Beware of neo-fascist unethical religious SAINT ANDREWS cause célèbre
online conduct by membership of Knights Templar International as
unlawful foreign power.
Do you deny having any association whether directly or indirectly with
such a foreign power
HIHN
DOLF @ 1622 HOURS ON 29 NOVEMBER 2017: “I am safely back home after
sustaining an assault from my neighbour and getting a double leg
fracture (tibia / fibula) which required emergency surgery.
The Insurance assessors require further details of value and determining
damages about the ship artefact which your deceased father has made.
I know that it was named:
English: Grasshopper
Dutch: Irene
Can you give me some idea of the date of the actual ship, date when your
father made it, how many other ships you have in your ship collection
and their relative values.”
DOLF @ 1157 HOURS ON 1 DECEMBER 2017: “Sorry to repeat the question as
you are probably busy.”
KEITH @ 1158 HOURS ON 2 DECEMBER 2017: “Thank you Dolf yes I will send
you a phrase about my dad's model ship building ..there is a whole
chapter 23 in Vertrek dealing with his ship building including how he
made them with pictures I can electronically send you the whole chapter
which you can then sent to the insurers.
Your ship was build at Portarlington 1964.”
DOLF @ 1158 HOURS ON 2 DECEMBER 2017: “Thanks for that Keith, I will let
the jewellery assessors know...
The insurer has directed action to them because they are best able to
assess artisan value.
But what $ value would you place upon your ship collection?
I would very much appreciate if you could send me the Chapter 23
electronically to the following address:
<mailto:***@bigpond.com>”
KEITH @ 1318 HOURS ON 2 DECEMBER 2017: “Difficult to say but for example
the Zeven Provincie was sold for $9000 in 1999 and the Batavia for
similar. De Irene sold for $4000 in 1964..to a Toorak Antique shop. I
will send an electronic copy of chapter 23 later this evening. To you
grapple account ...Hope your leg fracture is healing ...bad neighbour
😠. Try to make it a good weekend Dolf..cheers Keith”
DOLF @ 1320 HOURS ON 2 DECEMBER 2017: “Is the De Irene my ship. I
thought that you had told me that it was?
Would you like a picture to appraise?
<sent several pics provided to insurer>"
DOLF @ 1321 HOURS ON 2 DECEMBER 2017: “You have thankfully given me
sufficient information to advance my claim.”
KEITH @ 1321 HOURS ON 2 DECEMBER 2017: “Yes the Irene was your ship.
Dad made three yours was the second I have the third ...yes I will send
you some pictures of dad with your Irene ...”
DOLF @ 1322 HOURS ON 2 DECEMBER 2017: “What is your mobile no?
0402753362"
KEITH @ 1321 HOURS ON 2 DECEMBER 2017: “0407240349 ..but my old phone is
ooo today getting a new one next week ..it still works ok but the ringer
has gone ...last six digests are my birthday "
DOLF @ 1324 HOURS ON 2 DECEMBER 2017: “Thanks Keith, you have given me
more information than I had expected.
If you could find the picture of your father with the Irene and email me
chapter 23 that will suffice for the Insurance claim.
And if they need to speak with you via I will give them your mobile number."
DOLF @ 1325 HOURS ON 2 DECEMBER 2017: “I have the security alarm people
arriving to install my system within the next 10 minutes so I must away.
Have a great weekend."
DOLF @ 1334 HOURS ON 2 DECEMBER 2017: “Yes that is it on the far right."
KEITH @ 1334 HOURS ON 2 DECEMBER 2017: “Your ship is on the far right
..the biggest .."
DOLF @ 1335 HOURS ON 2 DECEMBER 2017: “When was that photo taken?"
KEITH @ 1335 HOURS ON 2 DECEMBER 2017: “1971"
KEITH @ 1336 HOURS ON 2 DECEMBER 2017: “50 Simons Road Leopold ...we had
bought a new car too the co[mm]adore station wagon in the drive .."
