“Consider these numbers as measures. Their lines know how to separate
priests. The lighthouses gave them a beam, like a devil - an alley.
The couples followed the ghosts of dreams. And at the edge of the cut
the figures of God of meaning and beginnings were already looming in patterns.
And their chains of lines were taken from the scale of tsifiri …"
(From the segment of the number Pi - 2 million 622th thousand digits after
comma. Its transcript was performed by the author of the article).
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About "freedom" of numbers
Any numbers have internal invisible properties and are able to independently express their logic and meaning. The imposition of any rules and images on the numbers turns them into "slaves" of human fantasies. For example, there are many techniques for visualizing pi using colored abstract paintings. One of 10 colors is attached to each number. And their chaotic combination creates a variety of colors. These pictures are very beautiful, but they are "dead". There will never be any signs of reason or logic of meaning in them. If you impose any far-fetched images on the numbers, you get the same thing. As a result, fantastic pictures will appear, the author of which will be only a person.
I am not a supporter of such techniques. My research is aimed at finding the not yet disclosed properties of numbers, in the depths of which a reasonable beginning can be located. The functions of numbers are much broader than their mathematical applications. For example, in mathematics, they obey certain laws and rules. And "free" signs in a constant start after the comma. Its first 39 digits can determine the accuracy of the calculations. And those who follow them completely leave this material world and go into the sphere of absolute freedom of spirit. Moreover, they will all fit in a unit of measurement, as a symbol of the universe. In my previous articles, I gave examples of decoding numbers and finding information about the world around them. I was interested in a specific question: can a number give out reasonable ideas in the language of graphics? I proceeded from the factthat each digit corresponds to a real measure of length, expressed in any unit of measurement. If you translate the decimal number system (0 1 2 3 4 5 6 7 8 9 10) to the length of digital segments, you get the following set of lines: (0. 1_ 2 _ 3_ 4_ 5_ 6_ 7 _ 8_ 9_ 10_).
A single digit 0 is indicated by a dot, and all the others are indicated by segments. Line graphics are widely used by architects, artists and designers. With their help, you can create shape and space. If you add parallel lines of different lengths in a column, then a figure outline is formed at the boundaries of their ends. The number of graphics will be limitless, as will the variety of numbers.
During the development of this technique, I became convinced that the lines can be carriers of reasonable information. And the language of graphics of numbers forms its own visual information field. I have worked out the distance between the parallel lines by trial and error. As a result, the optimal proportion turned out to be the number of the "golden section" to units of measurement (1: 1.6). For example, if the length of the lines is in centimeters, the distance between them will be 1.6 cm.
If the natural series of numbers from 0 to 9 are arranged symmetrically with respect to the central vertical axis, then you get the outline of a triangle. To strengthen it, you need to connect the ends of the lines on the right and left sides.
In this technique, I used the principle of symmetry. During construction, all lines are divided into two equal parts on either side of the central axis. An example is this circuit.
Picture No. 1.
Symmetry is the most common form of formation of objects in the material world. For example, in all species of animals and insects, the right and left parts (in length) are the same. The humpback camel and the centipede "obey" this principle. The same is observed in plants. It is much more familiar to human perception, as it creates beauty and harmony.
Symmetry in society is manifested in the balance of political forces. Any state and humanity in general aspires to it. The dictate of one major force in the world is an exception to the rule and cannot be permanent. Counterbalances will inevitably arise against this center of power. The balance of the parts of any object is the law of the world order.
Pushkin Cup
I began to apply this principle of symmetry when translating numbers into graphic language. As an example, I chose two dates known to the whole world. These are the figures of birth (June 6, 1799) and death of A. S. Pushkin (February 10, 1837). I decided to find out what these two numbers "say" (6 6 1 7 9 9 and 10 2 1 8 3 7) about the genius of Russian literature in the graphic language. And can they somehow "respond" to the essence of events? To my surprise, the lateral borders of the lines of the numbers of the first number clearly showed the outline of the cup. This is how it looks in Figure 2.
Figure # 2.
