The Artist's Signature - Bill Shiley

Lesson Transcript

Good morning, everyone. Good morning. So the message this morning is going to be a little different than normal. This is going to be a lesson from the book of nature, or maybe better could be said, the book of math. So some of you will probably be disappointed right up front because you don't like math. Others of you will be enthused. But this is actually a very visual thing. It really doesn't have that much to do with math.

I was planning on sharing on Ephesians chapter 3, and I'm always trying to learn to be more responsible. So I had yesterday afternoon and evening booked out to finish up getting ready for the message. And I left here about noon after recording a podcast. My stomach was not feeling good, and I spent the rest of the afternoon basically laying rolling from one side to the other, feeling like Jonah's whale must have been with Jonah inside him walking around and praying. So that pretty much canceled out any studying.

I could have got somebody else to do it, but didn't really feel like it was quite justified dumping it on somebody else last minute. And I had this presentation. I've shared this different times when I've taught on apologetics. So I dusted this off a little this morning, and hopefully you'll find it inspiring. Some of you may have heard this. I shared this at the homeschool CLP homeschool convention over at Chamber Burg Mennonite back probably about, I don't know, six, seven years ago.

So that means it's probably far enough distant that you'll not remember that much about it or be a good refresher. So the realm of apologetics is essentially taken from 1 Peter 3:15, where it says that we're to be ready always to give an answer. So it's basically the studying and the practice of giving an answer in defense for God's existence, for the Bible, for Jesus as a historical person, and for the resurrection, and Jesus as king that we should be following.

So one of the parts of that whole thing is discussing origins. So was the world created? Does God exist? Or did the world just happen to come into existence by a big bang followed by random chance processes? And I get tired of trying to chop down all of the arguments against God. The part I enjoy a lot is looking at ways that God has left his fingerprint in the world around us.

I've used as a theme already when I've taught on this, the verse there that's taken from Acts chapter 17, where Paul is on Mars Hill, and he finds the altar to the unknown God, and he tells him, "Look, I'm going to tell you about this God that you know you don't know about, but you want to make sure that you've got a spot for him." And he says, "Nevertheless, he left himself without witness, and that he gave us bread from heaven and fruitful seasons, filling our hearts with food and gladness." So that concept that

God has left a witness of himself in the world around us.

Romans 1:19-20 says that the invisible characteristics of God are clearly seen in the world that he has created, and to an extent that even the heathen who has never read the holy scriptures is without excuse. So if God is the artist who created the world, when any good artist gets done drawing a picture, what does he do or she do? Yeah, they sign it. If you look at Breckbill Junior's, if you look at any of your Aunt Lena's paintings, you will see down there L.K. Right? I think that's what she signed, isn't it?

A lot of artists will just put their initials down there. I think there's a few other artists around here. Elizabeth does that. I saw Grace's one time. I don't know if she does. I imagine she probably does. Most artists do that. So if God is an artist and this whole world that we live in, including you and I, are God's artwork, what do you think may be his God's initials that he signed? It's the same on all the different pieces of art that he's made. I don't know. I don't know if that actually exists.

But I'm going to introduce you to something that might be because this is all over in creation. So first, we're going to have to do a little number crunching here. A set of numbers is a group of numbers that fit a given criteria, or they follow a certain set of rules. So here are some familiar ones that we're used to. Even numbers. The even numbers are all divisible by 2. Right? You can chop them in half, and they are a whole number, not a fraction or a decimal. So 2, 4, 6, 8, 10, 98, 207, 2,738.

They're all divisible by 2. So they are all part of the set of even numbers. Well, then we have odd numbers. And oddly enough, they are all numbers that are not divisible by 2. So you look at the numbers there. All of them fit that rule. Here's another set of numbers that we're somewhat used to is the prime numbers. And the prime numbers are the set of numbers that are only divisible by themselves and 1. So for example, 1, you can only divide by itself. 2, you can only divide by 1.

You can't divide 2 by 2 or you have 0. 3, if you divide 3 by 2, you end up with a decimal. So it's a prime number. And so on. 7, 11, 13, 17, 19, 23, 29, 31, 37, 39. 39 would be divisible by 13. Anyways, so let's try another criteria and come up with another set of numbers. We're going to start with 1, and we're going to add each number to the one before it. So what's the number before 1? Well, it's 0. So we add 0 to 1, and we get... We get this thing to work right here. We get 1. So now we add 1 to 1, and we get...

