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https://en.wikipedia.org/wiki/Microprocessor#16-bit_designs
16 VOICE POLYPHONIC 16 PADS
https://en.wikipedia.org/wiki/File:Akai_MPC60.jpg
https://en.wikipedia.org/wiki/Music_Production_Controller
The MPC60 is a 16 voice polyphonic 12-bit 40 kHz sampler / 99 track sequencer designed in large part by Roger Linn after Linn Electronics closed. It was similar to the Linn 9000. Akai released it in 1988. It had 750 kB memory standard, expandable to 1.5 MB. The sequencer is very flexible and powerful, famous both for its "swing" setting, and its easy to use step programming. It had 2 MIDI inputs / 4 MIDI outputs, allowing it to control up to 64 devices. The sequencer itself was offered as a separate product, known as the ASQ10, also released in 1988. The MPC60-II was nearly identical to the MPC60, but it featured a headphone output, and a plastic case, instead of the metal case of the original. It was released in 1991.
Features[4]
16 velocity-sensitive pads
2 pad banks (64 voices per program)
sampling rate of 40 kHz (freq response 20 Hz - 18 kHz)
16-bit ADC and DAC, with data stored in special non-linear 12bit format (for low noise)
750 kB sampling memory (13.1 seconds), upgradable to 1.5 MB (26.2 seconds) (expansion card: EXM003)
128 sounds in memory, 64 sounds per program, 16 voice polyphony.
2 MIDI inputs, 4 MIDI outputs
20 songs, 99 sequences, 99 tracks, 60,000 note capacity
timing resolution of 96ppq (parts per quarter note)
syncable via MIDI Time Code (MTC), MIDI Clock, FSK24, SMPTE, 1/4 note click.
SMPTE supported frame rates: 24, 25, 29.97 drop, and 30.
8 assignable outputs + 1 stereo + 1 effects send/return
Internal 3½" floppy drive (Double Density 720 kB)
optional 3rd-party SCSI interface (by Marion Systems)[12]
64 IS FOUR 16S
https://en.wikipedia.org/wiki/File:Akai_MPC2000_(front).jpg
https://en.wikipedia.org/wiki/Music_Production_Controller
The MPC2000 is a 64-track sampler/sequencer introduced in 1997 and discontinued in 2001. It comes with 2 MB sample memory as standard, and can be expanded to 32 MB. It supports a sampling rate of 44.1 kHz, in 16 bit stereo or mono.
Features[6]
16 velocity-sensitive pads (Invented by Roger Linn)
Internal 3½" floppy drive
1 single button to access 4 pad banks
2 MIDI inputs, 2 MIDI outputs
100,000 note capacity 64-track sequencer
2 MB sampling memory (upgradable to 32 MB)
Optional effects board (EB16)
Optional 8 outputs and digital I/O board (IB-M208)
SCSI interface
256 IS FOUR TO THE FOURTH POWER- 16 PADS 16 SQUARE QUADRANT MODEL
https://en.wikipedia.org/wiki/Music_Production_Controller
https://en.wikipedia.org/wiki/File:Akai_MPC2000XL_front.jpg
The MPC2000XL is similar to the MPC2000 but with many newer features; including four independent pad-bank keys, number of samples stored doubled to 256 on the XL, altering sounds to a different bit depth or sampling rate could be accomplished by resampling, time stretch was added along with other features. In 2004 the 2000XL-MCD version was released, which features a CompactFlash card reader as standard in place of the floppy drive or Zip drives used in earlier models.[13] There were 4 limited editions 2000XL SE MPCs created between 2000 and 2003. There were two versions of the SE 1, one with an improved control surface, compatible with growing number of sound libraries and one with aesthetic changes. The Limited Edition SE 2 and SE 3 also had only aesthetic changes.[14]
64 IS FOUR QUADRANT MODEL 16s 128 IS 64 TIMES TWO
https://en.wikipedia.org/wiki/File:Akai_MPC2500.jpg
MPC2500[edit]
https://en.wikipedia.org/wiki/Music_Production_Controller
Akai MPC2500
The MPC2500 is the mid-range of the Akai line of MPCs. It has a 100,000 note, 64 track mixer with 64 assignable MIDI channels. It has 16 MB of RAM standard and can be upgraded up to 128 MB of RAM with the AKAI EXM128 stick of RAM. It contains a USB port for computer connectivity. It contains a CompactFlash slot for storage of samples, and can be upgraded with a variety of hard drives. The MPC2500 contains 2 MIDI inputs and 4 MIDI outputs. The MP2500 also has the Chop Shop feature, which can chop a sample into as many as 64 pieces. A CD-R/DVD drive can be added for burning and reading capabilities. Also comes with a 128 MB compact flash card with sound kits. MPC2500 was discontinued in 2009.
