Ancient Mathematical Origins of Modern day Occult Practices
Eugenia Victoria Ellis, PhD, AIA
Drexel University

I take the train to work each day. Inevitably I spy someone puzzling over a game of Sudoku. Often I hear someone referring to their house or office as having “good” or “bad” Feng Shui. Pop icons such as Madonna are taking up Cabala.
Surprisingly, these three popular interests are based on occult practices that have mathematical
origins in the Lo Shu, the ancient Chinese magic  square of three (figure 1).
ICONOGRAPHY, ICONOLOGY AND ICONS
The research method I am using has two interconnected approaches: the first is an analysis based on the historical evidence of the cultural context surrounding the modern day practice; in reconstructing its history, the practice is to be considered as a source in itself.1
In other words, iconographic evidence is used as an historical source. This is a highly objective method whereby the practice itself has no merit in the analysis.
This research method begins with the image related to the practice and looks for symbolic elements of continuity between it and other images, gives credence to images of antiquity that can serve as threads linking symbolic content throughout historical time, and then recontextualizes the image within its present-day use.
In order to do this it is necessary to distinguish between the practice as a phenomenon in itself, the
iconographic content that may be present in the activity, and its iconology or essential meaning.
The practice is a physical phenomenon that is a product of an activity and is influenced by the prevailing cultural milieu; which determines it as a cultural artifact. It is this phenomenal aspect that allows for its subjective analysis. The distinguishing characteristic between iconography and iconology is basically that iconography is analysis, whereas iconology is synthesis. Through nalysis, iconography identifies, describes and classifies images within their own historical,
cultural and symbolic context. Iconology, on the other hand, is a synthetic process that looks at images as cultural symptoms, or symbols, which transcend time due their presence throughout historical time. While iconography systematically identifies a theme, iconology interprets the theme and is more concerned with its continuity as a way of understanding the hidden symbolic, dogmatic, or mystical meanings of an image. In other words, iconology renders visible the invisible aspects of iconography.
The term icon derives from the Greek word eikon, which embraces all sorts of images, including sculpture and even mental images. In art history, the term icon designates a wood-panel painting of a sacred subject intended for cult veneration. By extension, the term applies to sacred images in general, including mosaics and miniatures.
Because of their portability, icons could be opened and shut, be carried in parade throughout the city, and even accompany troops to battle. Icons entered mainstream medieval life by becoming part of their popular culture. In spite of the Old Testament prohibition of image veneration, the Christian origin of icons goes back at least to 200 AD when, according to the apocryphal Acts of John, an icon of St John the Evangelist was venerated in private with candles and wreaths. 

(The ActsofJohn is an early 2nd-century Christian collection of Johannine narratives and traditions, long known in fragmentary form. The traditional author was said to be one Leucius Charinus, a companion and disciple of John) This is not a valid biblical work it has never been verified authentic and was a book for Gnostics and contains  mystical sections out of the ordinary and cont congruent with the biblical books.

What is Gnosticism? According to Webster, it is “an occult salvational system . . . stressing [knowledge of spiritual things] as essential . . . combining ideas derived especially from mythology, ancient Greek philosophy, ancient religions, and eventually, from Christianity”. [Webster’s New World Dictionary, Simon & Schuster, Inc., 1988, p.577].

The doctrinal core of Gnosticism is basically a form of mystical religious or philosophical doctrines which other adherents and some early Christian sects spread and which the early Church leaders vehemently rejected as heresy. Believers in Gnosticism are called Gnostics. The word “Gnostic” is derived from the greek word gnostiko or gnosis (inner mystic knowledge). The Gnostics believe that “gnosis” is subjective (internally perceived by the mind or feelings) knowledge of the divine element or spark in every man that needs to be discovered to be known. They believe the divine spark originally came from the “realm of light” (totally alienated from the world and the flesh), and is resident in the soul of man and is held there in captivity by the flesh (a product of demons). The only way to release the divine spark is through divine “revelation knowledge”, experienced within in the spirit. Also they believe that only when the unconscious spirit in man is awakened by revelation from the “realm of light” can he come to know his real self – the god within.  Source