2. 2. And we add 1 to 2, and we get... 3. 3. And we add 2 to 3, and we get... 5. I'm sorry to insult your intelligence by this, but we add 3 to 5, and we get... 8. And this keeps going forever, literally. And we add 5 to 8, and we get... 13. 13. And we add 8 to 13, and we get... 21. And this keeps going. So you don't need to remember all those numbers. They go on literally to infinity.

If you can remember just the first few, 1, 1, 2, 3, 5, 8, really, those are the most common ones that we'll be running across this morning. So these numbers are called the Fibonacci numbers or the Fibonacci sequence. And they are named after an Italian mathematician named Leonardo Pisano Fibonacci. And he lived in the 1200s. And he learned them from some of the mathematicians in India. And these are all over nature.

Now, this is significant because if things evolved, you might find a certain kind of order in one area. Right? Things happen to just fall in this way, and this arrangement works. But when you see that same precise arrangement just all over everywhere, it hints that there's a common process that caused it all. And we know that that is a common person named God. Really, math is the language of the universe. Everything can be described in numbers.

And numbers are an interesting topic in this whole thing of evidence for God because numbers are not material. So they're a concept of quantity. So in other words, if I had three cups sitting here and I blew them up, three would still exist because it's a concept of three things. The number three, if I wrote the number three on the board and then erased it, three would still exist. They're a concept. They're not material. So technically, laws of math could not have evolved.

I don't know if that makes any sense to you, but that's actually a pretty profound thing in this whole thing of discussions about evidence for God and how things came into being. Where Fibonacci discovered this was in looking at the reproduction of rabbits. I'm not going to spend a lot of time on this. So basically, it takes a pair of rabbits about one month to be able to be mature enough to reproduce.

So the first month, at the end of 30 days, you would just have the two rabbits, but there would be another pair in the making. And then at the end of the second month, you would have the original pair plus two more. So let's show that. So month one, at the end of the first month, you have one pair. At the end of the second month, you have two pairs of rabbits now. And if every month, each pair reproduced another pair of male and female, this is how it would go. Three pairs, five pairs. Do you see the numbers?

If you look over here on the... if you look on your right-hand column there, you see 1, 1, 2, 3, 5. And if you would keep going, it would look like the family tree would look like this. And if you would count those out, you would see that each one of these runs. So here you have 1, 1. Let's see if I can get over here. Then this generation, you have 3. This one, you have 5. This one, you have 8. This one, you have 13. This one, you have 21. This one, you have 34. And this one, you have 54, I think it is.

Anyways, that's kind of where he discovered this set or first applied it. It's 55 on the last one. So now let's jump and look at sunflowers. So sunflowers have these seeds in the middle, and these seeds kind of make a spiral as you go out. Here's a dried one and an immature one. You can sort of see those spirals. If you take those and count them, you'll notice there's two different spirals. There's a spiral going one way and a spiral going the other way.

And if you count those, you'll discover that the spirals going one way are one Fibonacci number, and the spirals going the other way are the adjacent or the one right next to it, the Fibonacci number right next to it. So for example, I wish I had the laser would work on here, but... So let's start up here at the top because that's easy to remember. So we have 1, 2, 3. So this spiral here ends out here. So each one of these is the end. So 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13.

Anybody want to guess what the other one's going to be? Well, let's go the other way. And we'll start at the same spot here. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Sunflowers aren't the only ones that have spirals like that. This is actually a cactus. And one way you have 13 spirals, and the other way you have 8. Here's a few more. Next time you're in your kitchen making salad, you can try it on a head of cauliflower. These are a little harder to trace.

If you would count up the pink ones, you have 1, 2, 3, 4, 5. And then the blue ones, you have 1, 2, 3, 4, 5, 6, 7, 8. Pine cones is another one. And again, if you count the spirals up, you will have one Fibonacci number going one way and another Fibonacci going the other way. Now, I'll warn you, this is just the tip of the iceberg with these things. Okay? Here's another demonstration of that. I don't know if I have any on here. Pineapples is another place where you'll see that.

Pineapples have a spiral built into them. Fibonacci in flowers. So flower petals, a lot of them follow this rule. So lilies have three petals or sets of three that are arranged and make six. Buttercups and roses have sets of five petals. Delphiniums have eight. Marigolds have sets of 13. Black-eyed Susans have 21. I don't remember how to say that. Flower has 34. Daisies have either 55 or 89. Here's just a few examples of that. You can see this one has eight. Here's a daisy that has... No, that's a sunflower.

