Scriitorul Nicolae Sirius vorbind despre adaptarea în ţara soarelui răsare:

Adaptarea…

sau vârsta împlinirilor

Japonia, în comparaţie cu oricare altă ţară de pe continentul european, care, extinzându-se, a format noul conglomerat de ţări bine dezvoltate- SUA, Noua Zeelandă, Australia şi Canada, ar fi putut rămâne o ţară a trecutului dacă din întâmplare n-ar fi luat parte în al doilea război mondial. Acea înfrângere i-a dat de gândit. Până atunci japonezii au avut puţin de furcă cu mongolii, chinezii şi coreenii, care, în număr mic, din când în când, i-au atacat dar s-au retras. Deci, se poate spune că Japonia, o ţară săracă în trecut, n-a reprezentat o adevărată ţintă… Iar izolarea, într-un fel, i-a creat anumite avantaje. S-a dezvoltat spiritual însă (după cum spun izvoarele) odată cu apariţia primului împărat, care, zice-se, a coborât din cer. De-atunci s-a păstrat o evidenţa riguroasă privind scaunul imperial. Lucru nemaiântâlnit la nici o altă naţie. Şi totuşi se pare că în vremuri foarte îndepărtate japonezii au fost vizitaţi de europeni.

Eram într-o zi, la începutul şederii mele aici, pe o terasă când am auzit pentru prima dată cuvântul CASA în japoneză, şi-am tresărit. Am întrebat-o pe soţie ce înseamnă şi mi-a spus că umbrelă. Atunci am vrut să ştiu cum îi spune la CASĂ în japoneză şi ea mi-a spus că IE. (Deci ceva care ”adăposteşte” corpul.) După o vreme am mers să vizitez un muzeu. În faţa acelui muzeu era un complex amenajat să redea viaţa japonezului de odinioară. Ce m-a frapat a fost forma caselor. Arătau ca nişte umbrele (un fel de umbrar) şi erau acoperite cu un fel de trestie. Nu peste mult cineva m-a invitat să văd un cimitir vechi, descoperit din întâplare. Cu acea persoană vorbeam în engleză dar mi-a reţinut atenţia cuvântul BOCI (a boci/plânge) pe care el l-a pronunţat în japoneză de mai multe ori când tot încerca să-l traducă în engleză. Atunci am fost curios să ştiu mai multe lucruri despre acel cuvânt şi respectivul mi-a spus că e un cuvânt vechi, foarte rar folosit şi, că, practic, se referă la cimitir.


Dacă aş fi fost un înstărit m-aş fi prins să fac documentare- o paralelă între două limbi despre care se ştie că sunt neînrudite, cu gândul că undeva poate există un filon, o legătură veche, necunoscută nouă. Numai că la vremea când aceste lucruri treziseră o anume curiozitate în mine mă aflam cu un bicior în barcă şi cu unul pe uscat. Practic nici nu ştiam dacă ar trebui să mă depărtez de ţărm sau să rămân locului.

Ca scriitor, dacă locuieşti într-o ţară a cărei limbă n-o ştii eşti mort. Bine, excluzând faptul că te afli pe-acolo tocmai pentru că vrei să scrii o carte. Dar o scrii în limba ta.

La tot ce m-am gândit atunci, c-ar fi mai bine, în acele condiţii ce implicau supravieţuirea într-o lume nouă pe care încercam s-o cunosc, a fost să păstrez o legătură cu limba maternă. Lucrul acesta poate să pară destul de banal însă are o anume motivaţie, ontologică, ca să spun aşa. Şi ca acest lucru să fie într-un fel şi profitabil, am început să demarez o campanie de schimb cultural, în colaborare cu primăria oraşului unde locuiam. După o vreme am colaborat şi cu ambasada noastră de la Tokio. Am organizat pe o durată de mai mult de zece ani sumedenie de spectacole. Invitând aici de la naişti până la cântăreţi de operă. În aceeaşi perioadă n-am scris în română decât un volum de poezie şi un roman care o să apară în curând. Mi-am tradus în schimb din română în engleză două piese de teatru, am scris o lucrare de religie comparată şi antropologie în engleză (ce-ar fi trebuit să apară de anul trecut dar o să apară anul acesta) şi un roman tot în engleză pe care sper să-l definitivez peste puţin. In rest… a fost viaţa de familie.

Oricum, ţinând cont de faptul că eu sunt român iar soţia japoneză, chiar dacă locuiesc în ţara ei şi trebuie să respect obiceiul casei, pentru că aşa este firesc, totuşi n-am încercat niciodată să adopt mentalitatea de tip japonez. Deci mi-am păstrat acel fel de-a gândi moştenit de la părinţi sau de la ţăranii din satul unde m-am născut.


În felul acesta nu m-am simţit nicodată (nici când am locuit în Australia, Austria, Germania) un om frustrat că nu se poate integra într-o societate, un om care se chinuie să facă pe plac altora, sau un om care s-ar considera în vreo împrejurare inferior pentru că ţara unde s-a născut trece de o bună bucată de timp printr-o stare de criză politică, economică sau de altă natură.


Am văzut uneori la TV documetare despre oameni care au venit aici şi s-au integrat foarte repede. Şi erau într-adevăr bucuroşi. Alţii n-au putut să se integreze şi sufereau din acest motiv. Mie, însă, întreaga lor poveste nu mi-a spus nimic. Asta nu înseamnă c-am găsit ceva rău în bucuria celor care reuşiseră să se integreze sau că n-aş fi avut motiv să-l deplâng pe cel care nu se integrase.

Am scris aceste rânduri, începând cu prima mea vizită în Japonia, urmată de perioada de adaptare, pentru că există acea curiozitate, pe care aproape fiecare din noi şi-o manifestă într-o împrejurare sau alta, de a se întreba cum poate supravieţui, sau se poate integra un om într-o cultură ce-i total diferită de a lui.

Pentru un muzician, un pictor, scultor, sau un specialist în calculatoare, adaptarea e mai uşoară decât pentru un scriitor. Fiindcă scriitorul şi de vrea şi de nu vrea, se vede ca un bumerang ce odată aruncat dar nu şi-a atins ţinta, e pe drumul de întoarcere. Iar acela este limba lui maternă. Pentru că acela îi este cel mai bun punct de sprinjin în ceea ce vrea să comunice în scris. E aceasta o scuză? Nu! Nu-i nici cel puţin o vină. Cine şi-ar părăsi părinţii sau locul unde s-a născut numai ca să vrea să înfrunte necazuri? Şi dacă ar fi să regret acum n-aş reuşi decât să-mi fac mai mult rău.


Şi totuşi, exilul (chiar dacă nu scrii despre el, deşi-i la modă) îţi poate oferi o experienţă de viaţă pe care n-ai avea cum s-o cunoşti altfel. “

joi, 4 decembrie 2014

Insomniile lui Gregor sau Metamorfoza închipuirii Nicolae Sirius

cronica de teatru insomniile lui gregor nicolae sirius


Întâlnirea dintre vis, simbol şi semn poate căpăta, imaginativ vorbind, conotaţii confuze atunci când trăirile se lasă „rănite”, mai mult sau mai puţin, de glorii false. Limita dintre confuzie şi închipuire poate fi încălcată cu uşurinţă atunci când mintea devine „victima” unor dedublări derapante sau când se lasă atinsă de false judecăţi, orgolii exacerbate, manii permisive şi idei fixe. Putinţa de a opera cu realul, de a anula închipuirea, de a restabili un echilibru perpetuu al intelectului moderează, spiritualiceşte, un individ. Când acest lucru nu se poate întâmpla, atunci efectul previzibil se manifestă printr-o instalare a grotescului în materia fiinţială. Obiectivarea unei situaţii lamentabile naşte strategii dramatice iluzorii, mai cu seamă atunci când purtătorul de opinie are un caracter „şifonabil”.

