V

The Number Line...

• A SIGNIFICANT SIGNATURE OF NATURE •

The Sine Wave

Many of the conceptual diagrams presented in this study are devoted to presenting a theoretical model of existence that attempts to describe the essence of being that surrounds and contains every manifest entity in the universe. But there is more to this theoretical model than just describing static lines of force that coagulate from without, or emanate from a within. The same model can also be used to describe paths of progress through events in time, an idea which was just explored with The Cosmic Engine analogy and The Funnel, Tunnel, Maze diagram.

Whether occurring in short intervals or long intervals, events in time become entities unto themselves, with beginnings, middles and ends. With or without satisfactory closure, events in time can be defined with the same theoretical parameters as a static manifest entity. When an event in time is viewed as an entity to be experienced - as a dynamic sequence of ideas, a predictable pattern of progress results. We see this pattern when we pass through an event in time, just as if it were a manifest entity. First... we know nothing of it. Then... we encounter it. Then... we drill through its mass of involvement. Then... we reach its conclusion. And finally... we leave it behind.

Below, there is a diagram that describes several important concepts regarding the number line of numerology when viewed as an event occurring over time. In it, we will see how it describes both a static model of ideas concerning the parameters of existence, as well as a signature of nature that is seen in events that occur over time. In the diagram below, this path is described with deliberately and purposefully abstract terminology, followed (in parentheses) by a more subjective progression of sexual encounter, and below that [in brackets] as a progression of creative thought, both of which vividly display the characteristically explosive end, discussed earlier in other linear models like The Cosmic Engine and The Geometric Progression... which, to us represents the smoking gun which informs us of the existence of our theoretical model's influence.

The number line describes both a static model of ideas concerning the parameters of existence, as well as a signature of nature that is seen in events that occur over time. Described here with deliberately and purposefully abstract terminology, followed in parentheses be a more subjective progression of sexual encounter, and below that, in brackets, as a progression of creative thought, both of which vividly display the characteristically explosive end... the smoking gun which informs us of the existence of this pattern's influence.

The Cosmic Engine analogy was good, and the Funnel, Tunnel Maze diagram was helpful for visualization, but visually, they were somewhat linear. The diagram presented here is a little less linear, it employs a sine wave shape to emphasize the dynamic nature of progressive models that reveal events occurring over time. With this model we are asked to imagine the number line as an undulating wave of ideas. To accomplish this we are asked to Imagine it having weight, like a roller coaster! In such an analogy, steps 1, 2 and 3 would be virtually instantaneous, as our path would begin immediately with a slide directly into a trough, resting at the number 3. In order to continue, we see how steps 4, 5 and 6 involve a much more mechanical path, as we work to climb to a crest. Once we arrive at the crest of the wave, steps 7, 8 and 9 would once again be virtually instantaneous as we would slide directly down to the end.

This sine wave diagram is of course a highly idealized and highly stylized representation of a complex process that does not always occur in such perfectly spaced and perfectly timed increments. However, as a simplified map of ideas, this diagram is great for visualizing several important concepts that the number line of numerology attempts to describe. The most fortunate being the way the roller coaster idea conveys the immediate and direct nature of the first three, and last three concepts. This not only shows how creation of an idea [Formulation] comes in like a lightning bolt out of the blue (as so many philosophies suggest), but also shows how the finding of one's way to a perfect outward expression of that idea is also governed by a sudden and explosive end [Illumination] - the eureka moment! In the middle, the idea of a roller coaster mechanically cranking itself up a slope conveys how an idea must be developed through research, experimentation, invention and lots of hard work, before it can be [realized], or actualized, and then expressed. Thus, in this philosophy, an idea comes in (1,2,3), is developed through hard work, study, and incubation of thought, until a kind of critical mass is achieved (4,5,6), at which time, the "aha" moment leads to perfect expression of the developed idea (7,8,9).

