[Fleur-de-Lis] Mission Impossible: The Code Even the CIA Can't Crack | Mission Impossible:: Crypto-Gandhian 'Black' Star!! | LOVE: Real Da Vinci Code

French Riddle of the Lily Pond: In this riddle, the lily pond has a potentially virulent lily that apparently will double in size each day. If the lily grows unchecked it will cover the entire pond in 30 days, choking off all other forms of life in the water by the time it covers the entire pond. If a skeptic waited until 50% of the pond was covered before taking any remedial action to save the pond, when would he act? The answer: on the 29th day of the month! But by then, it would be too late.
~ Revisiting The Limits to Growth: Could The Club of Rome Have Been Correct, After All?, Matthew Simmons; CEO - Simmons & Co. ~

______________________________________________________________

Mission Impossible: The Code Even the CIA Can't Crack

Steven Levy 04.20.09 | Wired

The sculpture named Kryptos at CIA headquarters contains a secret message — but not even the agency's brightest can crack its code. Photo: Adrian Gaut

The most celebrated inscription at the Central Intelligence Agency's headquarters in Langley, Virginia, used to be the biblical phrase chiseled into marble in the main lobby: "And ye shall know the truth, and the truth shall make you free." But in recent years, another text has been the subject of intense scrutiny inside the Company and out: 865 characters of seeming gibberish, punched out of half-inch-thick copper in a courtyard.

KRYPTOS OVERVIEW: Kryptos is a 9-foot 11-inch-high main sculpture—an S-shaped wave of copper with cut-out letters, anchored by an 11-foot column of petrified wood—and huge pieces of granite abutting a low fountain

It's part of a sculpture called Kryptos, created by DC artist James Sanborn. He got the commission in 1988, when the CIA was constructing a new building behind its original headquarters. The agency wanted an outdoor installation for the area between the two buildings, so a solicitation went out for a piece of public art that the general public would never see. Sanborn named his proposal after the Greek word for hidden. The work is a meditation on the nature of secrecy and the elusiveness of truth, its message written entirely in code.

PETRIFIED WOOD: Kryptos is a 9-foot 11-inch-high main sculpture—an S-shaped wave of copper with cut-out letters, anchored by an 11-foot column of petrified wood—and huge pieces of granite abutting a low fountain

Almost 20 years after its dedication, the text has yet to be fully deciphered. A bleary-eyed global community of self-styled cryptanalysts—along with some of the agency's own staffers—has seen three of its four sections solved, revealing evocative prose that only makes the puzzle more confusing. Still uncracked are the 97 characters of the fourth part (known as K4 in Kryptos-speak). And the longer the deadlock continues, the crazier people get.

Whether or not our top spooks intended it, the persistent opaqueness of Kryptos subversively embodies the nature of the CIA itself—and serves as a reminder of why secrecy and subterfuge so fascinate us. "The whole thing is about the power of secrecy," Sanborn tells me when I visit his studio, a barnlike structure on Jimmy Island in Chesapeake Bay (population: 2). He is 6'7", bearded, and looks a bit younger than his 63 years. Looming behind him is his latest work in progress, a 28-foot-high re-creation of the world's first particle accelerator, surrounded by some of the original hardware from the Manhattan Project. The atomic gear fits nicely with the thrust of Sanborn's oeuvre, which centers on what he calls invisible forces.

GRANITE LOW FOUNTAIN: Kryptos is a 9-foot 11-inch-high main sculpture—an S-shaped wave of copper with cut-out letters, anchored by an 11-foot column of petrified wood—and huge pieces of granite abutting a low fountain

With Kryptos, Sanborn has made his strongest statement about what we don't see and can't know. "He designed a piece that would resonate with this workforce in particular," says Toni Hiley, who curates the employees-only CIA museum. Sanborn's ambitious work includes the 9-foot 11-inch-high main sculpture—an S-shaped wave of copper with cut-out letters, anchored by an 11-foot column of petrified wood—and huge pieces of granite abutting a low fountain. And although most of the installation resides in a space near the CIA cafeteria, where analysts and spies can enjoy it when they eat outside, Kryptos extends beyond the courtyard to the other side of the new building. There, copper plates near the entrance bear snippets of Morse code, and a naturally magnetized lodestone sits by a compass rose etched in granite.