Aşa ar putea suna o radiografie a acelui imaginabilis care a pus în contexte potrivnice o lume pentru care soarele nu era doar o „proeminenţă” a cerului, cerul nu era doar un pretext al neantului, neantul nu era doar un manifest al vidului, iar vidul nu era doar o genune. O lume, care până atunci se desfăşura pe verticală, avea să alunece pe-o parte, în râna care „pândea” pustiul. Această lume condamnată la o stare de pândă bolnăvicioasă, la o bâlbâială aproape metafizică, la o existenţă discordantă care nu putea să nu nască monştri, s-a supus unei traiectorii dominate de beteşuguri caracteriale. Monştrii cu apucături dictatoriale, cu insomnii pârdalnice, cu brambureli afective şi oboseli compulsive au devenit suveranii reprobabili ai contemporaneităţii.

Dar tot această lume descompusă, ca orice rău care prin esenţa sa nu poate să nu se raporteze la un bine, a condiţionat manifestări intelectuale „riverane”. Ei bine, dintre acestea, scrisul a fost unul dintre mecanismele de apărare instinctivă ca şansă şi apel la reechilibrare.


Profund afectat de regimul politic din România anilor ’80, poetul şi viitorul dramaturg Nicolae Sirius alegea să facă apel la această „şansă la reechilibrare”, părăsind ţara. După ce vreme de jumătate de an a trăit într-un lagăr din Austria, în anul 1988 Nicolae Sirius devenea cetăţean australian. În România a scris poezii. În lagăr însă a scris prima piesă de teatru, Balada timpului care plânge, publicată în limbile română şi engleză. Nu întâmplător m-am gândit să pomenesc despre acest text dramatic, pentru că el are cu siguranţă o legătură cu piesa Insomniile lui Gregor, realizată anul acesta de Teatrul Naţional Radiofonic şi difuzată în premieră absolută pe 12 iunie la Radio România Cultural.

nicolae sirius premiera absoluta insomniile lui gregor pusa roth cristina chirvasie

Textul lui Nicolae Sirius, în adaptarea radiofonică a Puşei Roth, poartă, după părerea mea, ceea ce este un lucru extrem de interesant, amprenta existenţialismului şi a suprarealismului. Din punct de vedere dramatic el pendulează undeva între „maniera” Vişniec şi ficţiunea lui Kafka. Gregor-ul lui Sirius poartă parcă o haină kafkiană, asemeni personajului Gregor Samsa din Metamorfoza. Transformarea într-un gândac a lui Gregor Samsa are loc noaptea. Insomniile împăratului Gregor a lui Sirius derivă tot dintr-o transformare, care are acelaşi substrat: devierea de la realitate. Nici Kafka, nici Sirius nu dau răspunsuri legate de aceste transformări, ci lansează doar enunţuri interogativ-dramatice. La acest nivel al analizei n-am putut să nu remarc o asemănare între cele două personaje, pentru că ele au un numitor comun evident: dezumanizarea. La Kafka personajul adoarme şi se trezeşte preschimbat, nu se ştie de ce, într-un gândac. La Sirius, personajul adoarme şi se trezeşte într-o închipuită lovitură „de scaun”.

mister metamorfoza absurd existentialism

Citeam deunăzi o statistică referitoare la vise. Se pare că, indiferent de starea socială, intelect şi alte criterii de departajare umană, visele bărbaţilor sunt mai scurte decât cele ale femeilor şi mai puţin colorate. Cred că această statistică defineşte succint piesa lui Nicolae Sirius în sensul încărcăturii dramatice.        

Intensitatea emoţiilor lipseşte făcând loc însă senzaţiei că personajele petrec într-o stare de halima, figurativ vorbind. De aici îşi extrage această parabolă dramatică seva, de un comic absurd impecabil, delimitându-se de impresia kafkiană şi de „maniera” Vişniec. Nu la întâmplare am pomenit despre comparaţia cu stilul lui Vişniec, această alăturare referindu-se cu stricteţe la „carnea” personajelor (să ne amintim de piesa Ţara lui Gufi). Nonconformist, sfidător şi bizar, personajul principal al textului lui Nicolae Sirius este, în fapt, un parazit. Un parazit care „împărăţeşte” într-un epizoar simbolic.

Interesantă este şi formula prin care Nicolae Sirius îşi construieşte povestea, caresimboluri dictatura teatru insomniile lui gregor dacă ar trebui să fie derulată sumar, ar suna aproape pueril. Faptul că dramaturgul nu şi-a elaborat dramatic piesa, nemizând pe o teatralitate spectaculoasă, ci mai degrabă pe ceea ce a intuit că va naşte textul său, interacţionând cu spectatorul şi marşând pe cuvânt şi situaţie, cred că este un lucru excepţional.

Aşadar, un împărat bizar, a cărui putere „zăcea” în clopoţelul „de ordine”, îşi cheamă supuşii în miezul nopţii pentru că… a visat. A visat un vis ca o… fantasmă patologică. Doarme, visează şi la trezire se teme de complot. Un complot fabulos şi închipuit.

Faptul că, atunci când a scris piesa, autorul se afla în pragul maturităţii, a făcut ca percepţia sa asupra regimului totalitar instaurat în România să se concentreze pe ideea de libertate a individului. Un individ care trăieşte o permanentă stare de pândă. Îşi pândeşte libertatea. Îşi pândeşte eliberarea. Îşi pândeşte ieşirea din carapace.simboluri dictatura teatru insomniile lui gregor

Aş putea spune că este un text bizar. Aş putea spune că spectacolul radiofonic semnat de regizorul Vasile Manta este excentric. Aş putea spune că este un manifest al alienării. Dar aş fi prea laconică. Această propunere a Teatrului Naţional Radiofonic este remarcabilă tocmai prin faptul că trebuie percepută în adâncime. Simbolistica ei se află în adânc. Motivaţia teatrală este profundă. Percepţia dramatică trebuie să fie gravă, radicală, lăuntrică. Textul lui Nicolae Sirius nu este simulat şi are o plasticitate dramatică certă. Distribuţia aleasă înadins de regizorul Vasile Manta ca să susţină această plasticitate a textului, nicidecum uşor de interpretat, este una ideală. Admirabilul actor Dorel Vişan, interpretul împăratului Gregor, îşi construieşte rolul cu o atenţie expresivă, nelăsând nimic la întâmplare, punctând cu precizie conflictul şi formulând uimitor toate nuanţele şi tonurile pretinse de textul lui Sirius. Trecerea de la o stare la alta, pe care Dorel Vişan o stăpâneşte la perfecţiune, dă „greutate” personajului, scoţându-l dintr-o posibilă platitudine. Excepţionalul actor Virgil Ogăşanu, care îl interpretează pe Papac, omul de încredere al împăratului, îşi desfăşoară partitura dramatică pe anumite coordonate-cheie pe care le stăpâneşte cu dexteritatea unui jongleur de stări şi cuvinte. Atent la cele mai mici detalii, îndrăgitul actor Mihai Constantin dă personajului său, Soldatul, o expresivitate distinsă şi o culoare bine temperată. Soţia împăratului, Relina, cea care „a stricat ordinea timpului”, este interpretată cu eleganţă de actriţa Maia Morgenstern, într-un rol de mici dimensiuni, dar inspirat de registrul bizar al textului. Şi, în fine, Gogore, scribul tălmăcitor de vise, interpretat încântător de unul dintre „veteranii” teatrului radiofonic, actorul Petre Lupu, este poate singurul personaj neviciat de oniric, chiar dacă operează cu „visul” şi are menirea de a contrabalansa acţiunea printr-o cumpănire paradoxală şi nealterată.

dorel visan

Dorel Vișan. Fotografie de la înregistrare, Studioul Mihai Zirra” al Radiodifuziunii, 6 mai 2014

Situat la graniţa fantasticului, spectacolul propus publicului ascultător de mult-apreciatul senior al Teatrului Naţional Radiofonic, regizorul Vasile Manta, este cu certitudine o provocare. O provocare susţinută muzical într-o manieră originală de George Marcu, cu implicarea dedicată a producătorului Costin Tuchilă. O provocare dramatică şi poetică, la un loc, aş putea spune, pe care scriitorul Nicolae Sirius o lansează contemporanilor săi.

