The Universal Scheme: Proofs and Revelations

Main conclusions and implications of The Universal Scheme

The rigorous application of The Universal Scheme leads to a series of conclusions that challenge current paradigms. Each point stated below is demonstrated logically and visually throughout the 15 steps of this document.

• A universal blueprint for the functional: The CS is revealed to be the structural plan of any functional entity. The more optimized a system is, the more perfectly it adheres to this schema. The CS has two co-existing modes of expression: a sequential mode (process, vertical) and a centered mode (structure, horizontal).
• An enantiomorphic cosmology: The Universe is not unitary but enantiomorphic, composed of two entangled chiralities (concrete and abstract). This document maps these two "faces" of the universe, the gear-like mechanics that link them, and the path of entanglement that leads to an "outside" whose existence is logically demonstrated.
• The resolution of the paradox of imperfection: The concept of enantiomorphism resolves the paradox of the "imperfection of nature." Biological structures, like the human body or a tree leaf, are not imperfectly symmetrical; they are perfectly enantiomorphic, a necessary condition for their dynamic functionality.
• Exogenous and ancient knowledge: The CS is not a new discovery; it is known and used by non-human intelligences. Tangible evidence is presented through the structural analysis of ancient constructions (Giza), fundamental religious symbols (YHWH), and contemporary exogenous communications (the "Ummite table").
• The nature of destiny and free will: A logical consequence of the model is a form of predetermination through mastery of time from outside the universe. The apparent paradox with free will is resolved by the very mechanics of the CS. (Note: the complete demonstrations for this point will be the subject of a future update to the document).

Each section of this document traces a major advance in the formalization of the CS.

Foundations of The Universal Scheme (CS)

The starting postulate is the existence of a "common-schema," a structural and logical pattern underlying any functional system. Without such a universal "binder," the coherence and compatibility observed between distinct entities would be improbable, giving way to generalized chaos. This document presents this schema not as a simple idea, but as an observable and demonstrable model.

The interest of this model may seem abstract, but it is fundamental. For a programmer, knowing the source code of a software allows for complete understanding and mastery. In the same way, the CS acts as the "source code" of functional systems. Once its rules are understood, it unfolds like a language, allowing for the decryption of the structure of reality.

Fundamental properties of The Universal Scheme

The CS is characterized by several interdependent properties that explain its universal nature:

• A fractal nature: The CS is an infinite fractal structure. What differentiates one entity from another is not a difference in nature, but in context and position within this fractal. It is this geometry that explains the following paradox: the CS can elucidate existential questions with great simplicity, while describing the simplest phenomena with infinite complexity.
• A contextual language: The schema is not made up of fixed "words," but of "families of concepts." These concepts become precise and turn into specific elements ("words") only when a context is defined. The detailed examples in the following sections will illustrate this mechanism.

The consequence of this model is that the fundamental sciences (Mathematics, Biology, Chemistry...) are not called into question, but reorganized. They fit in as main branches within the global fractal structure described by the CS, which thus places itself as a meta-model at the top of the hierarchy.

First Step: The emergence of the pattern via digital painting

Decomposition of the creation process

The digital painting process was first broken down into three major successive steps, each itself subdivided into three logical sub-steps.

1. The Drawing (The initial structure)
   1. Composition of subjects (people, objects).
   2. Management of depth (placement in space).
   3. Definition of interactions (links between subjects).
2. The Matter (The treatment of values)
   1. Base fills (flat grays per plane).
   2. Detailing of values (shadows, lights, nuances).
   3. Application of texture effects (unification of the matter).
3. The Color (The final harmonization)
   1. Base colors (one dominant color per subject).
   2. Variance of colors (adding nuances and subtleties).
   3. Application of global effects (light layers, final adjustments).

Analysis: Identification of a recurring pattern

The analysis of this 3x3 structure revealed an unexpected recurrence. The concepts at each level (the first, second, and third of each triad) share a common nature, as shown in the following table:

A tetrahedron from the initial theory.

Conceptual modeling: The tetrahedron metaphor

The initial goal of this decomposition was pragmatic: to find the best possible painting method. To conceptualize this quest, each triad (Drawing, Matter, Color) was modeled as the base of a tetrahedron. The apex of this pyramid, a symbolic point 'o', represented the ideal of perfection for that stage. The artist's work then consisted of advancing each component (for example, the "Subjects") along the edge connecting its starting point on the base to the apex 'o', thus approaching mastery.

Illustration of the theory of the 4 tetrahedrons.

Conclusion: The "Theory of the 4 Tetrahedrons"

It was this modeling, combined with the observation of the triple analogy (Base, Variance, Coherence) on four occasions, that constituted the first formalization of The Universal Scheme. The name "The theory of the 4 tetrahedrons" thus stems directly from this conceptual vision.

Step 2: Confronting the model with external data (2012)

Anomaly 1: A dual geodesic and physical coincidence

The first unsettling observation came from the documentary "The Revelation of the Pyramids." It had already highlighted a correlation between the geometry of the Great Pyramid and the speed of light. The calculation, based on the subtraction between the excircle and the incircle of the pyramid's base, yielded a result of 299,796 M m/s, which is 99.9987% accurate compared to the official value (299,792,458 m/s).

