引用:

原帖由 cerebellars 于 2006-4-20 21:55 发表
Seafar老师，化忌在四墓地反而有好作用，化禄在四墓地发挥不出作用是吗？怎么理解这句话呢？

不，我并没有这样说。四墓地与化星的次元不同。所以不能放在一起讨论。
我只用化星与化星比。
化禄是公斤，化忌是公里，离定义点 (4,4,4) 处 有 1000公斤的禄大概就是这意思

黄金繁衍率：

              0 0
1 1 2 3 |5 8 |13 21
   1 1 2 |3 5 |8   13  21
      1 1 |2 3 |5   8    13  21

一次元断位在4
二次元断位在2-3
变成三次元的生命实体概念时，断位在1-2
断位在1-2，所以搞不清楚它在哪里

但是它的一次元概念是在祭祀的四，所以用单宫概念的时候祀宫就是巳宫，害宫就是亥宫，八字叫做隔角煞
寅定一

所以要将一次元三五之数浮现出来，要不然四的定义找不到。找不到就是“哇，到哪里去了？”，我是这意思

所以化科星的排法是一三二一之类。其实很简单，不过这我等到大家可以“演象”之后再细说。而且我也还没有整理好完整的资料给看

[ 本帖最后由 Seafar 于 2006-4-20 23:29 编辑 ]

这一张图给大家参考。关于化忌与化科，Seafar还没准备公开说明细节，不过这一张图给大家参考。

我所指的一次元概念，就是单宫逻辑﹝用单宫就想算命的逻辑﹞
二次元概念就是本对宫同看﹝用平面盘的关系不考虑四化星就想算命的逻辑﹞
三次元概念就是本对宫中点外的一个附加参数「年干化数」。﹝用化星变数来对应实体生命事实型态的逻辑﹞

1- 一次元概念的初始存在
  1- 二次元概念的初始存在
     1- 三次元概念的初始存在

一般我们所说的「八卦」接近于一次元概念，当八卦有三次元概念并与实体生命存在型态相同时，那么八卦的三次元基础概念是「3」，也就是 1, 1﹝分别1, 别的1), 2(两同在), 3(新的1)...这是活物数的繁衍基础。

寅宫定1, 化忌星在单宫的亥或巳，得4，4 若存在那么3,5若不相媾，就会中断个体共存的现象。对应至第三次元，那么就是「两相不同在，所以不能繁殖出新的个体出来」。

这就是我所讲的「化忌星原理」与「化科三五成群对化忌的重要性」

另外，以七数为七煞，那么六数就是仆役与疾厄。六次元真我得定，需要灭我，这样才能觉知完整的存在。存在不可以分别心而为之。

每两个斗数的宫位都是相构成八，所以变成三次元的三。也就是概念上只会有「本宫」「对宫」与「本对宫同在」的概念，这三个概念同在，那么就生出一个三次元的生命了。

一数媾七数，得八，象征新次元的生命产生。所以八，在第一次元里并不存在。在第一次元的八，变成了第二次元五，变成了第三次元的三，变成了第四次元的二，变成了第五次元的他，与第六次元的我。﹝算命先生的意识要到达六次元，那时候算命不用算得准，因为说这样就是这样，没有参考体。七次元就不算命了。﹞

七次元七煞为「灭我」，所以叫做七煞。谁说七煞是凶星，是「灭我无私」的意思。七煞﹝迁移﹞从一﹝命宫﹞而终，生命进入另一个次元。所以七煞不是只有「开创」而已。七煞之数还有更高等的意义。旦看当事人与分析师的意识范畴到了哪里。

巫术用四。有二﹝分别而同不同在﹞，就祭祀﹝系四、巳﹞、除害﹝出亥﹞。这样才能超越四次元矛盾，得到去世的亲人─「他」。

宗教法师用五，全他。因有我故，所以那法师是活着的人。

法师与巫师的差别在这里。巫师是灵媒，用祀。法师自己就可以造出「他」，所以不用祀，而用五系三，我﹝五﹞得人﹝三﹞。这叫做天罗﹝五﹞地网﹝三﹞。故天罗地网之数者为「法」。

祀数巨门为「是非」，是非之争，以「法」系之。三五之法得系，更进者，二六，用刑﹝天刑﹞。更进者，一七，乃「定」﹝定义的定﹞。

一数乃禄临官，四数得生病，先用三五之养衰。养之不足，用针石乏﹝天刑﹞，而后乃定。﹝定义的定﹞

[ 本帖最后由 Seafar 于 2006-4-21 07:29 编辑 ]

多谢Seafar老师
第1层次用单宫
第2层次本对宫同看
第3层次本对宫中点外的一个附加参数「年干化数」。

很努力很努力地想看懂

可是还是看不懂

Golden ratio

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The golden ratio, also known as the golden proportion, golden mean, golden section, golden number, divine proportion or sectio divina, is an irrational number, approximately 1.618, that possesses many interesting properties.