Continuing with the creativity path, we can see how the numbers 3 and 7, falling as they do at the trough and crest of the wave, visually convey the idea of a pause, at the moment of [Formulation] and [Realization]. This advent and issuant pause then corresponds, in isomorphic fashion, to the Planetary Model (seen earlier), where immediate and direct passage through the Circumsphere (1) and the Atmosphere (2) are paused by an advent encounter with the model's surface (3). Thus showing how we encounter events in time in an isomorphically similar way as we encounter manifest entities.

We encounter events in time in the same way we encounter entities in space.

The idea of a roller coaster mechanically cranking itself up a slope then corresponds, in isomorphic fashion, to one's mechanical passage through the substance of the Planetary Model (the path of least resistance), where a second exiting encounter with the surface (7) marks an issuant pause before re-entering, in immediate and direct fashion, the Atmosphere (8) and Circumsphere (9). Like hitting "a rough patch of road" we fly along 1, 2, 3... hit a patch of substance that slows us down... that we must work through 4, 5, 6... then... we break out and fly along to a conclusion 7, 8, 9. This is the pattern of creative thought, as well as many other events in time.

By combining a Creativity Model with a Sexual Model, the importance of development, and the reaching of a "critical mass", is brought out. The idea of [buildup] found in The Sexual Progression that is shown above, reinforces the idea of the same kind of buildup occurring in the thought process of creativity. This incubation period is vital. Ideas are examined and considered. There is a buildup. Then, often without warning, a critical mass is achieved and ideas fuse together in the mind as one wholistic vision of imagined truth or [Realization]. Usually, there is a characteristic pause, as [Arrival] at this point of [Realization] occurs. This realization is then followed, immediately and directly by an explosive [Illumination] of enlightenment, which leads to [Education] or increase of knowledge. Isomorphically, this path is essentially the same as that of many sexual encounters.

Of course, we should always remember that all the models being presented everywhere in this study of tarot and numerology are ideal representations of imperfect things. In actual, real world applications, the stages of these divine progressions might happen in a very short period of time, or a very long period of time. They might also happen over and over, as a process of refinement. Meaning... that each [Illumination] will not necessarily be an ultimate universal truth revealed, but possibly, only an elevated state of awareness - or a projection of personal perception. In such cases, one must "run the program again" to utilize newfound information in subsequent examinations of life. This idea of a signature of nature repeating over and over, is thus conveyed by the numbers 1 and 9 occupying what would be the same place, if further waves of development are realized in an end-to-end manner. In The Geometric Progression (seen earlier), we compared the number 1 to the geometric concept of a point, and the 9 to a sphere. From that we observed how all points radiate a sphere of influence, and all spheres of influence converge upon a central point - making point and sphere essentially the same, in a microcosmic vs. macrocosmic way.

By seeing point and sphere, or 1 and 9 as the same, endless progressions are possible with each sphere being the beginning point of the next progression. This same idea is conveyed in The Sine Wave diagram with The Creativity Progression, as we see answers [Education] (9) leading directly into questions [Invocation] (1). Finally, by combining a progression of sex with a progression of thought, the idea of one-to-one isomorphic translation is conveyed. By describing these paths with abstract terminology one can conceptually apply this fundamental, archetypal pattern over other more subjective representations and possibly find this signature of nature in other places (... like tarot!). And ... by finding this signature of nature in other places, one might possibly understand the nature of other things better.

Lots of philosophies, both tarot and otherwise, point out the immediate and direct characteristics of creation, especially as it applies to creativity and inspiration. Many also choose to describe this phenomenon with three steps... thinking that the idea of a trinity is significant when talking about God-like things such as creation. But what most of them fail to realize is the existence of an equally significant trinity of equidistant design, devoted to the perfect expression of that creation, back to its God-like creator. By seeing our number line of numerology this sine wave way, we can really begin to appreciate the significance of this signature of nature. In fact, this is one very significant reason for modifying the form of traditional tarot decks to conform to this 9 step design. I believe this signature of nature to be a more inspired design than the traditional unbroken path of 22 trumps, or three groups of seven, or two halves of 10 with Justice in the middle. It is also why The Numerical Tarot eliminates the 10s from the Minor Suits.

