The Alhambra in Spain is one of the many buildings created by the Moors in Andalusia.
These buildings contain many patterns of tilings with geometric shapes.
In the text of this squaring of the circle it has already been explained that we can correlate the square with space and its diameter to time.
In this specific text we want to elaborate the understanding of the Moorish tilings as a potential computational grid in space and time.
It will be evidence that the Moors were using the information which has already been formulated by Pythagoras.
In fact, it was from the Moorish texts that the Classical Latin and Greek texts were recreated after the dark middle ages which had been inflicted by the church in Rome.
The Renaissance in Europe, with its rediscovery of the traditional Greek texts, originated from the Greek translation of the Arabic text from Andalusia.
So we will need to understand that the architectural and artistic creations in Andalusia were tied in with the knowledge which already existed in ancient Greece and Egypt.
In this case we can look at the relationship between the Moorish tilings, and computational grids as they are nowadays used in computational networks.
A computer is in fact a combination of a pulsed time cycle in a spatial grid of the memory chip.
In other words a computer chip is the combination of a frequency oscillation with a spatial structure (‘lattice’).
There in we are dealing with the basis of a holographic processor in which the fixed base frequency, (compare that to the laser in a hologram), is correlated with is spatial field (compare that to the hologram projected image of holography).
Diameter of the square
With the understanding described in the squaring of the circle, we can see that any square will have its implied diameter which is in fact the representation for the resonant wavelength that will be the eigen-frequency of that geometry structure.
We’ve already seen that this eigen-frequency of the diameter of the square is denoted by the root of the side of the square (which in the normal square would be the root of 2).
As we have discussed in this squaring of the circle, the Moorish architecture made use of these understanding by extending their understanding after the root of tool to elaborated this into a sequence with the root of three, the root of five and so on.
Squaring the circle
With this in mind we can now look for a different interpretation of the Moorish tilings.
Instead of looking at them as just geometric patterns are in space, we can now interpret them as temporal descriptions of coherence in time.
As has been described in “the squaring of the circle”, the root of the square diameter will be the base frequency equivalent notation.
That also means that any depiction in terms of diameters, rather than in squares, will automatically be representation for the dimension of time.
in this way it is possible to correlate a multiplex notation for higher harmonics of time cycles, denoted as the diagonals of the squares, in their pattern of coherence as can be implied by the hyperMandala of Roberto Renout.
The hyperMandala is a formulation of the multiplexing of the frequencies of cyclic oscillation, such as found in planetary systems and the structure of atoms.
In fact it is possible to have a complex of such tapestries of time fabrics, in large systems were dynamic, continuation is assured.
That means that that is possible to define the dynamic coherence and organisation of the system by this temporal dynamics and its hyperMandala organisation.
It also means that the vitality of the system, which is the ability to change its temporal dynamics, must be associated to its vital coherence.
It is at that level that we can look for the interpretation of the Moorish tiling in terms of the equivalent of a computational network for harmonic oscillations (‘timing’).
From historical records it is evident that the Moorish culture in Andalusia was very much in favour of using poetry and music as part of their expression.
Music is the ability to understand the dynamic coherence and the correlations of frequencies, such as has been described already being by Protagoras and the other Greek philosophers, of which the Morse had the original text into translation.
It means that the Moorish architecture and the Moorish philosophy was directly tied in with the understanding of harmonic coherence of music and thus of processes in time.
It will be evident that they will have sought a means to represent this, for which we can then regard the Moorish tiling as one of its expressions.
Because, in terms of the earlier her text on the squaring of the circle, it will be evidence that it is possible to describe these temporal organisations and their dynamics in a spatial geometric representation.
Were in the squaring of the circle the focus has been on the ability the possibility to use algebraic notation to describe the relationship between space and time, in this text on the Moorish tiling/timing the focus will be on the geometric representation.
As mentioned before it is necessary to interpret this representation from the perspective of a computational network.
That means that while we are talking about geometry we are in fact discussing temporal computation.
In that perspective it will be necessary to give a new view on the geometric organisation of the Moorish tiling as a representation for harmonic wave forms and their interactions.
In other words, what we are dealing with here is not a geometry in space, but in notation for a coherence of organisation in time (a time line, time planning).
This is an equivalent for the hyper Mandala of Roberto Renout, in which he addressed the need to formulate temporal organisation as a fabric comparable to a weave.
The Moorish tiling patterns are such a fabric with which the complexity is that of the harmonic cycles and base/phase frequencies of temporal organisation.
In other words we are not interpreting the Moorish tiling in terms of a spatial algebra, but in terms of a temporal geometry, as would be equivalent for the quest of Pythagoras and his Mystic circle in their quest for the understanding of the organisation of time, timing and music.
That means that the representation of the Moorish tilings needs to be interpreted as the equivalent of diameters in spatial squares.
That means that this tapestry of Moorish tiling/timing would be the equivalent of tot the structural architecture of for example a Gothic Cathedral, but quite the opposite: the representation of the sound-shape that would fit within this Gothic Cathedral.
This is why it is relevant to look at this interpretation of Moorish tiling, because this would be the soundscape dynamic coherence, which would also be operative within the living body, as the orchestrating factor for the coherence of the living cells.
Time base computation
In having this understanding in place, we can now conclude this introduction by stating that we have now opened an invitation for the direct interpretation of Moorish tiling in terms of timing: a temporal notation for frequency field coherence.
This means that we are not dealing with a spatial organisation but temporal organisation such as we would experience in the computational dynamic as we see it in a computer.
But what we are looking for more explicitly and more precisely is the understanding of the way the phase relational dynamics of the communication between the living cells and their dynamically flexible time-base is the essence of life as we know it.