MORSE CODE COPPER PLATES: Kryptos extends beyond the courtyard to the other side of the new building: There, copper plates near the entrance bear snippets of Morse code, and a naturally magnetized lodestone sits by a compass rose etched in granite

MAGNETIZED LODESTONE: Kryptos extends beyond the courtyard to the other side of the new building: There, copper plates near the entrance bear snippets of Morse code, and a naturally magnetized lodestone sits by a compass rose etched in granite

COMPASS ROSE: Kryptos extends beyond the courtyard to the other side of the new building: There, copper plates near the entrance bear snippets of Morse code, and a naturally magnetized lodestone sits by a compass rose etched in granite



The heart of the piece, though, is the encrypted text, scrambled, Sanborn says, by "a coding system that would unravel itself slowly over a period of time."

“People call me an agent of Satan,.” says artist Sanborn, “because I won't tell my secret..” Photo: Adrian Gaut

When he began the work, Sanborn knew very little about cryptography, so he reluctantly accepted the CIA's offer to work with Ed Scheidt, who had just retired as head of Langley's Cryptographic Center. Scheidt himself was serving two masters. "I was reminded of my need to preserve the agency's secrets," Scheidt says. "You know, don't tell him the current way of doing business. And don't create something that you cannot break—but at the same time, make it something that will last a while."

Scheidt schooled Sanborn in cryptographic techniques employed from the late 19th century until World War II, when field agents had to use pencil and paper to encode and decode their messages. (These days, of course, cryptography is all about rugged computer algorithms using long mathematical keys.) After experimenting with a range of techniques, including poly-alphabetic substitution, shifting matrices, and transposition, the two arrived at a form of old-school, artisanal cryptography that they felt would hold off code breakers long enough to generate some suspense. The solutions, however, were Sanborn's alone, and he did not share them with Scheidt. "I assumed the first three sections would be deciphered in a matter of weeks, perhaps months," Sanborn says. Scheidt figured the whole puzzle would be solved in less than seven years.

During the two years of construction, there were moments of intrigue and paranoia, in keeping with the subject matter and the client. "We had to play a little on the clandestine side," says Scheidt, who talks of unnamed observers outside armed with long-range cameras and high-intensity microphones. "We had people with ladders climbing up the walls of my studio trying to photograph inside," Sanborn says. He came to believe that factions within the CIA wanted to kill the project. There were unexplained obstacles. For instance, he says, "one day a big truckload of stone for the courtyard disappeared. Never found. I saw it in the evening, went back in the morning, and it had vanished. Nobody would tell me what happened to it."

Sanborn finished the sculpture in time for a November 1990 dedication. The agency released the enciphered text, and a frenzy erupted in the crypto world as some of the best—and wackiest—cryptanalytic talent set to work. But it took them more than seven years, not the few months Sanborn had expected, to crack sections K1, K2, and K3. The first code breaker, a CIA employee named David Stein, spent 400 hours working by hand on his own time. Stein, who described the emergence of the first passage as a religious experience, revealed his partial solution to a packed auditorium at Langley in February 1998. But not a word was leaked to the press. Sixteen months later, Jim Gillogly, an LA-area cryptanalyst used a Pentium II computer and some custom software to crack the same three sections. When news of Gillogly's success broke, the CIA publicized Stein's earlier crack.

James Sanborn buried his sculpture's message so deeply that a CIA staffer took seven years to solve just the first three sections. Here's what we know.



K1:
The first section, K1, uses a modified Vigenère cipher. It's encrypted through substitution—each letter corresponds to another—and can be solved only with the alphabetic rows of letters on the right. The keywords, which help determine the substitutions, are KRYPTOS and PALIMPSEST. A misspelling—in this case IQLUSION—may be a clue to cracking K4.

K2:
K2, like the first section, was also encrypted using the alphabets on the right. One new trick Sanborn used, though, was to insert an X between some sentences, making it harder to crack the code by tabulating letter frequency. The keywords here are KRYPTOS and ABSCISSA. And there's another intriguing misspelling: UNDERGRUUND.

K3:
A different cryptographic technique was used for K3: transposition. All the letters are jumbled and can be deciphered only by uncovering the complex matrices and mathematics that determined their misplacement. Of course, there is a misspelling (DESPARATLY), and the last sentence (CAN YOU SEE ANYTHING?) is strangely bracketed by an X and a Q.

