Ferrera's Collected Outlooks 2008 - 2019 are like instructional manuals in the Art of Financial Forecasting, providing educational studies on market theory and technique by a highly respected forecaster.
They expand the toolbox of even seasoned traders, providing new tools and deep insights into cycles, technical analysis and Gann forecasting.
W.D. Gannís original work is a critical element for any Gann researcher, but many find Gannís deeper work challenging without help from well-seasoned analysts and traders.
We offer valuable secondary works presenting and developing Gannís ideas: the best teachers in this field are not so much competitors, but fellow contributors to ongoing research.
Systems of numerology date back to ancient Egypt, India and Israel. Hebrew number science, Gematria, was woven through the sacred texts of Semitic religion.
Plato used numerical codes in his works, and Thomas Taylor elaborated the advanced systems of Pythagoras in his "Theoretic Arithemetic of the Pythagoreans".
The Canon refers primarily to an ancient esoteric system of knowledge and cosmology encoded into temples, artifacts, art and monuments.
The Egyptians had a specific Canon to lay out the grids upon which they designed their art, and there are also canons of proportion used in the Renaissance, as well as by later artists, geometers and musicians.
Non-linear dynamic mathematics, known as Chaos Theory, seeks order in seeming random patterns, exploring subjects like Fractals, System Mechanics, Lorentz Attractors, and more.
Dr. Baumring originated the idea that Chaos theory provided insight into market phenomena, and later the great Mandelbrot tried to apply Chaos theory to the markets.
In ancient times science and philosophy were interwoven, such as in the ideas of Pythagoras, Plato, Aristotle, the Alchemists.
Philosophy is at the root of human knowledge, and we specialise in systems of thought and ideology, particularly concentrated upon alternative and classical works.
The Sun is the most dominant influence in our lives, and a primary source of influences from the cosmos transmitted to the Earth.
Ancient and esoteric traditions had advanced theories of solar influence.
We cover theories concerning all kinds of solar effects.
W.D. Gann Works
We stock the complete collection of the works of W.D. Gann.
His private courses represent the most important of his writings, going into much greater detail than the public book series. Our 6 Volume set of Gann's Collected Writings includes supplementary rare source materials, and is the most reliable compliation of Gann's unadulterated vital work.
Dr. Jerome Baumring
The work of Dr. Baumring is the core inspiration upon which this entire website is based. Baumring is the only known modern person to have cracked the code behind WD Gannís system of trading and market order.
Baumring found and elaborated the system of scientific cosmology at the root of Gannís Law of Vibration.
There is no other Gann teaching that gets close to the depth of Baumringís work.
OrpheusIntroduction & Table of Contents
Translated by Joscelyn Godwin
By Hans Kayser
Table of Contents
First chapter. The lambdoma and its relation to the problem of the overtones and undertones.
Second chapter. On the sound in the stone. Crystallography.
Third chapter. The Oth-Aleph and the star of the pleroma. The formulae of harmonics.
Fourth chapter. Number and sound. Mathematics.
Fifth chapter. On the sound in the microcosm. Atomic theory.
Sixth chapter. Doctrine of color. Physics, optics.
Seventh chapter. On the sound in the macrocosm. Astronomy.
Eighth chapter. Sound and growth. Geology, botany, zoology.
Ninth chapter. Sound and form. Architecture, art.
Tenth chapter. Doctrine of harmony. Tonal system, music theory.
Eleventh chapter. Man, tone, and rhythm. Anthropology, history, periodicity.
Twelfth chapter. On intuition. Philosophy, language, psychology, ethics.
Finale. View of past and future.
The Sacred Science Institute’s Hans Kayser project, which has so far issued English translations of Harmonia Plantarum (first published 1943), A Harmonic Division Canon (1946), Textbook of Harmonics (1950), and Paestum (1958), now presents Kayser’s first and least known book: Orpheus I. Morphologische Fragmente einer allgemeinen Harmonik, erste Lieferung (1926).