That's a baby sunflower, has 21. Here's a couple of different ones. Now, they don't all follow this rule. There actually are some other patterns like this. And I forget what the one I was looking at up this morning. I didn't have time to pull it up. It starts with an L. There's another set. And it basically is like if you would start... Basically, you start at another place and do the same thing and add each number to the one before it. And it creates a pattern like that.

It's not nearly as popular as the Fibonacci sequence. So not every flower follows this, but it is very predominant. Here is a passion flower. Don't see these as much around here in the south. We used to have them all. You'd find them out in the woods, all over the place. Passion flower with... And then their little fruits. This one is a combination of them. So you have a 3 here and a 5 behind it. And this one here, I think, is an 8. This one here, if you count those, would be 34. I don't know about that.

And then in the back, this you can see from the backside, again, you have 3 and then a set of 5 and a set of 5. Well, we're talking about plants. Let's look at another thing. So as plants grow, they fork out, right? Well, how does a plant decide how it's going to fork out? Well, that stuff is all built into them, and there's things that decide it. Most plants, however, will follow this sequence. You look at the first branch. And these numbers are not... This is the number of branches here. Sorry. This is the...

How would we say? The first fork, the second fork, the third fork. Not the quantity of branches. And at first, you have one, and then you have two, and then you have three, and then you have five, and then you have eight, and then you have 13. A lot of plants follow that same. Here's just an illustration of how a tree might do that. Obviously, there's other things that affect this. For example, the environment, if it's crowded, and how it has to grow around things and mutations and all that.

But a lot of plants follow that as they put their branches out. Music. This is all over in music. So this is an octave, a chromatic scale octave. You have do to do here. If we're talking shape notes, you have 13 keys, 13 half steps. You have eight whole steps. And in there, you have five half steps in between whole steps. I don't want to say that. You have eight notes, eight primary notes. And in between, there's five of those that have a half note in between them.

And you look back here, in the first section here, you have three and one. And then you have five and three. This is all over just in the arrangement of notes. And I have not gotten into this much, but in chords and things like that. So music is basically vibrations, right? And we measure vibrations in vibrations per minute. Hertz is so many vibrations. Our electricity here runs at 60 hertz. So when you hear the lights humming or something like that, it's humming at 60 vibrations per second.

A is typically 440 vibrations per second. And all those things, the relationships between the pitches and what we say harmonizes and fits good together, there's a lot of the Fibonacci intervals between. Later on here, you'll understand maybe a little why that is. Let's try something else here. So let's take these numbers and let's make boxes and stack them up. So we'll start with a box that's one by one. And we're going to always go clockwise. So we always go to the left and then up and to the right.

So we're going to build these boxes like this, right? Okay. So we go down and then over. Sorry. So we have one and one. And then we'll do one that's two by two, and then three by three, and then four by four, no, five by five, and then eight by eight, and then 13 by 13, and then 21 by 21. And we're going to stop there. But you could keep on going. So if you ever want to figure out how to efficiently arrange things on a palette, just make a palette that's a Fibonacci ratio and make your boxes all Fibonacci numbers.

And they will stack in there perfectly. You can stack all kinds of different sizes in there. But let's try something here. Let's try drawing a circle from the inside out. So we're going to start in the inside of... We're going to start right here in this box and draw a circle, basically an arc between the corners of these boxes and go out like this. And we'll fall out to this one, and then we'll catch this one, and then keep going like that and see what we come up with.

And that's what you come up with is the Fibonacci spiral. How many of you have seen that before? Okay. I know that you all have, even if you didn't have it connected to Fibonacci because it's all over the place. You can spin that all different ways. So here we go. We're going to go back to flowers again. So not only are these seed heads, which are like daisies have them... We'll look at some more here in a little bit. You'll see a bunch of different flowers have these.

Not only are the number of spirals Fibonacci numbers, but the shape of that spiral is a Fibonacci spiral. That's a dandelion. So next time you blow a dandelion and watch the stuff go, think about that. There's tremendous order and complexity and design in that thing. And they each have those spirals that go out. And the number of spirals is a Fibonacci number. I think this one was supposed to have something with it, but I don't remember what it is. Here's another one.