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This practice was recognized as an adaptation of pagan practices, certainly reflecting back to the origins of the word in Greek culture. The icon was venerated in pagan times with lit candles and incense, wreaths, and the placing of cushions before them for the worshippers. These painted icons were approachable, touchable gods that were a part of daily life. In contrast to the classical painting that depicted a staged story, the icon figure engaged the spectator directly through eye contact.2
In the 19th century Russian home, the traditional place for the display of icons was the krasnyi ugol
(fair corner), often the back corner of the reception or dining room. Visitors upon entering were expected to greet the icons placed there even before greeting their host.3
The ultimate example of Russian iconic tradition was the Spas nerukolvornyi, which was the imprint of Jesus’ face on white linen and the first icon to be hung in the corner in Russian culture.
The Spas nerukolvornyi is a two-dimensional representation or image, which was considered to present a higher dimensional reality, Christ’s Higher Self.
The 19th century Russian priest, Fr. Pavel lorensky (1882-1943) described the icon as the outline of a “heavenly vision,” which “because its outline coincides with a spiritual vision, is that
vision within our consciousness.”4
In other words, an icon originally was intended to be an outline, like Christ’s image on white linen, of a higher dimensional vision and not an imitative representation of it.
Today, icons are simple outline representations that stand for something else, an image shorthand for a larger idea. Icons proliferate: they appear on our computer desktop, they are present as ideal products of consumption, and they can be actors whose personae in themselves are iconic representations of today’s culture. However, in the study of popular culture, it is imperative that we consider the origins of our modern day practices so that we can (re)cognize these icons not as something “new” but as mimetic responses based on traditional conventions, surprisingly often dating back to antiquity.

SUDOKU, FENG SHUI AND CABALA
Sudoku is a relatively new invention and is a game that has recently begun to replace the crossword puzzle in certain newspapers. This number game was originally called “Number Place” and was developed by the retired architect and puzzle designer Howard Garns for Dell Pencil Puzzles and Word Games and first published in 1979. It was later discovered by the Japanese to be similar to the crossword puzzle, but as a number game was better suited for a language that is symbolic rather than phonetic. It was first introduced in Monthly Nikolist magazine in April 1984 and it rapidly became absorbed into popular Japanese culture.
The American name Number Place was translated into Japanese and then abbreviated as su (number, digit) doku (single, unmarried). Near the end of 2004, the retired Hong Kong judge Wayne Gould approached the editors of The Times to publish his computer-generated puzzles. On November 12, 2004 the British newspaper launched its first Sudoku puzzle. By April 2005, the transformed number game returned to America as a regular feature in the New York Post.5

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The puzzle itself is rather simple (figure 2). It consists of three-by-three grids of numbers within the larger three-by-three nine-square grid. The object of the game is to place the numbers one through nine in each three-by-three grid such that each number only appears once both horizontally and vertically in the overall 81-square grid. At the heart of this game is the three-by-three or nine square grid, which since ancient times, and across cultures, has been known as the magic square of three. However, the sudoku square is not magic, for if it were, it would be a mathematical square, not just a number square. For a square to be magic the numbers must sum horizontally, vertically and diagonally to the same magic number, the number of the square times the middle number. The first magic square was the square of three, which has the number five at its center and when multiplied by three, the number of the square, yields the magic number fifteen.
Legend has it that the first magic square was introduced on the back of a sacred turtle some
2,500 years ago when it appeared to the mythical Chinese King Yü from the waters of the Lo River.
It was depicted as knotted cords in a stylized dotted pattern composed of solid and open circles
connected by lines, arranged in nine groups containing one to nine units each: the open circles for yang odd numbers, the solid circles for yin even numbers. This diagram came to be called the Lo Shu, which means “Lo River Writing.”6

The positioning of the numbers were very specific, described by the Taoist Chên Luan in the sixth century AD: “2 and 4 make the shoulders, 6 and 8 make the feet; 3 is at the left, 7 is at the right; 9 is worn on the head and 1 is underfoot [literally: trodden by the shoes]; while 5 dwells at the center.” This mnemonic means of ciphering the order of the numbers of the magic square of three referred to a person, and most likely to a man or god considered as a microcosm of the universe.7

