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Taking A Crack At Cracking The Aiwass Code

THE CODE ZONE: Reality Outside The Box (No.12) A Weekly Column By Gary Val Tenuta You've just entered a realm somewhere outside the bounds of conventional wisdom... a world of words and ideas... a place where reality can shift at any given tnemom. See what I mean? Welcome to... The CodeZone.

Taking A Crack At Cracking The Aiwass Code

This week we're going to look at one of the great mysteries Aleister Crowley left for us to ponder and we'll speculate on a connection between that mystery and the idea of levitation by sound frequency. No science lessons here. Just some cryptonumerology and a pinch of synchronicity.

Aleister Crowley referred to himself as "The Beast". A news reporter referred to him as "The Wickedest Man In The World". Others say he as neither of those but simply a man intoxicated with curiosity about strange things most people would rather not think about. In any case, he was by all accounts a master of the so-called black arts. His influence in that realm of study is still strong today. He died in 1947, the year of Roswell and the Kenneth Arnold sightings. Some call it Year 1 of the modern age of UFOs. I don't know if Crowley ever saw a UFO but he did allegedly have an encounter with a strange being in Egypt; a location which, itself, is rife with mystery; like how did they move those gigantic multi-ton stones into place? Levitation? But I'm getting ahead of the story.

In 1904, Crowley was in Egypt at Giza. At this time, while he was near the Great Pyramid, he claimed he was visited by a nonhuman entity calling itself Aiwass, a messenger of Hoor-paar-kraat; a name for the forces ruling our planet at the present time. Over the three days of April 8, 9, and 10 (which could be read 8-9-1, the series which popped up a number of times in my work with the alphabet patterns and the "Grek-5" numerical pyramid) Aiwass dictated a small book to Crowley. It is called "LIBER AL vel LEGIS" or "The Book Of The Law". In the back of the book (published by Samuel Weiser, Inc.) there is a reproduction of the original dictated notes in Crowley's own handwriting. On page 16 of the notes, there is a grid drawn over the handwriting. This the one of the great mysteries of this little book. The grid is marked across the top with the letters "b" through "h" ("a" is missing but is apparently understood to be in the first square. Also, the grid is marked down the side with the numbers 2 through 10 ("1" is missing but is apparently understood to be in the first square with the "a"). In the uppermost left hand square of the grid (1-A) there is a tiny arrow pointing to the corner. I don't know what that represents. I don't know if anyone does. On the grid there is a line drawn from 1-C diagonally down to 7-E (the image of the actual page with the grid is shown here. Because the copy was a little difficult to read, I inserted the numbers and letters so you can see them better.) Also, in grid square 7-D, there is a small circle with a cross in it.

Part of the text, upon which the grid is drawn, says, "Then this line drawn is a key: then this circle squared in its failure is a key also."

Let's focus on that line which is drawn through the grid. On the grid (see illustration) I have grayed out the grid squares through which the diagonal line passes.

The coordinates of the grayed squares are 1-C, 2-C, 3-C, 4-D, 5-D, 6-E, 7-E.

Now, assign to each letter (across the top) its alphanumeric value. Across the top now we have 1 thru 8 (which, when totaled = 36).

The coordinates of the gray squares now read:
1-3, 2-3, 3-3, 4-4, 5-4, 6-5, 7-5.

Now, identify each of the gray squares by adding the two coordinate numbers of each square. The first gray square (starting at the top and working down) is now identified by the number "4", by taking the "1" from the horizontal coordinate and adding it to the 3 (C) from the verticle coordinate.

The next square, then, is "5" (from 2+3).
The next square is "6" (from 3+3), and so on.

So the gray squares give us the following three sets of numbers: 4-5-6 and 8-9 and 11-12.

Now,multiply the digits in each set:
4x5x6 = 120 (reduced by cross addition = 3 )
8x9 = 72 (reduced by cross addition = 9 )
11x12 = 132 (reduced by cross addition = 6 )

[Note: "cross addition" is simply adding the digits of any multidigit number.]

