CHAPTER TWO
SECTIO AUREA
“I have concluded that we are in a world made by rules created by intelligence…
The final solution resolution could be that God is a mathematician…”
– Professor Michio Kaku, Theoretical Physicist.
The previous chapter proposed the radical idea that “reality” is in fact a highly sophisticated computer program. If this is true, the only logical conclusion to draw is that Creation is based on a code, and this code can only be the product of intelligent design. While these topics are of utmost importance to the author’s presentation, they will not be discussed at this point. Instead, future chapters will be wholly dedicated to these matters. The reason for this delay is simply to aid the reader (at this early stage) to remain fixated on the main point of the current narrative: The Creation code itself. More pointedly, the overarching objective of this chapter is to introduce the reader to the fundamental base mathematical construct of the universe. Having said this, let me categorically state: The code of life is based on the mathematical property of 1.618, the number more commonly known as the golden ratio.
The Golden Ratio
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The golden ratio (often represented and known by the Greek letter Phi ) can be defined as: The division of a given unit of length into two parts, such that the ratio of the shorter to the longer equals the ratio of the longer part to the whole (see Diagram 1).
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Diagram 1: The Golden Ratio—1: 1.618. The Golden Number—1.618.
(Click here for a simplified explanation.)
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After years of inquiry, I am of the belief the masses have been fed a dumbed-down version of this most amazing mathematical property. For example, most “educational” institutions provide limited information about the golden ratio, students are simply provided mundane explanations void of any framework. The training they receive is analogous to teaching a child the alphabet without ever progressing them to read and write. As such, the child might be cognizant of 26 symbols, but entirely oblivious as to how these are a means to create. Similarly, the creation element of the golden ratio is dubiously lost in the “learning” process of the mainstream system. The question is why?
Make no mistake, this “numb-skulling” is deliberate, it is designed to conceal the numerical and geometrical patterns that provide evidence of intelligent design. The suppression of this information is a direct result of a covert ruling force, and as much as it pains me to refrain from an immediate exposé of these parasitic despots, patience is required in order to supply the context of their evil influence. I understand some will scoff at the suggestion of a “cover-up” pertinent to the golden ratio, but I also comprehend such jeering is simply due to an indoctrinated mind. Believe what you will, but when you get to the end of this entire treatise be sure to take the time to contemplate this one simple question: “How much of this information was taught to me in school?”
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The relationship of Phi to the universe is absolutely incredible in its habitual permeation of the construct of nature. So frequent is the presence of this mathematical phenomenon—at both the micro and macro levels—that the recurrence of its influence cannot be attributed to coincidence. As a result, the golden ratio is often referred to as the “Fingerprint of God”, thus, inferring the ratio of 1 to .618 is evidence of a Creator. Moreover, the afore stated title implies Phi (i.e. the golden ratio) is central to the formation of Creation. Hence, if Phi is the code upon which the program of Creation is formatted, then it makes perfect sense that this number/ratio would be prevalent throughout the universe. In fact, its presence should be easily recognizable given it is deemed by the author to be the “source code” of all life.
When one begins to investigate the presence of Phi in the natural world, one soon discovers one is completely ignorant to the degree of its pervasiveness. For example, an association I highly doubt was taught to you in school is the connection between the golden ratio and the human body. As can be observed in Diagrams 2, 3, and 4, the fingerprint of God appears repeatedly as a measure of our physical appearance.
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Diagram 2: Phi in the human face.
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Diagram 3: The golden ratio proportions in the human fingers, hand, and arm.
Diagram 4: Phi in the human body.
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Most notable among these is the measurement from a person’s naval to their toes. This distance will always be in the proportion of .618 to one’s total height (height being equal to ‘1’), thereby producing the golden ratio. Further to this, a person’s digits and limbs all follow the same ratio specifications. Thus, the human body is a perfect reflection of the divine proportion of Creation.
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While these illustrations are intriguing, Diagram 2 (relevant to facial configuration) is particularly fascinating, namely because research (of the golden ratio) apposite to human facial structure has yielded some peculiar results. Studies in this area reveal individuals with facial features “organized” to the divine proportion are perceived as the more attractive members of our species. These findings align with other empirical research where a number of investigators have concluded the form of the golden ratio appeals to human beings at a subconscious level. In some of these studies, subjects not only instinctively associated the Phi ratio with perfection, but considered it indicative of beauty.
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The Phi/attractiveness association is in accordance with the ancient Greeks who designed a great deal of architecture to incorporate the golden number. The designers of this ancient civilization believed this ratio to be of divine origin. They further considered its proportions to be the most pleasing of geometric forms because it appeared to imply natural balance between symmetry and asymmetry.
For the aesthetic reasons outlined above, many corporations design their logos and products in harmony with the dimensions of Phi. For instance, your credit card is roughly fashioned to these specifications with a greater purpose in mind than to make it fit snuggly in your wallet. It is deliberately designed to the dimensions of the golden ratio to make it amiable to the eye. This subconscious geometric appeal is also true of cigarette packets and business cards.
