Wednesday, 20 October 2010
Following my blog entitled "Decoding Chapter 55 of Bessler's Apologia Poetica",in which I mentioned the large number of clues from Bessler which signified the number 55, it was mentioned that an interview I gave to "Infinite Energy" magazine way back 1998 was printed on page 55! At that time I knew nothing of the apparent importance to Bessler of that number. This was an interesting coincidence and added to the fact that the other person involved happened to look at that page on the same day that I posted my blog almost convinced me of some implied causality! I was discussing the matter with my wife and she pointed out that my birthday is on February 5th - another 5 and a 2. I then observed that 5 x 2 = 10 and added to my year of birth, 1945, added up to 55. It shows how easy it is to be lulled into seeing meaning in something which is perhaps mildly serendipitous - a nice coincidence, but nothing more.
The brain tends to identify patterns and sometimes it gets fooled. I remember after 911, the spate of seemingly meaningful number coincidences that related to that event that appeared on the internet. This feature of the way the brain works is useful but can lead one up a blind alley. Clouds sometimes form shapes which some people see as recognisable faces but there is probably more meaning in the patterns seen in the rorschach inkblot test. Nevertheless one cannot always ignore them and Orffyreana are a ripe area for the appearance of such curious coincidences - or are they spurious inferences?
One well-known coincidence is the fact that Bessler included 141 bible references in "Apologia Poetica", in the section headed "Orffyrean Declaration of Faith". Apart from the fact that there are so many, on their own there is nothing to wonder at, however in his "Maschinen Tractate" (MT) he destroyed or hid some of its drawings at the time of his arrest and replaced others to make 141. The last one which I call "The Toys" drawing has five numbers appended to the bottom of it to bring the total to the desired 141. Why did he want to have 141? Are we to draw a connection between the two books? I don't know. Coincidence or design? And Why does MT47 have a ghostly mirror image of the number 47 attached to it, and does it matter that 47 goes into 141 just three times. Coincidence? Probably, but should we ignore it?
I have a reputation for seeing meaning in everything Bessler wrote or drew, and I know that some think my imagination is leading me astray, but in fact I do study each 'clue' with a highly critical eye. Sometimes if I am unsure about its validity, I publish details about it and hope to draw comment which might enable me to confirm it as a real clue or discard it completely. With regard to Chapter 55, I have found much of the route to deciphering the coded parts but there is some ambiguity about where to go next and that is why I intend to publish what I know.
Saturday, 16 October 2010
Reconstructing Bessler's wheel is an important objective for me, but the mystery of Bessler's code fascinates me almost as much.
It has seemed obvious to me ever since I discovered the hidden pentagrams in the Merseberg wheel drawings and subsequently several others in other drawings by Bessler, and of course the proliferation of encoded 5s and 55s elsewhere in his publications, that there must be more to it than just my own theory that they indicated five mechanisms as a basic requirement for a successful gravitywheel - or seven or nine.
It is already obvious to many people that Bessler hid some encoded information in Apologia Poetica and I think that the key to deciphering it involves the number 5. I'm not saying that I'm wrong about the five mechanisms, it's just that I think that once Bessler had discovered that his gravitywheel needed at least five mechanisms to work (and more as long as they were odd numbers) he decided to use the number five as part of his encoding method, as well. This is typical of Bessler, he seems to have delighted in designing each code to have two or more ways of deciphering it.
The repetition of the number five, almost exclusively within the Apologia Poetica, suggests that it is within this book that we should look for a secret message and Bessler hints at that exact thought. He says,in chapter 46, "Those who are keen to ask questions should ask them of this little book. My work will not be revealed prematurely." Chapter 55 is the final chapter of part one, (part two was added later to respond to unfair accusations by his enemies) so, given my firm conviction that there is an encoded message hidden in the book, and taking into account that Bessler is practically shouting out the number 55, chapter 55 seems like an excellent place to look.