The nature and circumstances of these “Morphological Fragments of a Universal Harmonics” are nothing short of extraordinary. Under the prophetic name of Orpheus, Kayser (1891-1964) intended to erect a monument to rival Albert von Thimus (1806-1878), whose Harmonic Symbolism of Antiquity (Die harmonikale Symbolik des Alterthums, Cologne, 1868, 1876) had opened his imagination to harmonics as the universal key. Thimus had addressed it only as a historical phenomenon, concentrating on ancient Greece, Egypt, and China. Kayser intended his Orphic project to bring harmonics into the modern world by showing its application to the sciences and humanities, and its spiritual value for the present and the future.
Kayser’s grand plan was to cover the entire field of arts and sciences, harmonically treated, in twelve “chapters.” The present work was only the “first instalment” (Erste Lieferung), comprising the general introduction and chapters 1 and 2. A prospectus inserted in the book outlines the complete plan, followed by a laudatory essay and inviting subscribers. It suggests that future chapters are well underway by reproducing two diagrams from them: “Harmonic analysis of the hydrogen spectrum,” from the fifth chapter, and, in four colors, “The diatonic circles of the combination types,” being table 8, figure 9 of chapter 3. According to Rudolf Haase, from whose biography (Hans Kayser. Ein Leben für die Harmonik der Welt, Basel: Schwabe, 1968) most of this information is taken, Kayser did complete the third chapter in manuscript. He awaited a favorable response from critics and subscribers, but was disappointed. The scientific and musicological press took almost no notice of the work, and what they did say was discouraging: Kayser’s addressing the reader with the informal du was inappropriate for an academic work; the presentation was too flamboyant, etc. Besides, after 1926 Kayser’s personal finances took a turn for the worse. For several years he supported his family by playing the cello in a nightly cinema orchestra. The political horizons darkened for liberals like himself. Only after his timely move to Switzerland in 1932 under the patronage of a far-sighted businessman, Gustav Fueter, was he able to resume, in the words of Haase’s title, “a life for the harmony of the world.”
The high-flown rhetoric of the prospectus matches the extravagance of Kayser’s ambition and of this lone completed monument. It speaks of the aspirations after Germany’s defeat to revive the best of its prior culture. For Kayser this included the Rhineland mystics of the late medieval period (Meister Eckhart, Tauler, Ruysbroeck,); the blending of science, alchemy, and occultism in Paracelsus; the mystical theosopher Jacob Boehme and his followers; the philosopher-scientists Kepler and Leibniz; and Goethe’s synthesis of a poet’s eye with a new scientific outlook, leading to the Naturphilosophie (philosophy of nature) of the Romantic period. Before specializing in harmonics, Kayser had studied all of these and edited two series of mystical writings: the popular series Der Dom (the cathedral) and his own Chorus mysticus (mystical chorus). Somehow he found time to write a dissertation, too, on “Literary Parallels between Fra Angelico’s Representation of the Last Judgment and the Writings of Antoninus Florentinus” (Erlangen, 1925).
As the overture to a work of Wagnerian ambitions, the present volume sets the tone of what is to follow, then exemplifies the themes and methods that will be used henceforth. The tone of the Introduction is earnest and we might say religious, only it is subservient to no particular religion but rather to the metaphysical principles behind them all. Readers familiar with the modern “Traditionalist” current identified with René Guénon will recognize the impersonal application of universal principles—in Guénon’s case, geometric (as in The Symbolism of the Cross); in Kayser’s, harmonic. Those more familiar with the work of C. G. Jung will recognize Kayser’s distinction of the ego, with all its problems, from the impersonal Self. Anthroposophists, about whom Kayser was at first scathing but later more sympathetic, will notice similarities to Steiner’s instructions for a higher perception of the natural world. All four—Kayser, Guénon, Jung, and Steiner—were concerned to give meaning to a postwar world in which materialism was asserting its claim as the only viable philosophy.
Following this introduction, Kayser explains the lambdoma, the diagram named from the Greek letter Lambda, Λ, which encompasses the integer series and its reciprocal fractions. The two large folding plates of a triangular and a square lambdoma (Tables I and II), enlarging on prototypes in Thimus’s work, are a marvel of typographical intricacy. All of Kayser’s harmonic writings presuppose an understanding of this diagram and some sense of its musical nature. The ability to hear tones in one’s imagination has nothing to do with “perfect pitch,” but it does require familiarity with the basic intervals, so that when a perfect fifth is mentioned, the inner ear responds. Some time spent experimenting with a string—a cello or guitar string will serve in lieu of a monochord—will go far to clarify the Pythagorean insight into the link between tone and number, on which all harmonics rests.