To the Old Chinese, the Lo Shu was a concise representation of the universe in a microcosm, an imago mundi that related to both the heavens and the earth through the harmonious balance of its numbers around the strong central number five, which was located at the center of the axis mundi, the cosmic axis connecting these two worlds. 
The Lo Shu was associated with the sky and another name for it had been “The Celestial Numbers of the Nine Halls (or Palaces),” which were considered to be sky-dwellings visited by various celestial deities. The cult of T’ai-Yi (Han dynasty 202 BC-220 AD) believed that the Sky Emperor T’ai-Yi lived in a palace at the center of Heaven, at the top of the axis mundi, where he ruled the eight outer divisions of Heaven, in each of which he had a palace. In a like manner, the Chinese Emperor lived at the bottom of this cosmic axis, at the center of the Earth, and exerted his influence out in the surrounding eight directions.
The Lo Shu magic square became public knowledge in China in the tenth century AD after about thirteen hundred years of hidden, private or cultic use. It appeared at this time in the form of knotted cords in solid and open, yin and yang dots.8
The magic square’s survival into the tenth century was precisely because of its occult and hidden use, because there had been two significant book-burnings during the course of Old China’s recorded history: Shih Huang-ti, the first emperor of the Ch’in dynasty (221-207 BC), in an effort to ensure national unity had all books burned in 213 BC, except those on magic and divination for which he had a special affinity;9
Yang Ti, the second emperor of the Sui dynasty (589-618 AD), ordered the destruction of all occult books in 605 AD because they were in conflict with the Orthodox teachings of Confucius.10
By the tenth century the mysteries of the Lo Shu had been absorbed into the Chinese cultural fabric through popular use as a protective charm and as a magical means of divination. However, the diagram that had survived into the tenth century was derivative: it had lost its cosmological significance, it was no longer used for divination, its numbers were obscured because of the dotted pattern which prevented the recognition of its distinctive mathematical properties, and it had degenerated into merely a riddle. Sometime during the Sung dynasty (960-1280 AD) the

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cyclical workings of the Tao, which had been represented by the magic line that connected the
numbers in sequence in the magic square of three, were reduced to the notion of a circle cut in two by an S-shaped line. The Lo Shu itself was replaced by the symbol commonly known today as the YinYang. 11
Nowadays, the Lo Shu is often depicted as the Yin-Yang symbol surrounded by the eight trigrammatic kwa as it is currently used in the divinatory practice of Feng Shui.
Without going into great detail in this paper, Feng Shui involves a complex web of divinatory
calculations that begin with the magic square of three. In brief, the Lo Shu was an iconic representation used to mirror on earth the divine workings of the cosmos above. The celestial pole was fundamental to ancient Chinese astronomy and formed the basis of their cosmological thinking regarding microcosmic-macrocosmic relationships. Atop the celestial pole was the Imperial Star above the heavenly Central Palace where the sky emperor lived in the middle of his kingdom of eight surrounding “sky palaces.” This location mirrored the position of the emperor on earth, around whom feudal land-holding practices were modeled as squares within squares based on the nine-square grid of the Lo Shu. Chinese maps were drawn with the north arrow pointing down.
More than likely, this was so that the map could be co-ördinated with the emperor’s view looking
down on his kingdom. The Imperial Star was the pole star of the Great Bear constellation and is fixed, around which all the other stars revolve.
According to Confucian authority, the ruler on earth should govern by the sky emperor’s example:
“He who exercises government by means of his virtue may be compared to the pole star, which
keeps it place while all the stars turn around it.”12
The Lo Shu became public knowledge in tenth century China after the Chinese ceased to value it
as a magic square and no longer recognized its inherent potential as a symbol of the Universe in miniature. From the seventh to the fourteenth century there were considerable numbers of Persian and Arab merchants living in the port towns along the China coast. It is possible that these traders could have brought knowledge of the magic square to western Asia. In any event, the magic square of three was first published in the Islamic world around the year 900 AD in an Arabic treatise traditionally ascribed to Jābir ibn Hayyān (known to Europeans as Geber). It was presented as a charm and the square was comprised of letters that had numerical values, instead of numbers, called the abjad system.13