Features[9]
USB port (Mass Storage Class)
CompactFlash card reader
16 velocity-sensitive pads
2 MIDI inputs, 4 MIDI outputs
100,000 note, 64-track, MIDI sequencer
16 MB sampling memory (upgradeable to 128 MB)
standard effects include: Chorus, Flanger, Bit grunger, 4 band EQ, Compressor, Phase shifter, Tremolo, Flying Pan, Reverb, and Delay.
8 assignable outputs and 1 stereo output.
two assignable Q-link sliders and knobs.
240 x 64 hinged backlight LCD screen.
CD-R/DVD drive CD-M25 (optional)
JJOS compatible[15]
64 IS 16 TIMES 4
MPC1000[edit]
https://en.wikipedia.org/wiki/Music_Production_Controller
https://en.wikipedia.org/wiki/Music_Production_Controller
Akai MPC1000
Akai MPC1000BK
The MPC1000 is a 64-track sampler/sequencer. It comes with 16 MB sample memory as standard, and can be expanded to 128 MB. It supports a sampling rate of 44.1 kHz, in stereo or mono. Its features include a USB port, an internal CompactFlash card reader, two MIDI inputs and outputs, and effects and multiple analog outputs as standard. Its sequencer's resolution is 96 ppq.
There have been many reported problems with the pad sensors in the 1000. In the original MPC1000 sensors, a thin square of carbon-impregnated rubber is glued at each corner above a copper coil. When a pad is depressed, this carbon-impregnated rubber is compressed against the copper coil, allowing current to pass through. This moving part can wear out, as the carbon-impregnated rubber sloughs away from the glue and eventually breaks loose.
In 2007, Akai offered a fix for this issue, retailing at 180 USD. The pad sensors design returned to the design of the pad sensors in previous models. This upgrade has been seen to be pre-installed on the MPC1000BK-N and some versions of the MPC1000BK, not the MPC1000 (blue outer casing). Before this change, a MPC1000 user designed, built and sold kits of a pad fix under the name "Nym." Nym's kit is no longer available. By comparison, the more recent Akai pad fix uses better sensor technology (Sensitronic FSRs).[16]
Features[8]
USB port (Mass Storage Class)
CompactFlash card reader
16 velocity-sensitive pads
4 pad bank keys
2 MIDI inputs, 2 MIDI outputs
100,000 note capacity 64-track sequencer
16 MB sampling memory (upgradeable to 128 MB)
Effects as standard
Multiple analog outputs as standard
Time stretch and pitch shift (added in OS 2.0)
JJOS compatible[17]
48 IS 12 TIMES 4- AND THERE IS FOUR TIMES THREE 12 PADS-- AGAIN THE DOMINANCE OF FOUR
https://en.wikipedia.org/wiki/Music_Production_Controller
https://en.wikipedia.org/wiki/File:Akai_MPC500.jpg
The MPC500 is the smallest MPC ever made and is the first truly portable MPC created. It can be run on 6 AA batteries but also can be run on a 12V DC plug. It combines a 48-track MIDI sequencer and a 32-voice stereo digital sampler. The MPC500 is the first MPC that only has 12 velocity-sensitive rubber pads. It comes with 16 MB RAM but can be upgraded up to 128 MB of RAM. It has a CompactFlash slot for storage of samples. One major appeal of the MPC500 is the fact that you can take a project created on the MPC500 and transfer it to any current MPC with a CompactFlash reader. The MPC500 has a USB port for computer connectivity. It has one stereo output, making it the only MPC currently in production that does not have assignable outputs.