K4:
Sanborn intentionally made K4 much harder to crack, hinting that the plaintext itself is not standard English and would require a second level of cryptanalysis. Misspellings and other anomalies in previous sections may help. Some suspect that clues are present in other parts of the installation: the Morse code, the compass rose, or perhaps the adjacent fountain.

But if anyone expected that solving the first three sections would lead to a quick resolution of the whole puzzle, their hopes were soon dashed. The partial solutions only deepened the confusion.

K1 is a passage written by Sanborn. "I tried to make it sound good and be inscrutable enough to be interesting," he says. Judge for yourself how well he did: "Between subtle shading and the absence of light lies the nuance of iqlusion." Yes, iqlusion—one of several misspellings that Sanborn says are intentional. The second section reads like a telegraph transmission. There's a reference to a magnetic field and information transmitted to a specific latitude and longitude—geo-coordinates for a location a couple of hundred feet south of the sculpture itself (a spot where nothing of apparent interest lies).

K3 paraphrases a diary entry of anthropologist Howard Carter from his 1922 discovery of King Tut's tomb, ending with a question: "Can you see anything?" When Gillogly turned up that passage, he says, he had "the same excitement and exultation that Carter described. In a way, it seems that the plaintext is a metaphor for the work of the code breaker, or perhaps of the CIA itself."

The 97 characters of K4 remain impenetrable. They have become, as one would-be cracker calls it, the Everest of codes. Both Scheidt and Sanborn confirm that they intended the final segment to be the biggest challenge. There are endless theories about how to solve it. Is access to the sculpture required? Is the Morse code a clue? Every aspect of the project has come under electron-microscopic scrutiny, as thousands of people—hardcore cryptographers and amateur code breakers alike—have taken a whack at it. Some have gone off the deep end: A Michigan man abandoned his computer-software business to do construction so he'd have more time to work on it. Thirteen hundred members of a fanatical Yahoo group try to move the ball forward with everything from complex math to astrology. One typical Kryptos maniac is Randy Thompson, a 43-year-old physicist who has devoted three years to the problem. "I think I'm onto the solution," he says. "It could happen tomorrow, or it could take the rest of my life." Meanwhile, some of the seekers are getting tired. "I just want to see it solved," says Elonka Dunin, a 50-year-old St. Louis game developer who runs a clearinghouse site for Kryptos information and gossip. "I want it off my plate."

Making the effort more complicated is the fact that the puzzle maker is alive and, in theory at least, a potential resource. For years, there has been a delicate pas de deux between the artist and the rabid Kryptos community. Every word Sanborn utters is eagerly examined for hints. But they also have to wonder whether he's trying to help them or throw them off track. Scheidt says that this process parallels the work of the CIA: "The intelligence picture includes mirrors and obfuscation."

"It's not my intent to put out disinformation," Sanborn says. "I'm a benevolent cryptographer." Some think otherwise, and Sanborn occasionally receives messages from people enraged that he knows the secret and they don't. "It's the fact that I have some sort of power," he says. "You get stalkers. I don't know how they get my cell numbers and everything off the Internet, but they do. People have called me and said pretty terrible things. There are some who say I'm an agent of Satan because I have a secret I won't tell."

Though Sanborn's usual practice is to stay in the background, every so often he feels obliged to comment. In 2005, he refuted author Dan Brown's claim that the "WW" in the plaintext of K3 could be inverted to "MM," implying Mary Magdalene. (Brown included pieces of Kryptos on the book jacket of The Da Vinci Code and has hinted that his next novel will draw on the CIA sculpture, a prospect that deeply annoys Sanborn.)

Intentional or not, Sanborn's comments (or lack thereof) seem to generate an added layer of confusion. Even a straightforward question, like who besides him knows the solution, opens up new wormholes. The official story is that Sanborn shared the answer with only one person, the CIA director at the time, William Webster. Indeed, the decoded K3 text reads in part, "Who knows the exact location only ww." Sanborn has confirmed that these letters refer to Webster (not Mary Magdalene). And in 1999, Webster himself told The New York Times that the solution was "philosophical and obscure."



But Sanborn also claims that the envelope he gave Webster didn't contain the complete answer. "Nobody has it all," he says. "I tricked them."