DOLF @ 1336 HOURS ON 2 DECEMBER 2017: “Thanks"
VERTREK CHAPTER 23: THE SHED—DE SCHUUR
Piet had told me that every man needs a solitary place to daydream and
be himself. He felt that daydreaming is a definite key to
self-discovery, finding one’s place in the world. I often wondered if
the majority of Dutch people ever daydreamed.
What did Ernest Hemingway, Mark Twain, Gustav Mahler, Henry David
Thoreau, Thomas Jefferson, and Virginia Woolf have in common with my dad
Piet? All these great artistic men and woman had their schuur (shed)
either on a mountain or in their backyard. Piet had his in the backyard.
Not that Piet would have equated himself with these great men; his
cultural influence was too Calvinist for that, leaving him sober and
self-deprecating. Yet he made some of the most beautiful models of
vintage ships that I had ever seen. Of course I am biased; he was my
dad. We called the shed de schuur. Whenever we would ask Bets where Piet
was, she would answer, ‘Why do you ask? You know he is in his schuur.’
Wherever we lived, Piet had his schuur, although it was by any measure
not conventional.
Dad and I had beachcombed for months, walking long hours, looking for
wood to build a schuur. The best pieces of teak, oak, cherry, and other
rare woods were valued. This was in the days before containers; ships
would often throw valuable timber overboard. The found wood was sorted
and stacked between the rafters of the roof; this gave the schuur a
feeling of a boatbuilding yard, an artist’s atelier. The foundations,
wall, and roof were made from recycled material, and everything would be
related in some part to a historical strand. The teak windows were
salvaged from a sunken tugboat, the door and its 1906 copper key and
handmade lock from the same boat. It took us weeks to remove barnacles
and polish the wood and copper. The rafters were made from metal
recycled from a large passenger liner that was being repaired. Piet’s
friends had come to help him build this schuur, as well as family over
from Nederland. The front brickwork façade was completed by Charles
Paulson, a Danish friend whom Piet had met whilst working at Alcoa. The
brickwork was perfectly done, still not a crack after forty-two years.
Visitors too left their mark in the shed; his brother Kees, who was an
electrician in the Dutch Navy, rewired the whole workshop and made it
electronically safe. The large garage door’s brass mechanism was
handmade; it worked for forty years and made thousands of turns for
years, without replacement.
Piet had told me that every man needs a solitary place to daydream and
be himself. He felt that daydreaming is a definite key to self-discovery
and finding one’s place in the world. I often wondered if the majority
of Dutch people ever daydreamed. Most Dutch Australians, ones I met,
were all so earnest, dedicated, and serious. I concluded from my
observations that easy-going Dutch Catholics daydreamed more than some
of the seemingly dour and serious Calvinists. I agreed with Piet; to be
in unusual places stimulated my daydreaming and fantasy processes,
especially in solitary places. In our library, we had several books
about Australian Aboriginals’ Dreamtime, and my Australian indigenous
friend Jarrah, the one with no football boots, whom I met at Nowra High
School, had told me that Aborigines formulated and experienced their
Dreamtime stories in quiet spiritual places. Dreamtime was sometimes
difficult for many Dutch people, who appeared always to be so rational
and businesslike they thought that daydreaming was a waste of time, but
not us. Dreamtime was future-building time, and the future was always hope.
Besides a place for Dreamtime and daydreaming, a man’s shed reflected
the character of the man and his craft. It needed to be a place for
dreaming, creating, reflecting, and licking one’s wounds when hurt. The
schuur, like our earlier kist, was a merging of two cultures, the past
old Dutch with the future new Australian; the two cultures merged and we
became one.