Features
USB port (Mass Storage Class)
CompactFlash card reader
12 velocity-sensitive rubber pads
Stereo L+R in & out
1 MIDI in and 1 MIDI out
4 pad banks
2 x 16 character LCD screen with back light
Standard effects include: Chorus, Flanger, Bit grunger, 4 band EQ, Compressor, Phase shifter, Tremolo, Flying pan, Reverb, and Delay.
Approximately 4.5 hours of continuous use with LCD backlight on.
465.5 sq CM footprint.[10]
FIRST DRUM MACHINE 16 RHYTHMS- 16 SQUARES QMR
https://en.wikipedia.org/wiki/Drum_machine
Rhythmicon (1930–1932)
In 1930–32, the spectacularly innovative and hard-to-use Rhythmicon was developed by Léon Theremin at the request of Henry Cowell, who wanted an instrument which could play compositions with multiple rhythmic patterns, based on the overtone series, that were far too hard to perform on existing keyboard instruments. The invention could produce sixteen different rhythms, each associated with a particular pitch, either individually or in any combination, including en masse, if desired. Received with considerable interest when it was publicly introduced in 1932, the Rhythmicon was soon set aside by Cowell and was virtually forgotten for decades. The next generation of rhythm machines played only pre-programmed rhythms such as mambo, tango, or bossa nova.
RHYTHMICON FIRST DRUM MACHINE- SIXTEEN RHYTHMS
https://en.wikipedia.org/wiki/Rhythmicon
The Rhythmicon—also known as the Polyrhythmophone—was the world's first electronic drum machine (or "rhythm machine", the original term for devices of the type).
In 1930, the avant-garde American composer and musical theorist Henry Cowell collaborated with Russian inventor Léon Theremin in designing and building the remarkably innovative Rhythmicon. Cowell wanted an instrument with which to play compositions involving multiple rhythmic patterns impossible for one person to perform simultaneously on acoustic keyboard or percussion instruments. The invention, completed by Theremin in 1931, can produce up to sixteen different rhythms—a periodic base rhythm on a selected fundamental pitch and fifteen progressively more rapid rhythms, each associated with one of the ascending notes of the fundamental pitch's overtone series. Like the overtone series itself, the rhythms follow an arithmetic progression, so that for every single beat of the fundamental, the first overtone (if played) beats twice, the second overtone beats three times, and so forth. Using the device's keyboard, each of the sixteen rhythms can be produced individually or in any combination. A seventeenth key permits optional syncopation. The instrument produces its percussion-like sound using a system, proposed by Cowell, that involves light being passed through radially indexed holes in a series of spinning "cogwheel" discs before arriving at electric photoreceptors.[1][2]
Nicolas Slonimsky described its capabilities in 1933:
The rhythmicon can play triplets against quintuplets, or any other combination up to 16 notes in a group. The metrical index is associated ... with the corresponding frequence of vibrations.... Quintuplets are ... sounded on the fifth harmonic, nonuplets on the ninth harmonic, and so forth. A complete chord of sixteen notes presents sixteen rhythmical figures in sixteen harmonics within the range of four octaves. All sixteen notes coincide, with the beginning of each period, thus producing a synthetic harmonic series of tones.[3]
The early introduction of the instrument was fortunate for Cowell and Theremin as brothers Otto and Benjamin Miessner has also been working on a similar instrument with the same name.[4]
SIXTEEN PAD QUADRANT MODEL
https://en.wikipedia.org/wiki/File:LinnDrum_Midistudio_300dpi.jpg
https://en.wikipedia.org/wiki/Roger_Linn
In January 1986, Linn debuted the LinnDrum Midistudio at the Winter NAMM Show as the successor to the Linn 9000. The Midistudio is essentially a rack mount version of the Linn 9000 with some improvements.[13] It used the same flawed operating system used in the Linn 9000.[14] It never went into production because Linn Electronics went out of business the following month.[15]
Similarities between the LinnDrum Midistudio and the Akai MPC series lead some to perceive a family resemblance.[16][17][18] Most notably, the Midistudio has sixteen dynamic sensitive rubber pads in the distinctive, four by four pattern, that would become the hallmark of the MPCs, starting with the MPC60.