Cristina Chirvasie

cristina chirvasie

Insomniile lui Gregor de Nicolae Sirius. Adaptare radiofonică de Puşa Roth. Regia artistică: Vasile Manta. În distribuţie: Dorel Vişan, Virgil Ogăşanu, Mihai Constantin, Petre Lupu, Maia Morgenstern, Mihai Niculescu, Daniela Ioniţă. Redactor şi producător: Costin Tuchilă. Muzica și regia muzicală: George Marcu. La vioară: Marian Grigore. Regia de montaj: Dana Lupu și Florina Istodor. Regia de studio: Janina Dicu. Spectacol radiofonic realizat cu sprijinul Societății Comerciale Teletext SRL Slobozia. Producție a Teatrului Național Radiofonic, iunie 2014. Data difuzării în premieră absolută: 12 iunie 2014

Grafică, ilustrații și editare multimedia: Costin Tuchilă.

Fragmente din Insomniile lui Gregor de Nicolae Sirius, adaptare radiofonică de Pușa Roth. Cu Dorel Vișan, Virgil Ogășanu, Mihai Constantin. Muzică de George Marcu. Regia artistică: Vasile Manta. Producție a Teatrului Național Radiofonic, iunie 2014



cronica de teatru radiofonic in revista teatrala radio

revistateatrala

joi, 19 decembrie 2013

cea mai tarzie iarna



Valuri roşii 
asemeni unui câmp de maci
umbrele ultimelor frunze de arţari arzând
lasate de vântul trecând
peste lacul aproape secat. 

...Neputincioşi...
si totuşi nu ne acoperim faţa.
Vin cântăreţii să ne ureze An Nou
şi-aproape 
că nu le mai vine să deschidă gura.

Unde-i zăpada... unde e aerul 
ce până-n adâncul pământului 
în cristale de gheaţă apa lega?
îi întreb din priviri
în timp ce ei îmi colindă aproape plangând:
Iarna a rămas suspendată în cer...
undeva...

O să se stingă şi obiceiurile spune mama
şi pleacă în casă oftând.

Iau o mână de grâu şi o arunc cât pot de sus-
să ajungă aş vrea 
acolo unde suspendată a rămas iarna
să cadă ningând odată cu ea.

Piesa de teatru - Ultimul Dictator, Cain , Abel și Dumnezeu - Autor Nicolae Sirius


This play was staged at "La Mama" theater, Melbourne, in collaboration with Piccolo Festival.
Piesa  de teatru -  Ultimul Dictator, Cain , Abel și Dumnezeu - autor  Nicolae Sirius - s-a jucat la teatrul "La Mama"  în colaborare cu Piccolo International Festival.
Stagiunea s-a prelungit cu încă o săptămână fiindcă piesa a avut succes.


vineri, 13 decembrie 2013

A secret of the oracle of Delphi de Nicolae Sirius




 An old story, handed down from generation to generation, describes how the Divine once told his worshipers, through the oracle of Delphi, that in order to rid themselves of the huge plague that was about them, they needed to build an altar double the size of the existing one. Being the Divine's command, it very quickly spread out from the top of Delos, the hill where the oracle was built, to all corners of the Greek empire. And who knows how many viewed this as a good opportunity for the high and low priestly ranks, to perform the Divine's command with great joy.   
 Though this command seemed simple at first, it later was to be known as the Dalien problem, or the unsolved problem. The problem being that the Divine asked the worshippers to double the size of the existing altar, without adding anything to it. The story unfolds further, that the craftsmen who were employed to carry out this task, thought that the best solution was simply to consult Plato, the greatest philosopher of that time, for guidance.  
 The philosopher told them that:  "...the oracle meant not that the Divine wanted an altar of double the size, but wished to set them to task, to shame the Greeks for their neglect to mathematics and their contempt to geometry".  This is a statement that puzzles, since it is known that, at that time, the Greeks had already reached the highest point in the fields of mathematics and geometry.  Did then the great philosopher intend to humiliate the mathematicians of his time? Hardly anyone could find evidence to support this. On the contrary, Plato was convinced that: "The reality which scientific thought is seeking must be expressible in mathematical terms". This is why on the door of Plato's Academy (renown for its high level in the field of philosophy), of which Plato himself was in charge, was written the following statement: "Let no one unversed in geometry enter here."  
 If the great philosopher was convinced that the deepest knowledge could be expressed better in mathematical and geometrical forms, the question therefore is: What kind of mathematics and geometry was he referring to? This is keeping in mind, that Plato meant precisely that the Greeks both "neglected" and "ignored" what otherwise they should have preserved.  
  Eratosthenes of Cyrene (276 - 194 BC), another famous Greek who was the first to accurately measure the circumference of the earth, also commented on the meaning of the Divine's proclamation concerning the altar at Delphi. And, to be sure that his statement on that burning matter would not be altered, he erected a column in Alexandria (in Egypt) and wrote on it the following phrase: "If, good friend, thou mind to obtain from any small cube a cube the double of it, and dully to change any solid figure into another, this is in thy power." This statement is very intriguing, because Eratosthenes did not explain the principle that one might use, in order to obtain from a small cube the double of it, without altering the solid figure. This can be taken to mean that he knew that the Divine would not proclaim things beyond people's capacity of understanding.  
 If Plato and Eratosthenes did not detail the answer regarding this oracle from Delphi, there may have been a reason for this. One of the reasons might be the fact that they did not have the authority to undermine the priests' position. How could they, if the priests were responsible for the oracle of Delphi, which was regarded as the sole channel the Divine's proclamations were claimed to come through? On the other hand, even though on that occasion the priesthood could not provide an adequate answer, their prestige and renown for predictions and prophecies was not diminished, but continued to echo over the centuries!  
 Now, we can comment without fear that those priests were not able to solve the most simple problem of all. It is the most simple problem of all, because what the Divine suggested to them, if that ever happened, is (as a matter of fact) a hint to the inherited laws, of which humanity is dependent.  We all know that the cube root of 8 is 2 and that the cube root of 27 is 3. To make an altar double the size without changing its composition means one needs to accurately use the principle of ontological language and numerology. This is a principle that describes the primordial reality on which the laws of the universe are based.  
 This fundamental reality is designed in such a way that through it can be sent mathematical, geometrical or linguistic information. A channel through which the relation between the Divine and whatever else exists in the universe, as well as the links between ourselves and the environment, is permanently opened. And, though this is the most important thing humanity should take care of, the reality is, is that the Self has claimed the most important role in human eyes. Why is this so?   
 The Self pertains to changes, to some degree, as does the matter that it is in contact with. But these changes are not only different in nature, but they cannot be seen, as the changes in the structure of the body are seen. Without the presence of the Self, says Erwin Rohde in his work Psyche , the body cannot perceive, feel, and wish. Yet the Self does not manifest these faculties and all the other actions by the psyche or through it.  
 What should be taken into account, are the limited periods of time called active life, when the Self and Matter actively interchange, moving permanently on the updated design of the laws of the universe. Updated design of the laws of universe, in this context, means the result of the past through the present is turned into the future.  It is the time when the Self imprints on Matter its action and receives energy in kind, as a result of matter's reaction. If the Self is not tuned to the rhythm of the universe, it could imprint messages "at random".  If this happens and, practically it happens almost all the time, it means that the Self is not tuned to the laws of the universe and plays the role of an alter ego. This then is why the mind, which records and answers permanent activities, looks like it is in charge of everything else a body is composed of.  
 Once we believe that the mind is the engine of our temporary life, we are not or we cannot be interested in searching our Nature of Mind, which is the mother of the temporary mind. Or, even though we locate the Nature of Mind, if we do not understand that it is dependent on the laws of the universe, we are no more than a step further ahead. If we rediscover, in a temporary life, the laws of the universe and believe that they are our own works, again we are only a step further ahead, but without any chance to continue along this road.  