It would be extremely useful to find someone with professional experience in codebreaking who would be willing to apply their professional skills in deciphering the code. I have made contact in the past with acclaimed experts in the field, men such David Khan, widely regarded as the world’s leading expert on the history of codes and cryptology, who although unable or unwilling to help did introduce me to an ex MI5 codebreaker, who was unfortunately too ill to help and who has subsequently passed away. I have also in the past been in contact with Cheltenham GCHQ in the hope that someone there might be of assistance. The woman I spoke to suggested that I post the problem to her and she would publish it internally. Unfortunately this particular piece of encoded material does not lend itself to brief publication on a noticeboard.
I have returned to the mystery of Chapter 55 many times and have accumulated a considerable amount of information about it and I plan to publish the details soon, which will, I hope, help those whose experience in the art of codebreaking is so much more profound and whose knowledge of the subject is infinitely broader than my own.
There are several mysteries attached to Chaper 55; the 141 bible references for a start; the fact that some of them don't actually exist; the fact that the rhyming couplets used throughout the 7000 (approximately) lines of the book are changed for just 220 lines in Chapter 55 (55 verses!); the apparently random switching from fraktur font to Latin font; the fact that five (yes its that ubiquitous number again!) references are duplicated; the weird spaces and omitted lines for no apparent reason. I haven't even mentioned the 684 'xs' that litter the end of many lines in the whole book. I could go on, but I won't. Let me just say that I have some of the answers and I shall post them in due course on one of my web sites in the near future and will notify all who might be interested as to where and when it will become available as soon as I can.
I would add it to www.theorffyresucode.com but that is so full of brief pieces about some of the codes that there is no room for any more, and I plan a more detailed article about Chapter 55 so I've decided that for the time being I shall probably add it to either http://www.orffyreus.org/ or http://www.orffyreus.net/.
Friday, 8 October 2010
It seemed like a good idea to leave the period that the book was availabe for sale, with an unlimited cutoff date to allow as many people as possible to consider the idea of purchasing the book. So far I have received three firm offers and there are a couple more considering their options. Understandably there has been some concern over how long they would have to wait for their offers to be accepted or rejected, so I have decided to put a time limit on the sale. Anyone interested should make their offer known to me by the end of October, midnight GMT on 31st October 2010.
However, should a firm acceptable offer be made prior to this date, rather in the way that ebay sellers accept "buy now" offers I would be prepared accept it but would only be fair to notify those others who have expressed an interest in purchasing the book,in case they wished to put in an improved offer.
I hope that this seems fair and reasonable.
Friday, 1 October 2010
There are one or two which may include the one portrait but the double one is rare, and this must add value to the book. Inside the front cover, just after the double portraits, my copy has a label attached which reads "Ex Libris Emmy Destinn". She was a renowned Czech operatic soprano (26 February 1878 – 28 January 1930). Destinn was born Emílie Pavlína Venceslava Kittlová. She was very versatile and besides being a singer was a poet, novelist and playwright, though nothing she has done in other professions has rivalled her reputation as a singer. She performed in Paris, London and New York many times. She is buried in Prague. Why she owned a copy of Bessler's book I have no idea but her ownership of the book can only add to the provenance and thus its value. I hesitate to add that my own part in its history can scarcely lower its intrinsic value.
The time has come for me to let it go - albeit with extreme reluctance. The book has been treated with care and has been handled by very few people other than myself, it is however a delicate object and should be kept in optimum conditions, something I am unable to guarantee. With this in mind I am offering it for sale to the highest bidder, and there is no particular time limit on the availability of this sale.
Bearing in mind the approaching 300th anniversary of the 6th June 1712 when Bessler first exhibited his wheel, and the current sale of the windmill he was building and from which he fell to his death, there is likely to be some public interest in the inventor at that time and it is not beyond the realms of possibility that someone may finally succeed in reconstructing Bessler's wheel. Given the convergence of these factors at this moment, the timing could not be better for a dramatic increase in the value of this book and is one of the reasons why I am still loath to put it up for sale.
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