512 IS 256 TIMES FOUR
https://en.wikipedia.org/wiki/List_of_color_palettes
NEC PC-Engine/TurboGrafx-16 (1987)
482 colors out of 512
256 IS FOUR TO THE FOURTH POWER
https://en.wikipedia.org/wiki/List_of_video_game_console_palettes#PC-Engine.2FTurboGrafx-16
The Picture Processing Unit (PPU) used in the Super NES has a 15-bit RGB (32,768 color) palette, with up to 256 simultaneous colors at once.
However, while the hardware palette can only contain 256 entries, in most display modes the graphics are arranged into between 2 and 4 layers, and these layers can be combined using additive or subtractive color blending. Because these blended colors are calculated by the hardware itself, and do not have to be represented by any of the existing palette entries, the actual number of visible colors onscreen at any one time can be much higher.
The exact number depends on the number of layers, and the combination of colors used by these layers, as well as what blending mode and graphical effects are in use. In theory it can show the entire 32,768 colors, but in practice this is rarely the case for reasons such as memory use. Most games use 256-color mode, with 15-color palettes assigned to 8x8 pixel areas of the background.
Theoretical 32768-color Practical 256-color
RGB 15bits palette sample image.png Parrot 256 of 32768.png
FOUR SHADES
https://en.wikipedia.org/wiki/List_of_video_game_console_palettes#PC-Engine.2FTurboGrafx-16
Game Boy[edit]
The original Game Boy uses a monochrome 4-shades palette. Due to the fact that the non-backlighted LCD display background is greenish, this results in a greenscale graphic display, as it is shown in the simulated image (at Game Boy display resolution), below. The Game Boy Pocket uses a monochrome 4-shades palette using actual gray.
512 IS 256 TIMES 2- 256 IS 16 SQUARED 16 SQUARES IN THE QUADRANT MODEL
https://en.wikipedia.org/wiki/List_of_video_game_console_palettes#Mega_Drive.2FGenesis
TurboGrafx-16[edit]
The TurboGrafx-16 used a 9-bit RGB palette, like the Mega Drive/Genesis, consisting of 512 colors with 482 colors on-screen at once (16 background palettes of 16 colors each, with at least 1 common color among all background palettes, and 16 sprite palettes of 15 colors each, plus transparent which was visible as the overscan area).
PLATO ON THE CROSS WORLD SOUL
https://en.wikipedia.org/wiki/Christogram
In Plato's Timaeus, it is explained that the two bands which form the "world soul" (anima mundi) cross each other like the letter chi, possibly referring to the ecliptic crossing the celestial equator.[5] Justin Martyr in the 2nd century makes explicit reference to Plato's image in Timaeus in terms of a prefiguration of the Holy Cross.[6] and an early testimony may be the phrase in Didache, "sign of extension in heaven" (sēmeion epektaseōs en ouranōi).[4]
THE X
https://en.wikipedia.org/wiki/Christogram
An alternate explanation of the intersecting celestial symbol has been advanced by George Latura, claiming that Plato's visible god in Timaeus is in fact the intersection of the Milky Way and the Zodiacal Light, a rare apparition important to pagan beliefs that Christian bishops reinvented as a Christian symbol.[7]
THE FOUR LAST THINGS
https://en.wikipedia.org/wiki/The_Seven_Deadly_Sins_and_the_Four_Last_Things
The Seven Deadly Sins and the Four Last Things is a painting attributed to Hieronymus Bosch[1][2] or to a follower of his,[3] completed around 1500 or later. Since 1898 its authenticity has been questioned several times. In 2015 the Bosch Research Conservation Project claimed it to be by a follower, but scholars at the Prado, where the painting hangs, dismissed this argument. The painting is oil on wooden panels and is presented in a series of circular images.