To this first, already notable correlation, a second, more direct and perhaps even more unsettling observation was added: the exact correspondence between the latitude of the summit of this same pyramid and the sequence of digits for the speed of light.

• Latitude of the Great Pyramid's summit: 29.9792458° N
• Speed of light (c): 299,792,458 m/s

This double coincidence, both geometric and geodesic, was the first "crack," suggesting that complex information could be encoded in ancient structures in an unconventional way.

The correlation is all the more significant as the meter, as a unit of measurement, is considered a modern convention, officially defined long after the era of the pyramids' construction. This apparent anachronism raises several hypotheses: an exceptionally advanced knowledge of physics and geodesy by the builders, a predictive knowledge of the future (including the future definition of the meter), or a deliberate manipulation of constants to guide subsequent scientific discoveries.

This observation is reinforced by the recurring presence, in the very architecture of the pyramid, of the mathematical constants Pi (π) and the golden ratio (Φ), whether in dimensionless proportional ratios or in measurements directly expressed in meters.

Anomaly 2: A structural analogy in ancient symbolism

Shortly after, the study of a body of knowledge presented as "the religion of the builders" (of the pyramids) revealed a second, much more structural anomaly. This system of thought was based on a fundamental triad:

Terrestrial Square — Celestial Circle — Triangle of the divine presence

The similarity with the previously identified pattern ("Base - Variance - Coherence") was immediate and striking, as this comparison shows:

Testing the model on the four elements

This analogy was then put to the test by applying it to the system of the four elements, a fundamental framework of ancient philosophy, particularly Greek, to see if the structure remained relevant.

• Terrestrial Square (Base): Is logically associated with the element Earth.
• Celestial Circle (Variance): Is associated with the elements of expansion and the sky: Air (atmosphere) and Fire (sun).
• Triangle of the divine presence (Coherence): Is associated with Water. This element is known for its unifying and transcendent symbolism, circulating between the earth (oceans, rivers) and the sky (clouds, rain), thus linking the two domains.

Synthesis: Towards a more fundamental terminology

This series of correlations led to a redefinition of the schema's terms to make them less dependent on their original context (painting). The new triad, more universal and suitable for transposition to other fields, was born:

Step 3: Overcoming an apparent contradiction — The hypothesis of the quinary model

For the "Concrete - Abstract - Transcendent" model to be valid, it had to apply to everything. It was therefore immediately confronted with a simple but problematic case: the five fingers of the hand. A quinary system (with 5 terms) seemed to invalidate a ternary model (with 3 terms).

However, an analysis of the properties of each finger revealed an underlying structure that, far from invalidating the model, suggested a possible complexification of it.

Functional analysis of the five fingers

• The Little Finger (the "first" finger): The smallest, it represents a base, a starting point. It corresponds to the Concrete pole.
• The Thumb (the "last" finger): Morphologically distinct, its opposability gives it a unifying and functional role (the "pincer grip"). It is essential for the coherence of the hand. It corresponds to the Transcendent pole.
• The Middle, Ring, and Index Fingers: These three central fingers must therefore correspond to the Abstract pole. Their analysis revealed an internal sub-structure:
  • The Middle Finger: The largest, central. It is associated with the concept of "quantity" and dominance.
  • The Index and Ring Fingers: Often of similar size, they act as satellites on either side of the middle finger.

Hypothesis: an internal structure within the Abstract pole

The observation of the fingers led to the hypothesis that the "Abstract" pole was not monolithic, but itself a triad `Air - Fire - Air`, where the central "Fire" would be the dominant element (the middle finger) and "Air" the surrounding element (index and ring fingers).

This idea was reinforced by an analogy with the Taijitu (Yin/Yang). This symbol, often associated with the serpent (fire), represents a rotational energy arising from two polarities (Fire+ and Fire-). This "Fire squared" (Fire²) would be a central energy that would draw the Air into its rotation, thus justifying its double presence.

Step 4: Applying the quinary hypothesis to the five senses

To test the validity of this new five-term structure, it was applied to another fundamentally human system: the five senses and their associated organs. The following table presents the resulting system of correspondences.

Morphological analysis of the correspondences

• Touch (Earth): The sense most directly linked to physical and concrete contact. The hand, thanks to its sensitivity and precision, is its most specialized organ.
• Hearing and Smell (Air): These two senses function through an aerial medium. Their respective organs have spiral shapes, one external and visible (ear), the other internal (nasal turbinates).
• Sight (Fire²): Vision depends on light (fire). The morphology of the eye presents several analogies:
  • Its overall almond shape recalls a flame. (fig.01)
  • The pupil (black circle) within the iris (colored circle) recalls the duality of the Taijitu (Fire+ / Fire-). (fig.02)
  • By inverting the colors (white pupil, black iris), the image strongly evokes a sun, reinforcing the analogy with fire. (fig.03)
  • Binocular vision, which allows for the appreciation of distances, could be a manifestation of the dual nature of "Fire²".
  

  fig.01: the overall almond shape of the eye recalls a flame.

  

  fig.02: duality or polarity in the Taijitu.