So, Webster really doesn't know?

"No," says Sanborn, who has taken measures to ensure that someone will be able to confirm a successful solution even after he dies. He adds that even he doesn't know the exact solution anymore. "If somebody tried to torture me, I couldn't tell them," he says. "I haven't looked at the plaintext of K4 in a long time, and I don't have a very good memory, so I don't really know what it says." What does the CIA make of all this? "When it comes to the solution," says spokesperson Marie Harf, "those who need to know, know."

If anyone manages to solve the last cipher, that won't end the hunt for the ultimate truth about Kryptos. "There may be more to the puzzle than what you see," Scheidt says. "Just because you broke it doesn't mean you have the answer." All of this leads one to ask: Is there a solution? Sanborn insists there is—but he would be just as happy if no one ever discovered it. "In some ways, I'd rather die knowing it wasn't cracked," he says. "Once an artwork loses its mystery, it's lost a lot."

The day I visited Kryptos, a rare snowstorm in Virginia had blanketed the courtyard in white. I circled the sculpture carefully, marveling at the way the colors and texture of the surrounding landscape affected the panels, as some character strings became highlighted in white and other phrases shimmered, reflecting the dull light bouncing off the windows. I examined all the pieces, brushing aside the snow to uncover the Morse code and the compass rose. It was like unearthing hieroglyphs in some ancient ruin. Agents and bureaucrats shuffled past, deep in thought, clutching cups of coffee from the onsite Starbucks. In their midst, Jim Sanborn's statement in copper, wood, and granite remains, proof that even in the house of spies, some truths may never be found.

Senior writer Steven Levy (steven_levy@wired.com) wrote about the 20th anniversary of the Mac in issue 17.01.

Source: Wired

______________________________________________________________

Mission Impossible:

Crypto-Gandhian 'Black' Star!!

Transfer of HC-CPD A 696-04 to US Navy JAG

High Court -- Cape Provincial Division -- Appeal A 696-04, transfer to US Navy Judge Advocate General's Office (JAG 07-146); effective noon, 18 July 2007 Pages 01-09 [PDF: 4901KB] * Pages 10-24 [PDF: 9034KB]

Excerpts: (P.11-15)

MILITARY AND INTELLIGENCE AGENCY OPINIONS
ON AIDS ORIGINS, POLITICS, ETC.:
Excerpts from "On The Road Again" Truckers Journal,
published January 2003

'AIDS: Most Wonderful Black Depopulation Invention Ever.. I was informed about it by UK Mil. Intel. (MI5) in 1972'
Former Officer in Bureau of State Security (BOSS)
[Name Withheld for his own protection]
Face-to-face conversation in 2002:

A very small town somewhere in South Africa:

MAN: Are you Lara Johnstone?

LARA JOHNSTONE: Yes, why?

MAN: I've heard from my sources that you are someone I need to speak to, that you are very aware about issues going on in politics, especially geo-politics, and I would like to spend some time - at your convenience - getting together and just chatting.

LARA JOHNSTONE: Sure, do you wish to share what sources?

BOSS: Well, let me just stick to confidential sources. I will inform you that years ago I used to be an Officer in the Apartheid Governments Bureau of State Security (BOSS) and that I still have some very good sources for information.

LARA JOHNSTONE: Oh, that's interesting. [Laughs] You guys sure do know how to creep out of the fucking woodwork in the strangest of fucking places, don't you?

BOSS: [Laughs] Well, it does keep life interesting. But to get back to issues, I really would love to talk to you, because your opinions come very highly recommended, and I would love to sit and pick your brain. When can we get together?

LARA JOHNSTONE: Well anytime, let me know where you live and/or wish to meet and I will do my best to be there.

BOSS: [Gives me his home address details].

LARA JOHNSTONE: By the way, what is your opinion on AIDS, where it came from and so on?

BOSS: AIDS is the most wonderful biological depopulation virus EVER INVENTED, especially for certain population groups, if you know what I mean! I mean it is killing blacks at a rapid rate, which is really good for keeping their numbers down to at the very least reasonable levels, cause you know how those kaffirs breed. The people who invented AIDS deserve fucking medals, they sure do.

LARA JOHNSTONE: Hmmm interesting!

