Arcadia Discussion Zone

You cannot see the drop because of all the water.

Putting aside for a moment the possibility of physical information transfer by water, it is certainly an outstanding metaphorical image and at least in that sense can be a conveyor of information/ideas. I have always been most struck by the idea that flowing water is in a state of constant change, down to the particle level, and yet presents itself as constant to our perception (rivers, oceans, etc.).

Speaking of particles, have any of you picked up on the persistent Higgs Boson rumours the past few days...?

What if we don't need to drink informated water....what if we ARE the informated water? DNA.

I believe DNA is coded through bloodlines....if the correct person is born of certain ancestors then you have a great deal of informated water in one person. (hoping that makes sense)

hey hans.....I'll have to find the thread where I was playing with the paintings. I think you will find it interesting.

Let me go see if I can find it....

Found it!

http://andrewgough.co.uk/forum/viewtopic.php?f=4&t=3174

http://andrewgough.co.uk/forum/viewtopic.php?f=4&t=2991

hi Serendiptiy,

nice to see that you did mirroings and that you began to research about it. But the difference between our work is, that I follow the notes of the painter.

The mirrowings I made are a part of the picture and are constructed by the painter. He wants us to mirror on certain axis, to get the results which he wanted .

Leonardo was a specialist in this kind of paintings. He learned it from van Eyck. Our brain has a division which is only at work to recreate parts of faces. When we are looking i.ex. at a busch, the job of this division is to find parts of faces (from enimies), and to generate a complete face from the parts. It does it by mirrowing, because faces are symmetric. If it generate a face, it gives a report to the awareness. Here it will be decided if its true or not. If it is true you can see it, if the brain decided "not true" you will never see it, but it creates a feeling that "there is something" what is watching you.

The painters use that system, to give the picture a strong intensity and the feeling of energy coming out of the picture. In his portraits , Leonardo used this "trick" to give us a feeling about the virtue and the soul of the person. A very amazing example is the portait of the Cecilia Gallerani. I do not know if I can post it, because it is a little bit obscene.

Sheila thanks for the wonderful article

I loved this
every kind of particle has an invisible twin,

beautiful.

You have notes? All I have is intuition. The fact that there was actually something there was a very pleasant surprise for me.

How do you know which axis to do the mirroring on/with?

Our brains do very interesting things. I just recently read an article on how our brains react when we walk through a doorway. When we walk through a door-way, our brain reacts to it as having completed a task. That is why we often forget why we went into a certain room for something. Which is very interesting considering that many of these paintings have many elements that could be door-ways (arches/portals).

Including us!

There are many belief systems that follow along these lines....that we all have a twin. Have you seen yours?

I must use my synthetic intuition to find out that the notes to the mirroraxis are the scaffold holes in the wall over her head.

I posted it in this thread page 1 on the 4 th Dec. 9:32 am !

You need a scaffold to walk on if you work in higher levels.

Oh...I saw what you posted, I just thought you were using notes by the artist to denote what to use, rather than synthetic intuition. I was just looking for something a bit more concrete.

I actually know a great deal about construction, and know how to read blueprints. I also know how to operate several pieces of large construction equipment.

Scaffolding was not the only thing used to work at higher levels....climbing scaffolding was probably not as popular as using baskets, which of course were employed after the scaffolding was constructed.

Have a look into the mirror and you will see the inverted twins made of light particles/waves.

By the way, I think I can post the mirroring of leonardos "cecilia gallerani". In the world of arts is "obscene" an unknown word and everything is allowed.

Leonardo did it this way : The left picture is the virtue, the middle is the visible portrait, the right pic is the soul.
In case of Gallerani you can see her virtue (!) - her soul is very small.

The mirroraxis is in both pictures exactly the middle of her face (between the eyes)

Cecilia Gallerani was the maitresse of Borghia, I think. Leonardo shows it exactly.

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I am a technical drawer of engineer buildings.

Hans


Well your getting into alchemy when you think about mirror

The dove is the Holy Spirit
"The uncreated light of the spirit reflected in the sphere of the fiery firmament as in a mirror and the reflections in their turn are the first manifestations of created light"

R Fludd1617

The Scythian warrior Priestesses were buried with mirrors. Somehow, I don't think it had anything to do with the 'holy spirit' as far as they were concerned. Spirit, maybe....but definately not of the religions of the book/Abraham.

hey hans....your first mirror image of Cecilia Gallerani looks like the face in this painting

http://www.leonardo-da-vinci-biography.com/images/leonardo-da-vinci-painting-ginevra-de-benci.jpg

which showed up when I did a search for Cecilia.....weird.

