Larz had been a fan of geometry since childhood. His doodling often involved cube variations that elongated and curved. He was taken by the twelve simple lines that defined space in multiple ways. When you focused on certain lines the box could be seen as an internal or external drawing. Peering into the cube, he could watch the aspect change randomly as his stare deepened.  An object placed on one of the planes helped to further define the space. 

 As an adult, he found more sophisticated ways to look at the geometric shapes.  During the early 2000's Larz did a random search for information involving  Schauberger  who was a self trained physicist. Among the search results was an excerpt from a natural energy symposium from that period.  The upper third of the image shown is an excerpt from the lengthy pdf. The lower two thirds of the image were spawned from his imagination. Logical inner characteristics of thirds emerged that he found very compelling. True to his instincts, Larz read only the blurb shown. It was enough to stir his imagination. Larz thought that extending  those base principles into worldly constructs was best served through intuition. He had little curiosity about the findings of others . Eventually the applications would be proven true or not. Verification or dismissal of the concepts relied upon independent study and accurate sources. He sought to avoid being tainted by thought that could lead down the wrong path. 

Those base concepts struck Larz as a concise synopsis of the creative forces. An underlying system was proposed that was very economical. It featured the relationship between numbers and geometric space. How they coalesce was most insightful. He combined those two aspects with the principle elements. The result was a model  that indicated the viability of an infinite circuit. Applying a residual frequency to the construct seemed to explain how the movement progressed. He sought to further develop ideas that employed the base number string. Larz drew what he saw in his mind. He was sold on the premise that simplicity was more powerful than complexity.   

Assembly

Larz instantly recognized that the 3 6 9 principles could be applied to the ideas set forth. He then naturally extended the concept to encompass the creative forces. He found the roles of numbers to be predictive. All had multiple roles that meld into 9 at each level. Three renderings emerged from his pondering. First, an organic circuit was drawn. The 1 was held in reserve to be the radial establishment within the created sphere. The second displayed single digit interconnectivity. For instance, 4 was the quadrilateral grid that mapped out the nature of the duplicated sphere. Interactive base numbers were seen as containers. In the third rendition, 7 was the  trans dimensional operative. It emulated original instruction into the duplicated sphere. The simplistic drawing showed angles of deflection as a model of nDNA replication. Regeneration operated through the vortex surface tension drive.

The relationship between cylinder and sphere was a focal point. He was interested in the space where the two structures glanced off of each other. It would be interesting to see the action that happened in the space between them. That neutral space was, perhaps, the prime mover of the model. A system of two cubic octave circles was represented. As a double torus, they were spawned to achieve a  squared (8=2x2x2) mirror. Physicality was the  eventuality of those processes. By its nature, the created matter masked the how of creative generation. He wondered if a chiral reflective fractal  initiated the process. Larz sat and imagined the action - reaction of the 33 degree star retrograde. The one third space represented an inner process. The two thirds space was where the external manifestation was initiated. The processes within were powered by the smaller, innate double torus.

Vibration and spin

Standing waves of alternate current were shown in the image below. Larz was playing with transparencies on top of a drawing he had done. The cross section of a carbon nanotube (CNT) was a concept given to him. He had pictured nDNA strands within the CNT but was not sure if such could be the case. He utilized his standard size drawing to test the case. The antique drawing fit right on top of his without alterations. Again, he ran into a drawing alignment that peeked his interest. He had been searching for avenues of internal energy processes. A book was given to him that introduced a figure of the past. The idea of sympathetic vibration was introduced by  John  Keeley in the late 1800's. As it went, the father of modern atomic science was met with distain by popular science. Just another scientist pushed to the fringes. Yet, he was way ahead of his time. It is interesting how the atomic symbol he drew became the internationally recognized sign . Larz believed that the drawing intuitively offered a visual organic connection within the psyche. In other words, it just made sense. He, for one, must have seen it in his minds eye.