The original design of the Hebrew alphabet was created by a very highly advanced previous civilization that once lived on the Earth a very long time ago. It also means that the late Bronze Age Hebrews could not possibly devise these twenty-two letters of the Hebrew alphabet as Moses already told us. The 22 letters are formed from 22 views around a waveform superimposed on a toroid shape. The waveform is a modified square wave modified by the natural log. There is a further conversion done after you obtained all the correct vectors. The end result is the ¿letters¿ represent a computer programming language used in a Quantum Computer (light based computer) That is why the Library of Congress correctly indexed the book under Quantum computing. Once you realize what the letters really are, the surface story completely disappears. The only part of the Torah that has significance is the Garden of Eden story because that is where Moses told us who the people who put this technology into the family cave that Abraham purchased for 400 shekels.

Retells a story from the Kabbalah, a Jewish mystical text, about how God created the world through the letters of the alphabet.

"Judaism has always regarded Hebrew as a sacred language, the medium of divine communication. And its letters are no ordinary forms. The very word for letter, ot, means sign or wonder ... reveals the spirituality and power of all 22 letters of the Hebrew alphabet, from aleph, which signifies creative energy, to tav, symbolizing wholeness and joy. Each concise, historical, and poetic letter profile, written by Judaica scholar Edward Hoffman, is accompanied by a lustrous illustration wrought in hues of olive, blue, and silver ... this insightful meditation delves into the rich mystical heritage of the letters, offering a modern link to ancient times, when contemplating the Hebrew alphabet could enlighten the inmost soul."--Publisher's description.

For more than a generation, Rabbi Michael L. Munk, as a sidelight to his busy schedule of educational and communal work, has fascinated audiences with his learned and provocative lectures on the Hebrew alphabet. In the process of opening eyes and raising eyebrows, he has convinced countless people that his contention is true: the Hebrew alphabet abounds in scholarly and mystical meaning. He has developed and proven a profound thesis. The alphabet -- if correctly understood -- is a primer for life. Ethical conduct, religious guidance, philosophical insights, all are nestled in the curls, crowns, and combinations of the Hebrew letters. This is one of those rare books that is both interesting and profound, learned and readable. The wisdom and compassion of the author is evident in those subtle ways that do not intrude on the reader, but give him the satisfaction of knowing that a rich, warm, productive lifetime of experience is flavoring the text.

For about 150 years, scholars have attempted to identify the language of the world's first alphabetic script, and to translate some of the inscriptions that use it. Until now, their attempts have accomplished little more than identifying most of the pictographic letters and translating a few of the Semitic words. With the publication of The World's Oldest Alphabet, a new day has dawned. All of the disputed letters have been resolved, while the language has been identified conclusively as Hebrew, allowing for the translation of 16 inscriptions that date from 1842 to 1446 BC. It is the author's reading that these inscriptions expressly name three biblical figures (Asenath, Ahisamach, and Moses) and greatly illuminate the earliest Israelite history in a way that no other book has achieved, apart from the Bible.

Judaism.

As historical analyses of Diaspora Jewish visual culture blossom in quantity and sophistication, this book analyzes 19th-20th-century developments in Jewish Palestine and later the State of Israel. In the course of these approximately one hundred years, Zionist Israelis developed a visual corpus and artistic lexicon of Jewish-Israeli icons as an anchor for the emerging “civil religion.” Bridging internal tensions and even paradoxes, artists dynamically adopted, responded to, and adapted significant Diaspora influences for Jewish-Israeli purposes, as well as Jewish religious themes for secular goals, all in the name of creating a new state with its own paradoxes, simultaneously styled on the Enlightenment nation-state and Jewish peoplehood.