Four small circles, detailing the four last things — Death, Judgment, Heaven, and Hell — surround a larger circle in which the seven deadly sins are depicted: wrath at the bottom, then (proceeding clockwise) envy, greed, gluttony, sloth, extravagance (later replaced with lust), and pride, using scenes from life rather than allegorical representations of the sins.[4]
FOUR STAGES OF LIFE
https://en.wikipedia.org/wiki/Rota_Fortunae
Fortune's Wheel often turns up in medieval art, from manuscripts to the great Rose windows in many medieval cathedrals, which are based on the Wheel. Characteristically, it has four shelves, or stages of life, with four human figures, usually labeled on the left regnabo (I shall reign), on the top regno (I reign) and is usually crowned, descending on the right regnavi (I have reigned) and the lowly figure on the bottom is marked sum sine regno (I am without a kingdom). Dante employed the Wheel in the Inferno and a "Wheel of Fortune" trump-card appeared in the Tarot deck (circa 1440, Italy).
FOUR MANUFACTURERS OF LEAD PENCILS
https://www.officemuseum.com/pencil_history.htm
Mass production of lead pencils began in the U.S. after the Civil War. During 1864-67, several patents were granted for machinery for making lead pencils [4], including a Dixon wood planing machine for shaping pencils that produced 132 pencils per minute. [5] U.S. production of pencils was encouraged by the import tariff of 1865 as well as increasing demand, and the four companies that were the principal manufacturers of lead pencils throughout the latter 19th century and early 20th century—the Eagle Pencil Co., Eberhard Faber, the American Lead Pencil Co., and the Joseph Dixon Crucible Co.—all set up or expanded pencil factories in the New York/New Jersey area. [6]
BIG FOUR PENCIL COMPANIES
https://contrapuntalism.blog/2016/07/29/cooperation-among-the-big-4/
This was originally going to be a “this date in pencil history” kind of post, but I would have had to wait until October.
The letter above was written by George Smith, who in 1920 was the president of the Joseph Dixon Crucible Company. The letter is addressed to Emil Berolzheimer of Eagle Pencil Co., L. J. Reckford of the American Lead Pencil Co., and E. E. Huber of the Eberhard Faber Pencil Co. Together, they were referred to as the “Big 4” of the pencil industry.
24 IS 6 TIMES FOUR- ALL MULTIPLES OF FOUR
https://en.wikipedia.org/wiki/Crayola
The Smithsonian National Museum of American History maintains a collection of Crayola crayons founded by an original 64-color box donated by Binney & Smith in 1998. The collection now includes more than 300 boxes of crayons.[23]
https://en.wikipedia.org/wiki/Crayola
As the size of Crayola crayon packs increased from the original 1903 crayon packs, the variety of colors available has also increased—reaching 120 colors by 1998. Since 1998, new colors have been added, but always replacing existing colors. In all, 50 colors have been retired, bringing the total number of regular colors produced to 170. On March 31, 2017, Crayola announced that Dandelion would be retired. On September 14, 2017, the replacement color "Bluetiful" was announced.[33] The colour is reportedly a new hue realized after experiments done at Oregon State University. It was discovered while scientists were experimenting with electronics.[34]
According to Crayola, they currently manufacture 120 standard crayon colors[35] being included in the regular 120-count box. This does not include specialty crayons like the Metallic FX, Gel FX and the glitter crayons.