  

  fig.03: inversion of eye color resembling a sun against a spatial background.

• Taste (Water): The organ, the mouth, is intrinsically linked to the element Water (saliva). Its morphology presents several notable analogies:
  • Its basic structure seems to be composed of two horizontal and symmetrical "drop" shapes that intersect.
  • At the intersection of these two forms, a central triangle emerges, recalling the "Triangle of the divine presence."
  • The philtrum (the area between the nose and the upper lip) itself takes the form of a three-dimensional drop, reinforcing the symbolism of water.
  • Unlike the other sensory organs which are paired (hands, ears, eyes, nostrils), the mouth is unique, which emphasizes its unifying and transcendent character.
  

Step 5: Introduction of the loop principle via a synchronistic anomaly

Context: an anomalous communication

Parallel to my work on the CS, another research brought me into contact with a source of information that I choose not to identify here, as the nature of this interaction is outside the scope of this study. Following a question from me ("When will I be finished?"), a response was given to me in the form of a sequence of light signals in the sky, appearing as follows:

2 — 2 — 3 — 1 — 1

Decoding by applying The Universal Scheme

The interpretation of this sequence took several months, by applying the ternary and transcendent principles of the CS.

1. Application of the ternary principle: The sequence is first read in a group of three. The first group is (2, 2, 3). It is observed that the '3' stands out from the two '2's, acting as the transcendent term. The sum of this group gives: 2 + 2 + 3 = 7.
2. Recursive application: The sequence (1, 1) remains. To form a new triad, each '1' must be considered as a "whole." We apply addition to the first '1': 7 (the previous whole) + 1 = 8.
3. Application of transcendence: We arrive at the last '1'. If we simply added it (8 + 1 = 9), we would get the sequence `7 8 9`. However, the rule of the CS states that the third term "transcends." Instead of being added, it is juxtaposed, transforming the '9' into '19'. We then obtain the final sequence: `7 8 19`.

The resolution: the loop principle

This sequence `7 8 19` appeared as part of my date of birth (`7 8 1987`). The missing piece was understood by postulating a universal principle of a **loop**, inspired by the ubiquitous spherical shape in nature (from atoms to celestial bodies). For a structure to be stable, its contour must be closed.

If the sequence `7 8 19` represents the "outward journey" on a circle, the "return journey" to close the loop is read in the reverse direction, without repeating the turning point '19'. We thus obtain `8 7`.

The complete reading of the loop gives: `7 8 19 8 7`. The answer to the question "When will I be finished?" was therefore "You are finished when you began," revealing both a form of predetermination and, more importantly, the cyclical and looped nature of the CS structure.

Step 6: Verification of the model through the color spectrum

To continue testing and developing the CS, the quinary model (`Earth → Air → Fire² → Air → Water`) is now confronted with the system of primary and secondary colors. The goal is to see if a logical and structured correspondence can be established.

Initial hypothesis: placement of primary colors

The three primary colors (Red, Yellow, Blue) are first positioned on the most obvious poles of the model:

• Red is instinctively associated with Fire.
• Blue is universally associated with Water.
• Therefore, Yellow is logically assigned to the last available pole, Earth. This association is also consistent with the color of sand or certain soils.

This initial assignment creates a rhythmic skeleton `Yellow - ? - Red - ? - Blue`, leaving the two positions for Air vacant.

Partial validation by secondary colors

The introduction of secondary colors allows for testing the validity of this skeleton. They must logically fit between their parent primaries:

• Orange (Yellow + Red) fits perfectly between Earth (Yellow) and Fire (Red).
• Violet (Red + Blue) fits just as logically between Fire (Red) and Water (Blue).

The sequence thus becomes: Yellow → Orange → Red → Violet → Blue. The model fills up coherently, but one secondary color remains unplaced: Green.

Confirmation of the loop principle

The position of Green (Blue + Yellow) then becomes a crucial test. Unable to fit into the linear sequence, its only logical position is between the last term (Blue) and the first (Yellow). This necessity brilliantly confirms the **loop principle** postulated in the previous step.

Furthermore, this position of Green reveals an interesting property: the element Water (the Transcendent pole) is not associated with a single color (Blue), but with two (Blue and Green). This reinforces the rule that the last term transcends the rules of the preceding ones, possessing here a superior chromatic "richness."

Step 7: The splitting of the Transcendent pole

Nominative anomaly and new hypothesis

A recurring observation concerned my family name, "Besse," whose structure seemed to echo the central part of the CS, without being complete.

This structure left two problems unresolved: the absence of the Transcendent pole (Water) and the presence of an unexplained initial "B". The very shape of the "B", a loop glyph, suggested that it could represent the missing pole, but placed abnormally at the beginning.

To resolve this contradiction, a new hypothesis was formulated. The Universal Scheme is and remains `Concrete - Abstract - Transcendent`, but the Transcendent pole, by its very nature, could be detailed into two aspects.