• CRITICAL MASS •

Creativity

Creativity is a word of great generality. In my opinion, creativity deals with ideas; finding them, developing them and expressing them. Ideas are intangible entities of the mind that seem to come from an even less tangible source. Ideas typically appear from nowhere, sometimes while in pursuit of an answer to a question, other times as unsolicited inspiration. Because of this I see the emergence of ideas from nowhere as correlating perfectly with the 1, 2, 3 trinity of creation that begins all of our theoretical models of existence.

In The Creativity Model, presented in The Sine Wave diagram, the elements of the universe (1/9), connect through the lightning bolt of inspiration (2/8), to the tangible elements of expression (3/7), giving them meaning and form. In this way creativity describes the way in which a mind consumes the fuel of nothingness around it, enabling it to grow in magnitude, like the model itself. Of course once an idea is created (1,2,3), its ability to proceed in "any" direction (4,5,6), can sometimes mask its purpose. The way I see it, the ultimate purpose of any idea is to culminate at the equidistant 7 as a perfect outward expression of itself, thereby contributing to the totality of expressions that make up a universe (7,8,9). To express itself, the development of an idea must achieve its own "critical mass." In other words it must be built upon and added to, until a successful realization or actualization is met, yielding an augmentation of understanding in the mind of the one affected by the initial idea. To develop an idea, we must nurture it with supportive evidence that will help define its form. Compiling this evidence is where decisions are made on which direction the idea will go. Thus the primary objective of any idea is to move from the unknown to the known, thereby propelling us toward a greater understanding of the totalities beyond the idea itself.

At the beginning of our creativity progression then, we have a question, a problem, or some kind of condition representative of the formless state associated with the non-model that lies beyond the 1/9 sphere. In this case an idea emerges instead of something like a geometric shape (see Geometric Progression presented earlier). The inspiration that carries ideas to us from beyond our physical or conscious realm, is the intake valve of the number 2. The number 2 marks the “what if?” half of this creativity model. From here, the process of building upon an idea, to a perfect expression of itself, becomes a lot like a game of "blind man’s bluff." Because of the random "path of least resistance" the idea must take through the theoretical mass of its intangible being, the point of passage through the number 7, to a successful conclusion, is not always that easy to find. Moving through the "maze" of the 4/5/6 cluster represents the difficulty of this task (see Funnel, Tunnel, and Maze diagram presented earlier). Fortunately though, the equidistant design of our number line model causes impulses similar to the number 2’s lightning bolt of inspiration, to be sent backwards through the number 8, to the correct point of passage. This is why a successful approach to the number 7, that leads to the explosive 8, yields a similar response to that of the number 2... where realization of finding the correct passage through, is referred to, in equidistant design, as the “that’s it!” half of this model (see Sine Wave diagram above).

However as we have just pointed out, to find our way through to the number 8 position, we must pass into and out of the 4/5/6 cluster. In the creativity progression this cluster represents the development of an idea into a form. Typically, the creative pursuit to a form involves numerous dead ends. We gather information to help find our way through, and nothing seems to hit the mark. We go over things again and again, trying "any" angle we can think of. Finally we put the problem down for a while and move on to something else. Then hours, or days later, the answer suddenly comes to us out of nowhere - “that’s it!”. This is the phenomenon of creativity that intrigues people the most. To understand this phenomenon better, we need only examine the steps that lead to "critical mass." But how is critical mass achieved in the pursuit of an idea? The answer lies in rhythm!

In our Creativity Progression, critical mass is achieved through an augmenting rhythmic motion. Rhythm is achieved through the dedicated efforts, continuous building up, and comparative analysis of available options to a creative mind (4,5,6). Critical "oneness" occurring only when all the options we have are seen together as a whole (a function of the right brain or unconscious mind blending its influence perfectly with the works of the left brain and conscious mind). This critical blending of opposing "minds" is what enables connections between individual options to fuse into a single concept, capable of achieving critical mass. On the number line, this point of wholistic apprehension is always marked by a characteristic pause, as the single image of what is believed to be what, stands before us (7). The explosive “that’s it” ending (8), then automatically propels us to the long awaited answer (9). Thus the euphoric sensation of creative realization bears a one to one correlation to the euphoric sensations of sexual climax (which we'll cover in a moment), leading me to suspect a common, archetypal pattern of progress between them.