Later at BOSS's home [Lara = HARTS/NSA_NEWS editor]

HARTS/NSA_NEWS: I'm curious. You know how many people I have contacted and shared the AIDS information with them, and they are totally in denial. They don't even want to read the documentation. I want to know, if possible, where did you get YOUR information about AIDS being a black depopulation virus?

(BOSS): I was informed by my counterpart at MI5, (UK'S Military Intelligence), which by the way MI5 is in my opinion better at gathering intelligence than MI6 to MI10. Anyway in 1972, I was informed by a counterpart of mine at MI5 that there was currently a biological warfare depopulation virus being worked on which would target specifically blacks. At that time it of course did not have the name of AIDS, but their information was that it would target the immune systems of predominantly blacks, that once it had been widely distributed among the black population (and whites as a Trojan Horse initiative), it would have a slow latency period and once the virus was activated or even before it was fully activated within the hosts body it would be spread through sexual intercourse, which would of course do the job of removing the darkies who are fornicating like rabbits.

HARTS/NSA_NEWS: That was in 1972?

BOSS: Yes, 1972 or very close to 1972.

HARTS/NSA_NEWS: The current South African political situation?

BOSS: A majorfuck up! During Apartheid we had corruption, I won't lie to you about that, there was a fair amount of corruption, but the infrastructure grew, the roads were fixed, things worked. Right now the corruption is tearing the infrastructure of this country apart. In my opinion, unless something drastic happens to alter the course of events, we will have a civil war in South Africa within the next two to three years, at the maximum five years. Just yesterday the news was that Zimbabwe has three months before it will disintegrate. It is heading the exact same direction that Angola was in years ago, soon they will be in an anarchic state equal to what Angola went through for twenty years.

The repercussions on South Africa will be massive in refugees, financially and in many other ways. Our government bureaucrats don't seem to have a clue, and don't say a word. It is a very bad situation. Additionally our current government, similarly to some in the Apartheid government do not seem to realize the power of forces in the West, especially from organisations like the Central Intelligence Agency. These idiots in power think that they are in charge, that they are running the country or that they know what they are doing. They have no idea of the ways in which covert forces play in African politics. The CIA, the Free Masons and Illuminati and organisations related to these organisations in short pretty much run the show. The CIA is probably one of the most powerful organisations on the planet. You would do well to listen when those people speak or have something to say, because if you don't and disregard them or worse intentionally disrespect their statements, then you are going to bear repercussions, and not in your wildest dreams will you ever be able to pinpoint that the origin of your misfortune comes from your own ignorance at the power that that organisation has. They are not stupid and not people you want to anger.

HARTS/NSA_NEWS: What about the National Security Agency?

(BOSS): Oh, you know about the NSA? Well not many people even know about the NSA, and some who do scoff. Yes the NSA is more powerful than the CIA, and for the most part the CIA is the more public, but still very covert arm of organisations like the NSA, Free Masons and so on.

'AIDS Is A Manmade Military Scientific Virus to Covertly Kill & Depopulate Blacks'
Covert Intel Operative & Assassin for Free Masons
[Name Withheld for his own protection]
Face-to-Face conversation in 2002:

HARTS/NSA_NEWS: Your thoughts on AIDS origins, motives, etc?

AGENT FREE MASON #1: AIDS is a manmade virus to covertly kill and depopulate as many African blacks as possible. There are too many of them, they continue to breed prolifically and any attempt to address the issue politically is accused of as being racist.

HARTS/NSA_NEWS: Why do you think so many of South Africa's political leaders refuse to acknowledge the origins of AIDS?

AGENT FREE MASON #1: Ignorance, arrogance and stupidity, blended with a lack of appreciation for the value of accurate intelligence information.

HARTS/NSA_NEWS: The recent bombings in Sowetho & Bronkhorstspruit?

AGENT FREE MASON #1: Notice the Cryptological clues.

HARTS/NSA NEWS: Such as?
[End Excerpt: AGENT FREE MASON]

AIDS Is A Covert Manmade Military Scientific Black Depopulation Program'
'Inner circle' Employee to SA Apartheid Prime Minister
[Name Withheld for his own protection]
Face-to-face conversation in 2002

HARTS/NSA_NEWS: Your thoughts on AIDS origins, motives, etc?

PM employee: AIDS is manmade. It is a virus to intentionally kill black Africans. It will be one hell of a day when you find a politician willing to tell the truth about it, but that doesn't mean its not true.