Now we have three sets of numbers each of which (in their reduced form) represents one third of the Gematrian series of 3-6-9. This 3-6-9 pattern was also found encoded within the patterns I discovered in the English alphabet (http://members.aol.com /codeufo/gematria-1.html). This same pattern, but in a different context, was also found by an independent researcher named Marko Rodin. He found the pattern in his research of the Torus spiral and called it the 3-6-9 gap-sequence. http://shaka.com/~kalepa/dblcirct.gifMarco Rodin's Toroid Sunflower Map (doubling+3, 9, 6, etc. gap sequence)

Rodin showed that a repeating pattern of numbers is derived by the method in the cross addition of the powers of two (1, 2, 4, 8, etc.). The repeating pattern is:

1, 2, 4, 8, 7, 5 (If you didn't follow this, each number in this series is twice the number just before it. The 7 comes from 8+8=16, then cross-adding the two digits of the number 16: 1+6=7. The 5 comes from 7+7=14, then 1+4=5)

Notice that the numbers 3, 6, and 9 are missing. The missing numbers are thought to be a "gap space" pattern, related to the torus spiral, the shape of which, I'm told, is governed by the Fibonacci sequence. It also happens that in my discovery of the patterns within our own alphabet (http://members.aol.com/c odeufo/gematria-1.html), these alphabet patterns produce the exact same series, 1, 2, 4, 8, 7, 5, except that they are in alpha-form (ONE, TWO, FOUR, EIGHT, SEVEN, FIVE) and with the exact same 3-6-9 gap spacing. That is to say, the "alpha-numbers" THREE, SIX, and NINE are missing.

Another researcher, Alastair Couper, found that the Fibonacci sequence also results in a repeating pattern of numbers when cross addition is applied. The pattern is:

1, 1, 2, {3}, 5, 8, 4, {3}, 7, 1, 8, {9}, 8, 8, 7, {6}, 4, 1, 5, {6}, 2, 8, 1, {9}, 1

Notice in this case, the 3, the 6 and the 9 are like markers separated by sets of three digits. (Just as a note of interest, those 3-digit sets might not appear to have any significant pattern to them but I've recently discovered there is a pattern that my colleague, Michael Morton, suggests might have some relationship to human DNA. This is new so no developments as of yet.)

Continuing now with our Aiwass Code, we've established the numbers 120, 72, and 132 from our analysis of the grid. Now let's add them:

120 + 72 + 132 = 324 (reduced = 9)
Keep the number 324 in mind while we shift gears a bit. We'll return to 324 in a minute.

At the top of this article I said we'll be speculating on possible connections between this Aiwass Code and the concept of levitation through sound frequency. Sound - Tone - Frequency. One phenomenon which incorporates all three of these elements is Music. But as we continue on here let's think of music, not in terms of melody, but simply in terms of it's physics, tone and frequency of sound waves.

A Code Gang associate by the name of James (Jimi) Furia is a gifted musician. He's also a researcher into the mysteries of the "Code of the Ancients" as rediscovered by Carl Munck (Great Intro to "The Code" ). Jimi has revised the standard piano keyboard to reflect the gematrian numbers of "The Code Of The Ancients" in terms of Cycles Per Second, or the vibratory frequency of each of the tones. The standard tuning has the note "A" tuned at 440 Cycles Per Second (cps). Furia's keyboard has the tuning of "A" at 432cps. This revision resulted in some amazing numerical correlations to the structural dimensions of the pyramids in Egypt. (Links to Jimi's work can be found at http://www.greatdreams.com/gem1.htm) So here's our Egypt connection. Recall that Crowley received the dictation for The Book Of The Law literally just a stones throw from the Great Pyramid. Now back to our number 324.

It's important to remember that the ancients thought of numbers not just in terms of their quantitative values but also as "living" entities, if you will, with an organic qualitative nature as well as the more static quantitative nature. In this sense, a multi-digit number such as 324, for example, wouldn't necessarily be defined simply as a single object representing "three hundred twenty three". In other words, the importance of each individual digit was considered also. Therefore, any combination of these three numbers (or any multi-digit number) might very likely have some "hidden" relationships to each other. With that in mind, notice the numbers 432 and 324 both contain the same digits. The "hidden" relationship here might have something to do with tonal frequencies. For example, 432cps is "A" on Furia's keyboard and 324cps is "E". Jimi has developed what he calls a Music Wheel (see illustration) of 12 octaves on which interesting geometric relationships between the various tonal frequencies can be explored. With the "wheel" (or circle) in mind, the following is interesting:

Refer back to the illustration of the Aiwass grid. Assign to each letter (across the top) its alphanumeric value. Converting the letters "A" through "H" to numbers, we now have the numbers 1 through 8 replacing the letters A through H. The sum of the numbers 1 through 8 is 36, a decimal harmonic of 360, as in 360 degrees in a full circle. This is interesting in that a musical scale comes "full circle", so to speak, with the octave. That is, the 8th note in a scale is the octave. For example, starting with the note A, the scale is A-B-C-D-E-F-G and then reaches the octave at the next note which is A again.

