Meru Foundation
Body of Research
Creator: The Meru Foundation and Stan Tenen
Played by:Cynthia Tenen and Robert C. Cohen
The Meru Foundation has discovered "an extraordinary and unexpected geometric metaphor in the letter sequence of the Hebrew text of Genesis, that underlies and is held in common by the spiritual traditions of the ancient world." This metaphor models embryonic growth and self-organization. It applies to all whole systems, including those as seemingly diverse as meditational practices and the mathematics fundamental to physics and cosmology." Introduction to the Meru Project, Stan Tenen.

Game II Core Wave: "Ancient Ideas in Modern Times" or "Time Transcendent Ideas."

Primary Category

Related Categories

Relationship to Core Wave

How does someone communicate an internal experience (of say infinity or the divine) when that experience is beyond human comprehension? Would you need to recreate the entire experience? What kind of vessel would be necessary to preserve the experience and pass it down from generation to generation? Do claims by the ancients that certain languages are sacred have some validity? -- Robert C. Cohen

How does the relationship of inside to outside, and vice versa, define our reality? Can we re-discover how this was expressed by the great minds of the ancient world? -- Cynthia Tenen

Connection Tunnels

  • Alien Dreamtime
  • The Big Bang Never Happened
  • The Infinite Game
  • Mind Altering Substances
  • The Primary Distinction / CoreWave Game One
  • Science vs. Mysticism
  • The Bridge

    Highlight Quotes

    "For thousands of years, spiritual teachers of the Jewish and Christian traditions have claimed that the Hebrew alphabet is composed of "holy" letters of special significance and superhuman origin. With the recent publication of Michael Drosnin's book The Bible Code, the release of Jodie Foster's film Contact and Fred Alan Wolfe's work on The Spiritual Universe, attention is fixed on the potential fusion of science and religion. A perfect time for Stan Tenen, a physicist and Director of the Meru Foundation, to take the stage."
    -- Cynthia Gage, Secrets of the Hebrew Letters

    "Tenen's work has also gained attention from a broad spectrum of mathematicians, theoretical physicists and philosophers. He notes wryly that it 'sometimes seems "too Jewish" to non-Jewish audiences, "too Christian" for my Jewish friends, "too mathematical" for my religions friends, and "too religious" for my scientific friends.' Yet, if Tenen could sum up in a sentence what he would like his work to convey, it would probably encompass the idea of unity within diversity.

    He puts it this way: 'Like each of the letters of the alphabet, each culture has a vital contribution to make to the ecology and survival of the planet. The model found in the Hebrew text of Genesis is intrinsic to human consciousness-a science of consciousness like pi, not owned by anybody. The meditational dance has been preserved intact; it shows us how we can relate to each other in an elegant, coherent manner. This is truly a tree of life for those who grasp it.'"
    -- Cynthia Gage, Secrets of the Hebrew Letters

    "Archetypal asymmetry can be represented by a dynamic form that continuously breaks symmetries as it unfurls. Meru Foundation research suggests that this form is a particular, explicit vortex, which we call 'Naked Recursion' ('naked' in the mathematical sense - unadorned, without any other quality) and which has been traditionally associated with 'the flame of consciousness', the archetypal living process of a 'fruit tree yielding fruit whose seed is inside itself' (Genesis I.11.), and with its highest human embodiment - our hands."
    From "The God of Abraham, A Mathematician's View," (c)1993, 1996 by Stan Tenen.

    "Traditionally mystics and Kabbalists have referred to the asymmetry vs. symmetry model of highest contrast as 'Flame and Coal' (Absolute Unity can only exist when the 'flame' is wedded to the 'coal'), the 'Light in the Meeting Tent,' or, perhaps, in Plato as the 'same (symmetric) and the different (asymmetric)' (although many other interpretations have been given for this phrase)."
    From "The God of Abraham, A Mathematician's View," (c)1993, 1996 by Stan Tenen.