HARTS/NSA_NEWS: Why do you think so many of South Africa's political leaders refuse to acknowledge the origins of AIDS?

PM employee: Politicians for the most part are not interested in telling the truth, only in protecting their reputations. Not many of them care about the truth, or for that matter about telling the truth. That situation is much worse in South Africa these days than it was under apartheid. Whatever you say about the Apartheid politicians, many of them during those times were willing to speak out about issues the world condemned them for, because it was their truth. These days we have a bunch of hypocrites who would sell you ice in winter they are so sleazy. Another reason some of them don't want to tell the truth now, is because it would expose them as part of those who covered the whole issue up. There are quite a few blacks, and I am talking about blacks in high positions who are allegedly squeaky dean, who talk allot about justice, truth and reconciliation and such stuff, who covered up quite a bit of this information. In short they participated in the cover-up of the intentional murder by biological warfare of millions of their fellow 'brothers.'

HARTS/NSA_NEWS: Why have you chosen to share this information with me?

PM employee: You care allot about issues, you don't give a shit about being politically correct, you just say things as you see them. I trust you.

'Biological & Chemical Warfare Military Scientists created AIDS as a Black Depopulation Virus'
Contract Agent & Covert Intelligence Operative for SA Mercenary Outfit: EXECUTIVE OUTCOMES
[Name Withheld for his own protection]
Face-ta-Face Conversation in 2002

HARTS/NSA_NEWS: Your thoughts on AIDS origins, motives, etc?

Exec Outcomes Agent: Biological and chemical warfare military scientists created Aids as a depopulation virus to attack the immune systems of predominantly African blacks.

HARTS/NSA_NEWS: A bit about your past?

Exec Outcomes Agent: I've been involved in various covert contract agent roles, when I was in the South African military and since. One of them was the Seychelles aborted coup.

Occasionally the mercenary outfit Executive Outcomes calls me with various contract work they have been offered. If I can do the job, and after I have done the homework on what needs to be done, I either take it or I don't.

'AIDS Is A Biological Warfare Virus to Depopulate Blacks. No Doubt About It! The Documentation for It's Origins are Extensive'
Contract Agent! Assassin/Bomb Explosives expert for AWB (Afrikaner Weerstands Beweging)
[Name Withheld for his own protection]
Face-to-Face conversations in 2002

HARTS/NSA_NEWS: Your thoughts on AIDS origins, motives, etc?

AGENT AWB #1: Aids is a biological warfare virus to depopulate blacks. Absolutely no doubt about it, none whatsoever, and anyone who does have doubts about it is most surely either uneducated or in denial. The documentation for its origins and creation at places like Ft. Detrick, Maryland is more than extensive. Anyone with half a brain, who makes just a little bit of effort to investigate or research the issue could find that out in less than a week.

Anyone who has access to information from any respectable intelligence agency can get access to the information. The motive for creating AIDS as a biological warfare depopulation virus for blacks is obvious to anyone who bothers to educate themselves on issues such as (1) overpopulation in relation to resources management, (2) African 'independence' history from the 70's onwards and their efforts (or lack thereof) to deal with issues relating to accountability, ethics, population reduction; (3) international relations surrounding issues of political sensitivity such as 'race relations' since the Cold War, etc. Additionally AIDS is hardly the only biological warfare depopulation virus that is currently 'out there', and then there are those that have yet to be unleashed.
[End Excerpt: AGENT AWB #1]

Source: High Court -- Cape Provincial Division -- Appeal A 696-04, transfer to US Navy Judge Advocate General's Office (JAG 07-146); effective noon, 18 July 2007: Pages 01-09 [PDF: 4901KB] * Pages 10-24 [PDF: 9034KB]

______________________________________________________________

LOVE: The Real Da Vinci Code

Da Vinci Code: Masonry, Geopolitics, Mystery School Mathematics

Everything in the Universe is based on maths, including the creative power of language. Language is maths because sound is electromagnetic frequencies, which is maths. Language and sounds are heard because they vibrate at certain rates called Hertz frequencies, or cycles per second. Your brain perceives these energised vibrations (math), much like your years hear music from vibrations. Your brain interprets these messages according to your programming: neurology (nervous system), and memory circuits formed from life experiences.