Now, let's see what sort of alphanumeric clues we get by multiplying those 3, 6, 9 numbers:
3x6x9 = 162 = THE THREE TONES (162 is another c.p.s. for "E" on the Wheel) And what do we get with a little division? An interesting alphanumeric synch: 162/3 = 54 = TONE

The following is the text of dictation over which this grid was drawn. Remember when reading this that Crowley often referred to himself as "the Beast". Since this dictation was allegedly from Aiwass to Crowley, it has been suggested by most scholars that "the Beast" mentioned in this text refers to Crowley himself. This portion of the text actually begins on the page just prior to the grid:

"This book shall be translated into all tongues: but always with the original in the writing of the Beast; for in the..."

(Here the text breaks to the next page where the grid is drawn. Remember the grid overlays the handwriting. Note of interest: Some believe the placement of certain words of the text here in relation to the grid is secretely meaningful. The text now with the grid overlay continues...)

"...chance shape of the letters and their position to one another: in these are mysteries that no Beast shall divine. Let him not seek to try: but one cometh after him, whence I say not, who shall discover the Key of it all. Then this line drawn is a key: then this circle squared in it's failure is a key also. And Abrahadabra. It shall be his child & that strangely. Let him not seek after this; for thereby alone can he fall from it."

Interestingly, the word "Abrahadabra" is different from the more conventional spelling of "Abracadabra". The difference is that the letter "C" is changed to "H". The AlphaNumeric Values (ANVs) here are interesting and significant to our "musical" interpretation of this mystery. Notice the ANV of "C" is 3 which might relate to the idea of THREE TONES (The ANV of THREE TONES=129=12=3). The ANV of "H" is 8 which might relate to the notion of the o ctave as discussed above. Now see how this message is encoded within the word itself:

ABRAHADABRA = 57=12=3
TONE = 54
TONE + 3 = 57

Also,
54 + 57 = 111
This is interesting because of the following: Crowley was obsessed with the number 93 for various reasons. He also considered himself "The Beast". We know the number attributed to The Beast of the book of Revelations is 666.

If you divide 93 by 666 and multiply the result by 2, you get .2792792793. Recognizing that 27 and 9 and 3 are numbers significant to our developing gematria, this decimal series can be sectioned up like this:

27, 9, 27, 9, 27, 9, 3
Adding those digits gives us 111:
27+9+27+9+27+9+3 = 111, the same as TONE+ABRAHADABRA.

According to David Allen Hulse (in his book, The Key Of It All), the Christian Gnostics used "triple numbers" in their symbolism. Each of the nine triple numbers from 111 thru 999 had specific meanings attached to them. In the case of 111, there were three meanings: (1)KEY, (2)NINE, (3)HOUSE (or dwelling).

Of course 1+1+1 is 3, back to our key number in terms of tones, music, etc.

Now recently, reviewing the grid, I noticed the possibility that the diagonal line was not intended to begin in the grid square 1-C. You can see what I mean from looking at the attached image of the grid (a scan of the actual handwritten manuscript). It does appear possible that the beginning of the line being in grid square 1-C could have been a slip of the hand. Perhaps the line was intended to begin in square 2-C. This then would change the encoded information. Interestingly, it still gives us meaningful number combinations.

This would mean the gray squares now give us the following three sets of numbers: 5-6, 8-9, 11-12

Now, using the same formula as we used previously...
5x6 = 30 (reduced= 3 )
8x9 = 72 (reduced= 9 )
11x12 = 132 (reduced= 6 )

So, in terms of the reduced values, we retain the same numbers, 3, 6, and 9. And, as mentioned above...
3x6x9 = 162 = THE THREE TONES
162/3 = 54 = TONE
Then of course, 54 x 3 = 162
In other words, THE THREE TONES, and TONE+TONE+TONE both equal 162. How self-referential is that? And 162 is a c.p.s. of "E" on the Music Wheel.