    In the Talmud, the phrase "Toku K'varo," meaning "inside like outside," is used as a definition of integrity, and describes a fully righteous person.
    -- Stan Tenen

    Geographic Location

    Hmm. Tricky. No really knows for sure where Mt. Sinai really is. I don't know for sure where Abraham lived. Even if the ideas originated long before, they were certainly developed while the Jews were in Egypt. So I think I'd like to place the Meru move in the King's chamber of the Great Pyramid in Cairo, certainly the greatest geometric construction on Earth. So I put the meru flame shaped vortex as a light inside the biggest meeting tent in the world.
    -- Robert C. Cohen

    Images and Clips

    All the Meru images and shapes can be seen at the: Meru Web Site. Graphic images © S. Tenen

    Access and Distribution

    All the Meru writings can be seen and video tapes ordered from the : Meru Web Site

  • Main Submission

    Helping this work to grow and blossom, in my own family, in my own living room, for the past 20 years, has profoundly affected my life. It has answered, and continues to answer, burning questions I once asked when I was a small child, and then forgot that I had asked until those answers had already become a part of my life.
    -Cynthia Tenen

    Cynthia was kind enough to submit the work of the Meru Foundation and her husband Stan Tenen to the first Glass Bead Game at my request. She related Meru to Game One's core wave: "the primary distinction between inside and outside." There was not enough time to include that submission to the first Game's Inner structure, so I discussed the move with Erik, the current Game Master, and decided it would be best to submit Meru myself to Game Two. It relates to the Game two core wave "ancient ideas in modern times," as well and could work as a minor bridge between the two games.

    In 1995, I had just started a documentary production company with my friend Tom Bates. We were looking for ideas for our first project. One day I was home sick as a dog when I put on a video lecture by Stan Tenen that I had borrowed from Tom. As the lecture went on my jaw dropped lower and lower. Everything I had ever wanted in an introduction to Kabbalah and ancient sacred sciences was coming out fast as a whip - because that's how Stan talks (and thinks).

    Within a few days Tom and I had contacted Stan and Meru and we had begun the process of making a documentary about Meru research (ie. geometry and math in sacred texts.) With the use of high end computer animations it is our hope that this program will eloquently communicate complex concepts and reveal a much broader playing field than most people are aware of in relationship to our major spiritual traditions.

    My time with Meru research and the Tenen's has greatly influenced my life and it played a significant role in the design of Core Wave and the Game One core wave.
    -- Robert C. Cohen


    The Hebrew letters of the first verse in Genesis, repeat in patterns when they are counted in base three. Stan Tenen the head of Meru Research discovered and has studied this pattern for twenty plus years. The pattern indicates a weaving of the letters into a torus (donut) shape, a section of which makes a vortex shape which Meru shows to model in both scientific and spiritual terms the recursive nature of life. There is much evidence to support the view that the pattern continues through the text. This needs and deserves to be the focus of much greater research and resources.

    The vortex starts at a point which is related to a "seed" of unity. As it unfurls upward it is related to a tree of life and as it opens all the way around the model is related to a fruit which contains the "seed" of itself and the whole thing starts over again.

    This is certainly a poetic model but not so much in the modern sense which views poetry as nebulous. Meru relates this model to historic and modern views of spirit, science, consciousness and language, with an intense internal coherence that is closer to ancient ideas of the poetry in geometry, harmony, and proportion.

    Further (Stan does an excellent and rigorous job of explaining all this so bear with my gross generalizations), the vortex shape fits directly into the palm of our hands. Our hands are the easiest thing to visualize in our minds eye. Close your eyes and move your hands to any position and you can instantly visualize your hands position. The same part of the brain that controls your hands controls our speech and language centers.

    Well the vortex, which models the recursive nature of life, also projects a shadow which can make all the letters of the Hebrew alphabet when you hold it in different positions. So as you hold your hand in different positions you can see in your minds eye all the letters of the alphabet as directions in space.