The cup is a symbol of spirituality and immortality, as well as a special honor to a person for his merits. In the Middle Ages, they were awarded to knights for victories in tournaments. Pushkin had a special reverence for this symbol. He repeatedly addressed him in his works. In the poem "Cheerful Cup" the poet proposes to raise it for "Health of Glory", which in fact means thanksgiving to God for your birth and youth. For example, the date of birth of A. S. Pushkin occurs in the first 4 million digits of Pi 12 times after the decimal point.
It turns out that the numbers "expressed" the very fact of his birth as a symbol of the highest distinction and veneration. And from the first day they foresaw "in him the future glory of the genius master of the word, undefeated by anyone to the present. The translation of the date of A. Pushkin's death after the duel from digital to graphic language showed the outline of the lamp. It looks like this: picture number 3.
Figure №3.
This subject is mentioned in the Bible 54 times. It says: "… our joy has disappeared, the light of our lamp has gone out …" Zez 10:22.
The lamp is a sign of a bright person, the border of his life and death. The death of A. Pushkin is perceived as the extinct light of the genius of poetry. And this bitter loss will never be made up.
“The wondrous genius has died out like a beacon,
The solemn wreath has withered."
Written by M. Lermontov in the poem "Death of a Poet".
Are these graphic figures in relation to the poet a coincidence? I am unable to explain this riddle.
Where does a constant begin?
After these studies, I was interested in visualizing the number of pi using a set and alternation of parallel lines. For this purpose, I turned the first 10 digits of the constant after the decimal point (1 4 1 5 9 2 6 5 3 5) into segments and added them according to the developed method. On their borders, I got a distinct outline of an unusual humanoid figure. The supposed shape of her arms and legs did not fit into our traditional ideas about a person. This can be seen in the picture I presented # 4.
Figure No. 4.
At the beginning, I thought that the numbers "made a gross mistake" in constructing a human figure. That such human contours cannot really exist. For example, its lower part defines the shape of the legs, the curvature of which is off scale. I thought that only ugly people could have such legs ("wheel").
Guessing their very structure would mean "pulling the idea by the ears." I needed real facts and evidence that such a form of figures could exist in the rich history of mankind.
For this purpose, I reviewed in electronic form all the ancient artifacts (figurines and rock paintings) made by the hands of the peoples of the world. My search ended in luck and evidence was found.
In 1909, near the village of Martynovka, Cherkasy region. (Ukraine) local peasants accidentally discovered a treasure of 116 silver items during excavation work. Currently, his items are kept in the Museum of Historical Values of the Kiev-Pechersk Lavra. Scientists dated the find to the 6th - 7th centuries A. D. and refer it to the Penkovo archaeological culture of the ancient Slavs.
Among the antiquities were 4 identical figures of men performing a dance.
I present an image of one of the figures.
Figure No. 5.
A man performs a dance called "squatting". It could be spread over the territory of ancient Russia. The following historical information is available about this dance:
At the time of the Kiev prince Vladimir Monomakh, the bricklayer Pyotr Prisyadka grinded products while squatting. Every day in the evening after work, he went to Khreshchatyk and began to jump, stretching his numb legs. His strange dance was noticed by Prince V. Monomakh. A couple of days later, Petro performed this dance every day for the prince himself during breakfast, lunch and dinner.
This Russian folk dance "squatting" is performed in Russia today.
There is no doubt that this figure of the "dancing man" is very similar to the image I found in the constant. Thanks to her “hint”, I marked the real position of the arms and legs of the graphic figure. Now it looks like this: drawing number 6.
Figure 6.
The dancing man turned out to be the only "creation" of Pi among 10 million digits after the decimal point.
One can only be surprised that the constant begins precisely with this figure.
Is it a coincidence or an accident? And to this question I have no answer and, apparently, will not.
Looking through the graphic language on other segments of the pi number, I found after 1 million. 478 thousand digits after the decimal point: (3 2 1 3 4 3 2 3), which creates the outline of a classic vase. Here is a picture of her: drawing number 7.
Figure No. 7.
Nature does not produce such objects, so any person will not deny reasonable ideas in this line graph. Their carriers are the "free number" numbers. In this case, they manifest themselves based on their own properties.