Sheds tell a lot about a man’s personality; the schuur was a reflection
of Piet’s personality. It was his place to create, invent, build,
repair, draw, paint, recycle, dismantle, and even potter around or do
nothing in particular. Things did not always have to have a purpose;
nothing is a waste of time while you’re breathing, he used to say. In
Piet’s schuur, there were no house rules to be obeyed. This was a place
of being in touch with one’s own psyche, a place that stimulated good
thoughts. Slogans and poetry and large poster of clipper sailing ships
decorated the walls, and he had stencilled sea shanties and poems on the
white washed-concrete brick walls. Visitors stopped, read, and mused.
The schuur drew many visitors, and in time, it transformed, almost like
a museum as it became a repository of collections of the Dutch
community. Every time some of the Dutch community would passover, we
would inherit their books and music as well as some of their
decorations. Opa Schreurs’ old Dutch wooden clogs, the ones he wore in
the Nazi labour camps hang up in the schuur. The wooden shoes that had
trod the ground of his Limburg boerderij (farm) hang on the schuur wall;
we painted them white and grew red geraniums in them. One of the most
treasured possessions is a 1838 Dutch sea chest given to us by Jan
Kuiper, a dear family friend whom we met at Portarlington; it had
belonged to his father. He also left us nearly one hundred Dutch books,
some of them printed in Napoleonic times. Each time I open these books,
I am transported to different times. Talking, listening to the distant
yet closed voices of the past makes me feel good that I am part of the
continuum of human history; through finding our place in history, we
will find our meaning and purpose.
One of our prize possessions still hanging in de schuur is a handmade
Dutch liberation flag made by my oma Francien Paulusse when the Allies
liberated Zeeuws Vlaanderen (Zeelandic Flanders), the most southern part
of the province of Zeeland across the River Scheldt in September 1944.
She made it in ten minutes flat, and with great excitement, on her
hand-operated Singer sewing machine ready to welcome Queen Wilhelmina,
who had just landed in Zeelandic Flanders from a five-year exile in
England. The queen acknowledged this rood wit blauw (red, white, and
blue) flag, fiercely fluttering in the fresh Zeeland winds, after being
hoisted on the main mast of the good ship De Scheldestroom. Polish,
Canadian, and Dutch troops, together with Zeeland citizens, saluted this
flag with tears in their eyes after nearly five years of Nazi rule and
atrocities. This flag especially, even though torn and tattered, means a
lot to the Zeeland people and especially the Paulusse family. The Dutch
flag is the oldest flag in the world that has continuously flown for
freedom and democracy accompanied by the oldest national anthem in the
world, ‘Het Wilhelmus’ (‘ The William’, after Prince William of Orange
the Silent).
Other Dutch migrants left things with us, such as a 1921 handmade Royal
Dutch Shell flag, including signage flags from Dutch liner Willem Ruys.
Periodically we would display them in the schuur, including large wooden
ships’ tackles, oak chairs, and cupboards salvaged from some old Dutch
ships which the Korevaars had sailed from Nederland. There was old Royal
Australian Navy cutlery and crockery from the MV Sprightly, an ex-Navy
tugboat.
The schuur had a definite feel of a shipbuilding ambience authenticated
by rich smells of what I imagined an old wooden shipbuilding yard to be.
Old distinguished-looking Dutchmen with their big Dutch Elisabeth Bas or
Schimmelpenninck cigars visited often. The whole atmosphere was of
course gezellig, the heady mixture of Stockholm tar, teak and oak woods,
and rich cigar aroma including the sweet vapour of young Dutch gin.
Anyone looking on could be forgiven in thinking they were transported
back into another world of another age, the golden age of Dutch maritime
history when they crossed and conquered the oceans of the world.
We would inherit many Dutch books, vinyl records from second-generation
Dutch people my age. They said it they had no use for it, or they could
not read or understand Nederland, and when I asked about their heritage
links, well, they simply were not interested. Regrettably, the second
generation has been so Anglicized and have assimilated Dutch heritage
almost out of existence, almost as though the Nederlanders had not been
here and left their mark. In my opinion, they were too much
Australianised, or as we jokingly call it, Aussified, a take from
ossified, succumbing to the culture of football, American gadgetry, BBQ,
and an abundance of beer and women, at the expense of cultural
development and awareness. The tide seemed to be turning; many of the
grandchildren of the 1950s, ’60s post-war Dutch migrants are now taking
a great deal of interest in their heritage, language, and the historical
links between the nation continent and Nederland as they search for or
construct their own identity.
