You may have noticed that this website does not impose cookies (the Spirit does not need biscuits to find out who is seeking It); it does not sell services, products or advertising, although it has been qualified over the years by specialized autonomous sources…
It dispenses free of charge the maximum made by the author – through a proprietary domain, not from a free service – without requiring any registration; in any case it was not designed to make you understand who I am, but who you are.
At present it only runs in a Windows™ environment, even if there are utilities for the Mac™ that could allow it without demanding installations.
Under Windows has been prepared in such a way that it can be used by the host system even as a screen saver: just rename the extension from THEORY_3*.exe to THEORY_3*.scr and save it in the appropriate folder of the Windows\ OS; to find which in your version of the system in use just search for *.scr with Explorer; I cannot specify specific directives and it may be necessary to copy it wherever these files are present, but there is no risk. Then it must be selected or activated for the pause-work phases, through the Desktop Properties.
The THEORY_3beams.exe file kept in copy (but even the same THEORY_3beams.scr) can be launched at will from anywhere on the disk, by a click.
It originates from the final layout of the graph executed by the THEORY program, [full, best options] i.e. not in draft but at the maximum precision, even with the parameters established by the user. As soon as the calculation based on the required amount of decimal places is completed, the figure appears in motion in a reduced and resizable window on the screen and can be saved in a Gallery on the disk, also accessible to the THEORY_3beams.exe application to prefer a model to another.
The application default set up initializes a solution based on the Golden triangle, considered by many as a milestone of the figure, echoing the section of the Giza Pyramid; but especially after having been revealed the nature of the Great Golden Triangle, in my opinion a meaningful priority, as it defines and containes with its triple tangentiality the concentric circles with diameters in progression of Golden Section, which characterize with inevitable evidence – as shown on page 5 – the circles formed by the 43 triangles, from the outer circumference to a fifth central circle that delimits from the inside the fourth band and encloses the beating heart of that single triangle, which I have no hesitation in defining ‘keystone’ of the whole system.
Who owns the THEORY application and has developed his own yantra, will be able to load and see it rotate for his contemplation instead of the default, uploading it from the Gallery where he can save everyone he experiences in the optimized format.
The viewing modes
A menu of options available by right-clicking anywhere in the window offers some variations to the rendering, such as subtle background shades: Black, "Dark red", "Dark blue", "Dark green"; "Structures in full figure" or "Structures in profile"; effect "filled in Space (foggy)" [you may see it here, recorded for the background], "Space profiled in lines" projecting in curved coordinates a sort of stellar panorama, "Space not visible"; "full screen [Enter]", with "predetermined reductions (300,400) [Bar]","Yantra custom numerical zoom","(distance variation, by the keyboard: [–] / [+])" and animation with "Filled Sri yantra" or "Outlined figure", "Frame~Petals view", "SriYantra Gold/Silver switch".
For a still image without opening a menu, keep the cursor clicked on the edge of the window.
"The Axis Mundi in Space" emulates in a thin line the gravitational spindle of the whole universe; “The Eye˜Egg (the World)” that is you, the creation, the best of you: it is an addition that can prove to be precious for meditating, with its flexible shape of an ovoid with a perfect profile, whose concreteness merges with the majestic transparency of the ethereal;
which in a precise moment of its spin fits as if to imbue it with renewed strength, then turns away…
It is illuminated by the perpetual light of 3 subtle moving Rays in the fundamental colors Red, Green, Blue, coming from a single external 'Point', which in turn must be watched and followed, for the decisive impact of their lights on the scenario.
In the continuous afference between macro and microcosm, a dark, irregular and unpleasant shadow moves, appears and hides behind its elegant figure, especially when the space is set dense, foggy and reflects the light like a translucent scenario whose depth is almost perceptible.
It is the Challenger, the opponent, the worst of you, your dark side; the beast 666 [6+6+6=18, 1+8=9]; you have matter to meditate on.
You can check here the various drop-down menus, even if the simulation has no effect on the video.
Yantra view mode
The Holy Eye Of Revelation Yard
Close this test
Well, now it's up to you:
you have this chance, do not you miss it!
freely download this jewel and try it several times, without haste, but at least three minutes a day without interruption, possibly in soft light, maybe to relax and free your mind; You choose the background music that inspires you;
from Gregorian chants or of Tibetan monks with their deep sound and rhythm, to a classical 'sonata' or a symphony, to blues or jazz; but even if it were his silent musicality, nothing will disappoint this plunge into Purity.
You must, however, enter it, do not limit yourself to observing it as a graphic game, which of vibrations would assume only those of your thoughts.
As for a possible idyll, if you love to meditate drawing your inspiration from a lyric I can only offer you, right by the human side, “The infinite”, which occupies – be a coincidence? – the twelfth position in the Canti by Giacomo Leopardi, and concerns just a hedge (recall the 'Yard'?) that delimits,
and precludes from the view of the farthest horizon, but right for this pattern it projects the subject's gaze towards the infinite space – where that restrict no longer matters – splicing in the consciousness the thorough impassible alternation of the cycles of life, and the live season so forth that the heart is one step away from having fear.