The numbers themselves determined its appearance by their line sizes. I created only favorable conditions for them so that they could express themselves in this “creativity”.
If all this is not an accident and not a coincidence, then a completely reasonable question arises: what is a number and what are its true functions and capabilities?
In the service of the gods
"The desert hears God …"
M. Yu. Lermontov
While researching the possibilities of the graphic language of numbers, I came to the conclusion that their figures can be performed in any scale of units of measurement. However, their shape will not change.
For example, the figure of the "dancing man" made according to the same technique at a scale of 1: 300 (1 cm is equal to 3 meters) on the ground will increase in length to about 60 meters. And it can be easily spotted from space.
A similar experience already existed in the ancient world. This is the creation of large drawings (geoglyphs) by the Indians in the Nazca desert about 1500 years ago. They were accidentally discovered from aircraft in the 30s of the last century.
Their real top view looks like this: Figure 8.
Figure No. 8.
Previously, I held a similar view when explaining this mysterious mystery by scientists. However, after careful examination of the published figures, these estimates have changed for me.
I present their copies: Figure 9.
Figure No. 9.
My attention was drawn to the symmetry of the parts of the figures towards the central axis and the large number of parallel lines. I saw in the drawings the language of numbers, expressed in graphics. These techniques could be perfectly mastered by the priests of the ancient civilization of Nazca. Using this technique, they were able to translate their sketches of drawings to any scale of measurements on the ground. When analyzing the achievements of the Indians, two questions inevitably arise: 1. The role of the figures in the desert? 2. Technology of their creation? Based on my ideas, I will try to answer these questions:
1. Purpose of pictures
I reject any connection they have with foreign aliens. If they really visited the Earth, then for the local aborigines they would turn into gods descended from heaven. I believe that all the earthly "creativity" of the ancient inhabitants of Nazca was associated with the religion of paganism. The signs of the earthly graphics became for them one of the ways to appeal to the gods for mercy. The tribes and tribal communities of this civilization were looking for a connection with gods and spirits, calculated most of all for their visual perception. For the heavenly gods, visible drawings were intended, and for the earthly ones, stripes and lines. For thousands of years, the forms of worshiping deities have constantly changed: from prayers to ritual actions and sacrifices.
Everything depended on living conditions and local characteristics. At the disposal of the ancient Nazca Indians was a giant sandy "board" devoid of vegetation. It was impossible not to use this unique natural site, like an “earthly palm,” for graphic appeals to the gods. Its total area is about 500 square kilometers. Among the images there are different types of lines and shapes, as well as drawings of animals, plants and insects of large sizes. They believed that the gods would more quickly notice large drawings from the heights of heaven than small messages. And for this sacrificial work they will thank the people of Nazca with good harvests.
The Indians worshiped sacred birds, "messengers of the gods", who from the height of their flight could, as "in a mirror" see their image on the ground. All human activity in the Nazca civilization was determined by religion and nothing else. This was their way of being. All pagan rituals and rituals were administered by the priests with very strict discipline. They worshiped many animals (totems), considering them to be their ancestors. And they found a way to preserve the memory of them with their drawings for thousands of years. Everything that surrounded them was considered the result of the activities of the gods and therefore was revered in every possible way. On the plateau there were no images of objects and things belonging to people. And all the drawings in the desert were not intended for them. Therefore, the work performed, according to their ideas, could only be appreciated by the gods.
2. How to make (technology)
All the lines and drawings on the Nazca plateau are divided into five levels by their complexity: 1. Simple lines and stripes. 2. Geometric shapes (triangles, rectangles, trapezoids). 3 Spirals. 4. Animals and birds. 5. Insects. Each type of work had its own technology. On the ground, different methods of measurement were used to create shapes and lines. The work used the same tools. These are: a measuring rope with marked divisions of measures of length. Wooden shovels for excavating the top layer of soil. In addition to the shovel, a hand percussion tool (pick) could be used for processing hard ground. Pegs for marking lines on the court and stones for driving them. Pole of a certain length for laying spiral lines. Small sketches of drawings, with the dimensions of the distances (in units of measurement) applied to them. Ropes,those who came to us from the Stone Age, performed two very important functions: 1. With their help, all measurements were carried out on the ground. 2. The rope, when taut, created a straight line on the surface of the earth. Every mathematician will confirm that the most correct straight line is a stretched thread. Ancient Indians could make ropes from wool or leather from llamas, which were bred in sufficient quantities. To use these tools, only working hands were needed. To use these tools, only working hands were needed. To use these tools, only working hands were needed.
