divided
by 360) is very close to the discrepancy of .0333. In a way, we could
say that this very possibly clinched it for our early scientist. He has
now found significant correlations between musical math and the primary
cycles governing his life, and a rational for assuming that this musical
math, this scaling by 7 and 12, somehow pointed to a fundamental
patterning that existed in nature.
Was this musical math unique to Rg
Veda man, ancient Indian science. Far from it. It was extensively
developed and formalized in ancient Greece through the work of
Pythagoras and in the writings of Plato.(14) Nicolas Campion, author of
The Great Year also made note of this though referring to it more as
"number mysticism". He states: "In Greek number-mysticism the numbers 3
and 4 were closely related: added together they produce seven and
multiplied, twelve, both of which numbers possessed deep cosmological
significance." I feel Mr. McClain does a much more exemplary job of
showing that this was not to early man what could be referred to as just
number-mysticism, but represented a mature philosophy based on
empirically observed relationships between the mathematics available in
that day and significant events in mans world.
Additionally, in ancient Sumer and
Babylon this musical math and musical science was highly developed. The
art of calculation in third millennium Babylon was comparable in many
respects to the mathematics of the early Renaissance some thirty odd
centuries later. The Pythagorean Theorem was known in Babylon more than
a thousand years before Pythagoras. And Pythagorean string length
ratios, considered traditionally to be the beginnings of science, were
"recognized by both Mesopotamia and Egypt at least two millennia before
the dawn of Greek civilization".(3) James Jeans points to the finding of
two Egyptian flutes the dates of which is calculated to be about 2000
BC, both of which are based on a 7 tone diatonic scale.(17) One can find
in this ancient culture of Babylon very clear correlations between "the
tones of the scale, the Babylonian-Sumerian deities, and the basic
geometry of the square and the circle."(3) We find in the Epic of
Gilgamesh repeated references to the number seven as " the central
measure of time and space".(4)
In ancient Hebrew culture we also
find an absolute reverence for these numbers of the musical scales. As
Nicolas Campion points out: "Certain numbers, such as 7 and 12, were
thought to possess special cosmological significance, embodying the
universal structure of time and space. Therefore, it was considered
absolutely vital that political and cultic ritual place the highest
importance on these numbers." And again, "any number that was tied to
temporal cycle, as were seven, twelve, and four, was representative not
of a fixed state of affairs but of a dynamic process."(4)
To ancient man the transient
temporal rhythms of music were a better guide to the true substance of
things, to the underlying pattern of reality and of what could be
perceived and experienced. And the fact of this was only reinforced for
him through harmonization of the musical scales with the basic temporal
cycles of his experience. This perspective remained true within mans
science till the nineteenth century. In classical Greek culture,
Pythagoras is generally credited with discovering the "deep connection
between mathematics, music, and sound"(13), although it would probably
be more accurate to state that Pythagoras was very influential in the
propagation of this understanding rather than the originator, in light
of Mr. McClains work. As outlined above, Mr. McClain shows the much more
ancient origin of this understanding or perception. However ancient, it
seems clear that "within the confines of the musical scale, the ancients
constructed a theory of everything".(3)
The Seven Day Week: A
Chronobiological Perspective
To the present day, our time is
structured in a fundamental way by the seven day week. Is the seven day
week simply arbitrary? It is certainly ancient, having already been
established in early Mesopotamia around 3000BC or earlier, and pervasive
around the world in many different cultures with distinct historical
development. It is my contention that the 7 day week is definitely not
arbitrary, nor merely a cultural development, but is rooted in the
psychobiological rhythms of the human organism.