What a lot of people don’t realize though, is that the creativity cycle can be deliberately invoked, when one is aware of the pattern that governs its progress. Because of this, I have found that at times a purposeful cessation of activity, after an augmenting cycle of frustrating attempts, can actually help trigger this response on a predictable basis. By deliberately putting away a project that has been the center of attention for a long or intense period of time, the unconscious mind is able to cycle through the mass of available options manufactured by the left brain or conscious mind... uninterrupted by the ongoing input of that influence. Thus, lack of conscious input at this time, actually helps the mind to "see" the connecting elements and fuse them together as one. But whereas many have come to label creativity is a function born exclusively from the subconscious or unconscious mind, I do not agree. In fact, I have found that many times, an increased state of frustration simply means more options for the unconscious mind to pursue, or play with, which ultimately means a more powerful cycle, and a more substantial conclusion. This might explain why many people are actually more creative while under pressure. Pressure helps, to fuse elements together and create a substantial critical mass. But, at the same time, without a conscious pursuit of material to fuse, creativity has no fuel to burn. Thus, it would be my opinion that creativity is most powerful among those able to merge their left and right brains or conscious and unconscious minds together as one, to have them work in consort. In other words, creativity is not just about imagination, it's about what the imagination does with what it has, or is given or finds. Thus, within this theoretical path of creativity, we establish the existence of two paths! Just like The Train Car analogy presented earlier, we see how the conscious and unconscious minds of the creative run along duel paths toward the same destination.

Either way though, I see the pattern of creativity as always the same. Sometimes we can go for days before [Realization] hits us, other times we just stop for a minute, and lean back in our chair. But the sequence is always the same, we have to build up pressure to achieve critical mass, before we can reach the 3/7 goal of fusion and oneness. And again, as this is an ideal representation, we should remember that the proportions of each step can vary along the way, but that the order does not. The creative cycle is very predictable, but don’t be fooled into thinking it is easy to achieve. A truly creative mind, is the one that is capable of introducing left and right brains and conscious and unconscious minds to each other in a way that promotes vital cooperation, and even more importantly than that... a truly creative mind knows exactly when to stop, and let the forces that be take over. It’s a very fine line (or 3/7 transitional membrane!) to build up to, too much input will create confusion, not enough will fall short. But when it clicks, it is the only truly consistent manifestation of creativity that I know.

Talent

There is another type of creativity progression we can explore which involves the pursuit of expression, over that of specific answers. It deals with an artist’s ability to know when to stop adding to his work and recognize the perfect expression of his guiding image. In this model we see how these images, or visions enter from the 1,2,3 side of the number line as lighting bolts of inspiration, provoking a response in the artist’s soul, to be expressed out the 7,8,9 side with explosive results. Other times, the artist is merely a vehicle for an unknown image that only becomes apparent as the expression takes place. This is the realm of "talent" and "grace."

When a person creates and expresses themself with apparent ease, we can say that they are indeed "one" with their 3/7 chakra! Of course, as we have seen in several other models, the 3/7 chakra, or concentric sphere of developement, is the chakra of the model’s theoretical "skin." In being so, we now need to observe the difference between the two expressions of theoretical "skin" as seen in previous models. We said before that the 3/7 surface is where we "touch" God or where God "touches" us. The difference then, between 3 and 7 is in the difference between God’s creation of us (3), versus our expressions toward God (7). The number 3 is seen as a representation of God touching us, by implanting in us our talent and grace. Through the 1,2,3 trinity of creation - we feel God’s guiding hand. While on the other end of the number line, the number 7 becomes a representation of where we touch God by reaching out of our mundane sphere or core with 7,8,9 forms of expression.