Verification by analogy: The tetragrammaton "YHWH"

Context of the analogy: the burning bush

This hypothesis was tested by analogy on the tetragrammaton YHWH. The choice of this symbol is not incidental; it is directly linked to a biblical episode that is a perfect illustration of The Universal Scheme: the burning bush. The latter is described as a fire that burns without being consumed, which represents a transcendence of fire. Now, according to the CS, the element that transcends is Water. The symbol of the Star of David (✡), formed by the superposition of the triangle of Fire (△) and Water (▽), is a perfect representation of this concept. It is from this state of "transcended fire" that the name YHWH emanates, which must therefore be read not as a word, but as a glyphic formula describing the structure of reality.

Fire being the pole of dualities (good/evil, masculine/feminine, justice/injustice), the entity that presents itself thus demonstrates its mastery of these concepts and delivers the key to their structure.

Analysis of the tetragrammaton

YHWH reveals a startling parallel structure to that of "Besse":

The initial "Y", like the "B", represents the Transcendent pole placed at the beginning. Its transcendent nature is perfectly illustrated by its unique linguistic properties:

• A dual function: It is the only letter in the alphabet capable of acting as both a vowel (in cycle) and a consonant (in yoga). It thus transcends the most fundamental classification of language.
• A dual nature: Its very name, "Y" (wye), recalls its dual origin, a special letter imported to complete the alphabet.

Within a manipulated and coherent system, the letter "Y" is therefore not an arbitrary analogy, but the very embodiment of the transcendent principle. Linguistic anachronisms fade in favor of structural coherence.

A duality was also observed: "Besse" is mainly composed of curves, while "YHWH" is composed of straight lines. This inversion will be explored later.

Application and resolution: The reorganization of the chromatic circle

This new hypothesis of a Transcendent with a dual aspect (Concrete and Abstract) offers a much more fundamental and elegant solution to the anomaly of the chromatic circle from step 6. The position of Green is no longer a simple "loop" to close a cycle, but the very manifestation of the Concrete Transcendent.

• Green, the color of nature and vegetation, is the manifestation of the transcendent principle (life, coherence) in the concrete world. It initiates the visible cycle.
• Blue, the color of the sky and the depths, represents this same principle in its infinite and abstract dimension. It closes the cycle.

The final positioning of the colors is therefore no longer a simple sequence, but a direct expression of the refined structure of The Universal Scheme.

Step 8: The polarized coding of the chromatic spectrum

The investigation continues by seeking to discover a deeper and more structural layer of information beneath the color spectrum. The goal is to translate the colors into a language of polarities, inspired by the dual nature of the Fire pole (Fire+ / Fire-), and then to analyze the resulting sequence.

Basic postulate: The ternary coding of colors

After dismissing the RGB model (computer science) as out of context, the system of primary colors (Yellow, Red, Blue) served as the foundation. The starting postulate is to assign a unique ternary code to each primary color, by distributing a single positive polarity (+) within a three-sign structure.

The derivation rule for secondary colors is a logical addition: their code is obtained by combining the positive polarities (+) of their two parent primary colors.

Analysis of the global polarized sequence

By ordering these codes according to the sequence established in step 7 (Green → Yellow → Orange → Red → Violet → Blue), we obtain the complete chain of polarities:

This chain is then visually reorganized by grouping identical polarity pairs (`++` and `--`) to facilitate its structural analysis:

Identification of a cyclical and asymmetrical structure

This new representation reveals a complex structure organized around a central axis (`Fire-`). On either side of this axis, we observe a balance of asymmetrical correspondences between the "strong" poles (pairs `++`, `--`) and the "weak" poles (single signs `+`, `-`).

A directional and **cyclical** flow emerges from these asymmetries. The final diagram is constructed according to a dual logic that forms a complete loop:

• The initiating flow (bottom arrows): The movement starts from the "strong" poles and moves towards the corresponding "weak" poles. The rule is: ++ → + and -- → -. This is the impulse phase of the system.
• The return flow (top arrows): To complete the cycle, the movement is reversed. It starts from the "weak" poles and returns to the "strong" poles. The rule is: + → ++ and - → --. This is the response phase that closes the loop.

The reason why the movement initiates one way (strong → weak) and completes another (weak → strong) will be demonstrated later. The diagram below is the mechanical representation of this polarized cycle, which corresponds to the underlying structure of The Universal Scheme.

Step 9: The mechanics of cosmic gears

At this stage, the analysis shifts from a static mapping of polarities to a dynamic description of the movements and interactions that result from them. The Universal Scheme is revealed to be not just a structure, but a true mechanism.

Identification of internal movements

The system's energy primarily comes from the Abstract pole, which is in constant motion. Two of these movements are direct consequences of the `Air - Fire² - Air` structure:

• The movement of Fire upon itself (Fire- ↔ Fire+): The Fire pole, by its dual nature, is a source of rotational energy that initiates the overall movement of the system.

• The movement of Air upon itself: Driven by the central rotation of Fire, the surrounding Air is set in motion, which justifies its double presence and its function as a dynamic medium.

Projection into spherical geometry

The next step is to use the property of the "Concrete Transcendent" (Green) to move the model from a line to a spatial structure. By placing it vertically as a pole, the linear sequence wraps around to form a perfect circle, creating a geometry that evokes a planetary structure (a core of Fire, a surface of Earth and Water, etc.).