The second chapter plunges us into the realm of crystallography, a territory as unknown to many readers as it was to the translator. In the spirit of Naturphilosophie, and of esoteric philosophies in general, it sees all of nature as alive and to some degree conscious. For Kayser, this life and consciousness are proven by the presence of harmonics as determinants of crystal growth and geometry. All his evidence and its illustrations come from the researches of Victor Goldschmidt (1853-1933), the founder of modern crystallography, who presumably consented to this extensive borrowing from his works. Because crystal formation relates closely to solid geometry, Kayser reprints a rare article by Christian Samuel Weiss (1780-1856) on the proportions of the Platonic and other regular solids, these also favoring harmonically significant numbers. The widow of Hans Hauswaldt (1851-1909) allowed Kayser to enhance his work with her husband’s photographs of polarized light through crystals.
Kayser’s lavish use of material by these specialists explains, to some degree, how at the age of 33 he could confidently promise to cover all the disciplines listed in Orpheus’s twelve chapters. Although the original research was not his own, his omnivorous mind enabled him to absorb it and fit it into his global vision. This he would pursue against all odds and the indifference of the academic world, right up to his metaphysical masterwork Orphikon, issued posthumously (1973) by his faithful Basel publisher, Julius Schwabe. Although Orpheus went off like a solitary rocket, by the end of his life Kayser had fulfilled its promise, and more.
If the reviewers thought Orpheus’s presentation too extravagant for a musicological textbook, they were right. The book comes in a green clothbound slipcase with a discreet label: Orpheus. Erste Lieferung, and measures 18½ by 12¼ inches (47 x 31 cms.). When the three-colored folding plates are opened, it spans 4ft. 2ins. (127 cms.). The paper is handmade, the margins wide, and the fonts are roman and italic, rather than the Fraktur, so offputting to non-German readers. The endpapers are solid scarlet facing metallic gold. The sixteen cyanotypes of crystal radiances are individually glued in. In short, it is a bibliophile’s treasure for its size, its quality, and its rarity, since no more than 200 copies were printed and there has never been a reissue. No American library claims to own one.
Although Orpheus was copyrighted in 1926, Kayser always dated it to 1924. That was the year in which he published a pair of modest “Papers around Orpheus” and issued prospectuses that invited subscribers to the central work, promising the first instalment for December 1925. He intended to print and publish it himself. In 1922, during the German monetary crisis, he had sold his private library to a Dutch dealer for hard currency, and invested it in printing equipment. He set up his printshop in a disused Berlin bathhouse and for a few years produced finely printed editions of his own and others’ writings, some as jobbing work, some under his own imprint of “Kunst und Technik” (Art and Technology).
Further information on the printing history of Orpheus comes from a Hamburg auction house, which in 2019 offered a separate publication of the 27-page Introduction (Einleitung) on handmade paper, full format, and paper covers, remarking that “The work appeared in 1924 from the Kunst und Technik press, but remained unfinished after only one instalment. Gustav Kiepenheuer took over the remainder and printed a new title page.” The Kiepenheuer Verlag in Potsdam specialized in art books and bibliophile editions. It did indeed publish and copyright Orpheus in 1926, but apparently Kayser had already printed the Introduction, if not the whole book, on his private press.