The schuur was also a training school for me, his son, as I learnt
woodwork, furniture making, and simple model shipbuilding. Josh, his
only grandson, spent many years in the schuur with Pa, making model
planes, ships and starting as young as two years old. The schuur was
transferred to playground, putting up two swings for both Josh and
Ebony, and a dartboard. It was in the schuur were we discussed his
concerns for Bets as her Alzheimer’s condition deteriorated. His own
state of health was talked about and what would happen to Bets should he
go first; the schuur was the perfect secure place where issues of life
and death, secret men’s business as the Australian Aboriginals would
call it, could be talked about. Tools seemed to last forever; Piet was
using tools from his grandfather and father, hammers, chisels, carving
tools, solder iron, spanners, and screwdrivers. I still use these same
tools today; some are over one hundred years old. The modern tools of
today are no match for the made-to-last tools of last century; modern
tools, like everything else, have inbuilt obsolescence to keep
manufacturing going and the economy producing. Tools were seen as
workable and practical mementoes; even now when I use these tools, I get
a thrill out of the knowledge that my father and my grandfather,
cousins, and uncles have used and handled the same building tools that I
am now using to make small pieces of furniture and model boats. One
thing the Paulusses were not Luddites (people who do not want to accept
new ideas and technology). We kept up with the times; electric saw
benches were acquired, band saws and wood and metal turning, a lathe for
turning mast and cannon barrels for the Dutch VOC model trading ships.
The schuur was often a social gathering place; Bets and her friends
would at times join Piet in de schuur for coffee and oliebollen, Dutch
doughnuts without the hole they made from dough mixed with fruit and
fried in hot vegetable oil, a messy process which was always done in the
schuur. When cooked, these were golden brown and smelled like a musky
sexual aphrodisiac; that is why I am sure they are so very popular with
all Dutch people. These would be sprinkled with powdered sugar snow. At
times, the schuur would be transformed into a primitive cinema with
seats for forty of us seated on wooden crates and an eclectic array of
‘cool’ chairs of bygone eras sitting among half-made model ships and
machinery. My parents would encourage bringing friends home, usually on
a Saturday night several times during the year. It would be Dutch
pancakes and Belgian waffle night or Dutch game night. While we liked
Aussie type BBQs, we also liked varieties of multicultural socials.
After forty years, people still say Oma’s Dutch ‘bowl’ fruit punch, made
from a 150-year-old Zeeland recipe, packed a punch. Ingredients were a
family secret: lots of cherries, red wine, and cherry liqueur with
something else and then some more. No one ever got drunk, just a little
merry. I had obtained my projectionist license as we had brought a
second-hand 16-mm sound film projector and would hire films such as My
Fair Lady and Mary Poppins and would show these during our social in the
schuur; this was before the days of videocassettes, let alone DVDs.
The schuur centre was where beautiful things were made and happened.
From day one in Australia, Piet maintained his craft of building wooden
model ships, specializing in vintage ships. He would spend hours
carving, bowing, and sawing chiselling, bending, nailing, and measuring.
Friends or strangers would just sit in the schuur near him and watch,
often silently, sometimes quietly talking in the background. There would
frequently be quiet music, street organs, light classical, Vera Lynne,
Glen Miller, Duke Ellington, Corrie Brokken, Annie De Reuver, Toon
Hermans—the singers and musicians of his youth.