This projection reveals a remarkable confirmation: in this configuration, the flow arrows associated with the two Transcendent poles (Water1/Green and Water2/Blue) are **inverted** relative to all the others. The principle of transcendence is thus manifested here by an inversion of the system's fundamental mechanics, once again validating its exceptional nature.

Explanation: the mechanical transmission sequence

To understand how this inversion occurs, one must break down the chain of motion transmission, which originates in the Abstract pole. The image below illustrates this sequence:

1. Impulse: The movement is initiated in the Abstract, between the strong pole of Air (associated with Orange) and the weak pole of Fire-.
2. Chain reaction: This impulse triggers a reaction between the weak pole of Fire+ and the strong pole of Air (associated with Violet).
3. Internal rotation: Consequently, Fire² rotates on itself, and Air rotates around Fire².
4. Transmission and Inversion: Finally, the two Air poles, acting as drive wheels, drive the adjacent poles (Earth and Waters) in the opposite direction through a gear effect.

It is this indirect mechanical interaction, initiated by the Abstract and transmitted to the rest of the system, that explains the inversion of flows observed in the spherical geometry.

Step 10: The duality of viewpoints — Vertical axis and horizontal axis

Until now, The Universal Scheme has been applied sequentially, as a progression in time or space. However, this approach reveals its limits and leads to the discovery of a second, equally fundamental mode of expression of the CS.

Reminder: The sequential model (Vertical Axis)

The `Concrete → Abstract → Transcendent` model works perfectly to describe linear processes or vertically developing structures.

• Concrete: The two legs, at the base, ensuring contact with the ground.
• Abstract: The torso and the two arms, a larger and more extended version of the legs, containing the majority of the organs.
• Transcendent: The head, unique, which unifies the whole. On one hand, it contains most of the senses that allow the individual to interact with the world as a coherent whole. On the other hand, it houses the brain, which centralizes the command of the body and generates the unified consciousness of the being.

The contradiction: The horizontal axis of symmetry

The "hitch" appears when one tries to apply this same `C → A → T` sequence to structures organized around a central axis of symmetry, such as the horizontal reading of the human body or the shape of a tree leaf.

In these cases, the linear sequence no longer makes sense. Instead, one observes a bilateral structure where the center plays a unifying role distinct from the two sides.

Resolution: The centered model (Horizontal Axis)

The solution is that the CS changes its mode of expression. For symmetrical structures, it no longer organizes itself sequentially but spatially:

In this model, the Transcendent pole is no longer at the end, but in the **center**. It acts as an axis (the spine for humans, the central vein for the leaf) that connects the two lateral poles. Its transcendent nature is manifested by the fact that it **completely changes the form**: it does not simply duplicate or invert the structure of the Concrete and Abstract poles, but unifies them through a new and unique structure.

Confirmation by structural analogy: return to the "B" and "Y" glyphs

This discovery of the centered model is confirmed by a striking structural analogy with the glyphs "B" and "Y". These symbols are not mere descriptions of nature; they are **deliberate constructions that embody the principles of the CS**:

• Two lateral forms (the loops of "B", the branches of "Y") are unified by a central bar that plays the role of a transcendent axis.

This demonstrates that the `Lateral ↔ Central ↔ Lateral` model is a fundamental organizational principle, which manifests itself in parallel in biological structures and in these symbols voluntarily constructed to express this same schema.

Unification: The Universal Scheme of the Functional

The discovery of these two modes raises a question: when does one or the other apply? The answer is that they are not exclusive, but **coexist permanently within any entity**. This is explained by the very nature of the CS, which must now be specified:

This is the very definition of the "right solution." The first example of digital painting aimed to obtain the best possible functional result. Consequently, the more functional and optimized an entity is, the more perfectly it applies the CS, at all scales of its fractal structure. The two modes, sequential and centered, are therefore always present, because any functional entity has both a development in time (a process, a vertical axis) and a structure in space (a form, a horizontal axis).

Step 11: The resolution through enantiomorphism

The "hitch" of step 10—the coexistence of two modes of expression of the CS—was not a contradiction, but a clue to a much deeper property of the universe. The solution came by confronting the CS with an external and unconventional source of information: the "Ummite letters."

Key concept: From symmetry to enantiomorphism

The central concept advanced by the Ummites is that the universe is enantiomorphic. This idea, once integrated into the logic of The Universal Scheme, resolves the paradox of the "imperfection" of nature. My analysis led me to the following conclusion: nature is not imperfectly symmetrical; it is perfectly enantiomorphic. A tree leaf is not a failed symmetrical drawing; it is a chiral structure. The Taijitu itself, with its duality of colors, is a perfect enantiomer.

Enantiomorphic: it looks like symmetry, but it's not.

Convergence of models and corrections

Several diagrams from the Ummite reports or the communities studying them resonated directly with the structures of the CS, allowing for both confirmations and important corrections:

• Their "tetravalent logic" (document NR-20) presents a geometry identical to that of the "gears" of the CS. It uses the three primary colors to symbolize an entanglement (Yellow+Red=Orange) between the Concrete and the Abstract, while placing Blue outside, in a transcendent position.

Ummite tetravalent logic.

Gears of the CS by color polarity.