Shapes proportioned according to the golden ratio have long been considered aesthetically pleasing in Western cultures, and the golden ratio is still used frequently in art and design, suggesting a natural balance between symmetry and asymmetry. The ancient Pythagoreans, who defined numbers as expressions of ratios (and not as units as is common today), believed that reality is numerical and that the golden ratio expressed an underlying truth about existence.

Contents [hide] 1 Definition 2 History 3 A startlingly quick proof of irrationality 4 Alternate forms 5 Mathematical uses 6 Aesthetic uses 7 Decimal expansion 8 See also 9 References 10 External links 10.1 Mathematics 10.2 Aesthetics 10.3 Tools

[edit]

　

Definition

Two quantities are said to be in the golden ratio, if "the whole (i.e., the sum of the two parts) is to the larger part as the larger part is to the smaller part", i.e. if

where a is the larger part and b is the smaller part.

A line is divided into two segments a and b. The entire line is to the a segment as a is to the b segment

Equivalently, they are in the golden ratio if the ratio of the larger one to the smaller one equals the ratio of the smaller one to their difference, i.e. if

Dividing the numerator and denominator of the second fraction by b, we get

and replacing a/b by φ, we get

This becomes

or equivalently,

The solutions of this quadratic equation are

(Note: The above solutions can be obtained directly by the quadratic formula or by completing the square:

which of course yields the same solutions as above.)

Since φ is positive, we have

History

The golden ratio was first studied by ancient mathematicians because of its frequent appearance in geometry. There is evidence that it was understood and used as far back in history as ancient Egypt. In the Great Pyramid of Giza built around 2600 BC, the golden ratio is represented by the ratio of the length of the face (the slope height), inclined at an angle θ to the ground, to half the length of the side of the square base, equivalent to the secant of the angle θ. The above two lengths were about 186.4 and 115.2 metres respectively. The ratio of these lengths is the golden ratio 1.618.

The largest isosceles triangle of the sriyantra design used in ancient India, described in the Atharva-Veda (circa 1200-900 BC) is one of the face triangles of the Great Pyramid in miniature, showing almost exactly the same relationship between π and the golden ratio as in its larger counterpart.

It is believed that after tracing the path of Venus in the sky, the ancients found that the ratio of the length of the long arm of the pentagon shape to the length of the shorter arm was 1.618.

The ancient Greeks usually attributed its discovery to Pythagoras (or to the Pythagoreans, notably Theodorus) or to Hippasus of Metapontum. Hellenistic mathematician Euclid spoke of the "golden mean" this way, "a straight line is said to have been cut in extreme and mean ratio when, as the whole line is to the greater segment, so is the greater to the lesser". The golden ratio is represented by the Greek letter (phi, after Phidias, a sculptor who commonly employed it) or less commonly by τ (tau, the first letter of the ancient Greek root τ(ε/ο)μ– meaning cut).

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A startlingly quick proof of irrationality

Recall that we denoted the "larger part" by a and the "smaller part" by b, and concluded that

This gives a startlingly quick proof that the golden ratio is an irrational number. An irrational number is one that cannot be written as a/b where a and b are integers. If a/b is such a fraction, in lowest terms, then b/(a − b) is in even lower terms — a contradiction. Thus this number cannot be so written, and it is therefore irrational.

[edit]

　

Alternate forms

The formula can be expanded recursively to obtain a continued fraction for the golden ratio:

and its reciprocal:

Note that the successive convergents of these continued fractions are ratios of Fibonacci numbers.

The equation likewise produces the continued square root form:

Also:

These correspond to the fact that the length of the diagonal of a regular pentagon is φ times the length of its side, and similar relations in a pentagram.

If x agrees with to n decimal places, then agrees with it to 2n decimal places.