The priests controlled the markings of the lines when creating the shapes on the plateau. The figures were from 50 to 290 meters in size. They depended on the tension of the rope. It was a kind of "record". It is hard to imagine that a rope could be turned into a straight line at a distance of 0.5 km. Simple calculations show that a 300-meter rope could weigh up to 100 kg. For example, modern steel tape measures are available in lengths of no more than 50 meters. Otherwise, the tape sags and distorts the dimensions.
I will dwell on the technologies for performing individual works. The simplest of them is the laying of straight lines in the desert, of which there are about 13 thousand. They all have chaotic directions, without any system. For the Indians, the presence of the line itself was much more important than its direction. For their laying, the landmarks could be the tops of mountains, stars or the points of sunrise and sunset on the horizon. These rays-lines and stripes were intended to communicate with earthly gods and spirits. Their "addresses" were not known, so the "communication channels" were laid at random ("to grandfather's village").
Each tribal community hoped that the gods would quickly provide them with "targeted assistance" along these straight lines-markers. Over the centuries, a whole "web" of graphic "communication lines" between the inhabitants and the gods has formed in the desert. And the Nazca plateau itself has become the world's oldest "switchboard".
When drawing lines on the ground, three types of work were carried out by three groups of people: One group provided straight lines with a rope. The second hammered the pegs along these lines (at intervals about a step). The third was dug a ditch along the peg. Then the pegs and rope were transferred to the next section. And everything was repeated according to the same pattern.
In this way, it was possible to draw a line on the ground for many kilometers. With high skill in performing these works, the deviation of the line could be negligible. In the next step, the Indians learned to connect straight lines to each other using angles. And geometric figures began to appear on the plateau.
Spirals on the ground were created using a different technology. The hardest part is the center. It was designated by a rope folded in half in the form of a large loop and two parallel lines. She depicted on the ground a "sketch" of the primary spiral ring. Then the drawing of the center was marked with pegs and a groove was dug along their ring. After that, the rope was removed and the rest of the rings continued to be twisted at the same distance between them. The dimensions were determined by the length of the pole.
The most sophisticated technologies were used to create drawings of birds and animals. Their essence was in the ways of transforming small sketches into giant copies on the ground. To create such patterns, you needed a center axial reference line equal to the length of the shape. It is not visible in the figures, but this axis was used without fail.
The value of this line can be compared to the pillar on which the tent is held, or to the sea level in relation to land. This axis connected all parts of the drawing into a single whole. The Indians created a straight center line by pulling a long rope. Then it was marked with pegs for transverse parallel measurements.
From this axis ("like from a stove") to the right and to the left, measurements of all distances to the points of the figure line were made using parallel rope tensions. All measurements were marked on the ground with pegs. Then, along their dotted lines, grooves of a certain width and depth were dug. The division of labor operations was applied. Each group of people performed their own area and type of work.
The most difficult figure for them was a drawing of a spider about 50 meters long. Here is its real view: drawing number 10.
Figure No. 10.
To depict it, according to my calculations, the Indians needed to make more than 120 measurements with ropes from the central key line.
I am showing a rough sketch of a spider: drawing number 11.
Figure 11.
A tribal group of 15-20 people could create any pattern on the plateau in 5-7 days. All measurements were strictly controlled. History is silent with what dedication the gods and spirits perceived their earthly "gifts" and line signals.
To finally put an end to this mysterious achievement, it is necessary to repeat somewhere in a similar desert what the inhabitants of Nazca did in ancient times.
The technology for creating giant graphic figures on the ground has been developed in every detail and is waiting in the wings.
Author: Vladimir Kondryakov