The colors in the box below come in the packs of 8, 16, and 24:
64 IS FOUR 16s
https://en.wikipedia.org/wiki/Crayola
The Crayola Experience was featured in a Food Network episode of Dinner: Impossible. A dinner was held for 150 employees of the Crayola Experience to celebrate the 50th anniversary of the 64-box of crayons. Chef Michael Symon's mission was to create an eight-course tasting menu for this event, where all eight items of the menu had to match eight randomly chosen Crayola crayon colors.[46]
ALL OF THE NUMBERS ARE MULTIPLES OF FOUR- SIX TIMES FOUR FOUR TIMES 12 - 24 TIMES 4 IS 96- 30 TIMES 4 IS 120
https://en.wikipedia.org/wiki/Crayola
Crayola crayon packs vary in package counts of just a few crayons sold to establishments such as hotels and restaurants, to hand out to their young guests[27] to 832-crayon "Classpack" bulk boxes marketed to schools.[28] The colors contained in a package have ranged from two to 200 (although a 200-color package includes "special effect" crayons such as glitters, neons, etc.). The most common retail packages are multiples of eight, with 4, 8, 16, 24, 48, 64, 96, and 120 packs being marketed today.[29][30][31] A 150-crayon pack featuring a plastic telescope-like case was introduced in 2006, and includes 118 regular color crayons, 16 glitter crayons, and 16 "Metallic FX" crayons, as well as a built-in sharpener at the apex of the tower.[32] This was succeeded by a 152-crayon set in a plastic yellow carrying case in 2013, with all the colors from the 150-crayon set plus the standard colors Piggy Pink and Blue Bell.
FOUR HORSEMEN TOYS
https://en.wikipedia.org/wiki/Four_Horsemen_Studios
The Four Horsemen of Four Horsemen studios are Jim Preziosi, Eric Treadway, H. Eric Mayse and Christopher Dahlberg. The four partners met while employed as figure sculptors at McFarlane Toys. In September 1999, the four left McFarlane to found Four Horsemen Studios, where, in a partnership with Mattel, they created hundreds of figures for Mattel's Masters of the Universe, The Dark Knight, Harry Potter, DC Universe Classics and Man of Steel toy lines, among others.
The four revolutions of the Modern Era, then, could be said to be a reforming of the Anthropos in all its members congruent with this new archetype and idol — Vitruvian Man. And the totalitarian character of each of the revolutions — through Luther, Cromwell, Robespierre, and Lenin — was owing to its specialisation of one aspect of the fourfold human in terms of mind, body, soul, and spirit and the reduction of the human form to this one characteristic alone. Everyman a priest; everyman a gentleman; everyman a king; everyman a worker. And the totalitarian character of our own era is proclaimed equally in the liberal ideal — “everyman an entrepreneur” or self-made man.
And it is in these terms that the four revolutions, when we forego the mere “point-of-view” for the “overview”, conform to the pattern represented by Rosenstock-Huessy’s “cross of reality”,
Rosenstock-Huessy’s “cross of reality”
It’s in those terms that the four revolutions of the Modern Era follow “ecodynamic laws”, as Rosenstock-Huessy described it along with the peculiar fact that four generations separate each from the other.
To digress a bit here, this pattern is also found in Jean Gebser’s taxonomy of civilisations as “structures of consciousness” when we apply the “grammatical method” to its intepretation,
FOUR PRINCIPAL EUROPEAN REVOLUTIONS- I POSTED STUFF ON THAT A LONG TIME AGO- THIS GUY WHO MADE THIS SIGHT CAME AROUND IN 2017 AND NOW HE'S TALKING ABOUT FOURFOLDS
https://longsworde.wordpress.com/2017/09/17/the-guardians-of-the-four-directions/
Carlos Castaneda’s teacher, the Yaqui Indian “sorcerer” he called don Juan Matus, once described to Castaneda what he called “the four natural enemies of the man of knowledge“. The four enemies are fear, clarity, power, and old age. I also refer to these as the sometime forms of “The Guardians of the Four Directions”, for they do, indeed, map to the Sacred Hoop and to Rosenstock-Huessy’s “cross of reality” as well. They are also quite paradoxical, being both enemies and yet benefactors.