Additionally, the equation draws an interesting (albeit somewhat forced) connection between φ and 666, the Number of the Beast^[1].

Aesthetic uses

The Parthenon showing various golden rectangles which are claimed to have been used in its design.

It has been claimed that the ancient Egyptians knew the golden ratio because ratios close to the golden ratio may be found in the positions or proportions of the Pyramids of Giza.

The ancient Greeks already knew the golden ratio from their investigations into geometry, but there is no evidence they thought the number warranted special attention above that for numbers like π (Pi), for example. Studies by psychologists have been devised to test the idea that the golden ratio plays a role in human perception of beauty. They are, at best, inconclusive. Despite this, a large corpus of beliefs about the aesthetics of the golden ratio has developed. These beliefs include the mistaken idea that the purported aesthetic properties of the ratio was known in antiquity. For instance, the Acropolis, including the Parthenon, is often claimed to have been constructed using the golden ratio. This has encouraged modern artists, architects, photographers, and others, during the last 500 years, to incorporate the ratio in their work. As an example, a rule of thumb for composing a photograph is called the rule of thirds; it is said to be roughly based on the golden ratio.

It is also claimed that the human body has proportions close to the golden ratio.

In 1509 Luca Pacioli published the Divina Proportione, which explored not only the mathematics of the golden ratio, but also its use in architectural design. This was a major influence on subsequent generations of artists and architects. Leonardo Da Vinci drew the illustrations, leading many to speculate that he himself incorporated the golden ratio into his work. It has been suggested for example that Da Vinci's painting of the Mona Lisa employs the Golden Ratio in its geometric equivalents.

The Architect Le Corbusier used the golden ratio as the basis of his Modulor system of Architecture.

summary of classical construction
upon a unit square

Golden ratio applied to page and margin dimensions in book design

The ratio is sometimes used in modern man-made constructions, such as stairs and buildings, woodwork, and in paper sizes; however, the series of standard sizes that includes A4 is based on a ratio of and not on the golden ratio. The average ratio of the sides of great paintings, according to a recent analysis, is 1.34. [1]. Credit cards are generally 3 3/8 by 2 1/8 inches in size, which is less than 2 % from the golden ratio.

The ratios of justly tuned octave, fifth, and major and minor sixths are ratios of consecutive numbers of the Fibonacci sequence, making them the closest low integer ratios to the golden ratio. James Tenney reconceived his piece For Ann (rising), which consists of up to twelve computer-generated upwardly glissandoing tones (see Shepard tone), as having each tone start so it is the golden ratio (in between an equal tempered minor and major sixth) below the previous tone, so that the combination tones produced by all consecutive tones are a lower or higher pitch already, or soon to be, produced.

Ernő Lendvai (1971) analyses Béla Bartók's works as being based on two opposing systems, that of the golden ratio and the acoustic scale. French composer Erik Satie used the golden ratio in several of his pieces, including Sonneries de la Rose+Croix. His use of the ratio gave his music an otherworldly symmetry.

Woodcut from the Divina Proportione by Luca Pacioli (1509) depicting the golden proportion as it applies to the human face.

The construction of a pentagram is based on the golden ratio. The pentagram can be seen as a geometric shape consisting of 5 straight lines arranged as a star with 5 points. The intersection of the lines naturally divides each length into 3 parts. The smaller part (which forms the pentagon inside the star) is proportional to the longer length (which form the points of the star) by a ratio of 1:1.618... It is thought by some that this fact may be a reason why the ancient philosopher Pythagoras chose the pentagram as the symbol of the secret fraternity of which he was both leader and founder.

The famous "Golden Ratio" sculpture in Jerusalem. This fifty-ton stone and gold installation is based on the Fibonacci numbers. The "Golden Ratio" was contributed by the Australian sculptor Andrew Rogers. (Photo credit: IsraCast)

There is no known general algorithm to arrange a given number of nodes evenly on a sphere (for any of several definitions of "evenly"), but a useful approximation is obtained by dividing the sphere into parallel bands of equal area and placing one node in each band at longitudes spaced by a golden section of the circle, i.e. 360°/φ ≅ 222.5°. This approach was used to arrange mirrors on the Starshine 3 satellite.