2.Could we realistically rediscover the ontological language that describes the laws of the universe?  
 Practically this has been the concern of human beings throughout history. As a result, many representations of this kind were made at different periods of time. The vital thing, therefore, is to know how these representations were documented or orally transmitted. Ahmes, an Egyptian scribe who lived before 1650 BC wrote down on any papyrus he classified: "The Entrance Into the Knowledge of All Things". He also added that anything is "in likeness to writing made of old." This knowledge, he referred to, says Cris Witcombe of Sweet Brior College in Earthy Mysteries, pertains to p or "the most ancient numbers known to humanity." Why then is this p so important and why did people of old keep it secret  in a way? And how can we find out that p is "The Entrance Into the Knowledge of All Things"?  
 The Bible (in comparison with the Vedas, which describe the mystical syllable OM as being transcendental--similar to p) unveils an even more eloquent example in this sense, according to. H.P. Blavatsky, (the founder of Theosophical Society). Her book The Secret Doctrine, a work that deals on the Hindu, Zoroastrian, Chaldean, Egyptian, Buddhist, Islamic, Judaic, and Christian religions, tried to explain "the hidden glyph and symbols... left unnoticed".  She (helped by the cabalists) numerologically analyzed the essential words of Bible scripture. Some of these numbers are the property of p. And, among many interesting things, it might be noted that a numerological calculation, unveils the numerological aspect of the crucifixion. "Man was the primordial word. The essence of this word is 113." confirmed Blavatsky. "The term Raven is used but once, and taken as Eth-HOrebv= 678, or 113x6; while Dove is mentioned five times. Its value is 71, and 71x5= 355." Adding that "There seems to be deep below deep as to the mysterious workings of these numbers of the connection of 113: 355, with 20612: 6561, by a crucified man".  
 Indeed, the two pairs of numbers carry in them the meaning of p. The number 6,561,  is the square of 81. To ancients the number 81 was known as the symbol of the Self (at the time of enlightenment or liberation). The value of p: 20612: 6561= 3.14  As is the value of 355:113.  
A few hundred years later the value of 355:113 was calculated by Ch'ung Chi of China. Though the value of p is almost the same, there is a tremendous specification within the meaning of the two pairs of numbers. What then did those of old intend to find out through and behind these mathematical calculations?   
 In ancient times, as it is known, numbers were studied not only for their numerological properties, but also for their supposed genders. And, it was concluded by many Pythagoreans, that the universe as a whole also has these inherent properties-- feminine, masculine and neutral. This might be one of the basic teachings of Pythagoras, who was convinced that everything in existence was the result of the numerological order.  
 But do these unaccounted numbers of interaction of entities have a point where they cannot go further? A kind of boundary, so to say. Or, do these uncounted numbers represent the entities of atoms which have their own boundary? The other important aspect is to know if these unaccounted combinations regain the simplest/smallest form possible. If this is so, then what number (at the universal scale) would show the minimum number of combinations possible?  

3. The ontological language is, of course, not a human invention 

 In the first part of this work (Primordial Language and Numerology), it was mentioned that Pythagoras made use of ontological numerology in order to estimate the real value of transcendence or p. Yet, is there more convincing proof that 198/63 should be considered ontological/primordial in nature?  
  Physicists have noted the ubiquity of p in nature, mentions Cris Witcombe in Earthy Mysteries. He describes further that p also is obvious in the disks of the moon and the sun. The double helix of DNA revolves around p, ...etc. But to any scientific activity today, the use of electronic devices is routine in this field. In this way the most hidden manifestation of the elements seen in nature can be noted and simultaneously studied.  
 In comparison to this, the numerological calculation made by Pythagoras takes us back some 2,500 years or so. Furthermore, his calculation is based on the same numbers that were known and used more than 38,000 years ago. Has this information then been passed on from generation to generation, or have some people at different periods of times discovered the same things? The distinction then, between these numerological calculations of the past, in contrast with the most advanced scientific achievements of today- concerning the transcendent- is to be taken into account.   
 A further calculation of the  numbers inscribed on  
Columbia of Branzeni- 38.000 years BP 
the Columbia artefact reveal a second stage, that was worked out as to estimate the transcendental. The numbers seen here are: 27,24,30,54, and 63. But it is interesting to note that out of any single number from one to ten, the numbers that are not represented on Colombia are exactly the sum of the numbers inscribed on the artifact.  
  In A History of Zero, J.J. O'Conor and E.F. Robertson mention that: "Numbers in early historical times were thought of much more concretely than the abstract concepts which are our numbers today". The reality is that people of old were able to calculate complex operations in the field of mathematics. The second process of the radical 198/63, which has as its value 3.142857, reveals exactly this. The first instant of the mathematical calculation is: 198: 63= 3 (Where 198-189= 9 remaining.)  
  To continue the calculation a (zero) 0 was needed to be added to the number 9. But the important point is that this zero has the value of the number 81.  90-9=81.   
 This is where the real calculation concerning the transcendental begins. Minusing the number 63  from the number 90, the remaining number is 27. Adding a (zero) 0 to 27, in order to continue the operation, we get the number 270. Minusing 27 from this number, we then get 243. This means that the number 81 was multiplied three times: i.e. 81x3=243. In this process, 81 is then multiplied further with the numbers 2,6, 4, and 5 respectively, until the number 9 (to which the first (zero) 0 was added) appears "on the stage" again. None other but a repetitive range of the same numbers would make a further calculation possible. Therefore the transcendent, that is part of the radical operation, is concealed in the power of number 81 which, as was shown before, is the symbol of Self, at the stage of enlightenment or at the time of liberation.  
 Nae Ionescu, the Socrates of the 20th century (whose works were published only years after his death) was also the mentor of three important scholars: Emil Cioran, Mircea Eliade and Constantin Noica. In his work Metaphysics, he came forward with this question: Is transcendence but in itself an ontological reality, or does it not exist merely as a form, an instrument of our consciousness?" He was convinced, as was Pythagoras, that "Any sentient being possesses as a property, its own entity."  
 As a matter of fact, no one thing that lacks entity can possess the power of transcendence. If we retain (from the radical of 198/63, that is 3.142857) the sum of the numbers 1, 4, 2, 8, 5 and 7 (which is 27), resulted from the operational radical 81 (as shown in the numerological table of the Lotus Sutra of Buddha Shakyamuni --- Self, (number 9) and 3, the three-dimensional structure of the universe), it illustrates that the Self transcends permanently. The second aspect is, that if the Self is not connected to the Inherent power that is in itself, the transcendence is a repetitive one. The Inherent power carries the symbol 6, as it is presented in Lotus Sutra. The sum of 54 (the Inherent power x Self) and 27 (Self x the 3D) is 81 (which is perfect enlightenment). From this demonstration, we can understand that Self does not express its function through psyche, unless it is powered by the Inherent power. Therefore, if Self is disconnected from the Inherent power, that might lie dormant within it, it has, as a matter of fact, its transcendental limitations.  
 The story of the Oracle of Delphi with which this work began, has a similar answer.  Here is Philolaus' (one of Pythagoras' disciples) The Number of Reason, where Number 2 was considered the first even number; a female number. Number 3 was considered a perfect number.  
                                                                     1  
                                                   2                              3  
                                              4                                        9  
                                       8                                                   27  
The cube of 3  is 27. The Inherent power is 54. And the sum of them is 81.   "This is thy power" which Eratostenes referred to, meaning the Inherent power. If the Divine asked believers to double the size of the existing altar without adding anything to it, this simply means to connect the Self to the Inherent power in order to get the Divine's language, on which the laws of universe are based.  
 A simple image of the sky when the Sun squares or trines a planet, is a good example. There is, as a matter of course, nothing that is added or taken away. In much the same way, the Self and the Inherent power work. If we activate the Inherent power then the Self can express its function through the psyche. Similarly, the example concerning the value of  (that describes a man on the cross) is but one of the many examples that concerned people of the past. It was obvious for them to ask: What remains of a man after he enters physical extinction? These examples could be taken as coded operations but they used to be a kind of routine for people, of which we know so little.  