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Diagram 5: The Golden Ratio of 1 to .618.
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The golden ratio can also be used to produce rectangles to the dimensions of 1 to .618 that, in turn, produce an infinite helix more commonly known as the “golden spiral” (see video). The geometry of the golden spiral is synonymous with the natural world, a few of the more overt examples are the nautilus shell, configuration of sunflower seeds, the structure of pine cones, the growth patterns of plants and trees, the bodily proportions of insects, fish, and animals, and the vibrational waves of sound. In fact, the evidence of Phi’s presence throughout the cosmos is so overwhelmingly vast, I urge you to conduct your own research on the matter. I absolutely guarantee you will be fascinated by what you find, such as information about honey bees and how these creatures establish colonies where females always outnumber males in proportion of 1 to .618; how a chameleon’s tail curls to the form of a golden spiral; how the measurements of a dolphin’s fins and torso align with the golden ratio; or, how the golden number is found in the code of life—deoxyribonucleic acid (DNA).
In regard to the last example, I refer you to the fact that the golden ratio is clearly evident in DNA (Diagram 6). The presence of Phi in these molecules is a result of DNA measuring 34 angstroms by 21 angstroms at each full cycle of the double helix spiral. When 34 is divided by 21, the outcome is 1.619, an almost exact approximation of the golden number. This means the golden ratio is found in the cellular make-up of ALL known living organisms. Ever! Hence, the code of life exhibits the code of Creation.*
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*The relationship of Phi to DNA is much grander than one simple measurement. In a later chapter you will come to learn that the entire coding system of DNA is also built upon a sequence incorporating the golden number!
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Diagram 6: The golden number/ratio in DNA – 34 Angstroms divided by 21 Angstroms.
Returning to Diagram 6, and as stated prior, the measurement of DNA at each full turn of the double helix is 34 by 21 angstroms. These numbers (34 and 21) are successive in the numerical pattern of addition known as the Fibonacci sequence, and it is toward this incredible series of numbers investigation must turn if we are to obtain a more detailed understanding of the code of Creation.
The Fibonacci Sequence
Leonardo Pisano Bigollo (better known as “Fibonacci”) was an Italian mathematician famous for developing the Fibonacci sequence, a series of integers where a number is found by summing the two numbers that precede it. For example:
0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987, 1597, 2584, 4181…
In other words, the first ‘2’ seen in the string above is the result of adding 1+1. The ‘3’ is found by adding 1+2. Similarly, the ‘5’ is determined by adding 2+3, the ‘8’ is the result of adding 3+5, and so on to infinity. Amazingly, this pattern of successively summing consecutive numbers conceals the golden ratio. That is, if each integer is divided by the previous number, the result of this calculation equates to 1.618. The further along the Fibonacci sequence one undertakes this procedure, the more precise the resulting product is to the golden number:
1 ÷ 1=1
2 ÷ 1=2
3 ÷ 2=1.5
5 ÷ 3=1.66666666666667
8 ÷ 5=1.6
13 ÷ 8=1.625
21 ÷ 13=1.61538461538462
34 ÷ 21=1.61904761904762
55 ÷ 34=1.61764705882353
89 ÷ 55=1.61818181818182
144 ÷ 89=1.61797752808989
233 ÷ 144=1.61805555555556
377 ÷ 233=1.61802575107296
610 ÷ 377=1.61803713527851
And so on to infinity…
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Further to this, and as can be observed in Diagram 7 (below), when the numbers of the Fibonacci sequence are represented as squares, a spiral can be drawn that works its way through each respective shape.
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Diagram 7: The golden spiral formed from golden rectangles. The gradual increase in each square represents an area proportionate to the summing of the two squares that precede it (e.g. 34 = 21 + 13).
If you look closely, you will note each square forms part of a rectangle. This “part” is equal to .6180 and from these segments the golden spiral is able to be drawn based on the cumulative totals of the Fibonacci numbers. This also means the spiral itself is a derivative of the golden number as its growth is dependent upon the calculation of two consecutive numbers to obtain a third. And as already demonstrated, the greater these values become, the closer they draw to a precise reflection of the golden number (when the greater Fibonacci integer is divided by the lesser). However, it isn’t just the number 1.618 that is obtainable from every successive set of Fibonacci numbers; it is also possible to acquire the proportions of the golden ratio (i.e. 1 and .618).
Purely for the purpose of this example, let us take the successive Fibonacci numbers of 377 and 610. As we have seen, the latter divided by the former produces the golden number of 1.618. However, if the lesser number (377) is divided by the greater (610), the result is 0.618. This is the smaller portion of the golden ratio. To obtain the value of ‘1’ (the larger portion of the golden ratio) the outcomes produced from both equations are simply multiplied: 1.618 x 0.618 = 1. Thus, the Fibonacci sequence is profoundly related to Phi.