In the study of magic squares it is important to
acknowledge that number as we know it today,
represented by Arabic numerals,14 was not so in
ancient and medieval times. There were no
numerals in the Hebrew language; like the abjad system, each letter of the alphabet corresponded to a number (figure 3). In the Western world, “roman numerals” were used until the invention of the printing press in the Renaissance. And common to these numbering systems was no representation for zero.15 Therefore, when creating a magic square, the numbers not only summed to equal a magic number, but could also be read as a magic name.
The Arabic word for talisman is talsam. In casting out evil, the talsam brings good fortune. The first letters of certain names of God when written with abjad letter-numerals may take the place of the word itself. Or, the letter-numerals themselves may stand for their spiritual value. This is true of the badūh seal, which is believed by some Muslims to have been engraved by God on the seal stone of Adam’s ring. The badūh seal is the Lo Shu magic square of three written using the first nine abjad numbers, which is the form that was first published by Geber in 900 AD. It represents the planet Saturn, which is spelled zuhal in abjad letter-numerals that when summed equal 45 (z = 7+ h = 8 + l = 30), the magic sum of all the numbers in the square.16

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The badūh seal itself was the entire magic square of three. In later European occult circles this square’s magic path became known as “the seal of Saturn.”
The use of the magic square as a mystical device to communicate with the cosmos was eventually transformed into a tool to be used to gain control over one’s environment. Later developments of the Islamic magic squares resulted in their transformation into talismans or tools of magic by being conflated with their god and by being associated with astrology. However, the exact dates of this transformation are uncertain. Magic square amulets and charms were to be used for establishing friendships, preventing dreaming, casting out devils, etc. These magic squares work by being ingested or inhaled in a variety of ways, worn about the neck as a talisman, or engraved on a ring and worn on the finger.17
In the act of casting out evil spirits, magic circles (figure 4), squares and figures are sketched on the ground and then the demoniac person is seated in the center while an incantation is read.18
Circles have always played an important role in Arabic magic. The encircling of a person in danger is used as protection from evil spirits and wild animals. This can be done either verbally through phrases such as “I encircle you by God” or “I encircle you by the Qur’ān and what it contains,” often accompanied by circular gestures of the hand, or physically by drawing a magic circle on the ground while uttering powerful verses and magic formulae in preparation for the endangered person’s occupancy of the protected circle’s center.19
In the Islamic world, the pragmatic application of the magic square’s use for spells and protection gradually took precedence over its mystical and philosophical value, so that the magic square finally degenerated into being merely a magic charm or talisman. This seems to be the aspect of the magic squares that Europe inherited from the East during the Middle Ages. The exact origin of this transference has not yet been identified, however, it has been generally accepted that magic squares were transmitted to Europe via the Islamic world. These magic squares, however, were derivative and were disassociated from the religious and philosophical aspects of their inherent mathematical properties. Magic squares were seen solely for their magic or astrological properties and were gradually absorbed into the standard paraphernalia of the Renaissance magician.20
It is important to remember that numbers as we know them today did not exist at this time in the West—numbers in the East were represented by letters of the alphabet and what we recognize today as “roman numerals” were used in the West. This, together with the substitution of abjad letters for numbers to spell one of the names for God, made it possible to conflate numeric magic squares with acrostic magic squares and to substitute words for numbers using Islamic, Hebrew or Latin alphabets.

It may have been scholars in the Jewish communities of Spain, southern Italy and other Mediterranean lands that had commercial contacts in the Middle East and India, who were the
intermediaries through whom magic squares were brought to Europe. The earliest numerical magic square found in Europe was the magic square of three, discussed in the early twelfth century by Abraham ibn Ezra of Toledo. It was written with Hebrew letter-numerals in a style that became popular with the later Cabalists. The square’s constant numerical sum of 15 would have been written in Hebrew letters with יה or yōd and hē from right to left, the shortened form of the Tetragrammaton YHWH, the Divine name.