4. How can we understand how all of these things started?  

 The process of coding and sending messages was and is vital. As was the need to use mathematical and geometrical representations. To understand them, we need to know how the  mathematical and geometrical format was calculated , so as not to diminish the linguistic messages transmitted through it, and how the linguistic messages were calculated to carry mathematical megabytes of numbers.  
 As soon as we use the words "messages" and "transmission of messages", we acknowledge the fact that both the transmitter and the receiver could understand the mathematical and geometrical format used. Otherwise no transmitted message could then be interpreted or understood. The other interpretation would be that people reached some skill in recording and that the messages transmitted pertained to their current lives. Or, the simplest theory could be that the carving (on artefacts) was, merely decorative.  
 Any one of these hypotheses needs to some extent to be taken into account. Yet, it is not a simple accident that messages transmitted tens of thousand of years ago could be decoded in our present time. To make more room for this complicated issue, we can reassess the problem. Let's imagine that we as part of the many species on this planet are in an imminent danger, and that the only way to save our lives, would be to transmit a message into outer space.  

5.  So what would be the format of an outer space message? 

 In the Vedas, which represents one of the most important spiritual achievements in Indian life, music is depicted as being the emanation and the maintaining support of the Universe. It mentions seven syllables: Sa, Pa, Ri, Ga, Ma, Da, Ni as being the primordial indestructible sounds.  When these syllables are represented into a score format, then, automatically they become dots, representing intensity, rhythm, pauses, etc.; a graphic of the sound structure needed to be understood or performed. The dot format of the musical scores from the earliest times might be considered as a major numerological musical order, that could describe the hidden harmony of words.   
 Bach, the father of classical music, could not avoid the dot format representation when he wrote his scores. These days, musical scores look more diverse for the reason that more symbolic information is introduced in its structure, but the basis of this musical representation remains the dot format and the five horizontal-string lines on which they are written. Interestingly enough, it is the oldest artifact, Columbia, that also has its message written in a dot format on five "strings". Therefore, did whoever documented this artifact in a numerological way, view that structure as a score format too?  
 The Stanzas of Dyazan, considered the oldest document written in Tibet, in its poetic structure, claims six similar sounds that the Divine utters while proceeding from the first to the last stage of the creation of the universe. (There are only a few translations of the Stanzas of Dyazan available, but they differ much in content.)   

6.  Manas, the sixth sensory  

 If a human cannot see a writing format in order to read it, than the hand's sense of touch can help them to read. The Frenchman Louis Braille (1809-1852) who at four, as a result of an accident, lost his sight, continued the work of Charles Barbier, a soldier, who invented "night writing", a parole system used at night by soldiers to pass on secret information.  Louis Braille developed this system of language without lettering. A system in a dot format... and his hands "told" him that everything could be expressed through six "words". In Japan this language was introduced during the Meji period. But here something inconvenient took place. Japan, possessing three kinds of writing (hiragana, katakana and kanji) needed to develop another "Braille" system. Though on this occasion, they realized they could not use more that six words. And this because the blind people's hands "told" them that they didn't need more than six in order to express their feelings, emotions, thoughts...  It should also be noted is that this soundless language can also be used as a musical score as well as in mathematical calculations.  
 Braille is used widely now, daily having a larger number of people wanting to help those in need. With regard to the ontological language, which should concern anyone on this planet, the situation is quite different. The reason that this situation is so confused, so dramatic, is that for thousands and thousands of years the ontological or the Divine language has been neglected through many devolutions and interpretations.  
 Now there are two things that must be considered. One is that the ontological/divine language (from the first known numerological representation some 38,000 years ago) looks like a river that appears and disappears as if light and dark change their positions. What could there be then that obstructs the flow of this language? To this, wise people used to say that if the mind trembles, primordial knowledge is lost, and the human falls from the sky. This "fall" is not to be taken as real because the reality is, is that we ride high in the sky on the skin of our planet. Therefore "if the mind trembles primordial knowledge is lost", must be taken as it is.  

 7. To receive primordial knowledge a human is endowed with, is not a simple task  

 Only nine kilometers from the place where the artefact Columbia was discovered, another artefact that has been carbon dated to c. 24- 26,000 years old, was found.  The archeologist Vasile Chirica found this artefact in the eastern part of Romania in 1981. No less enigmatic than Columbia, this relic,  
Amulet of Mitoc 26.000 BP 

 (Face  
written in a line format - see mr. A. Vartic study "Intrebarea cu privire la paleoinformatica", miraculously carries the same code, a message that speaks about transcendence, laws of the universe, and the primordial/ontological language. Written in a very different format and bearing no resemblance whatsoever with the numerological written format on Columbia, it might give the impression at first, that the two items have nothing in common.  
  Following the patterns of the ontological language, we can see that a line is a sum of two or more dots. But how many dots are there in a single line... ? How many words are there? What is the size of any word?  How many times do they repeat? What rhythm they should be uttered in? How many pauses are written there? And how can we  understand that these words deal with the ontological language, transcendence and the laws of the universe?  
Let's suppose that there is no such thing as a primordial/ontological language, of which has been said that is the nest of the Nature of Mind, the very  code of the immutable laws, or could describe anything else in the universe. Would we then be able to communicate with other intelligent forms of life in Universe? 

8. To send across the universe a message we need to consider a few things about ourselves.
  
 Though, this is the simplest part of the problem. When it comes to deal with the format in which we intend to send this message, we can see that our problem suddenly becomes extremely complicated. This is because on the one hand, we would try to find the shortest message which might include the maximum amount of information needed. On the other hand, the format of the message is the most difficult one. What should it be? A sound format? A numerological format? A geometrical format? Or a combination of all three, in the hope that at least one might be understood.  
 We could also transmit a sample in Cuneiform, in Hieroglyphs, coded messages in Cabala, refined messages in Sanskrit, etc. Yet, I doubt that any of these messages would convey meaning to other form of intelligence. And this is not because these things are not important! Old languages had the means to represent an element of human activities. And new languages that replaced the old ones have the same functions. New academic words for the latest technologies are emerging before our very eyes. Indeed all these things are without doubt important! Yet, there is only  the ontological language that connects the nature of mind of all humans throughout the universe.

The Thinker and his pair of Cernavoda

The Ontological Language And Numerology In lumina cercetarii ontologice

Introduction

In order to answer the question of what the principle of life is, we need to understand at first the ontological (Original-Primordial) language, the very language that connects the Nature of Mind of all human beings. This statement may sound a bit unfamiliar to some readers, but if we do not understand the ontological language and just speak about it, as if we really knew it, unfortunately we might just add a new definition to the already increasing number concerning the principle of life.
Though all human beings have been endowed with this sacred language since time immemorial, unfortunately, now, we can not recall it at will. To find out why we can not recall it at will is a complex process, yet the most necessary one the human mind needs to grapple.
Since life has no beginning that ultimately would require an end, instead of asking ourselves what life is, it would be better to rediscover the principle of life. This paper will explore this issue in four ways.