People wondered why Piet would make these beautiful ships. Was he
homesick for the Dutch waters, the river barges, the open North Sea, or
did he want to relive his memories through making models? Ships and
crafts were used as teaching aids by our parents for us kids; there was
a story attached to everything they made. Bets would make and teach
crafts for the Leopold Uniting Church, where young women would come and
learn. At times, the financial situation would be bad, and some of the
ships would be sold to the antique shops in Toorak, helping the family
out of difficult situations. He made ships of his youth, and the ones he
had worked on, such as the Koningin Emma (Queen Emma), a ferry ship
crossing to and fro on the River Scheld. Piet worked on this ferry after
he and his mates returned from police action in Indonesia and it had a
lot of meaning for him. He often said that the shapes of ships were like
beautiful women, symmetric curves, well-balanced and designed to move
swiftly through the fluids of life.
He built several models of James Cook’s ship, the Endeavour. Piet
realized that Captain Cook was a revered personage in Australia and the
building of the Endeavour would show that we Dutch were not only eager
to assimilate, but also eager to create a common element which we could
talk about with Australians, when we exhibited the splendid models.
After the Endeavour, models of other famous English ships followed, such
as Francis Drake’s Golden Hind, the first ship to circumnavigate the
world, then Captain Bligh’s Bounty, of Mutiny on the Bounty fame. Local
models were not forgotten. After a visit to Loch Arch Gorge near the
Victorian coastal town of Warrnambool, he was impressed. He made a visit
to the wreck site of the clipper Loch Arch, and wrote away to Scotland
for plans of the Loch Arch; it took him almost two years’ time to build
this magnificent and historically relevant sailing clipper.
One of his crown ships he made, besides the infamous but beautiful
Batavia, was the crown jewel of all of Piet’s models: De Zeven
Provincien (Seven Provinces), named after original provinces of the
Dutch Republic when it declared independence from Spain. De Zeven
Provincien was the flagship of the famous Dutch national hero Admiral
Michiel De Ruyter, a fellow Zeelander, who sailed up the River Thames,
causing the city of London to be evacuated. There were always exciting
stories, and he would entrance me with them as he was building his
creations.
He would tell me about the Battle of Solebay, which had a combined
French/ English fleet of seventy-four major warships against a
(victorious!) Dutch fleet of sixty-two. Of course history has forgotten
this; Piet was convinced that the English made sure it would be
forgotten. The Solebay battle pitted eighty-five Dutch warships against
an English fleet that eventually numbered at least seventy-four major
warships over a period of four days! Yet the English still credit
Trafalgar as the ‘greatest’ of sea battles! As kids, we all loved to
hear the stories of when De Ruyter and his fleet not only sailed up the
Thames and the Medway, destroying and carrying off a major portion of
the English fleet, but actually continued there for over a month,
blockading the Thames, terrorizing London, and raiding up and down the
river at will! Yet so little is written about this by the English. The
captured trophies of the Dutch invasion of England are still on display,
such as the stern carving of the biggest English warship, the Royal
Charles, captured by the Netherlanders still hangs with pride in the
Rijksmuseum at Amsterdam.
Of the many stories told in the schuur was this one, still my favourite:
The Zeven Provincien was ordered to search for forty captured Hungarian
Protestant ministers. They had been sold to the Spanish fleet to serve
as galley slaves. De Ruyter had an inkling that they were kept in a
Naples prison by the Catholic forces. The Neapolitans denied it, but De
Ruyter persisted, and anchored in the dead silence of the night, the
Dutch fleet blockaded Naples. In the middle of the first blockading
night, every sailor heard the prisoners sing Psalm 116. Admiral De
Ruyter immediately gave the Neapolitans an ultimatum: release the
Protestant ministers or face a bombardment aimed at annihilating Naples.
The twenty-six survivors sang Psalms 46, 114, and 125 as they were being
transferred to the Zeven Provincien on February 11, 1676. When the
transfer was complete, they knelt on the deck in their rags and
emaciated condition and sang Psalm 116. The Dutch seamen, who seldom
shed tears, wept openly. How did the Dutch know that the Hungarians (who
spoke no Dutch) were singing Psalms 46, 114, 125, and 116? Because they
were singing them in Hungarian on the Geneva tunes the same as Dutch tunes.
