Science in Ancient Artwork Series

Charles William Johnson

Abstract Series Num. 70-79

  • The Octave: Tuning at A432 or F432. Science in Ancient Artwork Nš70, New Orleans, 18 August 1966.


    Over the centuries, the piano has been set at distinct pitches for the vibration of its strings, ranging from 427 to 450, while in 1939 the A440 pitch was accepted internationally. Recently, James Furia proposed the idea of setting a piano's pitch at A432. This is not unlike the A435 pitch that was common before the standard A440. However, the interesting aspect of choosing the A432 pitch is that many of the historically significant numbers of the ancient reckoning systems then appear on the frequencies of the remaining strings. Also, by analyzing this particular set of numbers, the author draws attention to the possibility of devising a distinct system of notation which would involve the entire gamut of possible octaves for the piano and organ: A16 - A4096, whereby the previously notated A432 pitch would then become the F series. The concordance between notation and pitch with that takes on a more comprehensible look.

  • The Reciprocal of Seven: .142857 . Science in Ancient Artwork Nš71, New Orleans, 18 August 1966

  • Thirteen. Science in Ancient Artwork Nš72, New Orleans, 18 August 1966


    The different day-count of the ancient reckoning system in Mesoamerica concern the numbers 260 and 360, which may be viewed as multiples of 13 and 12 respectively, or even as progressions of the number 2, or 3 in the case of the 360 c. Yet, the number thirteen becomes significant for comprehending how the reckoning system of 260c and 360c days could haven been selected for achieving a translation to the 365.25 count of Earth. It is illustrated that thirteen days signifies within the computations a mathematical equivalency of 1/4th of a day (.25). That concerns both counts. But, one may also exercise the same computations with the number 18 (18 days = .25 of day). The number 18 refers obviously to the 360c. Generally, both calendars are simply shown as being 260c (13 x 20) and 360c (18 x 20) without further mathematical reasoning. In this essay, an attempt is made to understand how the different day-counts in fact are one and the same, simply changing the prime divisors and multiples as needed.

  • The Sothic Cycle: 693 (1649.457812). Science in Ancient Artwork Nš73, New Orleans, 18 August 1966


    The numbers of the chosen days of the calendar of the Sothic Cycle may be read in such a manner as to detect other numbers that may have been encoded into the calendar. These encoded numbers, 693 and 1649.457812, function in relation to the other numbers of the system through various computational procedures. The numbers of the ancient reckoning system of Mesoamerica and Egypt would appear to be linked through these numbers as wall. In fact, it would appear that possibly many of the different time reckoning systems around the world may be one the same. The manner in which the different levels of numbers function suggests a single design for the entire system.

  • Ancient Reckoning: A Single System. Science in Ancient Artwork Nš74, New Orleans, 18 August 1966


    This essay illustrates how many of the different numbers in the historical record of different ancient cultures may interrelate, which suggests a single design for the ancient reckoning systems of the world. Specifically, the Sothic calendar numbers are examined in relation to the different day-counts (260c and 360c) in order to show how those numbers may have served as a table of numbers for effecting computations and translations of equivalencies among the different day-count. Also, the encoded numbers, 1649.457812, is further examined in relation to the numbers of other systems, such as the maya long count and numbers form Nineveh. Given the fact that different assigned numbers from different reckoning system around the world interrelate evenly, it would appear as though the distinct reckoning systems of ancient times constitute a single system, possibly with a common origin or a high degree of communication among those who designed the systems. Some of the numbers that are relational and examined herein are: 1649.457812; 1649.142857; 195955200000000; 1385540, 1366560; the maya long count series 9, 18, 36, 72, 144, 288, etc.; the numbers of the measurements of the Great Pyramid; 2268 and 4536; the different numbers of Precession 25920, 25956, etc.; alongwith many others. Numbers from numbers different reckoning systems, through the enclosed analysis, are viewed to be easily relational, with relations of equivalency established in whole numbers as well.

  • The 360-Day Calendar: A Mathematical Choice. Science in Ancient Artwork Nš75, New Orleans, 18 August 1966.

  • The Maya Long Count: 1872000. Science in Ancient Artwork Nš72, New Orleans, 1 December 1996.

  • The Great Pyramid. Science in Ancient Artwork Nš77, New Orleans, 3 December 1996.


    The numbers that correspond to the measurement of the Great Pyramid of Giza, the Pyramid of Khufu, reflect the motions of the Sun on its journey towards the constellation of Hercules (12 miles/second) and on its journey around the Milky Way (175 mile/second). These numbers also coincide with those of the ancient maya reckoning system.

  • The Maya-Kemi Time Reckoning System. Science in Ancient Artwork Nš78, New Orleans, 18 August 1966.


    Further analyses illustrate how the maya system of time reckoning may have been related to the numbers of the ancient kemi time reckoning system. In fact, as one observes how the numbers relate to one another, it becomes evident that these two different systems may in fact be one and the same; a single time-reckoning system. Many of the historically significant numbers can be easily related for obtaining the different time values for the Earth, Earth's moon and those of Venus. Numbers which may appear to be totally unrelated, through the computational math linked to the method of doubling/halving numbers, become easily available. In this essay specific numbers are examined which allow for precise computations of the different orbital times of Earth and the earth's moon. The majority of scholars do not maintain any specific knowledge of the ancient astronomers in terms of other than the synodic orbits, but the numbers employed suggest that a precise knowledge of the sidereal orbits was known during ancient times. Mathematical computations around the historically significant numbers cited in this text appear to substantiate a much more profound knowledge achieved by the ancient cultures that would be more in accordance with such precision-made structures as the pyramids of Giza.

  • Retranslating Math and Geometry of the Maya and the Kemi. Science in Ancient Artwork Nš79, New Orleans, 18 August 1966.


    The obvious geometric patterns in much of ancient artwork may have a more consciously conceived mathematical basis than has generally been suspected. An equation of equivalency exists as of the natural numbers 1-6-8-9 which graph a figure that resembles glyphs found in various ancient cultures. This particular translation of math into geometry may suggest a distinct way in reading the numbers of the ancient reckoning system. The relation between the math an the geometry is strengthened by the fact that many of the numbers that appear in this analysis are also part of the numbers found in the ancient reckoning systems of the maya and the kemi. In fact, it is possible to employ both sets of these numbers and achieve computations that translate one system into the other. If it is true as many scholars state that the ancient kemi made a mistake in their time-reckoning endeavors, then one may safely say that the ancient maya made the exact same errors. In other words it is possible to translate one erroneous system into the other erroneous system: that possibility seems to show that two wrongs make a right. The two systems appear to be a single system of time-reckoning.


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