    "Since letters generated by the hand gestures can represent directions of conscious focus in our minds, a sequence of these letters can be used to specify and reconstruct a meditation. This may explain why certain Scriptural texts were canonized and why these letters are rightly called "sacred." Thus the same letter-signs are elements of both cosmology and consciousness at the same time.

    Meru research suggests that Abraham didn't see the icons of other religions as simply false, he saw the one underlying truth behind all the icons of different cultures, "seeing through each example to a Singular archetype, [and] DEFINED the One-God as the Unity underlying all of them.

    "Abraham, in this view, acts as a mathematician: he postulates a meaningful and functional definition of Unity. The mathematician's model makes use of none of the "garments" of the many different cultural embodiments... This perspective suggests why the Abrahamic faiths absolutely prohibit "graven images" of God. Any "graven image" would be a physical representation of only one culture's iconography during one historic period - it could never be a timeless model of a universal underlying Unity."

    "Although it is bound to be considered insulting (and thus to have no validity) by those who do not understand geometry and who therefore adhere to exclusively literal literary understandings of spiritual traditions, there may in fact be no possible way to describe Exquisite Singularity without mathematics.

    "Although some sources insist that it is anecdotal, it is generally believed that over the enterence to the Platonic Acadamy it was written that: 'Only he who is familiar with geometry shall be admitted here.'

    "Our spiritual traditions are the vessels of our faiths. The function of these vessels [for example the Hebrew bible], like nut-shells or seed husks, is to protect the kernel with its germ of life, the flame, the hand of the transcendent, inside. If these vessels had not survived, there would be no hope for the rebirth of the germ - the 'light' - they carry.

    "Perhaps our presumption that our sages of the past were not really knowledgeable or wise has blinded us from seeing their knowledge and wisdom. The Abrahamic claim of an exclusive, Singular and Unique One-God only appears to be prideful puffery when our sight is overly narrow and literal. We misinterpret our partial view of the "vessel." Once we are aware of the ditinction between Inside and Outside, between "vessel" and "light," we can appreciate the true significance of the use of a real model of Singularity for the definition of the Oneness of God."
    (-- all quotes from "The God of Abraham: A Mathematician's View" by Stan Tenen.

    Albert Einstein asserted that you can not judge a theory by its individual components, it must be judged by its internal coherence. Whether the Meru models were deliberately placed in the Hebrew bible or not, the internal coherence and beauty of Stan's research demands more research and resources.
    -- Robert C. Cohen

    Hebrew, Greek, and perhaps Arabic, are known in the Western tradition as "sacred alphabets." Meru Foundation's research indicates that the Western sacred alphabets are a formal notation, each letter designating a specific operation or process that can operate in both consciousness (inside) and physics (outside). Ancient texts written in these alphabets thus are more than stories; they are (we hypothesize) specific and detailed expositions of how these 27 archetypal processes (flow, one into the other, and interact -- in us. (There are 27 letters in the full Hebrew alphabet, and in Greek as it was used for counting and "gematria". We also believe that Sanskrit may have a similar function, but we have not done this work.)
    -- Cynthia Tenen

    Follow Ups

    The submission Lurianic Kabbalah - 1492 AD, was submitted by Ted Fitzpatrick on July 9, 1998. It created its own thread on the discussion board. The discussion included The Meru Project and so it was decided to add this submission and thread as a follow up to The Meru Project.

    Lurianic Kabbalah - 1492 AD
    Tsimsum - The Fragments created when God's light was so intense that the "vessel" broke -- and we all contain a part of those fragments - so as God created the Universe - so WE must recreate the Universe back again with God as co-creator of this process.
    The Restitution of the Divine Sparks - Das Glasperlinspiel as blueprint for such inner-connectivity of the vessel - unshattered - and whole. - Ted Fitzpatrick

    Interesting submission. I like the connection with the Glass Bead Game. I am curious if Ted would see this as a seperate idea bead or part of the same idea / bead I submitted earlier in this Game on the Meru Foundation. Both moves really do have to do with Kabbalah and the nature of reality.