With the above in mind, it would seem the Fibonacci sequence is the underlying mathematical language of Creation. However, to infer the construct of Creation is only applicable to the sequencing of the number series discovered by Fibonacci* would be erroneous. This is because the Fibonacci sequence forms only part of the assumed programming code—it is more a “symptom” of the Creation program than the source. Granted, the Fibonacci sequence is a major component of the numerical language upon which “reality” functions, but as you will come to see, this series of numbers is only one element of the program’s construct. In fact, within the Fibonacci numbers themselves exists a code that is unknown to the vast majority of the general populace.**
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*Fibonacci did not actually “discover” this numerical pattern. It had been known to mathematicians in the Asiatic region for over one thousand years prior. In fact, it was known to civilizations in the pre-flood era for eons, but that is a story for another book.
**The code mentioned here was made known to me through a dream. The direction given in the dream was to research the website of a man named Lucien Khan.
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The Sixty Golden Digits
The PDF link below (Appendix A) presents the Fibonacci sequence to 120 places.
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Appendix A
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If you observe the aforementioned attachment and assess the Fibonacci numbers to the left of the table (numbered 1-60), you will notice to the right (approximately the middle of the page) a column titled “Last Digit”. Now look at the “Last Digit” column to the far right of the Fibonacci numbers marked 61-120. You will observe these “Last Digits” are identical to those from the prior column. This pattern continues to repeat upon calculation of every consecutive set of 60 Fibonacci numbers. In other words, this 60-digit sequence recycles upon itself every set of 60 Fibonacci numbers to infinity. For further clarity click here.
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The numbers in Table 1 (below) show the repeating 60-digit sequence (left to right) from Appendix A. As stated already, this phenomenon—like the infinite nature of the Fibonacci sequence—repeats endlessly and produces a system of numbers (i.e. the last digits) that repeat every 60 cycles for eternity. If you fathom the improbability of this occurring, you should at the very least be a little intrigued right now.
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Table 1: The 60-digit repeating cycle produced from the last digits of Fibonacci numbers.
Further to the above, Appendix B (below) presents the sequence of Fibonacci numbers to 60 places.
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Appendix B
When each of these respective numbers is converted to binary* we discover a repeating pattern in the last digit of the coding. That is, for every set of three Fibonacci numbers the binary coefficients have a recurring last-digit cycle of 1, 1, and 0 (see column titled “Last Digit” (Appendix B)). Therefore, just as the numerals of the Fibonacci sequence repeat infinitely, so too does this last-digit binary pattern of 1, 1, 0. The reason this pattern exists is quite simple: The Fibonacci numbers follow a configuration of two odd numbers to one even number—all odd numbers end with a ‘1’ in binary, whereas all even numbers end with a ‘0’, thus, 1, 1, 0.
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*Binary coding is the processing language of computers. As opposed to detailing an intricate account of this concept and how it functions within machines, this link provides a concise explanation on this matter. It is necessary for the reader to grasp the concept of binary coding as it is significant to the information presented in the chapters ahead.
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Besides the two (last-digit) coding systems offered thus far, there is a further numerical design concealed in the numbers of the Fibonacci sequence. To extract this pattern requires the application of digit-summing: a technique that entails adding all the digits in each respective Fibonacci number to acquire a single digit outcome (from each respective numeral). For example, the number 144 becomes 9 (i.e. 1+4+4=9). Another example is 233 becomes 8 (i.e. 2+3+3=8). However, if the number being digit-summed results in a product greater than a single digit, then those digits are also summed. For example, 377 summed is: 3+7+7=17. The digits comprising 17 (i.e. 1 and 7) are then added together to obtain 8 (i.e. 1+7=8). Application of this process to the Fibonacci numbers solicits yet another infinite cycle in the form of 24 recurring digits (see Appendix C ).
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Appendix C
The more sceptical among you might suggest these outcomes (represented in Appendices A, B, and C) are mere fluke. If you are of this disbelieving outlook, let me state: I predict your opinion on this matter will eventually shift if you remain objective in your appraisal of the material to come. It is my personal conviction that anyone who investigates this information with an open mind will steadily begin to acknowledge that all the evidence overwhelmingly points to deliberate construct.
In terms of that which has been revealed (most notably Appendix A), I remind the reader to remain attentive in terms of not judging too early, for what has been exposed is merely the absolute basics of substantial evidence concerning proof of intelligent design; there is more to come. However, before I can fully extrapolate on this material I must divert for a moment to incorporate a further coding system. The system in question—when used correctly—can be implemented to reveal signature marks within the design construct. This system, as far as I can tell, works in unison with the coding structure of Creation. The system of which I speak is the ancient alphanumeric coding technique known as gematria.
1
.618