It is well established that many
natural biological rhythms within man and nature synchronize with the
natural environmental cycles of the yearly changes in day length, the
daily alterations of light and dark, and the lunar cycle. Within man
these range from a monthly rhythm in weight discovered in 1647 by the
Italian scientist Sanctorius; to the 24 hour fluctuations in body
temperature and blood pressure; to the monthly and seasonal fluctuations
in hormone levels; to the fluctuations in cell division that peak at
night and drop markedly during the day. These rhythms are the subject of
a science known as chronobiology. One of the more intriguing recent
discoveries is that these rhythms may synchronize with the major daily,
monthly, and yearly environmental rhythms, yet "what is clear is that
they are inherited, programmed into the genetic blueprint of the
organism". In the words of Dr. Franz Halberg, one of the pioneers in
this field and the originator of the term "circadian rhythm", "Rhythms
are the products of genes not just in space but in time".(5) There has
even recently been the isolation of a specific gene known as the per
gene, for period, which codes for protein in the cells that regulate
rhythms. The researchers have discovered similar DNA coding in humans.
Thus we actually have coding in the human organism for the natural
periods of year, day, and month.
What does all this have to do with
the seven day week? A remarkable discovery of this science is that very
specific rhythms with a period of a week also exist. Certain hormonal
rhythms follow this period, as well as blood pressure and heartbeat, as
do seven day crisis patterns of organ transplant rejections and illness
crisis, acid content of the blood, oral temperature, number of red blood
cells, and the quantity of cortisol, and levels of certain crucial
neurotransmitters.(6) "These weekly rhythms are broadly distributed
across species and variables: they are found in unicells, insect,
rodents and a host of human variables, e.g., in urine, blood, blood
pressure and breast surface temperature." Or as Jeremy Campbell states:
"Perhaps the most intriguing of these body rhythms are those that have a
period of about seven days. These circaseptan (7 day).rhythms are one of
the major surprises turned up by modern chronobiology. A central feature
of biological time structure is the harmonic relationship (my
emphasis) that exists among the various component frequencies. A
striking aspect of this relationship is that the components themselves
appear to be harmonics or subharmonics, multiples or submultiples, of
seven, a number that has played a disproportionately large role in human
culture, myth, religion, magic and the calendar." (7)
Here we find again the all
important harmonic relationship based on the number 7. The rhythm of the
week is inherent to the human being, not just a cultural phenomena. The
"scale" of seven days is a fundamental timing structure, a structure
fundamental to our very experience of time. As Dr. Halberg goes on to
directly state: "Circaseptans (7 day rhythms) have much to do with
nature, apart from culture, as has now been documented for many species.
To repeat, even a form of life that reportedly has been on earth for
several hundred million years (certain strains of unicell bacteria)
knows how to count by seven days. This does not detract from the fact
that human culture recognized the organisms circaseptan(7 day) makeup
and made the week into a cultural institution. Cultural evolution
complements, as a third ingredient, the two biologic modes of evolution,
the Darwinian adaptations of schedules of life on earth and, on the
other hand, the internal integrative evolution from within the organism.
The evidence for the internal evolution rest largely and precisely on
the acquisition of the schedule week which is harmonically in
keeping with external geophysical schedules (day, month, year), yet
is not an approximate match of such schedules."(6)
The fact that the 7 day week is an
inherent timing mechanism to the human being correlates well with my
observation that crisis events or intensified periods that are
forecasted by the universal pattern of growth tend to occur every seven
days during a turning point period, almost like clockwork.
Considering the foregoing, is it
such a leap of faith to presume that there could also be 7 month and 7
year scales or rhythms that are "harmonically in keeping with external
geophysical schedules" of the year and the month. Especially considering
the fact that "every seven years or so, the cells in your body are
completely recycled." (16) It is not at all a unique idea. As Georg
Feuerstein states:
- "The idea that human life
proceeds in distinct stages is obviously rooted in experience.
Similarly, the periodization into phases of seven years is not as
arbitrary as it may seem. In the Western world, seven year cycles of
personal growth were first suggested by Solon (600BC) the Athenian Law
Giver. Around the time of Jesus of Nazareth the idea was renewedly
propounded by the Jewish philosopher Philo, and in the Middle Ages the
notion was revived by Christian and Moslem scholastics."(20)
Martin Luther, the father of
Christian Protestantism remarked "the seventh year is a stepping stone,
i.e one which transforms...which calls forth renewing of character and a
new situation."(21). In a more modern bestseller, Passages by Gail
Sheehy, she makes reference to specific periods of transitions that
approximate 7 year points.