All is well with this formula, unless of course the theoretical "skin" of our 3/7 chakra, is too thick for us to feel the initial 1,2,3 touch of God. If this be the case, all 2/8 inspiration will be blocked. On the other hand... if our theoretical skin is too thin, we may be overwhelmed by the insurgence of the Divine. Likewise, with the number 7, if our theoretical skin is too thick, expression is trapped and prone to violent outbursts (like that seen in the Tower card of traditional tarot decks, usually card 16 = 1+6 = 7), and if our skin is too thin we hallucinate. Preferably, our theoretical skin is neither thick, nor thin, but just right, allowing for sensitive and reasonably sane connections to be made to the Divine. A theoretical skin that is just right is preferable, but at the same time, it is difficult to fault excessive skin dimensions and the intensity of expression they provide. The raw, and sometimes violent expressions of thick skinned artists, exploding on a canvas, stage, book or whatever, is definitely something to behold. But then again, the burden of thick or thin skin, can also be a torment. In many ways the influence of thick/thin skin can become a detriment to these people, and the people around them. In my opinion, the true artist is the one who learns to control his or her talent so it does not consume them. Unfortunately this is usually not the way we measure talent. Instead, we tend to encourage tormented souls to reveal themselves to us, almost as a freakish curiosity. We then applaud the results of their creative angst, and award posthumous honors upon their early demise. In fact, it may seem hard to believe, but some people even go so far as to look for ways to artificially obtain these volatile conditions with the use of drugs, in hopes of increasing their creative capacity and talent.

Drugs

When we talk of thin skin, we are not necessarily referring to the actual consistency of a persons literal flesh, or even the fragility of their emotional state. The connection between thin skin and the model, is just an analogy of form. But in the theoretical model that houses the creative mind, there is no doubt about the condition of the 3/7 stage. Thick skin is definitely an inhibitor to the successful synapse of the model's imploding and exploding forces. While at the same time, progressively thin skin will lead to synapses that are too easy, leading to fantasy and hallucinations. In the case of hallucinations, thin skin becomes a synapse liberator, and the effects to the mind are boggling, thus making the pursuit of hallucinogenic drugs a favorite pastime for many.

Hallucinogenic drugs alter our perceptions of reality. To our theoretical model of existence, the 4,5,6 cluster represents the defined form of the model, and our perceptions about the measurable realities of life, and its three physical dimensions. If, however, the 3/7 skin around that mass cannot contain these realities and perceptions, they invariably bleed into the surrounding dimensionless area of the model’s perimeter. This co-mingling of perceived 4,5,6 "realities" with the intangible, less comprehensible nature of the 2/8 and 1/9 spheres of development gives these recognizable forms of reality a distorted appearance as they gradually acquire a "non-dimensional" potential. These hallucinations are in fact what make determining what reality is, difficult.

In the end, of course, reality remains intact. But, because of this blending effect, we find that our perceptions of reality are continually altered as they are pushed further and further into non-compatible, dimensionless realms. Pushed far enough, these perceptions of form eventually become unrecognizable until finally the paradox of The Absentia consumes them entirely. As external behavior in a human being, this type of deterioration of reality would be viewed as a progression from paranoia (7) to panic (8) to insanity (9) (a tortuous trinity of expression). Still, it’s the hallucinations of the slightly disturbed reality, that seem to entertain us the most, the product of the so-called "recreational" drugs.

... and now, The Naughty Bits

The Sine Wave diagram used in The Significant Signature of Nature presented above, included a progression of ideas devoted to describing a progression of sexual encounter. Our next series of ideas will deal with that progression of ideas. In this model we encounter one of the most powerful examples of how cyclic number lines achieve an explosive end! In The Sexual Progression, the explosive ending, and the 7,8,9 trinity of expression, are much more obvious, due to the obvious augmentation of the 4/5/6 cluster toward that end.