Firstly, it will underline what are the similarities and differences between the ontological language and numerology.  
Secondly, it will demonstrate how the ontological language was recorded based on the earliest known archaeological evidence. 
Thirdly, it will describe the ways in which the ontological language was later recorded and how it evolved.
Finally, it will document how the latest discoveries in modern science can be expressed through the medium of the ontological language.

Ontology and Numerology

The ontological language can be considered the engine of the mind, since the mind cannot function without its help. At the same time, this language is the filter of any single operation processed by the Nature of Mind.
Ontological numerology has two main characteristics: on the one hand it shows how the particular laws of universe interact, but on the other hand it also shows that it does not coordinate them.
These two ontological factors nevertheless have some similarities. If, for instance, the characters that make up the ontological language do not repeat themselves two or more times, in their original form, they are no more than the sum of their ontological numbers. Is this a simple coincidence, or is it a premeditated calculation made to ensure the maximum numerological and phonetic combinations, but having as its base the smallest number of imputes possible?
It might not be a coincidence since there are ten numbers that represent the ontological number set. Of these, four are even numbers and six are odd. Vowels with a single unit of sound are similar to the even ontological numbers, and the double sound ontological consonants are similar to the odd ontological numbers. What then are we expected to understand from this representation? Firstly, that a vowel, if independent or linked to another consonant or vowel, can keep its independent sound even though the ontological consonants have a dual sound. The concept of the number three is therefore introduced here in a very subtle way, though the important role of this number will be shown later.
Another amazing thing is that in ontological word order, any word, in part, is always lead by a consonant and ends with a vowel.  In their odd-even number representation, the odd numbers clearly remain to the left while the even numbers stay at the right.  How then could this distinct pattern come about in this exact way?
It is clear that the incredible special representations continue.  For example, out of the total number of letters that make up ontological words, and are mirrored by the ontological numbers, seven letters are consonants and nine are vowels. There are six ontological words that design and co-ordinate all of the whole actions and reactions of the Nature of Mind.
Furthermore, the numbers three, six, seven and nine are the core of the double writing system, that appeared simultaneously on the earliest known written evidence tens of thousand of years ago. The other numbers such as one, two, four and eight reveal other significant details.  Who then designed this ontological pattern and how could Homo sapiens discover it from the billions of codes that encompass the Nature of Mind?

How is possible to translate or interpret such an old document?

The above mentioned double writing system, that was crafted on a piece of mammoth ivory, is the work of Homo sapiens, whose living conditions cannot be described exactly, given the absence of any real documentation over that time-period. Common sense warns us not to rush into an idyllic or unrealistic description of the evidence available, but to only rely on the available documentation. 
What we need in order to decipher the nature of one artefact is another that can act as a mirror and reflect the authenticity of the new evidence. An ontological Rosetta Stone so to speak. This was, for example, the way the Hittite language was translated years ago. The language remained undecipherable until a similar document gave evidence of the relation between the two.
It turned out that:
"the only Hittite text that could be translated into 
another language was none other than King Tarkondemos' signet ring, 
which contained 10 cuneiform and six hieroglyph symbols."
I personally have never seen this signet ring, which might be 3,000 to 4,000 years old, so I therefore cannot comment on it directly. It is in the same sense that the ontological numbers are also shrouded in an alphabet of 16 important letters. This may not be a mere coincidence however.
On the other hand, our first piece of evidence is much more complicated than this. This is not because of the design of the 16 letters or the equivalent 16 numbers, but in its usefulness to make the coded message easier to decipher. In reality the evidence has a large amount of numbers. On top of this, these numbers are not crafted in such a way as to make a clear distinction between them. However, we can see that the first number is different in shape to the second, and that the second does not resemble the third. This is much the same way that the Latin structure and appearance of numbers is unique.
On seeing this artefact, it is not hard to understand that Homo sapiens, despite possible communicative limitations, managed to utilize ontological language and numerology. The evidence is that the first artefact, of which we will speak, carried a message in a double language format.  This artefact is dated as 38,000 years old.

The first ontological evidence in Archaeology

In Moldavia, on the bank of the Prut River, the Moldavian archaeologist Nicolae Chetraru discovered a small artefact in 1973. He named it Pendant of Branzeni . Taking into account its space shuttle like shape, Andrei Vartic, author of many books that deal with the spiritual reality of our forefathers, named this artefact Columbia.
Image of Columbia 
designed from the original by archaeologist Ilie Borziac



(This is the very first known information on the creative and intellectual activity of Homo sapiens. An artefact crafted out of a piece of mammoth ivory bearing a dotted pattern. This pattern is almost a precursor, from the remote past, to the modern binary language of computers.)
The geometrical shape of this artefact is not only interesting but also includes some special information.  First let's make a simple description of its composition:

1) Composition: mammoth ivory (tusk)
2) Form: space-like-aircraft; rocket shaped 
3) Design: linear, oval, triangular
4) Symbols: double language dot format
5) Structure: 5 lines
6) Total: 198 dots
7) Method of reading: numerical, linguistic 
8) Usefulness: a way of reading the numerological code format
9) Purpose: for the transmission of information

This artefact, for some of us, might not be such a surprising discovery since it is no more than a piece of mammoth ivory embroidered with dots. Still it is good to recall that Pythagoras, the famous Greek mathematician of Samos, in his continuous efforts to understand the basic of the laws of universe, concluded that the universe is based on the function of numbers. He also implied that all things are numbers, and ultimately claimed that the number of principles is 10. He could not have known this by just observing the world around him since, for example, he also tried to investigate the other unseen  planets of our galaxy.
Pythagoras also calculated that the number of planets would be no more or less than nine. If the number 10 was what he considered to be the principle number of things, it is not hard then to imagine that the 10th number was a reference to a source of light for these planets.  In this context, it can be supposed that Pythagoras was aware of the pattern of the ontological numbers. The question then, is how he was able to discover them.
We know that Pythagoras studied in Egypt and Babylon and, as a result, he achieved a high level of understanding of the most important knowledge from the cultures of the time. On the other hand, it is known that in his own country, the most important researchers on the Nature of Mind suggested that Logos (the Word) was (Genesis eg. John) the divine wisdom manifest into creation. Therefore, in some instances, they referred to Logos as the Second Person of the Trinity.
Nevertheless, what is important is that a man of genius like Pythagoras, who spent so much time researching the Nature of Mind, in the most famous places of his time, used to work out all geometrical forms by means of dots. The early Pythagoriens handed down this information. This is the juncture where the early archaeological evidence of at least 38,000 ago, and the discoveries of 

Pythagoras come together.

The design of Columbia is a simple one: three strings of beads that resemble three half ovals, designed to represent the front part of the artefact's "neck" and two strings of beads, in a triangular format, to enclose the wings that are the base of the artefact. Counting the five lines of dots present we get the totals 27, 30, 24, 54, and 63 respectively.
The numbers 27,30, 24 make up the three half ovals and 63 and 54 represent the two strings that enclose the base, making a total of 198 dots altogether. The significance of these numbers is, without doubt, of a paramount importance.