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The actual Hebrew letters would not have been written to avoid profaning the Divine Name, but the number’s true meaning would be a secret understanding, making the square itself a symbol for God. This method of interpreting letter numeral squares may have been influential in the development of gematria, a cabalistic method of interpreting the Hebrew scriptures by
interchanging words whose letters have the same
numerical value when added.
The earliest known European set of magic squares is found in a fifteenth-century Latin manuscript that is bound together with a fifteenth-century manuscript copy of Picatrix, presently located in the Jagiellonian Library in Cracow, Poland.
Picatrix itself was supposedly translated from Arabic sources in thirteenth-century Spain by
Jewish and Christian scholars at the court of Alfonso the Wise and is considered to be the
source of the Islamic astrological and cosmological lore that helped to build the tradition of the Cabala.
The Cracow set contains squares that can be identified as both Hindu and Islamic, and also squares that are garbled, which indicates that the manuscript’s scribe did not understand the content of what was being copied. This Cracow set is notable because it is the earliest known instance in Europe of magic squares dedicated to the Seven Planets.
It is important to note that the Cabala is believed to be an infallible science had by means of a nonhuman discipline and divine tradition. In other words, Cabala is knowledge direct from God without human intervention. In Renaissance Italy there was an enthusiastic interest in Jewish Cabala, because it was considered to be the most ancient manifestation of Christian truth and source of divine teachings of the ancient philosophers and theologians.21 The magic square or numerical acrostic was an integral part of the tradition of the Cabala. Contained within the magic squares were magic sums that named various gods and angels (Figure 5). These divine words were understood to have occult properties and secret powers that were used in ancient times in the performance of sacred rites and religious ceremonies. The “word” was more than the instrument of internal mystical union between man and God, but was also the instrument by which one could perform external miraculous activities in the world—works beyond human strength that, while constituted in nature, could hold power over it.
Due to the superstitious use of magic squares during the Renaissance and the discovery that their use did not effect miraculous wonders, together with an increasingly “rational” Western worldview, as early as the sixteenth-century in Germany magic squares lost their symbolic value and began to be viewed merely as problems in the mathematical arrangement of numbers.22 Over the next two hundred years, the ancient Islamic methods of making magic squares continued to be “discovered” by various Europeans, who augmented the existing squares with new inventions of their own. By the eighteenth-century in exoteric circles, magic squares had finally become mere mathematical recreations; however, in esoteric European circles, magic squares continued to circulate in hidden and occult manuscripts.
Two of these occult manuscripts were The Key of Solomon the King (1889) and The Book of Sacred
Magic of Abra-Melin the Mage: as delivered by Abraham the Jew unto his son Lamech, A.D. 1458 (1883), both translated by S. Liddell MacGregor Mathers.

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Mathers was a member of the Golden Dawn, a hermetic order in nineteenth century
England. According to the forward23 to The Key, it is a crucial text of Western ritual magic. Both The Key and the Book of Sacred Magic contain magic word squares. These Hebrew word squares are incorporated as part of the “First and Second Pentacles of Saturn” in The Key and comprise the entire third book of Sacred Magic as magical symbols. In Sacred Magic, the “Names arranged in the Squares represent generally the effect to be produced” or “appellations of the result to which the Square is to be applied.”24 These two books are excellent examples of how excerpts from a divinatory text, such as the Cabala, can be appropriated and transformed into magic or witchcraft, in this case “white magic.” (No such thing as white magic.  All Magic is from the darkside)
Central to The Key is the act of encircling, similar to the Islamic magic tradition. In short, prior to the actual construction of the circle, the disciple must become clean in mind and body through prayer, ablution and fasting over a period of several days. The center is marked by a stake or sickle to which a cord is attached and the circumference of the circle is sketched on the ground with a knife blade at the end of the cord.
The intercardinal directions are marked and the crossing creates four regions within the circle: the east, west, north and south. Another circle is inscribed beyond the first, into which are written pentagrams with symbols and the names of the creator, which in turn protect the enclosure. At the perimeter of these circles a square is circumscribed, “square” with the cardinal directions. Beyond the first square is another square positioned such that the angles of the first square touch the centers of the sides of the second, so that the angles of the latter stretch toward the four corners of the universe. Each of these four corners becomes the center for another drawn circle, within which perfume is to be burnt.
Through this act of encircling, the disciple seated at its origin is protected within and oriented to the earth below and the universe above by becoming square with the world. This same act of encircling, with a similar underlying iconology but with a demoniacal twist, was central to “black magic” or witchcraft (figure 6).