This is one of my favorite ones is the nautilus shell. The nautilus shell basically follows a Fibonacci spiral. This is created by a creature that's growing. We'll talk a little bit how this spiral gets made. And by the way, that's a Fibonacci number too. This happens when something grows. And so I'm not really sure what this has to do with things, but it's a very beautiful spiral. There are a lot of things in nature that follow this spiral. These are all shells of some sort.

When an elephant curls his trunk up, it follows that spiral because you have something that's tapered. And then when it curls up, it follows that spiral. Here's an octopus arm. I'm not really sure how well that one follows it. It does fairly close, though. It's something about... I wish I knew more about physics, but it's something about the taper when it gets round up follows that. The reason is because it's traveling two directions at once.

It's not just simply winding something up that's the same thickness, but it's being wound up and getting thicker and thicker and thicker that follows that spiral. Here's a ram's horn. Here's an egg. I'm not really sure what to say about that. I used to have one on here that was showing how Africa was a Fibonacci spiral. You got to be careful that you don't just scarf up evidence that looks good. I'm not really sure that there was any design to how Africa came to be the shape that it is.

You'll see lots of these fronds on ferns. Happy Valentine's Day. Somebody Photoshopped that one. This, I think, is a banana leaf. A lot of those big leaves as they uncurl, it's that same Fibonacci spiral comes out of there. This is an aloe plant. Somebody tell me what this is. This is Romanian cauliflower. It's something like that. And this is a really interesting one because these are fractals. So each one of these heads has a Fibonacci spiral of little bumps on it. Each one of those is made up of the same thing.

So the big one is made up of smaller ones that are made up of smaller ones of the big thing that are made up of smaller ones of the big thing that are made up of smaller ones of the big thing probably to infinity. This is a tendril off of a plant. Here's some more curled up leaves. What is that? A lady's slipper. I don't remember. I think there's a lily that looks like that too. Roses. As rose petals unfold, they follow this exact same pattern.

So not only are roses a Fibonacci number of petals in arrangement, but as they open up, they follow that same spiral. Waves. Waves follow this. And this is getting more into the example. It's something to do with physics as something moves and rotates together at the same time. There's all kinds of stuff that follows this and makes that beautiful increasing spiral. Here's people like to take advantage of these. Next time you watch the water go down the bathtub, notice that that is a Fibonacci spiral.

Again, you have something coming in and rotating at the same time, and that creates it. These ones are kind of fascinating where we live in the age of slow-mo pictures and fast shutters that can freeze this kind of stuff. So here again, the boy is taking this pan full of stuff and throwing it in an arc, and centrifugal force is causing it to go out as well, and it creates that. Here's somebody slinging out their hair. This one is really neat.

So you take a tennis ball that's soaking wet and spin it and throw it in the air. And as it spins and throws that water out, it creates a Fibonacci spiral. Elephants like these. This gets worse here as things go, but storms. So storms follow the same thing. Again, it says the storm is spinning, and as it wraps the cloud and whatever with it as it comes in, forms that Fibonacci spiral. Spiral galaxies, which are the same thing. They're spinning, and so those arms are being wrapped up, forms the same spiral.

So this set of numbers is all over in the laws of physics. Here's the northern lights, which, as I understand, is magnetic particles being pulled in. The earth is spinning, and they're being pulled in by the north pole. And so they form that same Fibonacci spiral. So let's look at something else about these numbers. And let's look at how far apart they are. So if you take these numbers and divide them by the one before it, you'll see the first ones are a little bit off.

But as you get up here further, you'll notice that they settle in and hang right around 1.618. Does that number mean anything to anybody? Dan, what is that? 0.618 or 334 is the golden ratio. A is to B, and C is to A plus B. Yeah. So the English version of that is this is the golden ratio or considered the perfect proportion. So however, if you're going to make something, if you're going to make a picture frame, right, and you're going to make it this high, then it should be that times 1.618 wide.

So for example, what's the most common screen ratio right now? 16 by 9. Yeah, 16 by 9, which is approximately that. This is used a lot by architects, by builders, by furniture makers to design things so that it's pleasing. It looks balanced and stuff like that. Here we go. So this one's going to be a little thinky, but try to stick with me here. So in a circle, there's 360 degrees. At least we decided that, right? I don't know when God said, "Let there be light." He decided there was 360 degrees.

But we divided the circle up into 360 degrees. If you take 360 degrees and divide that by 1.618, you will get this first number up here. So basically, you're splitting this into a ratio of Fibonacci numbers. So this would be like this would be 8, and this would be 5, or this would be 8, and this would be 13. Does that make a little bit of sense out of that?