On a human level, sexual encounters take many forms. The problem is... the games people play to invoke a sexual response from a likely partner often muddy the waters of progress. On a purer level though, the sexual progression that we are attempting to describe invariably begins with interest (1) toward a definite conclusion (9). Having established the necessary interest (1), the next step to follow on our path of sexual intercourse is attraction (2). In the sophisticated man and woman, courtship usually follows attraction, however, as I see it, this is not part of the pure sexual progression. Courtship is really a progression of its own, leading, of course, to marriage and THEN to the sexual progression. As I see it, in the purely sexual progression, physical contact is the next step after attraction, the touching of surfaces, and the use of skin (3). In the sexual progression, the immediacy and compulsive action of attraction (2), makes the path from interest (1) to touching (3) another 1,2,3 trinity of near simultaneous development. This 1,2,3 trinity of near simultaneous activity then leads us right into foreplay and the foundations for sexual intent (4). After intent, the establishment of control as well as dominant or cooperative postures (5), leads to intercourse (6). As intercourse proceeds, it augments the level of intent to extreme levels. When the rhythm of intercourse becomes steady and consistent... enough to become an unbroken cycle that is harmonious to each body, a different kind of "critical mass" is achieved. When this happens, oneness is achieved (7), causing the proverbial dam to burst, carrying us away, via the explosive end, in an immediate and direct fashion (8), and giving us the euphoric sensation of all directional radiance (8). After this explosion, a determinant end, and feelings of resolution, conclude all progress (9).

Interestingly enough, in examining this progression further we can also see equidistant similarities in the opposing actions of each number. For example:

The 4/6 Stage: in the 4/5/6 thick of things, we see the reciprocal male and female, Yin and Yang action of a penis (4) and vagina (6) coming together at the midpoint... if we take the dance analogies given earlier, with the Apart/Together model, to their logical extreme. The 4/6 stage has been described already as the point where opposing sides of the number line swap sides. If we consider the beginning of the number line to be Male, and the end of the number line as Female, this penis to vagina state becomes apparent. In such a design, we can also see how foreplay becomes a processes that leads us half way into the progression, and how intercourse ultimately leads us out. We then see the alternation of the number 5 in the mutual exchange of parts, the marriage of opposites, and the alternating of dominant postures.

The 3/7 Stage: At the 3/7 stage, we have two examples of touching. The 3 represents the Yang, Male, side of the progression, and the physical touching of skin and bodies, while the 7 represents the Female, Yin, side and the spiritual connect that occurs within the pause before climax - you know, that brief moment when the rhythm of intercourse reaches its peak (6), stops (7), and then explodes (8)! That peak pause is perfectly illustrated above with the crest of a sine wave/roller coaster.

The 2/8 Stage: At the 2/8 stage, we have two examples of unrestrained activity: attraction and climax. Again, the power behind attraction is on the physical side associating it with vision, motion and time. The power of the climax, on the other side, relates to the elated, buoyant, out of body feeling, and the acute sense of space and energy.

The 1/9 Stage: Finally, at the 1/9 ends, we have two examples of independent entities. At the beginning we have two entities with a common interest. And at the end we have two entities arriving at a common destiny. Thus the sexual progression changes the isolated into the integrated and back again (see the Apart/Together model presented earlier).

The Sexual Progression is very powerful indeed. Some people like to theorize that everything we do in life is sexually motivated. But don’t be fooled... The Sexual Progression is only one coat of paint over the invisible man of archetypal patterns described by our theoretical model of existence. Relating everything we do to sex might make more sense to some than relating everything we do to geometric shapes in nature, but ultimately The Sexual Progression is no more definitive than any other language model used so far. The fact is that everything we do relates to a sphere of the theoretical model of existence, and its universal forces, one can choose any language model they like as a foundation upon which to build.

If you choose to continue with this study, we will move on to build upon this idea of abstract patterns, and their effect on human behavior. We will start with an examination of some patterns and ideas about spacetime that will place our abstract model in a real place and time. Finally, we will conclude by examining some harmless examples of how paradox enters our world, and then end with some theories on how paradox reins supreme as a Godforce, or source of Tao. If you are interested in hearing a few words on how this sine wave model might be seen as an archetypal influence to anthropomorphized icons of tarot, try reading the edited down version of this page called A Significant Signature of Nature.