My oma had paintings done for our rooms about Michiel De Ruyter climbing
the church tower in Vlissingen (Flushing) to look out for the English
fleet and so save Zeeland from the naughty English.
It is worth noting that Piet made all things by hand from second-hand
materials; everything that was recyclable was used. He never purchased
anything ready-made from hobby shops; for him, every little thing had to
be authentic and handmade as it was originally done. He was fastidious
in detail and quality; everything had to be authentic. The Zeven
Provincien took Piet nearly three years to build with painstaking
patience. If a cannon was not perfect, he would make it over and over
again until it was perfect. The whole family became involved in the
history of the Zeven Provincien. According to Piet, the Dutch would have
lost against the English fleet if they did not have this ship and they
would not have had supremacy of the seas for nearly a hundred years.
For more than fifty years, Piet worked on his models, but never at the
expense of his family. We were proud of our dad and he transferred many
of his skills and personal attributes to his offspring.
In all our lives, there are aspects that define a person’s life
signature. For Piet’s, it is love for all things maritime, especially
the building of model boats and vintage ships. He had made many VOC
ships of the Dutch golden century; this gave us a sense of love for
history and the contribution our Dutch forefathers, such as
parliamentary democracy, discovery of new lands, banking and stock
markets, being good world citizens. Piet’s ship told these stories
because they were part of the Dutch global economy, begun in 1602 with
the founding of Batavia, now Jakarta. As a truly talented craftsman, he
loved books and reading, albeit nearly all maritime books. What happened
to the schuur? It is still standing; as I am looking at it right now, it
needs to be painted. The books are packed in crates; maybe they need to
be unpacked. The flags are folded; maybe they need to be unfolded. The
poetry on the wall is fading; maybe they need to be refreshed. The roof
is leaking in tiny spots; maybe it needs patching. The ships? Some of
them are in museums, and most of them are displayed in the living rooms
all over the world. The schuur remains a man’s shed; even when I enter
it today and friends come and visit, it reverberates hope, consistency,
nostalgia of a quieter, more stable time, a time when men used their
hands and brains and built things of worth. The schuur continues.
DOLF @ 1429 HOURS ON 2 DECEMBER 2017: “Thanks very much Keith for the
excellent information, what I will do is augment what you have sent with
respects to Chapter 23 with a SCAN of the relevant ship images from the
chapter so as to authenticate my representations to the Insurer's
assessors."
— THAT’S LIFE JIM EPITAPH
(c) 2017 Dolf Leendert Boek, Revision: 2 December, 2017
This Facebook post was repeatedly subject to censorship as deleted by
“The Free Thought Project” without reasonable cause and who as a
misnomered and supremacist organisation exercise prejudiced hedonism
against life by their indolent manner as the intolerance which is the
American Dream of vacuity.
— SOLITUDE IS VERY DANGEROUS —
“It’s very addictive.
It becomes a habit.
After you realise.
How peaceful.
And calm it is.
It’s like you don’t.
Want to deal with people.
Anymore because they
Drain your energy.” [Jim Carrie epitaph, The Free Thought Project, 2
December 2017]
What pessimistic psycho-babbling diatribe:
#1 - Singularity as ensuring viability to any formula of autonomy has
precedence;
#2 - Reciprocity as anchorage / centrality with others is a delimitation
of the former;
#3 - How you mutually and agreeably choose to enjoy your opportunities
with others ought to be negotiable;
#4 - Avoid circumstances where the integrity of persons is compromised
by the intentions of others;
#5 - Acknowledge the cause for any disharmony and peaceably strive for
resolution;
#6 - Always make a better choice as the principle for self actualisation
(you need to happily live with an opportunity);
#7 - Understand that everything you do, say, want or refuse comes with
constraints and means.
That’s just a quick 5 minute hypothetical sketch which doubtlessly may
be improved upon.