So, why would they leave scaffolding holes? It just doesn't make any sense. Those buildings were built with great care being taken to every detail. Why would they NOT finish the holes to match the rest of the interior? And even if they were planning on using the holes for maintenance later....how hard would it have been to put 'faux' stones in the holes?

Things like this bug me. It does not make any sense. Just like how history portrays the 'barbarians.' I just watched the movie Conan....why would you show those people as having the technology to make beautiful, bad-ass weapons/swords....they were proficient at metal working and yet the entire village was made out of twigs? I don't buy it.

Well done, this is the portrait of Ginerva de Benchi. I can fill a threat only with this pic. The dimensions of the painting are not the one, Leonardo normaly used. It seems to be, that someone has cut the lower part of the painting. Her hands are missing. So we must think that the secret of the painting was burried in the hands. Just like Leonardo did in the other portraits. After a long research I get the hands reconstructed. And there was something to find about the virtue and the soul.(also amazing)
I analysed the picture and found, that the secret is not in the hands. It is burried by annother way in the picture, he used a second way to hide it, not by mirroring. It is an information about a secret room in her palazzo. Behind her is shown a wall. Are you able to see it ? I do not think so.

You are absolutley right. But there is a great sence in it. I try to explain it.

If somebody is looking for the secrets in the painting, he must find an opening- a start, the beginning of the line.

The painter show us the starting point, with a nonsence, or a fail. They draw a detail, which is wrong. This shall catch your mind to the starting point. For a master builder are scaffold holes inside a kathedral a "no go", just as you and me found out.
scaffold holes in that place are a sighn that they just worked on that place on the triforium and they have not finished, because the holes are not closed.

Together with this fact and our searching to find a door in the triforium are the scaffold holes the beginning of the tracks (the beginning of the line).

If we are looking for a door in the outside wall of the triforium and we want to open that door, we need a scaffold, because it is not possible to reach this place without it.
The last step is to transform this facts in an abstract level. "the saffold holes are carring us to the door" and together with the order to mirror something (the light is inverted, ... to calculate against the light) we came to the idea that the scaffold holes are points on the painting which are showing the positions of the three mirror axises. The fourth axis is running through her "right" eye. The "right" eye is a metapher for looking the right way.

This is the way it works and the results are great. You can see that she opend a curtain on her breast (in the altitude of the triforium) which is marked with a sign "M". Wich are the initials of the pope !

Again : the painters give us a help to find the beginning of the track, by painting somthing wrong, which only a person with the right knowledge can find out.

I hope I could help you

She couldn't afford an arm and a leg so they only sold her half the painting?

There seems to be a short wall behind her at shoulder level. Is that what you are speaking of?

Edit to add: She looks so sad. Poor girl.

Hi serendipity,

Yes that is a wall with gothic bows. But the more you follow it to the right, the more it becomes abstract and at least is is build by the trees. There is a geometric system in it, a perspective. Forgive me, but I cannot draw so good with the mouse.

I do not think she is looking sad. She is looking like a person who knows something and she is thinking about ot. She knows that she is standing in front of the wall of her palazzo. She knows a secret ! Notice that the upper line crosses her "right" eye. This is a verification that I am on the right way.



If you have seen the wall beginning at her left shoulder, your eyes might be good.
But often you can see more, if your eyes are not so sharp.

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And here is the analysis of her virtue and soul :
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Here I completed her with hands. The hands are a sketch of Leonardo. I changed them a little bit and now the dimensions of the painting are normal.
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What is it with some of these paintings and the awkward position of the hands? Some of the positions are actually very uncomfortable.

Why would they go through so much trouble to capture virtue and soul that way?

It is a secret system of Leonardo.

He knows that our subconscious is able to see this two kind of mirrorings. But our awareness choises the "normal" portrait and decided that we only see this one. The other two pictures become converted into feelings.
This system keeps us feel, that something magic is inside the painting and "touching us". We see the picture and at the same time we get some feelings about the person.

I can give you a very hard example. It is an altarpainting in a protestantic church in a city 20 KM away from my home. It is from 1667, painted by an artist, who has Rembrandt as his teacher. His Name is Jürgen Ovens. If the people are watching the painting they get fear, and they do not know why. One of then called me to have a look and I found the reason.

The picture is called : "victory of the good over the bad" . On the left side you see the orgin painting. On the right side is that what only our subconscious is able to see. The result is fear.
So the question is : was it the victory of the bad ?
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Here is an detail of the "good guy". The question is : What kind of teacher was Rembrandt ?
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