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01202010, 08:37 PM  #26 
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Re: What do you know of Ptah?

01202010, 09:05 PM  #27 
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Re: What do you know of Ptah?
I will also add, that the information I have is from my own source. And for me to convey it to you, would be like "channeling"...as I do not believe that giving information in that sense is helpful. The reason I say this is, you need to experience it for yourself. You need to get the information you seek from within you..and not from someone like me. It is secondhand...and is subject to being "believed". It is much better to hear and see if for yourself..as you will not question it when you ask for the validation of such information. Make sense? I hope so. As I am not a "channel", and by no means do I have all the answers
But I do have a piece of the PI Last edited by BROOK; 01212010 at 03:07 AM. 
01202010, 09:39 PM  #28 
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Location: Plymouth, UK
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Re: What do you know of Ptah?
You is funny Brook. It always good though to direct people to information they seek.
Anyway, I need to apologise to Wilson for hijacking this thread. Lets get back to Ptah. 
01202010, 10:09 PM  #29  
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Re: What do you know of Ptah?
Quote:
And the areas of discussion are of importance to the aligned thoughts of Ptah, and where his "creator" abilities were coming from, and what the purpose is...and the direction of the creator of this thread, and his questioning of Ptah, and what purpose Ptah has in alignment with what it is he seeks. 

01212010, 01:18 AM  #30  
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Re: What do you know of Ptah?
Quote:
Well said...and thanks for the great read! 

01212010, 02:58 AM  #31 
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Re: What do you know of Ptah?
Ptah the Mason's and The Pyramids 1st degree tracing board It shows the pleiades pointing to the star of Ra. Then down from this is Jacobs' ladder. It also shows the pillars (struts) that Ptah made. Building the Pyramids An Overall Plan Spanning Four Generations: There must have been some incredible incentive, some driving impulse or insight that instigated such massive undertakings that strained the whole population of Egypt. The undertaking enlisted the cooperation and support of the whole populace. inconsistent with forced labor on such a scale. There are specific relationships between the pyramids, their geometry, and their history, to clearly suggest this. Squaring the Circle The circle suggests a timelike dynamic principle whereas a straight line of fixed length suggests a static extension in space. Hence the tools of the sacred geometry were the ruler and compass. And one way to reconcile the two is to draw the square whose perimeter is the same as the perimeter of a circle. It is called squaring the circle. There was an interesting book published by John Michell, City of Revelation, 1972. In it he explores many correspondences between esoteric subjects, from St. John’s revelation of the New Jerusalem, to the ground plan of Glastonbury Abbey, to Stonehenge, to the Great Pyramid, to gematria, to ancient systems of measure, and so on. Without going into the sense or reliability of all of them, a few salient features stand out as undeniable, and that deserve review. A central theme of Michell’s book is that there was a sacred geometry that was passed down through works in stone as a secret tradition of masonry. It may be connected to the establishment of the Masonic Lodge but the connection is lost in the mists of history somewhere in the Middle Ages along with the sacred geometry associated with it. Nevertheless the emblem of the Masonic Lodge is the ruler and compass. There is a common feature of the creative process that does not make rational sense. If we draw a circle on a piece of paper the diameter of the circle can not be measured completely accurately in the same units used to measure the circumference, and vice versa, and yet the circle is clearly there on the page. For this reason the ratio between diameter and circumference, known as Pi, is called an irrational number. It has no completely discrete value. It goes on for ever and ever with no discernible pattern to the endless sequence of numbers. The diameter and circumference are said to be incommensurable. It is like the indeterminacy principle of quantum mechanics where the static position and dynamic momentum of a moving particle can never be known accurately together. The Great Pyramid is thus a monumental example of squaring the circle, since its height is related to the perimeter of its base by the ratio 2 Pi. In this sense it is a monument that reconciles subjective spiritual dynamics to objective spatial regularities. Squaring the circle is often dismissed by academics as simply impossible since Pi is an irrational number, but they miss the point. The point is that the linear regularities of space are reconciled with the cyclic dynamics of the heavens through living processes. And the heavens are dominated by circular motions. The universe is a throbbing living reality. That was the theme of the sacred geometry. As Michell points out, if we draw a scale diagram of the earth and moon so that they are touching, and enclose each in a square, a surprising relationship becomes obvious. It is illustrated in the diagram. The triangle with apex at the center of the moon and base across the diameter of the earth has the same proportions as the Great Pyramid of Khufu. The circle scribed through the center of the moon concentric with the earth has a circumference equal to the square that contains the earth to an accuracy of 0.0588%. The earth radius of 6,378 km and moon radius of 1,738 km are taken from standard reference tables. They could be out by that much given the irregularities of the earth and moon surfaces. So the dimensions of Earth and Moon themselves represent squaring the circle. Also the triangle that joins the square of the moon to the square of the earth has sides in the ratio of 3, 4, and 5. This same ratio corresponds to the slope of Khafra’s pyramid Michell also points out that the two concentric circles are in the same proportion as the blues tone and sarsen circles of Stonehenge. It is a remarkable coincidence that the actual dimensions of Earth and Moon correspond to squaring the circle. 
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