![]() If these two energies do not match, you will lead a life where your personality is continually getting in the way of what your soul wishes to express. The energy of your soul is imprinted in your birth date numbers and the energy of your personality is imprinted in your names. In the top half of the name chart, the numbers represent mental aspects.Īt the very top in The higher self chart we see the spiritual aspects: our karma and highest potential in this life.Īt birth you are given your names by your parents, and in this way they unwittingly lay out a large part of your destiny since your names will start attracting certain energies and life experiences into your life. In the bottom half of the name chart, the numbers represent emotional aspects. In the chart as a whole, there is also a movement from the earthly and grounded to the spiritual. The right side is what is visible to your closest friends and family, but what you hide from the outside world. Your private thoughts, thought processes, feelings, and silent motivators of your actions. The numbers on the right side of the chart are what is hidden from others. This is what is publically “accessible” and what you choose to show the outer world. The numbers on the left side of the chart are what others can see and feel. To intuitively understand the meaning of the numbers in the chart in their respective positions, you can see the chart as a representation of a person as seen from the side. The Chaldean numerology chart is so subtle, advanced and accurate because it models the human being! In this way the chart becomes a MICROCOSM of the MACROCOSM – a holographic mirror representation of reality. However, many of the barriers to accessibility of HIP research materials are not fundamental, and further research and development would reduce or eliminate them.Due to the complexity and level of refinement of Chaldean numerology and the numerology charts there are incredibly many number positions which tell about different aspects of your soul, psyche, vocation, personality and fortune in life.Īmong the most important numbers we have: The implication for VI musicians is that they are prevented from undertaking the same amount and type of research as their sighted colleagues, putting them at a disadvantage. The accessibility of musical instrument collections is varied, with some institutions (such as the Ashmolean Museum, Oxford) being almost entirely inaccessible, and others (such as the Royal Northern College of Music, Manchester and Morpeth Chantry Museum) demonstrating significant accessibility for VI musicians. The accessibility of historical musical scores is poor and likely to remain so for the near future, due partly to the complexities of OMR and partly to the nature of older musical scores, whose markings do not always have a modern equivalent. ![]() The study shows that the overall accessibility to VI musicians of written research material (books, documents, journal articles) in digital form is reasonably good, even if some effort on the part of the researcher is required the accessibility is expected to improve in the next few years as OCR is tailored to older texts. ![]() Specific research issues relating to the accessibility of scores, documents, and instrument collections are then explored and evaluated in chapters 3 and 4, using screen readers, website testing tools, software for OCR (optical character recognition) and OMR, and document text extraction. An introductory assessment of the issues facing VI HIP musicians is followed by an exploration of how digital technologies used for research affect VI people in chapters 1 and 2. A survey of twenty-two musicians aims to assess the accessibility of musical instrument collections in the UK. Digital score and document collections are assessed for accessibility, as are sample PDF documents and software applications used for optical music recognition (OMR). This study considers the accessibility to visually impaired (VI) musicians working in historically informed performance (HIP) of various research materials including historical scores, written documents (such as journal articles, treatises, and books), and collections of musical instruments. ![]()
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