They also, in an uncanny sort of way, describe the stages, or phases, in the rise and fall of civilisations. In his historical work on the modern revolutions called Out of Revolution: Autobiography of Western Man, Rosenstock-Huessy showed how each of the four principal European revolutions of the Modern Era — the Lutheran (or German) Revolution, the English Glorious Revolution, the French Revolution, and the Russian Revolution — conformed to the pattern or the directions of his “cross of reality”, as phases or stages in the unfolding and shaping of the Modern Age and its particular structure of consciousness.
What I want to do with this post is show how these “four enemies” really do describe the phases, or certain eras, in the life-cycle of the Modern Age, and perhaps of any age — or the life of any individual for that matter — and what this might mean in terms of “post-modernity”.
So, I would ask you once again to bear in mind the symbolism of the indigenous Sacred Hoop and its four directions as well as Rosenstock-Huessy’s completely comparable “cross of reality” with its directions as times past and future, and spaces inner and outer.
GEBSER
I ALSO TALKED ABOUT SPRENGLER A LONG TIME AGO
https://longsworde.wordpress.com/2017/09/17/the-guardians-of-the-four-directions/
You could also conclude that the four “seasons” of a civilisation described by Oswald Spengler in his Decline of the West are these same four “enemies of the man of knowledge”.
THE SYMBOL OF AUROBINDOS RELIGION IS FOUR PETALS REPRESENTING THE DIVINE MOTHER AND 12 MORE PETALS 16 IN ALL 16 SQUARES OF QUADRANT MODEL
http://www.searchforlight.org/The_Mother_BY_Sri%20Aurobindo/Four%20aspects%20of%20the%20Mother.html
Four Aspects of The Mother
The Mother
One whom we adore as The Mother
The One whom we adore as the Mother is the divine Conscious Force that dominates all existence, one and yet many-sided that to follow her movement is impossible even for the quickest mind and for the freest and most vast intelligence.
Maheshwari
Mahakali
Mahalakshmi
Mahasaraswati
16 PETALS IN ALL A 12 PLUS FOUR WHICH IS A THREE QUADRANTS PLUS ONE QUADRANT
The central circle represents the Divine Consciousness.
The four petals represent the four powers of the Mother.
The twelve petals represent the twelve powers of the Mother manifested for Her work.
http://pbskids.org/rogers/make_believe/xowl_char.htm
X the Owl lives in a big oak tree in the Neighborhood of Make-Believe next door to his friend, Henrietta. He is an easy-going owl who loves to fly and is interested in learning many different things. X takes correspondence courses from the O.C.S. (Owl Correspondence School).
X THE OWL X IS QUADRANT
http://www.neighborhoodarchive.com/mrn/characters/x_owl/index.html
X the Owl's Name and Background
X the Owl's name is based on the word "escape" as detailed in the 1954 Children's Corner book, Our Small World:[43]
"...my friend and true tame tiger pal, Daniel S. Tiger, let me out of my cage at the county fair...Daniel said to me 'X SCAPE' and I said, 'WELL, HOW ABOUT THAT.' I flew out and I've been his pet ever since and now I live in a tree right next to Daniel's Clock."
NIETZSCHE SIGNED HIS LETTERS "THE CRUCIFIED ONE"- CROSS IS THE QUADRANT
https://longsworde.wordpress.com/2015/09/20/the-day-the-magic-failed/
That’s another of the ironies of Nietzsche’s philosophy, for it is also Nietzsche’s “stare into the abyss”, and when Nietzsche in his later dementia signed his letters “the Crucified One”, it was because he too had experienced that same moment of total abandonment that he described as his incinerating “stare into the abyss”.