You're taking the 360 degrees of a circle and saying, "What's a Fibonacci ratio of those?" So if you were making a sunflower and you would go around and put a seed in the middle and then start going around and drop a seed at every 137 and a half degrees and just keep doing that and just drop a seed in, you will end up with a Fibonacci spiral of seeds.

And each spiral will have—let me say this differently—you will have all the seeds will be arranged in a Fibonacci spiral, and the number of spirals going each direction will be a Fibonacci number. So it's like three layers. This is also plants do this when they arrange their leaves often. As they drop one, it's not like we divide it up in threes and we say, "Let's make three and split them evenly." It's a weird number, and it never stops. You never get done with it.

But it lays them out in this pleasing, seemingly a little bit random number. It's not like they're four or five arranged in a pentagon. This looks sort of random, but it lays out this pleasing pattern in leaves. This is just showing how it does that on a plant. So if you'd start here. Yeah. There we go. If you start here and go 137 and a half degrees and drop a leaf, and go 137 degrees and drop a leaf, go 137 and a half degrees and drop a leaf, go 137 degrees and drop a leaf, that's how you lay out that pattern.

That's just another example of that happening. So this thing of 1.618 is connected to our visual sense of when something is pleasing. So if you look at these rectangles, probably if you're going to choose a picture to put on your wall and you're going to decide what shape you want to make it, which one are you going to pick? C. Yeah, C. Most of the time. Now, sometimes you'll want something that looks a little different or breaks things up a little bit, and you'll do something else. But C looks balanced to us.

A lot of what's considered classic art is built off of these type of proportions. That's the Mona Lisa, and her face is that way. And I have seen demonstrations of this where you can't even see who Mona Lisa is anymore because it's all measured out and pointed out how this is this and that's the next thing and how it's all using that pattern. This one was interesting to me. I've done a little bit of photography. Patrick's into this.

But typically, when people take shots, a creative shot, and say, "This looks—" it's not dead center, but it looks—it's a balanced—it's a kind of a not normal view, but it looks pleasing. It's attractive. I'm not hitting the right word I want to say. Often—pardon? Sweet spot. Yeah. It often is subconsciously. It is a Fibonacci ratio. It's spaced in there with a ratio of the Fibonacci numbers.

I don't know what to do with this totally because I don't think we should have beauty pageants and be judging the most beautiful person by their Fibonacci ratios or the golden ratios in their face. But that is when we look at a face and we say, "That is just an attractive face. That just looks nice." It's because it is all Fibonacci or the golden ratio of measurements. And even the spirals, you see the spirals there, the ear, the chin, different things like that.

It's all tied into our sense of what we see as pleasing or attractive. Architects do this all the time with their buildings. And once you know this, you can go around and look at stuff. You'll see it all over the place. So the Eiffel Tower is a 2 to 3 ratio. This is the—I think that is the—my brain is cramping up. Somebody help me out. France, Paris, France. Yeah, the Notre Dame. A lot of the old cathedrals you'll see are built on those kinds of ratios.

The spacings between everything comes out to those kinds of measurements. This is a capital dome. There's a—I forget what these things are called. This is basically a measuring tool. You can't see the rest of it, but it's got linkage behind it. So however wide you spread it, the one measurement will always be a Fibonacci ratio to the other one or the golden ratio to the other one. This is the Baghdad city gate, which was—yeah, I'm going to stop there because I'm not sure what I'm going to say is quite accurate.

Please forgive me for this next one, but automotive manufacturers do this. When you say a vehicle looks nice or it looks weird, that's often part of it. It doesn't look balanced, we'd say, because it's not the golden ratio. Things aren't spaced out right. Insects are built this way. We're back to flowers and plants again. A lot of plants and flowers are built this way. Things are like—how big do you make the center of a flower and the outside?

And when we say one looks weird, often it's because it's not balanced to that ratio that we're used to. Your body is full of this. So your fingers, for most people, it's a 2, 3, 5, yeah, and then an 8 ratio, roughly. I did this with my own measurements. I tend to be a little more long limbed, so it doesn't quite work out for me, but it's pretty close.

Here's another diagram of that showing how all your different moving parts of your body—your hand, your arm, your wrist, your fingers—are all balanced out as being the golden ratio apart for each other. When we say somebody's long waisted or short waisted, that's part of it. Nobody knows that. We don't say, "1.618." Not quite, but it's just built into us how we look at things. So I'm just going to recap a little bit some of the place these numbers are.