MAGIC SQUARES AND VISUAL CULTURE
The construction of magic squares, the making of talismans and the process of encircling are geomantic magical procedures characteristically used throughout history and across cultures to bring cosmic harmony to the physical world. These methods were simply tools used by humans to project the divine onto the earthly as a way of “protecting” or bringing order to the built world.
The difficulty is in determining origins for these various icons that are mathematical (re)creations, words and magical devices all in one.
The talisman bears an icon that is the product of a magical procedure. The icon represented on the talisman could be the magic square itself, in itself a symbol, for instance the badūh seal, which in its entirety represents a Muslim God. The magic path of the magic square might be the sigil represented, for example, the “seal of Saturn” of the square of three, which due to its magic sum makes the square itself a symbol for God in the Hebrew tradition.

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Additionally, various other magic paths or significant relationships among the numbers of a magic square might become the basis for the construction of an icon to be represented on a talisman.
These talismanic aspects of magic squares seem to have survived well into 20th century Europe among many different groups of people, 25 the talisman itself having become disassociated from its numeric origins. The construction of the talisman and its active use for protection of the individual were means used to ensure one’s well-being and to bring good fortune to one’s immediate environment. The talismanic technique of encirling is a geomantic procedure that projects the divine from above to protect the earthly below.
This geomantic magical procedure creates auspicious conditions by guaranteeing alignment
of the microcosmic with the macrocosmic.  (They fail to mention that this is all in relation to employing the aid of spirits, the spirits of the fallen and their progeny.)
The magic square is an arcane example of the superstitious and irrational that we moderns
consistently endeavor to banish from the common sense of our experience. The way we do this is through distancing ourselves by exorcising the primitive and occult aspects of our everyday lives to the margins, in spite of the fact that the essential meaning of these hidden aspects of our culture are regularly present in the images of our society. We are happy to play a crossword puzzle that does not involve words or mathematical ability. We would be unwilling to acknowledge that the mere act of completing the square might once have been a mystical experience intended to unite the puzzler with the divine. We are content with the knowledge that something like Feng Shui is an ancient practice that we have resurrected, and we recast the practice as being a truly contemporary part of life for a progressive society, unwilling to recognize this as a throw-back to a world that predated our forward-looking stride towards enlightenment and modernity. Eager for a new spirituality that could distance ourselves from everybody else and proclaim us as avant-gardes leading the way to a higher dimensional reality, we embrace ancient religions, which because of their esoteric nature have been hidden from popular view, and turn them into New Age fads.
Until recently, the visual artifact has largely been ignored, considered to be more or less decorative or superficial, and inferior to the printed word. 
Nowadays, we are constantly bombarded with images and the virtual, reinforcing the notion that the image is ethereal, intangible and without meaning. However, the visual is not the invention of modern consumer culture; nor is it peculiar to modern politics and media. Iconic representations, logos and even branding form the vocabulary of images in almost every society, not only since the fifteen and sixteenth centuries when technology made it possible to reproduce and distribute images on paper, but even when we first scratched iconic images in the sand and carved representations in stone.