A diagram based on the Ummite reports, but created by human interpreters, shows a cosmology based on tetrahedrons. This image, although erroneous in its color attribution (Blue for space, two Greens for mass), confirmed by its structure that the Transcendent pole must indeed be double. This allowed me to correct my initial "Theory of the 4 Tetrahedrons": there are not one, but two tetrahedrons for the Transcendent (one for Blue/Abstract, one for Green/Concrete).

The correct attribution of colors to dimensions, according to the CS, is therefore: Space = Yellow (Concrete), Time = Red (Abstract), and Mass = Blue + Green (Transcendent). It is the entanglement of the Space/Time enantiomer that produces Mass.

The abstract chirality: Our universe

The concept of an enantiomorphic universe allowed me to understand that the first Common-Schema discovered (`Concrete → Abstract → Transcendent`) was not the total schema, but that of a single chirality: the abstract chirality. This is the chirality in which we find ourselves. The fractal nature of the CS allows for the generalization of this observation: the asymmetrical influence observed on a tree leaf, for example, comes from this fundamental nature of our universe. What is true for the whole is also true for its components.

The movement of this chirality is initiated by its center (`Fire²`), propagates to its periphery, and is then transmitted by a system of gears to the periphery of the concrete chirality, which in turn transmits the movement to its own center.

Popularization illustrating the transmission of movements from the abstract chirality to the concrete chirality.

Slightly popularized figure.

Direction of arrows (transmission of movements) in the cosmic gears.

Non-popularized figure.

The concrete chirality: Deduction and resolution

How to define the structure of the other chirality, the concrete chirality? The deduction is not made at random, but through a rigorous analysis of polarities. By analyzing the structure of a leaf (centered model with the transcendent at the center), two hypotheses of color sequences emerge. Their conversion into polarity chains reveals that they both exhibit perfect symmetry.

This perfect symmetry is the key. A perfectly symmetrical structure cannot possess autonomous movement, because it has no central "Fire²" to initiate it. This brilliantly confirms the key phrase from step 9: "the concrete is originally immobile". The concrete chirality is immobile because its structure is symmetrical.

To choose between the two hypotheses, a final principle is applied: complementarity. The abstract chirality (ours) is a sequence of 13 polarities. By enantiomorphic necessity, the concrete chirality must be its perfect complement, another sequence of 13 polarities. Case 2 is therefore the correct one.

T+: Water as a spatial transcendent

■ ● ▲

green yellow orange red red violet blue

+-+ +-- ++- -+- -+- -++ --+

+ - ++ -- ++ -- + -- + -- ++ -- + (13 polarities, odd)

+ - ++ -- ++ -- + -- + -- ++ -- + (enantiomorphic, spherical)

Enantiomorphic.

E+: - Case 2: Inverted sequence

■ ▲ ●

red violet blue green yellow orange red

-+- -++ --+ +-+ +-- ++- -+-

- + -- ++ -- ++ - ++ -- ++ -- + - (13 polarities, odd)

- + -- ++ -- ++ - ++ -- ++ -- + - (perfect symmetry)

Axial symmetry: no autonomous movement.

This final correspondence allows for the unambiguous definition of the structure of the Concrete Common-Schema.

Step 12: The six fundamental viewpoints

After defining the two chiralities (concrete and abstract), it became clear that they were composed of the same terms (`Concrete`, `Abstract`, `Transcendent`), but ordered differently. This order is what defines a "viewpoint" and generates the infinite diversity of the universe. To discover all the fundamental viewpoints at the basis of reality, the tetrahedron, the symbol of the CS, was rotated to reveal all its possible orientations.

The result of this rotation is a set of six fundamental viewpoints:

New terminology: The Tridimensions

For clarity, the terminology is transposed to the lexicon of dimensions. The six viewpoints are classified into three categories, each with its own type of symmetry:

• The Concrete Chiralities (Space+, Time+): Characterized by perfect symmetry.
• The Abstract Chiralities (Space-, Time-): Characterized by enantiomorphism (balance of asymmetries).
• The Entanglements (Mass+, Mass-): Characterized by pure asymmetry.

Deduction of the polarity of the Masses

Unlike the chiralities, the polarized structure of the Masses (the entanglements) was not known. An exhaustive analysis revealed a unique solution, defined by a remarkable property of double inversion:

• For Mass+, Water (Blue) is at the beginning of the sequence and Air (Violet) is at the end.
• For Mass-, the reverse is true: Air (Violet) is at the beginning and Water (Blue) is at the end.

Although lacking direct observations at this stage, this solution was later confirmed. The detailed analysis of their polarities confirms their nature as entanglements.

m-: case study #3: water and sky as spatial transcendents.

▲ ■ ●

violet red red orange yellow green blue

-++ -+- -+- ++- +-- +-+ --+

- ++ - + -- + - ++ - + -- + - + -- + (16 polarities, even)

- ++ - + -- + - ++ - + -- + - + -- +
(axially incompatible polarities)

m+: case study #3: water and sky as spatial transcendents.