For the bibliographic record I will add that in both copies to which I have had access, Table III is lacking. It was reassuring to find in a bookdealer’s catalogue the statement that “According to the publisher, the missing Table 3 would be included in the final instalment, which never appeared.” Evidently some copies of Orpheus contained an apology to that effect. Moreover, our two copies have a significant difference. In one, the first chapter opens with the quotation from Iamblichus on Nicomachus (p.19, below) and continues through the quotation from the Tao Te King. There follows a rather pedestrian explanation of overtones, undertones, and the universal law of polarity, with a long footnote dissenting from Helmholtz’s theory of overtones and rejecting equal temperament. The text resumes with the analyses of the lambdoma at the bottom of p. 20, below. The other copy, which I translate from here, opens the chapter with the passage evoking Northern Light, quoting Goethe, and intimately addressing the reader. The explanation of overtones is cut by a half and enlivened by mention of Schoenberg, bells, organ stops, the clarinet, and an experiment with the piano. Kayser cleverly managed these improvements by reprinting only a single folio sheet comprising pages 1-4. He must have kept some copies of the first state, for he inscribed this one to “Herrn F. Charbonnet, in memory of his Berlin sojourn, August 1929.”
There follows a translation of Kiepenhauer’s prospectus, with a reproduction of its modernistic cover which may or may not contain some harmonic-geometric secret.
W. D. Gann's Mass Pressure Forecasting Charts. By Daniel T. Ferrera. The Mass Pressure Formula is one of Gann's most guarded secrets.
Mass Pressure indicates bullish and bearish trends according to Gann's Master Time Factor. These charts are based on Gann's philosophy that "the future is nothing but a repetition of the past".
Ferrera 2019 Outlook
Ferrera's General Outlook for 2019 is our most popular market letter. All traders know that in times of global financial crisis, market confusion, and economic instability, it is critical to obtain the best knowledge.
In it's 11th year, Dan Ferrera's Outlook is based on experience developing advanced technical models giving market insight equal to the best advisors.
George Bayer's Works
Complete Works Of George Bayer. 2 Vols. Vol 1. - George Wollsten: Expert Stock and Grain Trader - Turning 400 Years of Astrology to Practical Use Vol 2 - The Egg Of Columbus - Traders' Hand-Book of Trend Determination - "Money" or Time Factors In The Market - A Course In Astrology - Bible Interpretation - Preview of Markets - Gold Nuggets For Traders.
Law of Vibration
Research works or market systems based upon Gannís theory of the Law of Vibration. Includes many scientific and esoteric work getting into harmonics, cycles, and cosmology as it relates to causative systems of order behind the markets. Primary reference and research section for those studying deep Gann analysis.
Books on the psychological element of the markets and trading. These works cover both how markets are influenced by the psychology of the individuals behind them, as well as the actual psychology behind trading for the trader.
Technical analysis requires sophisticated measurements and calculations, so good software tools save time and allow wider scope.
We have carefully selected software for market analysis, geared towards Gann, geometric, astronomical, cycles or other related topics that we most use, including pre-programmed Gann and Astro tools.
Options provide many very useful benefits, like locking in the limit of your risk, since you can never lose more than the cost of the option you purchase.
With the current volatility of the market and overnight trading, many traders are afraid to hold positions overnight, but options can give a safe way to hold open positions without fear of extreme volatility.
Polarity Factor System
The Polarity Factor System, An Integrated Forecasting & Trading Strategy Inspired by W. D. Gann's Master Time Factor, by Daniele Prandelli conveys the strategy and tools that Prandelli uses to generate a consistent 10% a month trading. A proven system with Advanced Risk Management Rules & time turning points based on Gann's cycle theory.
One can learn much by studying the lives and achievements of the great thinkers who have shaped human history and culture.
In our biographical library we have a collection of rare texts which complement theoretical study by allowing deeper insight into the characters and deeds of many significant philosophers.
There are many important non English Language esoteric and scientific works which we have in our archives but have not, as yet, been translated into English.
Some important books in this section have already been translated by our Translation Society, and we intend to translate others in the future.
Much science from the 1800ís postulated a 4th Dimension, often considered to represent Time, in relationship to 3-Dimensional space.
Gann himself posited the idea of space itself being a 4th dimension in the markets, which requires the Gann theorist to become familiar with complex and often metaphysical theories of extended dimensionality.
Esoteric and Pythagorean sciences love to play with the value and meaning of numbers, from the complex mathematical theories of the Platonists, via Fibonacciís ideas, to number progressions, ratios, proportions, sequences, and chaos theory.
We specialize in the overlap of numerical and esoteric systems positing a more integrated cosmology.