In summary, the week of 7 days is
harmonically related to the basic cycle of the day. It represents a
"whole", just as the diatonic scale represents a whole, with seven
constituent parts of seven tones.
The "Great
Freedom" within the Predictability
The need for a
proof for the assertions I have made for the "predictability" of Turning
Points is obvious. I could simply refer to my own and others
observations over the years as to the validity of the 7 year lifecycle
with it’s 7 month phases and Turning Points. Yet using my own or the
observations of others would hold no water with modern day skeptics
raised with a scientific materialist orientation to viewing the world.
The predominance of this point of view extant in the world inevitably
separates a new proposition about "how things work" into whether it is
provable "scientifically", in other words, whether it can be proved
using the methods of accepted science, or whether it exists in that
other realm of knowledge apparently outside the scope of true science
which utilizes one’s own "experience" as the test of whether something
is true. I include in this realm "knowledge" based on belief and faith,
not provable or not yet proven by "scientific means" but acceptable to
individuals of various persuasions. There are of course an innumerable
number of these systems of belief or "knowledge" outside the realm of
established science.
Yet the success of
science in giving human beings apparent technological control over their
environment has persuaded many to accept it’s viewpoints as to how to
determine the truth about a proposition. The scientific method, for good
or ill, has in effect been reoriented from its original use as a method
of observation to a religiously dogmatic viewpoint about the " only
valid or admissible means of discovering truth"process 1 pg3.
These means include objective observation, quantitative measurement, the
repeatability or replicability of experiments. In addition, the dogmas
of the modern day religion of scientific materialism implicitly assert
that the only way to discover truth is by resolving the whole of
anything into its parts - reductionism. This view grows out of the
nineteenth century deterministic perspective although it’s origins can
be found in such early Greek philosophers as Demetritus and Aristotle.
Propositions about the "way things are" are then judged as being either
"untestable" by the means of science and thus improvable and falling
into the realm of personal experience or belief and faith, or disputable
because the criteria by which science tests and "proves" hypotheses have
not been passed, or not attempted. Because of the success of this
viewpoint in technological advancement with it’s concomitant promise of
increased benefits for mankind, it has gained a position of supremacy as
the primary "paradigm" of modern culture, with more and more of the
world yielding to its viewpoint as it participates in technological
advance.
I have not chosen
to "scientifically" test the hypothesis that personal human growth
occurs in processes that are seven years in length with twelve distinct
phases. I do not know whether observations that would be considered
valid or measurable by the scientific method could "prove" my hypothesis
or not. I have chosen another method of "proving" this hypothesis that
expounds upon and provides support for a paradigm of reality named The
Theory of Process by Arthur Young, and to which I have referred as the
Musical Universe. This Theory of Process was developed over a lifetime
of work by Arthur Young, the inventor of the helicopter. It was
expounded in two primary books entitled The Reflexive Universe
and The Geometry of Meaning. Both represent an astonishing
synthesis of the most recent findings of science with the intuitions of
ancient wisdom in a thoroughly exhaustive "theory of everything". I find
in this theory the best hope for a new vision of the "way things are",
or the pattern of nature.
Now even though
much of what I claim speaks for a "predictability" of life's Turning
Points, there is at the very heart of this theory a fundamental freedom
that is also inevitably reflected in our own lives, Turning Point or no
Turning Point. This freedom is one of Arthur Young’s primary insights
into the nature of ultimate reality, or a term I prefer, the source
condition of existence. This insight strikes at the very soul of the
spirit crushing scientific paradigm that is presently serving as the
basis of the religious dogmatism inherent in scientific materialism.