Mathematical uses

Approximate and true Golden Spirals. The green spiral is made from quarter-circles tangent to the interior of each square, while the red spiral is a Golden Spiral, a special type of logarithmic spiral. Overlapping portions appear yellow. The length of the side of a larger square to the next smaller square is in the golden ratio.

A Fibonacci spiral that approximates the Golden Spiral.

The number φ turns up frequently in geometry, particularly in figures with pentagonal symmetry. The length of a regular pentagon's diagonal is φ times its side. The vertices of a regular icosahedron are those of three orthogonal golden rectangles.

The explicit expression for the Fibonacci sequence involves the golden ratio:

The limit of ratios of successive terms of the Fibonacci sequence (or any Fibonacci-like sequence) equals the golden ratio; therefore, when a number in the Fibonacci sequence is divided by its preceding number, it approximates φ. e.g., 987/610 ≈ 1.6180327868852. Alternatingly the approximation to φ is too small and too large, it gets better as the Fibonacci numbers get higher, and:

Furthermore, the successive powers of φ obey the Fibonacci recurrence:

φ⁻² = − φ + 2,

φ⁻¹ = φ − 1,

φ⁰ = 1,

φ¹ = φ,

φ² = φ + 1,

φ³ = 2φ + 1,

φ⁴ = 3φ + 2,

φ⁵ = 5φ + 3,

φⁿ = F(n)φ + F(n − 1),

...

Because φ is the only positive number that satisfies the identity φⁿ = φ^{n − 1} + φ^{n − 2}, any polynomial expression in φ may be decomposed into a linear expression. For example:

From a mathematical point of view, the golden ratio is notable for having the simplest continued fraction expansion, and of thereby being the "most irrational number" worst case of Lagrange's approximation theorem. It has been argued this is the reason angles close to the golden ratio often show up in phyllotaxis (the growth of plants). It is also the fundamental unit of the algebraic number field and is a Pisot-Vijayaraghavan number.

The golden ratio has interesting properties when used as the base of a numeral system (see Golden mean base). Another interesting property is its square being equal to itself plus one, while its reciprocal is itself minus one.

我简化的划了。我所划的那一张图，就是这一个公式。这是无限扩充的生命繁衍法则。如果让他一直RUN，那会有无数次元的生命跑出来。我所指的次元，就是 很像宗教家说的：「你一个念头出去了，就永远收不回来」？ φ=a/b 所以意思就是说：「要比a长还是b长吗？要比高下吗？好呀，你一定比不完，生死轮回都得一直比下去。可是如果你说他们等长的话，那就是这样啦....φ=a/b=1=1+1/1=2！所以如果你说我们等长的话呢，那我们两个相加起来的长度就不是天比你大几倍，你就比我大几倍。或者天比我大几倍，我就比你大几倍。所以不要老是说你跟我一样平等，你没跟我比，因为当你那样说的时候，分明是假话。没有我的话，你没办法知道天有多大。但是你又说你跟我一样长，那你这样讲的时候结果就是你等于2，所以你开始不一了，矛盾了，因此2是化忌的初始化，所以陀罗叫做『忌』，表示矛盾的生命无法顺利繁衍的基础数字。」

Alternate forms

The formula can be expanded recursively to obtain a continued fraction for the golden ratio:

[ 本帖最后由 Seafar 于 2006-4-23 15:01 编辑 ]

1
1	1
2	2
3	1.5
5	1.666666667
8	1.6
13	1.625
21	1.615384615
34	1.619047619
55	1.617647059
89	1.618181818
144	1.617977528
233	1.618055556
377	1.618025751
610	1.618037135
987	1.618032787
1597	1.618034448
2584	1.618033813
4181	1.618034056
6765	1.618033963
10946	1.618033999
17711	1.618033985
28657	1.61803399
46368	1.618033988
75025	1.618033989
121393	1.618033989
196418	1.618033989
317811	1.618033989
514229	1.618033989
832040	1.618033989
1346269	1.618033989
2178309	1.618033989
3524578	1.618033989
5702887	1.618033989
9227465	1.618033989
14930352	1.618033989
24157817	1.618033989
39088169	1.618033989
63245986	1.618033989
102334155	1.618033989
165580141	1.618033989
267914296	1.618033989
433494437	1.618033989
701408733	1.618033989
1134903170	1.618033989
1836311903	1.618033989
2971215073	1.618033989
4807526976	1.618033989
7778742049	1.618033989
12586269025