■ ● ▲

blue green yellow orange red red violet

--+ +-+ +-- ++- -+- -+- -++

-- ++ - ++ -- ++ -- + -- + -- ++ (12 polarities, even)

-- ++ - ++ -- ++ -- + -- + -- ++
(axially incompatible polarities)

Analysis: Chiralities vs. Entanglements

The analysis of this new polarized structure reveals two fundamental differences that distinguish an entanglement from a chirality:

1. The parity of the number of polarities: The chiralities (Space, Time) have an odd number of polarities (13). The entanglements (Mass+, Mass-) have an **even** number.
2. The nature of symmetry: The entanglements manifest a **fundamental incommensurability with axial geometry**, unlike the chiralities which exhibit a balance of asymmetries or perfect symmetry.

This distinction once again confirms the transcendent nature of Mass relative to Space and Time.

Return to the gears model

This new understanding clarifies the role of each component in the cosmic gears schema. The distinction between concrete/abstract entanglement and concrete/abstract transcendent is a fractal complexity that will be explored later. To simplify here:

• Mass+ (Blue) is the entanglement of the Concrete (Yellow) and the Abstract (Red).
• Mass- (Green) is driven by the interaction of the two states of Mass+ (symbolized by the Orange and Violet circles).

Step 13: Modeling the entanglement of the tridimensions

The next step uses this method to model the interaction of the tridimensions. The starting point is a statement from the Ummite reports: the existence of "opposing arrows of time" in the other chirality of the universe.

Starting postulate and the emergence of a question

By applying this principle, a first model is constructed. Knowing that our chirality (the abstract one) contains `Mass+` and `Mass-`, the other chirality (the concrete one) should exhibit an opposite behavior. These are not `E-` or `T-` states (which are external to the universe), but a dynamic process of "opposing arrows" (`→ ←`).

Generalizing, one might expect both Space AND Time to have opposing arrows in the concrete chirality. However, the source only mentioned Time. This is not necessarily a contradiction; the source could have been incomplete or focused on a subject where only Time was relevant. This, however, raises a question: why does Space seem to behave differently?

Resolution hypothesis: Contextual inversion through entanglement

The answer seems to lie in a fundamental mechanic of the CS that will be detailed later: **entanglement (= the Transcendent) inverts the orders of the chiralities within itself**. It is a dynamic process that contextually changes the nature of the dimensions.

Let's analyze the interaction of each chirality with its opposite:

1. Interaction of the Abstract chirality (T+): Its base sequence is `T+ (■ ● ▲)`. During entanglement, this sequence is reorganized according to the order of `T- (▲ ● ■)`. The symbol for Space (`■`) from the `T+` chirality is thus forced to take the position of the symbol for the Transcendent (`▲`) from the `T-` chirality. Space is therefore promoted to the transcendent state during this interaction.
2. Interaction of the Concrete chirality (E+): Its base sequence is `E+ (● ▲ ■)`. During entanglement, it is reorganized according to the order of `E- (■ ▲ ●)`. The symbol for Time (`▲`) from the `E+` chirality does not change its position and remains in the location of the Abstract. There is therefore no promotion of its state.

This mechanic, reminiscent of a DNA helix twisting upon itself, is coherent: there can only be one total transcendent in the interaction, otherwise the model would be invalidated.

Confirmation by the rule of the peripheral element

This complex hypothesis is reinforced by a simpler rule, already observed: **the opposition of arrows only applies to the element that is on the periphery** of the polarized structure of a chirality.

• In the abstract chirality, the peripheral element is Mass+ (Water).
• In the concrete chirality, the peripheral element is Time (Fire).

T+: Water as a spatial transcendent

■ ● ▲

green yellow orange red red violet blue

+-+ +-- ++- -+- -+- -++ --+

+ - ++ -- ++ -- + -- + -- ++ -- + (13 polarities, odd)

+ - ++ -- ++ -- + -- + -- ++ -- + (enantiomorphic, spherical)

Enantiomorphic.

E+: - Case 2: Inverted sequence

■ ▲ ●

red violet blue green yellow orange red

-+- -++ --+ +-+ +-- ++- -+-

- + -- ++ -- ++ - ++ -- ++ -- + - (13 polarities, odd)

- + -- ++ -- ++ - ++ -- ++ -- + - (perfect symmetry)

Axial symmetry: no autonomous movement.

This rule factually explains why Time (and not Space) has opposing arrows in the concrete chirality, and why Mass has them in ours.

Step 14: The dimensional hexagons and the path of entanglement

The next step is to visualize the geometry of the relationships between the six fundamental viewpoints. By extracting the colors from the bases of the six tetrahedrons, it is possible to construct a new representation that recontextualizes the tridimensions into chiralities and entanglements.

Construction of the dimensional hexagons

These color bases organize into dimensional hexagons, each representing a fundamental pole of the CS: Concrete, Abstract, and Transcendent.

Geometry of recontextualizing the tridimensions into hexagons.

The three dimensional hexagons: Concrete, Abstract, Transcendent.

This geometry reveals a cross-shaped logic that governs how the dimensions entangle. The principle `Space)m+(Time → m+)m-(m+` (the entanglement of Space and Time produces Mass+, which in turn leads to Mass-) is the key to this structure.

The cross-shaped geometric logic that governs entanglement.