There is a growing
sense of the inadequacy of the present scientific paradigm and the
scientific method for explaining major aspects of reality even though a
majority of individuals within the scientific community and the general
public remains overwhelmingly committed to a scientific and
technological vision of reality.Process 1 pg5 Some of these
aspects of reality were uncovered as anomalies by its own methodologies,
most notably the observations of the subatomic world and the subsequent
development of the science known as quantum mechanics. Physicists in
general accept the findings of quantum mechanics and yet most are
reluctant to face the implications of their own findings, especially as
regards the primary status and complete indeterminacy of the subatomic
particle known as "the photon"., otherwise known as light.Process
1 pg4 Quantum mechanics has revealed a world at the very core of
our material universe that is not observable, measurable, and rational
in the same way our familiar material world is, and yet it is the very
basis for our material world. And the light particle known as the photon
is at the very basis of this world. This "particle" of light is unique
in the schema of physics. Modern physics accepts the fact that light is
"packaged" in irreducible quanta or units. These are the photons. These
units of energy do not dissipate in energy as they "travel" through
space. They must always package their energy in units of action of
constant invariant size. All chemical and molecular processes are
dependent on the transmission of quanta of action from one point to
another, in other words, all processes are dependent upon photons, or
light, and thus photons (or light) can be viewed as the fundamental
"unit" of the universe. Photons have no mass or time, and thus they
are as nonmaterial and ephemeral as anything in the manifest universe.Process
1pg15 Another major discovery of quantum mechanics was "the
uncertainty principal" which undermined the basic classical assumption
of all things having a determinable position in space and a predictiable
future (at least in terms of the laws of physics).Foundations pg2
One of Arthur Young’s great insights was the discovery of the
mathematical equivalency of the uncertainty principal with the quanta of
action, or light. The implications are that light, or the quanta of
action, the basis of all processes in the material universe, is itself
totally unpredictable, completely free. Science can never penetrate it.
Process 1 pg15 This points "to the ultimate centrality
or primacy of light as the origin of everything."Universe
pg28David Bohm, another very prominent physicist stated "that
light and action are an undivided whole from which other things descend,
that matter and time are derived from light, and that light is the
fundamental activity and potential for everything."Foundations pg10
Light is the
"first cause" in the seven step process, the "source condition" from
which all other conditions arise. This fundamental freedom of action is
inherent throughout the process, and throughout any specific
manifestation of "the 7 stage process", including the 7 year cycle.
Growth is always a choice, a "freedom" we have, regardless of the
circumstances that are dealt us within the "great patterning" of nature.
Bibliography
1) Young, Arthur M., The
Reflexive Universe: Evolution of Consciousness, Robert Briggs
Associates, 1976
2) The Holy Bible,
National Publishing Company, 1978
3) McClain, Ernest G., The
Myth of Invariance: The Origin of the Gods, Mathematics and Music from
the Rg Veda to Plato, Nicolas-Hays, Inc, 1976
4) Campion, Nicholas, The
Great Year: Astrology, Millenarianism and History in the Western
Tradition, The Penguin Group, 1994
5) Murdock, Barbara,
Chronobiology: The Science in Tune with the Rhythms of Life, Earl
Bakken, 1986
6) Halberg, Franz, et al, "Circaseptan
biologic time structure", Acta Entomol.Bohemoslov.,87:1-29, 1990
7) Campbell, Jeremy, Winston
Churchills Afternoon Nap: A Wide Awake Inquiry into the Human Nature of
Time, Simon and Schuster, NY
8) Young, Arthur M., Which Way
Out: And Other Essays, Robert Briggs Associates, 1980
9) Land, George and Jarman, Beth,
Breakpoint and Beyond, HarperCollins Publishers, 1992
10) Land, George T., Grow or
Die: The Unifying Principal of Transformation, Random House, 1973
11) James, Jamie, The Music of
the Spheres: Music, Science, and The Natural Order of The Universe,
Springer-Verlag, 1993
12) Levenson, Thomas, Measure
for Measure: A Musical History of Science, Touchstone, 1994
13) Gleick, James, Chaos:
Making a New Science, Penguin Group, 1987
14) McClain, Ernest, The
Pythagorean Plato, Nicolas-Hays, Inc., 1978
15) Keyerling, Arnold and Losey,
Ralph, Chance and Choice, Unpublished Manuscript, 4th Draft, 1994
16) Briggs, John and Peat, F.
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Copyright 1996