The old history of PI

Andrei Vartic in his book Intrebarea cu privire la Paleoinformatica* (A Question with Regards to Paleoinformatique), one of the texts that deals with artefacts discovered in the Old Europe, performed the following calculation. He divided the number 198 (representing the sum of dots/numbers imprinted on Columbia) with the number 63 (which is the last of the five strings of dots), giving a result of 3.14. 
It is clear that when one number is deducted from another number, it is known that there has to be a reason for that operation. Therefore we need to pursue this process, because it reflects the well know geometrical calculation of PI (p=3, 14). Taking into account that the Homo sapiens of this time were unlikely to be aware of p, the artefact therefore is of great significance. It can also enable us to discover what other codes and scientific calculations these people seemed to have been aware of at that time.
It is interesting to note that Pythagoras may have also discovered the fundamental value of p by also using ontological numerology. Or, did he get the same result by using a different method?  As has been after debated p was considered by some mathematicians (Shranks, Lambert) as irrational, but Lindeman considered p as being transcendental or beyond a limited calculation. In reality p is not irrational at all. Practically speaking p leads to a very subtle demonstration of what concerns the transcendental.
In A History of PI, being a collection of Internet articles written by J.J. O'Connor and E.F. Robertson, dated September 2000, mention is made of the most famous specialists in the field. A History of PI begins with an interesting Biblical verse taken from I Kings 7 verse 23:
"And he made a molten sea, ten cubits from one brim to the 
other: it was round all about, and its height was five cubits: 
and a line of thirty cubits did compass it about"

In the NIV translations it reads:
"He made the Sea of cast metal, circular in shape, measuring
ten cubits from rim to rim and five cubits high. It took a
line of thirty cubits to measure around it."
The ratio of p here is three. The authors further mention:
"The fact that the ratio of the circumference to the 
diameter of a circle is constant has been known 
for so long that it is quite untraceable"
and that:
"in the Egyptian Rhind Papyrus, which is dated 1650 BC, 
there is good evidence for 4(8/9)2= 3.16 as a value for p".
The first example, is part of a specific list for the great temple of Solomon (950 BC). The second form of measurement, however, makes me unsure of its meaning, because in the second example there is no hint to ontological numbers. The meaning here is that the calculation was made for some specific measurements necessary in the architectural context of the time.

The combinations of numerical examples given in A History of p are huge.

 Yet, a specific calculation made by another Greek, Archimedes, reveals that his calculation of p, was made by using the original structure of ontological numerology. The same source cites:
"The first theoretical calculation has been carried out by 
Archimedes of Syracuse (287-212 BC). He obtains the 
approximation 223/71 <p< 22/7. Before giving an indication
of his proof, notice that very considerable sophistication
involved in the use of inequalities here. Archimedes knew,
what so many people to this day do not, that p does not 
equal 22/7 and made no claim to have discovered the exact value." 
Indeed! 22/7 is similar to the verse "And he melted the sea..." The burning question is why Archimedes made such a calculative deviation. Simply speaking, during his time, any mathematician or person in the field of religion, tried to protect the privacy of their work. Now, we have huge archives and we are able to protect even the "pattern of thinking".  For them, however, the only archive was the code to their own work, which they did not want to share on most occasions. The reason being that, if we know how these calculations were deducted, then there would be no "considerable sophistication" any more.
The number nine has a special significance in the representation of ontological numerology. If we take, for example both 198/63 and 22/7 we can see that the sum of p is the same in both examples. In both cases after three the same number set (142857) repeats indefinitely as the calculation continues. Yet to determine if p is an indication of the transcendental, or of ontological numerology, at first we need to examine what the transcendental is all about. Can something that transcends something else be calculated mathematically?
It is obvious that the sum of p and 63 would not give us the number 198 (which was extracted from the artefact). There is something further that remains and which Archimedes did not explain. It can be assumed that he did not do this because of some concern of secrecy.
There is a tremendous impact when one approaches this evidence, which, in this context, is not a matter of mathematics alone. What is the sum of all human knowledge worth if we do not know the original reality of the transcendental?  This knowledge as used by mind appears to have been "melted" into divers forms of knowledge. We need to know this because it is the only way to give credibility to an ultra-sensitive demonstration of the evidence.
On this time curve which shows our spiritual and intellectual manifestation, from some 38,000 years ago, when the law of the universe was recorded on a piece of ivory, until the modern era, when the same law was written down in its linguistic form, the variations of the same have been many. What then are the motivations of these variations?
Ontological numbers and the ontological language, that were historically absorbed and interpreted into mythology, philosophy, and religion, can also be traced back to their original sources. Columbia is the artefact that details so well the relationship of the ontological numbers. It shows their very special combination and configuration as a manifestation of the Self and its environment.
Related evidence 
Shakyamuni Buddha, who was possibly a contemporary to Pythagoras, also discovered the law of universe, which he called the Law of Cause and Effect. The law or principle of cause and effect is, as Buddha said, based on 10 laws, even though he never correlated them to the nine planets and the sun as did Pythagoras.

He described the law, in the second chapter of the Lotus Sutra, as follows:
1)  appearance
2)  form
3)  substance
4)  power
5)  function
6)  cause
7)  relation
8)  latent effect 
9)  active effect
10) permanence

So, what we know exactly about the Buddha? His disciples handed down the information on Buddha's activities, since he did not document his own teachings. In this context, there would be omissions. There might be misinformation, intentionally, so as not to give outsiders access to the heart of his teachings; in particular to the secret law, which has been considered by many to be his most important activity.
Also there would be unavoidable mistakes. If not from the Buddha's disciples, then from the disciples of his disciples, who might not have understood the meaning of the law, and may have applied some of their own knowledge to their own future disciples. If this were not so, we would not have a large number of sects preaching different interpretations on the same teachings. Either way, we are confronted in the second chapter of the Lotus Sutra with a coded message. What would appearance or form here exactly mean? If we take up the written description in detail, we might see that there is some reference to the human being, and no more. These coded words have nothing in common with the six words that are the subtle abode of the ontological numbers, and represent in them the law.
Anyhow, Shakyamuni Buddha, as well as the Homo sapiens who inscribed the coded message of the law of the universe (on a piece of ivory), wanted to ensure that the coded message they gave would be understood.
Buddha taught on many occasions that before him many Buddhas already lived. Yet, the works recorded on his behalf mentioned that but he alone achieved a law that had never been known before. In this situation, there is something that is not only unclear, but is also against common sense. What is a Buddha then if they did not know the law of universe? Or, are a number of Buddhas needed in a great succession, so as to have in the end a Buddha able to discover the law of universe? How then do we interpret that any human could be a Buddha, which is a statement made by the Buddha himself, and confirmed by those that compiled the work of the Buddha?
In this circumstance might Ramakrisna's claim be right that:
"All scriptures contain a mixture of sand and sugar. ...we 
should extract the essence- whether we call it union with 
God or Self Realization and leave the rest behind".
Therefore, taking a scripture as it is, without understanding the transcendental that is or should be its basic teaching, one might not understand more that its basic literary message. 
If Buddha did not use the exact ontological words as to express the Law of Cause and Effect, and used instead, so called "melted" words, with a literary meaning, it means that in those words, there have been hidden ontological numbers.
On Columbia the three strings of beads are like three sums of numbers that carry in themselves a huge message. The two lines of the lower part of the artefact reveal another two sums of numbers that also carries a secret message.

How then were these numbers calculated? 