The universal path of entanglement

By relating the hexagons of the two chiralities (Concrete and Abstract) with their entanglement (the Transcendent hexagon), we obtain a basic geometric module.

Basic module of entanglement between the chiralities.

By duplicating and connecting this module, it is possible to map the complete path of entanglement between the inside and the outside of the universe. The following animation represents this "dimensional helix."

Analysis of the path and confirmations of the inversion principle

This path is not a simple passage; it is a transformation process where an entity successively loses and gains dimensions. The movement along this helix, popularized in the animation below, shows that the effective parts of the hexagons on the outside are inverted compared to those on the inside.

This principle of inversion between the inside and the outside is a powerful confirmation, as it resonates with several previous observations:

• The structural inversion between the curved letters of "Besse" and the straight letters of "YHWH".
• The biological phenomenon of image inversion by the human retina.
• The inversion of rotation directions between the inside and the outside in the cosmic gears model.

Reminder of the YHWH/Besse inversion.

Step 15: Solving the Ummite table

This final step is the ultimate test of the validity and power of The Universal Scheme. It is confronted with a complex data structure, the "Ummite table," presented as the "key" to their science. If the CS is capable of generating this table identically, it will confirm both the validity of the CS and the non-human origin of this information.

Original document of the Ummite table,
the yellow text has no incidence and was used to designate the missing line.

Preliminary analysis of the Ummite table

Several surface clues suggest a deep compatibility with the CS:

• The colors: The table only uses the four fundamental colors of the CS (Yellow, Red, Blue, Green).
• The entanglement structure: The central vertical line is an entanglement (indicated by luminosity) of the top and bottom lines. Furthermore, this entangled area is composed only of Blue and Green, the colors of the Transcendent pole.
• Polarized duality: The use of White and Black at the ends annotated "000 000" suggests a polarized opposition, analogous to that of Mass+/Mass-.

The analysis having revealed an equivalence, the next step is the integration of data from the CS.

Superposition of the models

The next step is to superimpose the most detailed structure of the CS—the polarized coding of the six viewpoints—onto the Ummite table. The superposition rule is strict: identical polarities (`+` with `+`, `-` with `-`) must be aligned.

T+: Water as a spatial transcendent

■ ● ▲

green yellow orange red red violet blue

+-+ +-- ++- -+- -+- -++ --+

+ - ++ -- ++ -- + -- + -- ++ -- + (13 polarities, odd)

+ - ++ -- ++ -- + -- + -- ++ -- + (enantiomorphic, spherical)

Enantiomorphic.

E+: - Case 2: Inverted sequence

■ ▲ ●

red violet blue green yellow orange red

-+- -++ --+ +-+ +-- ++- -+-

- + -- ++ -- ++ - ++ -- ++ -- + - (13 polarities, odd)

- + -- ++ -- ++ - ++ -- ++ -- + - (perfect symmetry)

Axial symmetry: no autonomous movement.

m+: case study #3: water and sky as spatial transcendents.

■ ● ▲

blue green yellow orange red red violet

--+ +-+ +-- ++- -+- -+- -++

-- ++ - ++ -- ++ -- + -- + -- ++ (12 polarities, even)

-- ++ - ++ -- ++ -- + -- + -- ++
(axially incompatible polarities)

m-: case study #3: water and sky as spatial transcendents.

▲ ■ ●

violet red red orange yellow green blue

-++ -+- -+- ++- +-- +-+ --+

- ++ - + -- + - ++ - + -- + - + -- + (16 polarities, even)

- ++ - + -- + - ++ - + -- + - + -- +
(axially incompatible polarities)

Reminder of the color polarity of the 4 tridimensions.

Ummite table with its internal interactions of the entangled zones.

Organization of CS polarities on the structural logic of the Ummite table

This superposition reveals a remarkable correspondence: the number of entries per tridimension (3) is identical in the first system, and the interaction arrows are already almost perfectly superimposable.

Resolution of the first table (Abstract Viewpoint)

The first Ummite table corresponds to the `Concrete - Abstract - Transcendent` viewpoint. A new context is created by the interaction of the tridimensions, which activates specific transformation rules.

• The "y" column is in a transcendent position in this context. The rule that applies is therefore transcendence: it transcends the very fact of "appearing in the table" and **disappears**.
• The "x" column is in the central position. The center of the abstract chirality is a `Fire²`, a duality. The rule that applies is therefore multiplication: it **duplicates itself**.

The application of these two transformation rules, which themselves form a polarity (disappear/multiply), allows for the generation of the Ummite table identically from the CS.

Relevant section of the final transformation result, identical to Ummite table 1.

Full image here.

Resolution of the second table (Concrete Viewpoint)

The second table logically corresponds to the `Abstract - Transcendent - Concrete` viewpoint. With the Transcendent now at the center, the transformation rules change.

• The double "x" column is now in a transcendent position (at the center). The rule of transcendence applies: it **disappears**.
• The "y" column is now in a position of variation. The rule is the inversion of polarities. However, the polarities at the center of this column transcend their own context and escape the inversion rule.

The application of this new set of rules allows, once again, for the generation of the second Ummite table identically.

Relevant section of the final transformation result, identical to Ummite table 2.

Full image here.