[ view the 1st manuscript BNN ]
Always dear was to me this lonely hill,
And this hedgerow, that from a so much part
Of the last horizon the sight excludes.
But sitting and gazing, interminable
Space beyond that one, and overhuman
Silences, and profoundest quietness
I guess in my thinking, where for a step
The heart don't get afraid. And as the wind
I hear to rustle through these plants, I that
Infinite at all silence to this voice
Go comparing: and come to mind the eternal,
And the dead seasons, and the present one
And live, and sound of it. So midst of this
Infinitude is getting drown my think
And the sinking is sweet to me in this sea.
To help a web translator to reiterate the same text in other idioms as well, without compromising its elegant simplicity, need to adopt the original locutions verbatim, rather than trying to embellish or to reinterpret their meanings as for a prose poem, which would result in a myriad of somehow personalized remakes.
Doing that, I was drawn to use some unusual terms, eg "interminated /interminato", which the poet choosed – as well as for "infinitude /infinit " – although they result words normally very little used even in the [current] native language.
This has to be observed, that Leopardi and his language belong to a relatively distant time (two centuries separate us), but above all that he chose certain words suited to express unmistakable concrete concepts.
So, I strived to reproduce the mood of his verses, attentively selecting the most corresponding words – even when I wondered about the impact on the actual readers – whenever these looked to me more responsive to the poet's intention and writing in his time.
(March 2020 – see also the "Translation Details" below)
I can't naturally master the English language as I do with my Italian; but even if it may be not at best as for the everyday speech or writing, my translation strived to literally render the text, each single word, and literarily the true meanings and moods by the Poet, respecting any subtle detail and seeking their cadence when possible.
Thanks to advise to AT @ myway.it any possible syntactic mistake or improper use.
A short note, perhaps not pleasant, but dutiful least in this context.
Of a lyric acknowledged and acclaimed as one of the most beautiful Canti ever written, the establishment of the literati of our world does not hesitate to distort some parts, almost being pleased of that, despite three original manuscripts – even debated in history (click the image to watch the 1st to the side) – which demonstrate to all the unchanged text with reconfirmed corrections of the poet.
They are concerned with capitalization at the beginning of each verse, although not necessary [right here to fix the cadence, when the zoom exceeds], but not to observe the true and definitive text of the poet's own hand: so they insist on the word "immensity" [immediate voice and first written right away, but then struck out] instead of abiding "infinity" [much more powerful, more realistic than romantic, I dare say scientific; however advisedly meditated and responsive to other verses]; and not enough: to replace "interminable space" [aware vision] with "interminable spa-ces" [an abstruse vision], as if this impromptu ideation made sense!
Apart from the historical and formal gravity of the offense, and the damage it involves subtracting the fruits of an enlightened and illuminating thought from culture, for having altered in two significant pints the profound tonality of perception, expressed in such a short and intense poem;
In fact, even if Giacomo Leopardi could imagine several adjacent spaces, each of which delimits the other, not even to his genius would have been possible to conceive two or more "interminable spaces" since an unlimited space does not cross, cannot be delimited by, nor can it underlie any other unlimited space: absurd, would become one space and no-thing more. Unless the "poetic license" endorses a freedom to conceive nonsensical things, which is not the case with Our.
It is evident that Leopardi meant it, without hesitation or later corrections; where the plurality of "superhuman silences" reverberates as a counterpoint a tacit chorus of potential sources, which is not identified, in this passage, with a universal silence, but reinforces the image before. Later it will take on a temporal, non-spatial value, comparing the past with no more sound to the voice of the present.
Yet, believing that he could adjust the rhymes, someone must have thought that they sounded better in his own way, and that for the author's greater fame it was appropriate to transcribe and divulge all three voices in the plural!
Such a foolish and disrespectful abuse, as to make the poet turning over in his grave, so to speak; but whatever the starting point, what is most disconcerting is how many intellects in the wake of, do no-thing but copy it slavishly. Two centuries were not enough ...
I think that an Academy Literary self-respecting should apologize to the civilized world for neglecting so far this double outrage, now easily recognizable thanks to the Web.
Would anyone like to dare an arrangement of a couple of bars in the sheet music of Beethoven's Moonlight Sonata as well... or of the Chopin's Nocturne Op 9 No 2? and what would come out?
Translation DetailsThis computer-aided English translation may not result excellent, could contain some errors, but has the advantage of having been checked in such a way that Google or others can re-interpret it with sufficient language property to be able to translate it into several other languages, reproducing the concepts expressed by the author.
As to the hyphenation, wherever I turned my research, lasting many years ago with a dedicated program and dictionaries, the rules are different all the times. Although this work is not dedicated to smartphones, I had to do my best to meet the increased reading needs on small screens, evenly mixing – why not, where the visual space becomes so critical? – some occurrences of these.