How would they converge to the more recent language as used by Shakyamuni Buddha? And how then would they reveal the same things?
Bagavad Gita, which represents chapters 25 to 44 of the sixth book Bhisma-parvan, one of the great epic Mahabharata poems, has been considered the most important realization of Indian spirituality. It is considered that this philosophical poem was written sometime in the fifth century BC, probably at the same time the Lotus Sutra was taught. There are also specialists who believe the poem was written later, in the fourth century BC or even as late as the second century BC. If the poem was written at the same time the Buddha taught his spiritual realization, (namely the Law of Cause and Effect) then it would be questionable if Buddha had not known the very sage who wrote this poem.
'
Comparing the transcendental
Mircea Eliade, one of the prominent specialists in Indian philosophy, considered that:
"The essence of the doctrine revealed by Krashna in
Baghavad Gita is contained in the formula: Understand Me and imitate Me!"
It is clear that the key structure of this poem, the Divine-Human relationship is to elucidate the transcendental. The poem is therefore matter of fact on this point as shown in (Chapter 13-2):
"O Arjuna, know Me to be the creator of all creations. 
I consider the true understanding of both the creator
and the creation to be transcendental knowledge".
The transcendental therefore is the innermost relation. The author of Baghavad Gita further clarified this point (Chapter 13-19-20) when he said that:
"both material Nature and the spiritual Being are beginningless."
 These verses, presented here as being the Divine's statements addressed to Arjuna, help us understand that the Divine does not create things out of things that are uncreated in themselves. The Divine's statement of "Understand Me", in this context, means to "understand" the transcendental. Further, "imitate Me" means to make use of the transcendental. 
An important aspect of this work is that nine epithets are used to describe the diverse personality of Krishna. Unfortunately, not many translation make use of these epithets. This is an unfortunate oversight. The author of this fascinating work would not, for example, choose five or seven epithets for Krishna. When, for the first time, Krishna and Arjuna are introduced, the text reads:
"Then, too, Madhava and Pandava, seated in a chariot 
yoked by white horses, blew their transcendental conches."
What transcendental is the author referring to? The question then, is this: the whole work is designed to show the struggle of humans to achieve what otherwise cannot be recalled at will, i.e. meaning the transcendental. The ontological number 10 here is derived as the symbol of nine (epithets) plus one (name) that represent the 10 laws. Their characteristics are important. It is also interesting to see that after only three epithets, the name Krishna is introduced to the reader.
In this regard the ontological words here are hints too: (Chapter 18th verse 64)
"Hear once again my most secret, supreme word" and further (Chapter 18 verse 67)  "This word should not be shared at any time to those who do not practice yoga."
In various translations, the poem ends with the idea of letting us know of the secret word even though no secret word is disclosed. This resembles the way that the Bible (John I, verse I) also refers to the sacred word:
 " In the beginning was the Word and the Word was with God, and the Word was God".
Here too, silence follows this statement.
If this is the case, it means that something happened, so that the Word was but suggested yet not explained. More important is that human beings are enlightened from time immemorial and that what is now called enlightenment, Self-realization, reunion with God, are in reality the rediscovery of the transcendental or the ontological language.
On this occasion something else must be added. Some people might think that after enlightenment they can do unusual things. This, however, is not so. No one can take the moon out of the sky and put it in their pocket. The transcendental is the seed of knowledge about the laws of universe. It is about what we knew and have since forgotten. It is about those things that do not change, but are the keys of the richness and diversity of life. It is about the wonder of infinite diversity of life while, on the other hand, also about the suffering that penetrates our minds and body. When the pain penetrates and makes demands of our minds and body, it means that there is something wrong with the Self. But why the Self?
The Greek philosopher Aristotle in his book On the Soul stated that: "the Soul is the first grade of actuality of a natural body having life potential in it."
This statement does not leave room for speculation. Homo sapiens expressed the "life potential" and its correlation with the outside world in a numerological way. It is a numerology that hides in it the words that expresses the law of cause and effect.
Columbia, the earliest known evidence regarding ontological numerology, is compatible to any other artefact that dealt with or explained the transcendental. For the first time then, the enigmatic description of the Self and its environment were made in such a way, as to show that though the Self is the engine of the body, and though immortal like anything else in the universe, the Self, in itself, undergoes changes pertained to its structure. The numbers 27,24, 30 are representative of this argument.
Shakyamuni Buddha described the Self, in the Second Chapter of the Lotus Sutra, as Effect active in position nine, as Effect passive in position eight, and as Permanent in position 10. While the Self has "life potential" in itself, it means that the Self is never "empty".
The "life potential" in the same chapter of the Sutra is in position three and is described as Substance. The correlation of the life potential with the Self in its three stages as active, passive and permanent, correspond to the "enigmatic" numbers 27 (3x9), 24 (3x8), and 30 (3x10). These numbers were not arbitrarily chosen. They are part of a very complex design that is part of the Nature of Mind. And of course they correspond to ontological language. The sum of these numbers (81) has a very special meaning.
The Sumerians who were the first to develop a refined form of music, realized that among numbers, 81 keeps the place of the "perfect tune", which could be recognized only by a very good ear. It is clear, however, that between the number 80 and 81, there is only a subtle difference. The "perfect tune" then represents the voice of the Self, and is no different from the rhythm of the universe. If the Self is tuned, it synchronizes with the rhythm of the universe. There is no other possibility to hear this voice, as long as the Self is not in its active form. So when the Self in its active form, the whole or universal knowledge comes into view. When, on the other hand, the Self is in its passive form, the revelation of this knowledge does not take place.
The other two lines of Columbia's dots, that encompass the triangle at the base of the artefact, are 63 and 54 dots respectively.  We have seen that the number 198 represents the sum of the five lines of dots as imprinted on Columbia. If, out of 198 (the whole sum) the number 63 is extracted, it means that this number would have a dual representation. Firstly, it should be part of the whole sum, and secondly, it should radiate from the central point of the circle (impartial) to any part of the circumference of that circle (the sum).
Here, the inequality of the sum of numbers shows the relationship between the Self and its environment. To see beneath this reality, we need to follow the geometrical description shown by Homo sapiens. On the one hand, Columbia shows that there is something that precedes the circle, to what concerns the architecture of the ontological reality. On the other hand, what is behind the inequality of the numbers, that represent the Self and its environment, is also that which transcends them too. As we can see, the form of Columbia is a very special one. The upper part of the artefact looks like a flower pistil that is emerging. From above and bellow this pistil shape looks as it splits into two triangle like wings that, in their turn, encompass the central three half ovals. These two implicit representations have many things to say.
In Shakyamuni Buddha's description of the Law of Cause and Effect, we can see that the number six stands for Cause and number seven represents the Relation.
This Cause means Inherent Cause, while Relation refers to External Cause.
Then why should we extract out of 198 the number 63?  It is just because 63 is part of the whole, as well as symbolizing the external cause.
The design of Columbia shows that the numbers 54 and 63 were calculated by combining the number nine, which represents the Self in its active form, with the concepts of the Inherent cause and the External cause. That the number 54 is the product of nine multiplied by six, it then expresses the Self, in relation to the Self's Inherent cause. Further, 63 reveals the combination of nine by seven, which is the numerological configuration of the Self to its External cause.
The new evidence
There are also a few more special characteristic of Columbia. They will be documented in the second part of this paper, where the focus there will be on the stages of enlightenment as inscribed on another artefact dated 26,000 years ago.
  Walt Whitman, the American poet, said that: "Justice is not settled by legislators and laws... it is in the soul". In the same way, it may have been clear to the Homo sapiens, to inscribe the enigmatic numbers on Columbia, so as to become a record to be handed down to future generations.
Yet, the sage Nichiren Daishonin pointed out:
"The essential nature of phenomena possesses two aspects, 
the deluded and the pure aspect. These two aspects are
indeed two different phenomena and yet both are workings
of the one principle, that is, the essential nature of phenomena 
or the aspect of reality." 
It is in this context, I think, that our judgement about the past, in many instances, was but a deluded one.

List of the works cited
1) Constantin Daniel,  Hittite texts
2) Andrei Vartic, A Question with Regards to Paleoinformatique 
3) Richard McKeon, Introduction to Aristotle- On the Soul
4)  Mircea Eliade, Yoga, Immortality and Freedom
5)  Sergiu Al-George,  Baghavat-Gita
6) Bible, NIV
7) JJ O' Connor and E F Robertson, A History of PI
8) Walt Whitman, Song of Myself
9) Nichiren Shoshu International Center, The Major Writings of Nichiren Daishonin