Each letter of the alphabet carries a certain frequency of sound or energy, i.e. mathematical vibrations, which underlies communication in all languages. This is expressed in numbers for each letter.

So there is an alpha-numeric (letter-number) basis for all languages and communications.

[Doe ~ Ray ~ Me ~ Fah ~ So ~ Lah]

According to sound-science (acoustics and linguistics), a languages alpha-numerics, and ability to affect human consciousness, are two characteristics of sacred languages such as ancient Babylonian, Hebrew and Sanscrit.

Da Vinci studied the musical-mathematical teachings of architectural masters including Pythagoras, Plato and Vitruvius. He learned about ancient sacred languages and their encoded alpha-numerics.

He applied these to expand his brain to access the mathematical matrix of space/time.

From his Mentor's practices, "The Renaissance Man" was able to access the creative power available in the Matrix -- also called the "Kingdom of Heaven" in the religious world. All of this is exquisitely presented in his famous drawings, especially, "The Vitruvian Man."

Architectural plans are drawn to scale.

Music is played with notes and scales. If you are not in sync with the scale of life, your plans for a healthy happy and prosperous life will not be fulfilled. It is wise to resonate with the sacred geometric forms of nature that express these whole note ratios. In other words, math, music and language go hand in hand with everything from politics to profits.

Civilisations are built on musical-mathematics of language. English has been alpha-numerically reversed. Da Vinci was a master of polymath, polyhistor and mathema. Polymath: much, large quantity. Person who excels in multiple fields, particularly both arts and sciences = master of polymath. Histore: (e - symbol for energy, implying knowledge of energy and the mathematics underlying energetics. Both are timeless, eternal and fundamental to everything. Philomath: lover of learning. Plato and Aristotle defined MATHEMA as relative to DISCIPLINA or discipline. DOCTRINA: learning the fundamental laws governing everything. COGNITO: cognition or understanding of the universe and the mathematical basis of the cosmos. These philosophers considered MATHEMA in terms of education which included arithmetic, geometry, astronomy and music.

Universal certainty, divine/human unity, & co-creativity is established by math. The road to finding oneself, including your highest qualities and greates creative potentials, is paved by mystery school math engaging the MATRIX. MATRIX: Something written or from which sopmething else originates, develops or takes form... A rectangular array of numbers, algebraic symbols, or mathematical functions.

Healing Codes for Biological Apocalypse explains why mathematics, is the most precise language, i.e. 'Gods language', because it always speaks the truth. [2 + 2 = 4]



MATHEMATICAL MASOCHISM

The right hemisphere of the brain (female) is more creative spiritually, intuitive, receptive and creative -- it shares a more peaceful coexistence with the heart. The left hemisphere of the brain (male) is more rational. It is focussed on reasoning, and is ego-centric, fear based, and is the thought-processing center.

The right brain engages creative and artistic domains more active in children than adults, therefore adults are deprived of natural child-like creative consciousness for this reason.

Overemphasis (lack of balance) of particularly the left (male) hemisphere over the right (female) hemisphere is considered the main reversal associated with "original sin" -- the fundamental violation of Divine direction and creative communion for the sake of tempting knowledge. This ‘Devils Tone’ represents the dissonance between the frequencies of Love and Family (528 Hz) and Problem Solving (639 Hz)

Academically, the left hemisphere serves scientists, and the right blesses more artists. The two sides are like a "69" mirror images of each other (polar opposites). This explains the maxim of "Men are from Mars, Women from Venus."

It also illumines the tragedy of advancing a male-dominated patriarchal society that suppresses and abuses women, the most creative and nurturing contributors of civilisation; who are obviously suppressed on a planet governed primarily by patriarchs directing us to the brink of annihilation.

Mind control, spiritual warfare and population control are best affected by reversing everything natural, including the frequency of sacred languages. Mathematical polarities of speech are being abused to suppress humanities optimal brain function.

WREVELATION 19:11-18
THE TEXTBOOK-TYPHOON KRYPT-O-NIGWTMARE JUDGY-MYNT

The range of what we think and do
is limited by what we fail to notice.
And because we fail to notice
that we fail to notice,
there is little we can do to change;
until we notice how failing to notice
shapes our thoughts and deeds.
~ R.D. Laing, Scottish Psychologist ~