Have you got something other than a glib statement Jim?
It’s life Jim but not as we know it ...
YOUTUBE: “It’s Life Jim”
American Slaves IF THE SHOE FITS, WEAR IT!
https://vimeo.com/245276569
A Living Christ speaks to all and lets the truth fall where it may. It is
all designed along the lines of the adage "If the shoe fits, where it."
That is how the Truth changes people. There is no way of avoiding it. It
may be painful but necessary. Pain is the agent of change to a DEAD
consciousness. Wear the shoe and grow out of your IGNORANCE!
”No other man but I, in the recorded History of mankind, including JESUS
CHRIST, has directly revealed to the World the SATANIC WEAPON used to
enslave mankind INTELLECTUAL THOUGHT!!”
Raymond Ronald Karczewski© A Living Christ
Vimeo Videos
A Living Christ reveals the secret of Heaven and Hell
https://vimeo.com/236044400
https://vimeo.com/raymondkarczewski
Living Christ Offers Redemption to those Who Live in the Hell Of their
own Satanic Intellects.
https://vimeo.com/241314352
--
SEE ALSO: *INVALIDATING* *THE* *ORTHODOX* *AND* *ROMAN* *CATHOLIC*
*CHURCH'S* *CLAIM* *TO* *JUBILEE2000* *AS* *BEING* *DELUSIONAL* *AND*
*FRAUDULENT*
Private Street on the edge of the Central Business District dated 16th
May, 2000 - This report is prepared in response to a TP00/55 as a Notice of
an Application for Planning Permit
- <http://www.grapple369.com/jubilee2000.html>
SEE ALSO: HYPOSTATIS as DAO OF NATURE (Chinese: ZIRAN) / COURSE (Greek:
TROCHOS) OF NATURE (Greek: GENESIS) [James 3:6]
Chinese HAN Dynasty (206 BCE - 220CE) Hexagon Trigrams to Tetragram
assignments proposed by Yang Hsiung (53BCE - 18CE) which by 4BCE
(translation published within English as first European language in 1993),
first appeared in draft form as a meta-thesis titled T'AI HSUAN CHING {ie.
Canon of Supreme Mystery} on Natural Divination associated with the theory
of number, annual seasonal chronology and astrology reliant upon the seven
visible planets as cosmological mother image and the zodiac.
It shows the ZIRAN as the DAO of NATURE / COURSE-trochos OF
NATURE-genesis [James 3:6] as HYPOSTATIS comprising #81 trinomial
tetragrammaton x 4.5 day = #364.5 day / year as HOMOIOS THEORY OF NUMBER
which is an amalgam of the 64 hexagrams as binomial trigrams / 81 as
trinomial tetragrammaton rather than its encapsulated contrived use as the
microcosm to redefine the macrocosm as the quintessence of the Pythagorean
[Babylonian] as binomial canon of transposition as HETEROS THEORY OF
NUMBER.
- <http://www.grapple369.com/nature.html>
The Charter of Human Rights and Responsibilities No. 43 of Act 2006
defines a "PERSON MEANS A HUMAN BEING” and the question is, if it is
permissible to extend this definition to be a "PERSON MEANS A HUMAN BEING
AS A CONSCIOUS REALITY OF HOMO[iOS] SAPIEN[T] WHO IS INSTANTIATED WITHIN
THE TEMPORAL REALITY AS THEN THE CAUSE FOR REASONING AND RATIONALITY."
That my mathematical theoretical noumenon defines the meta-descriptor
prototypes which are prerequisite to the BEING of HOMO[iOS] SAPIEN[T] as
EXISTENCE.
- http://www.grapple369.com/Grapple.zip (Download resources)
After all the ENNEAD of THOTH and not the Roman Catholic Eucharist,
expresses an Anthropic Cosmological Principle which appears within its
geometric conception as being equivalent to the Pythagorean
TETRAD/TETRACTYS