Again, using the same formula as we applied previously which gave is 324, this time we get 234:

30 + 72 + 132 = 234.

Notice 234 is not only composed of the same three digits as we found above arranged as 324 but it is also the alphanumeric value of the phrase "THE GREAT PYRAMID OF GIZA"!

Notice also, 2304 is the cycles-per-second of the note "D" on Jimi's Music Wheel. Given that "0" is essentially nothing, it can be dropped and the result is 234.

Now here's where we begin to get into the levitation idea. There is a story of several Monks standing in a half-circle when they vocally intone a sound which causes a great stone to levitate. Regarding the purpose of the semi-circle positioning of the men, recall that half a circle is 180 degrees. Recall, also, that TONE=54.

180+54 = 234.

234 is the mirror image of 432. (432 c.p.s. is the note "A" on Jimi's Music Wheel)

234+432 = 666

So far we have seen three musical tones implied: E, D, and A. Interestingly, the note "A" is only evident if we recognize the reversal of 234. We could surmise from this that E and D are the two key tones . This would make sense in terms of the alphanumeric clues because...
E=5
D=4
Thus, 5 and 4 relating to TONE=54.

Notice also that 54 is a c.p.s of the note "A" on Jimi's Wheel.

Could this mean the combination of E and D together produce one of "THE THREE TONES"? If so, then what are the other two? Notice that 54 x 2 = 108. Now, 108 is also a c.p.s. of the note "A" on Jimi's Wheel. Therefore, in some way, shape or form, three tones are produced by the combination of two, E and D. It's not so much a matter of actual notes as we typically think of them in musical terms, as it is a combination of vibratory frequencies in terms of cycles-per-second. We're not to focus on the "sound" so much as the vibratory resonance.

Using 54 c.p.s. as our "A" and drawing a line straight across the Music Wheel we connect with D# at 612 c.p.s.

54 + 612 = 666

Maybe we're being told that D# is important here. But that would add a fourth note or tone. So I don't think that's the implication here. D# is a midway point between D and E. Are D, D#, and E, the THREE TONES? Or perhaps D# is a clue telling us what combinations of A, D, and E we need to use in terms of c.p.s.

If that's the case, I found this:
A=432 cps
D=144 cps
E=648 cps

432 + 144 + 648 = 1224 cps
1224 cps is D#

So if we have an array of sound-generating devices arranged in a half circle and make them produce a tone of 1224 cps can we levitate a 20 ton block of stone? Naw! Can't be that easy!

I should mention here that this grid has been deciphered in a completely different way by other researchers with equally intriguing albeit different results (see Greenfield's "Secret Cipher Of The UFOnauts"). It's possible there are several levels of information encoded here, each level requiring a different method of deciphering.

Keep in mind that Crowley is said to have received this dictation (or some say his wife received it) sitting at a location practically in the shadow of the Great Pyramid itself. Regardless of whether it was Crowley or his wife, the location of this event would seem significant.

Remember back to our story of monks standing in a half circle when they vocalized some tones to raise a large block of stone into place and consider this:

Half a circle is 180 deg.

HALF=27

HALF + HALF = 54 = TONE

Half of 54 is 27 (decimal harmonic of 270) 270 is the sum of the alphanumeric values of the names of the three pyramids at Giza in Egypt: CHEOPS (66) + CHEPHREN (77) + MYCERINUS (127) = 270

180 + 54 = 234, the reverse of 432

432 + 234 = 666
432 - 234 = 198 = THE RESURRECTION (The "stone" was "mysteriously" moved from the opening of Jesus' tomb!)

On Jimi's Music Wheel there are only 3 notes which consistantly generate a CPS which is reducable to 9. They are A, D, E. Alphanumerically, this is 1, 4, 5: the intervals of a chord progression often known as the standard blues progression.

There is one other note, the 7th or G, which figures in nicely. It is the only one on the wheel which consistantly generates a CPS reducable to either 6 or 3; it fluctuates around the wheel. Going clockwise, the sum of its CPS values are: 21(3), 15(6), 12(3), 12(3), 15(6), 12(3), 15(6). When the 7th is applied to the "1-chord" in the 1, 4, 5 progression it is often referred to as a "transition" to the next chord, usually the "4-chord". It's a cool sound. It's always fascinated me how it somehow produces a sound which creates a feeling of anticipation in the listener. It's like teetering on the edge of a fence just before making it to the other side. In an "A" progression, "G" is the transition to "D".