    Ted describes the Kabbalistic ideas about the broken vessel and the return to the source well I think. Does this perspective on reality transcend time though? Is the fall and the climb tied to a linear model of time? Are there non-linear time transcendent aspects between the lines? -- Robert C. Cohen

    Speaking about QBL, this game seems to be fully set within the sephiroth of Tiferet. Not only is is about optimism, ritual, etc, but Tiferet is the sephiroth of the sun, and also the 6th sephiroth (6 is the number of 'slices' the sun symbol is cut into). It's color is yellow, the same as the game. It is seen as a place to sweat out all your ambitions, and then set about doing the Great Work. 6 is the number of holism, harmony, beauty and love. Which seem to be closely related to the guiding principles of this game. As Ian mentions in Feutility, this game may be degrading. If that is so, it is then appropriate, as it is another ambition to be sweated out of the system before being able to accomplish the 'Great Work'

    Tiphereth -----

    -- Enoch

    Very interesting and very COOL. I am currently reading Foucault's Pendulum and the chapters are broken up into the names of the sephrot. The book is also about connecting everything in a Game like a Glass Bead Game. It is also about ideas preseved through time. Enoch, have you seen my submission on the Meru Project? What is your connection to the "Tiphereth" web site you gave? -- Robert C. Cohen.

    i've just now read over the Meru move. Very interesting. i'll have to spend more time reading the Meru site.. i've read Foucault's Pendulum, and liked it a lot. i'd say more but i'm afeared that i'd spoil something. Hm. Maybe Foucault's Pendulum would be a good move somehow...

    i didn't have anything to do with the web page, but it is where i got started learning Kabbalah from. Colin Low's Notes on Kabbalah (Hermetic). i think his text is very readable, and a good start for beginners. Hermetic Kabbalah seems to come from the occult side of Kabbalah (and there are many sides to Kabbalah it seems, the mathematical (Gematria), occult (magic that can be done with it, and Tarot correspondences), religious, and probably more) He mentions what each sephira means, goes into the virtues of them and a bit of philosophy and what it is used for in magic practices. In case you're wondering, no, i'm not a practitioner, just very interested in these things. i have some QBL links on my page, and a brief description of each:

    BTW: Sefirot is plural, sefira is singular, and i messed that up :) besides screwing up my email address so many times ---Enoch

    "As long as you remain in your private vacuum, you can pretend you are in harmony with the One. But the moment you pick up the clay, electronic or otherwise, you become a demiurge, and he who embarks on the creation of worlds is already tainted with corruption and evil." _Foucault's Pendulum_ Umberto Eco

    Thanks for the follow ups - unexpected and sweet. Lurianic Kabbalah, as I understand it, appears to be a linear notation of events re: creation- but if perhaps understood from creation itself - is trans-temporal -a temporal, i.e. "nonlinear"

    If "God" brings back the "sparks" from the broken vessel then "eternity" is "rescued" - a glass bead is a spark - a game is like evolution on the Galapagos Islands - a neverending story of "creation" - hence eternal - as we must participate as a " restitution" of the divine spark ( ie. ourself) Essentially - Luria presented the Western World with a non-linear version of Japanese Shintoism - just get rid of the Sephirot symbolism - like Mount Sinai on Mount Fuji. Luria saw linear - ism as a myth - and broke through to the essence of "creation" being essentially "timeless". I also read Foucault's Pendulum -- a good book By Umberto Eco - it is flawed by it's emphasis on conspiracy theories taken to the extreme as a literary genre. Otherwise it is an intelligent reading -- but Jorge Luis Borges is better -- and Michel Foucault would have laughed all the way to the "Order of Things"

    Thanks ! e-mail me at -- Ted Fitzpatrick

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