Bohemian Intellectual Mathematics and Occultism

Ramanujan12  Thead Start date: Sep 21, 2003 

#1 Ramanujan12 “Bohemian” Intellectual Mathematics and Occultism There seems to be a difference in the cultural genre of mathematics in recent history. Going back to arround the mid 19th Century the Annals of Mathematcis have been archiving journals in “higher mathematics”, high-high mathematics actually the highest……so high that access to currents from the periods b4 the 1990’s have an specified-only-access system to protect this information from any undesireable institutions, researchers or mathematicians even. A kind of Euro-only and industry-centered mathematics cult appears to be coveting these publications and the Anals are just the surface-undergound front for a deepest level archive. There are mathematical mystics ammongst the background of academic society that dwells on a higher level of academic life. Many of these bohemian geniuses produced equations and some even had their knowledge stollen by these “mathemagical” cult groups. Hence mathematics as we know it is for the student, teacher, professional in the industry, but the secret stuff dwells on a high intuitive level of lexicography and semiotics. This is what I will reffer to as “intellectual mathematics”, a kind of late Avante Gardeism in function theory and analysis that flourished in the 1950’s, the 1960’s, 1970’s, and the 1980’s a bit too. Schools of analysis from Poland, underground fractal maths comming out of Russia and many other countries dealing with mathematical intuitions and model theories that our academies have no access to as text nor access mentally to know the language. What I am talking about here my friends is math as a non-industrial interest relations field, math as quasi-academic, independant and having a verry apparent philosophical, hermeneutic, semiotic, and linguistic repetoire. These texts may be on microfiche, they cannot be downloaded as PDF’s or anything else. However, there are allways intentional mistakes that have occured in the Springer Verlag monographs from the 1970’s, im not sure what publishing houses permitted this or who “disappeared” for making such publications available, but it can and has happened. Mathematical illuminaries are far beyond the calculus, the algebraic equations, differential geometry etc. all fall to pieces within these genesis level math systems. And the Kabbal that archives and progresses this secret knowledge have prodigies from outside academia to write texts for them, highly cryptic texts and symbols you aint ever seen, and believe me I have seen it all, everything from the halls of higher surface to the highest underground maths. It might be important for me to note that these 20th Century periodicals are not mathematics as we know it. Most of the value of these texts is their heuristic and crypto-interpretive stylism. All of the prised and respected mathematical foundations for QST and QFT all fall apart, and all of their field invariances, all of their incongential inconsistencies collapse with this coveted occult mathematics. Because durring those years (1950’s-1980’s), mathematicians and mystics basically devoted a culture on the outer limits of academic discourse that was extremally philosophical and the transformational grammar used to write these text underwrite the integrals, convergences, inversions, limit theorems, scalars, and analyticity in math as we know it. Intellectual mathematicians didn’t start with symbols and relations and go on to develop integrals, vector products, and calculative tensors, toplogy etc. they underwrote all that with language, with plane worlds; ie. their math was very wordy. And the words, itallics, brackets, all that they used to delineate their theorems were intellectually rendered from a philosophy of hermeneutics, interpretation and inversions for even inverse theories reduced to lexical discourses. This was the mathematics which founded number theory, this was the mathematics that was hijacked by the illuminised occult industrial-logicians math of calculator result methods. It is offten said that the highest math dwells in intuition, in descriptive propositions that are linked to a kind of mysticism, a mysticism that speeks in strange terms, deffines mathematical processes in a language that no mathematician can easilly decipher; without years of focus on that one text that managed to make it to the presses. Basically the purpose I am written this post is to inspire you. To inspire you to make up your own rules, re-engineer the theses on calculus and analysis and algebra to that of a Pythagorean mysterium or a Plotinus. I can just see the mathematicians as philosophical heretics, with pipe tobacco kits and long overcoats writting up abstract and yes deviant theories that nobody can understand. I hope this post inspires some to think outside the unit cube into the abstract unit box. Inspiration from Doob, Iwahori, Ward, and those without names recorded who could have changed the world. Specific Moral of the story is this: mathematics is a discourse, it is becoming a computational industrial discourse and wavering it’s intelligencia. Be creative, use your imagination, and have fun because thats the highest form of intuition, that is were your theorems will happen. If the occult circle of illuminised mathematicians allready have the TOE {using anti-gravity, UFO’s, ghosts, crop circles etc.} then it is up to us to take it back by writting the equations and monographic texts that will reallize TOE from the coming-to-itself of all abstractions of language, a theory for the origination of human language and semiote as radical discursive work. Good Luck –

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