NIETZSCHE SIGNED HIS LAST LETTERS "THE CRUCIFIED ONE"
http://www.peterkreeft.com/topics-more/pillars_nietzsche.htm
He saw love as "the greatest danger" and morality as mankind's worst weakness. He died insane, in an asylum, of syphilis-signing his last letters "the Crucified One." He was adored by the Nazis as their semi-official philosopher.
HOLLING
I POSTED THIS STUFF YEARS AGO
https://www.resalliance.org/files/key-concepts/Adaptive_Cycle.jpg
https://www.resalliance.org/adaptive-cycle
For ecosystem and social-ecological system dynamics that can be represented by an adaptive cycle, four distinct phases have been identified:
growth or exploitation (r)
conservation (K)
collapse or release (omega)
reorganization (alpha)
https://www.ecologyandsociety.org/vol14/iss1/art15/figure1.html
Bronfenbrenner identified four systems that each contains rules, norms, and roles that powerfully shape development. He called these the
https://schoolworkhelper.net/growth-and-development-theory-urie-bronfenbrenner-1917-2005/
microsystem, the mesosystem, the exosystem, and the macrosystem.
The Microsystem contains the immediate environments that the child is a part of (family, school, peer group, neighborhood, and childcare environments). It is the layer closest to the child and contains the structures with which the child has direct contact. At this level, relationships have impact in two directions – both away from the child and toward the child. For example, a child’s parents may affect his beliefs and behaviour; however, the child also affects the behaviour and beliefs of the parent. Bronfenbrenner calls these bi-directional influences, and he shows how they occur among all levels of environment.
The Mesosystem is comprised of connections between the child’s immediate environments (i.e., a child’s home and school). If a child is experiencing difficulties in school, it is likely that the family will be forced to have more interactions with the school’s teachers and administrators, and those family-school interactions should have an effect on the child’s functioning.
The Exosystem contains the external environmental settings and other social systems that do not contain the developing child but indirectly affect development (e.g. a parent’s workplace, neighbourhood institutions, the media, the government, the economy etc.).
Finally, the Macrosystem contains all of the various subsystems and the general beliefs and values of the culture, and is made up of written and unwritten principles that regulate everybody’s behaviour. These principles- whether legal, economic, political, religious, or educational- endow individual life with meaning and value and control the nature and scope of the interactions between the various levels of the total social system.
CRUCIFORM NIMBUS REPRESENTS CHRIST SEEN AS ONE OF THE ANGELS WHO VISITED ABRAHAM
SAINTS AND ANGELS AND OTHERS DO NOT GET A CRUCIFORM HALO- THEY GET RECTNGULAR HALOS (STILL FOUR SIDES) AND OTHER HALOS- BECAUSE THEY DO NOT REPRESENT GOD THE TETRAGRAMMATON WHICH IS REPRESENTED BY THE QUADRANT THE FORM OF BEING- EXCEPT INTERESTINGLY THERE IS DEPICTION WITH THE MOTHER MARY WITH THE CRUCIFORM HALO- QUATERNITY- ONLY MEMBERS OF "THE GODHEAD" GET CRUCIFORM HALOS IN THE ART DEPICTION HE DESCRIBES
THE CROSS AND THE TRICRUCIFORM- IT STILL REPRESENTS THE QUADRANT BUT THE FOURTH TRANSCENDENT RAY IS MISSING
IT DESCRIBES THAT WITH CHRIST OFTEN THE CIRCLE AND THE DISC OF THE NIMBUS ARE OMMITTED AND ONLY THE CRUCIFORM THE CROSS IS REPRESENTED- PORTRAYING HIM AS DIVINE AS GOD/ THE QUADRANT TETRAGRAMMATON
Quadrant