Interestingly, the notes E,A,D,G are the names of the bottom 4 strings on a guitar.

And finally, here are a few more interesting alphanumeric synchronicities suggestive of a relationship between the Aiwass Code, Sound Frequency, and Stone:

TONES=73

STONE=73

SOUND=73

Thinking again about Stonehenge, another mysterious monument constructed from giant stones, I decided to divide the name in half and see what was there:
STONE=73=10=1
HENGE=39=12=3
1/3 = .333333333

We might even be incorporating hyperdimensional physics here. I'm sure most of you are familiar with Richard Hoagland's famous number "19.5" as the tetrahedral latitude north or south on a sphere circumscribing a tetrahedron with the apex at either of the poles. What many people don't know is that 19.5 is the nearest rounded figure for the more accurate figure of 19.47122061. Keeping in mind the decimal .333333333 from our alphanumerics above, my colleague Michael Morton noted:

((the SINE of the Tetrahedral Latitude ... SIN 19.47122061 = 0.333333333))

Also we might note the following just out of interest: 432 / 3 =144 = THE GOD OF ISRAEL and NINE IS THE KEY

Also, regarding 73 and 39 we find more alphanumeric synchronicities:

73....
SEVEN=65=11=2
THREE=56=11=2
22 is the number of letters in the Hebrew alphabet.

39....
THREE=56=11=2
NINE=42=6
26 is the number of letters in the English alphabet.

Regarding the number 432, there is yet another synch related to the idea of levitating stone:

THE TONE RAISES THE STONE=264
THE TONES RAISE THE STONE=264

Here's the synch between 432 and 264....
The reduced ANV's of the alphaforms of the individual digits in 432 are the same three digits which comprise the number 264:
FOUR=60=6
THREE=56=11=2
TWO=58=13=4

More on 73: the alphanumeric value of the word "NUMBER" is 73. Noting this, we see the reduced value of the following phrases are interesting:

NUMBER=73
IN THE BEGINNING WAS THE NUMBER=286=16=7
IN THE BEGINNING WAS THE WORD=273=12=3

THE NUMBER=106=7
THE WORD=93=12=3

"WORD" could be a metaphor for "SOUND".

IN THE BEGINNING WAS THE SOUND=286
which is the same as
IN THE BEGINNING WAS THE NUMBER=286

So there you have it. Stones and tones and alphanumeric synchronicities. All from the mysterious grid on one page of one mysterious book dictated to one mysterious black arts magician by one mysterious non-human entity named Aiwass. Oh, by the way, the reduced alphanumeric sum of AIWASS is 9. How fitting. Especially out here...

...in the Code Zone.

©2000, Gary Val Tenuta

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Visit Gary's web site which presents, in more detail, some of the ideas discussed in this series of articles: http://members.aol.com/ codeufo/gematria.html

His book, "The Secret Of Nine", lays out the full story of how the information presented on his web site came to be developed. It allows the reader to follow, step by step, the true life paranormal experiences, possible ET contact, and the thought processes which formed the basis of this fascinating and ongoing work which deals with the phenomena of alphanumerics and synchronicity in a line of research he calls cryptonumerology.

The Secret Of Nine is a self-published work in a handsomely bound manuscript format, complete with full color cover and illustrations and color coded numbers in the section on alphanumeric patterns as seen on the web site. Readers interested in purchasing a copy of the book for $12.95 (plus $3.95 S/H within the U.S.A. or $5.95 S/H outside the U.S.A.) can email the author for information at CodeUFO@aol.com or write to:

The Secret Of Nine
c/o Gary Val Tenuta
1022 W. Casino Rd., suite B-207
Everett, WA 98204

Gary is a freelance writer whose articles have appeared in FATE Magazine (U.S.A.), Xoddity Magazine (U.S.A.), Voices (U.S.A.), BEYOND Magazine (U.K.), and HERA Magazine (Italy). He has been a guest on several radio programs across the U.S. and Canada.

Thank you to Peter Gersten for the opportunity to reach readers via the CAUS web site.



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