So we have the number of spirals in sunflowers, dandelions, pine cones, pineapples, aloe plants, you name it. The number of spirals is a Fibonacci ratio. The way that they're placed is determined by Fibonacci ratio. The spiral that is produced is produced by the Fibonacci numbers, making the spiral out through the boxes. We looked at how that's made. Music is all built around this ratio that produces beauty. And the laws of physics, as things move and are twisting, that produces that beautiful spiral.

Plants, as they stack their fork, their branches, are all based off that or often are based off that number. Our architecture and just our sense of beauty, even in the human realm, is based off of that. And so there's a few things, there's a few lessons that I like to pull out of this quickly. One is that God has purpose and design in the apparent chaos of your life. So you look at the sunflower seed, you see a pattern in there, but the numbers themselves, you see 1, 1, 2, 5, or 2, 3, 5, 8, 13.

You think, "What is the sense of this? It looks like something really odd." And it's through those kinds of things that God weaves beauty in our lives. It's through the things that don't make sense. They look odd. That has been a big encouragement to me in studying this whole realm of evidence for God and creation. It's often in the creation I see things about God that help me to have confidence about what's going on in my life, even though I can't see it.

The other two is that God has a beautiful order, purpose, and design in the realm of morals, the way he tells us to live, the way he tells us to relate to each other. That same order and beauty that's awe-inspiring and that's so important, we just live off of it from day to day and don't know it. That same thing is there when God tells us to love our neighbor as ourself and all those kinds of things.

And so when we value what he does and we follow him, whether or not we understand it all or not, we can be part of that same order and beauty in the world around us. If you like that at all, I'll put a link on the chat because this video is on YouTube now. Go home and look up the secret code of creation by Dr. Jason Lyle. This is another set of numbers that really we've only been able to discover with computer power for various reasons. For one, to plot them is just—there's almost no way to do it by hand.

This is another set of numbers that's produced by using a certain criteria. It's a little more complex. It will blow you away. If I was building a building with a dome on it, I would fire Michelangelo and put this stuff on the top in a heartbeat. Anyways, I have some of these. I'll put them both up here. This is a good little book. It's about that thick. It's written for like a 10-year-old level.

But it's basically animals talking about how they are amazingly designed in ways that there's just no way it could happen. And scientists today still are studying these animals and saying, "How in the world do they do that?" Because if we could just figure out how they do that, we could solve all kinds of problems in the industry. In closing, I'd like to sing this song. The words to this were written by Jonas Sauder. He teaches up at Faith Builders quite a bit.

This is kind of the academic version of I Sing the Mighty Power of God. And it's talking about how beyond just the rivers and the trees, as we study in academics, whether it's history or literature or language or math, we are learning the mind of God, and we're learning the beauty and the order and the design that he has for us. And that should just inspire us to follow him and to be part of that beauty and order that he's creating everywhere in the world around us.

I don't have a pitch for it, so we're just going to hum around here. ♫ Nusso, I sing the squirrel that gathers nuts and hides them in a tree. ♫ ♫ Conversion of the pollen changed to honey by the bee. ♫ ♫ I marvel at the tiny worlds beneath the microscope. ♫ ♫ Specific gravity that keeps the malard ducks afloat. ♫ ♫ I sing primes indivisible yet far too big to grasp. ♫ ♫ The algorithms that provide solutions to the task. ♫ ♫ The mystery of the root of two, its double and its square. ♫ ♫ The hidden sequence patterns.

♫ ♫ I'm sure God hid them there. ♫ ♫ I sing the climates of the world. ♫ ♫ I see how men adapt. ♫ ♫ They sail by dog sled or the snow or sand on camel back. ♫ ♫ I sing inventors who perspire to make the tools I use. ♫ ♫ Technology that gives us time more labors to pursue. ♫ ♫ I sing the stories of my past, the deeds of earthly men who labored, fought, invented, built, philosophized by pen. ♫ ♫ I sing the miracle of words, the wonder grammar of the gift of speech that gives release to overflows of love.

♫ ♫ I sing the scriptures in the book. ♫ ♫ I write them in my heart. ♫ ♫ They rule my life and guide my steps from evil to depart. ♫ ♫ I sing the man who made the world, who walks in it each day. ♫ ♫ I think his thoughts explore his ways through study, work, and play. ♫ ♫ Oh, man.