COVER OF BOOK: THE GEOMETRY OF MONEY First Printing: February, 2015 twenty-four Handmade Volumes in-studio by kasprzyckiart-lahaina-maui




 An Expose In Forensic History

Based On Mathematics And

The Geometry of Form

  Authored and Illustrated


 Paul Kasprzycki

 Published In Hawaii By

 kasprzyckiart-lahaina-maui   copyright 2015



Copyright © 2015 by

Paul S. Kasprzycki

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording without prior permission in writing from the author (except for the expressed purpose of review or comment, or for teaching the original discoveries of Paul Kasprzycki that are contained herein) .


First Printing: February 2015

1st Edition: Handmade in-studio by







          Can it be that the people of this world have been deceived regarding the true origin of the “meter”, and its related “gram” unit of measure? Is it possible that the gram was discovered long before its alleged historical birth in the late 18th century during the height of the French Revolution? Did the gram, in reality, precede the weight system based on grains: the system that culminated in the troy ounce, which was the standard base unit of weight measure for at least a thousand years before the gram was introduced to the world? Was there some secret cabal at work over the centuries? Did they steer the formation of humanities various measurement systems into conformance with some preconceived geometric ideal; one that is embodied in a system of mathematics that has been withheld from the people of this world right up to the present day?

          I understand that to the educated reader the above questions might sound absurd. But are they? If “secret societies” actually did exist in the past, what “secrets” were they guarding?


          The Geometry of Money is the result of a journey that I chose to embark upon almost four decades ago. God willing, it marks not the end of my wanderings, but simply the end of the Beginning. For what you are about to read is just a glimpse of a mountain of “evidence” purposely veiled through centuries of time by secretive cloaking. In all probability, there are those amongst us right now, who are very unhappy that this knowledge has been made public.

          Chances are astronomically high, that aside from my friends and acquaintances nobody has ever heard of me, or have any idea who I am. That is fine, for it is important not to confuse this message with the messenger. Nonetheless, I think it is important to provide the reader with some sort of chronological background explaining how this present manuscript came into being. Of course, this inherently is semi-biographical, and hopefully will satisfy any curiosity with respect to myself.


          History has always been a passion of mine ever since learning how to read. I had a wonderful Latin teacher in high school, Mrs. Shaw, who for three years not only taught all of us that marvelous language, but brought to life the history of those long ago times as well. Latin was an “elective” that I initially chose because I wanted to study Law. In my first semester at the University of Southern California in 1966, “ancient history” was also one of my elective classes. There, I was greatly influenced by another teacher, Dr. Marvin Berry, whose dynamic lectures once again brought the distant past to life. So much about our history was so intriguing to me that I changed my major from pre-law to ancient history. Though I had already passed the pre-law Latin competency waiver exam prior to entering college, if I wanted to teach ancient history, three more years of Latin was required. In 1969 I graduated magna cum laude and honored with membership in Phi Beta Kappa. At the beginning of my last semester, in anticipation of my continuing on with postgraduate studies, Dr. Berry offered to nominate me for a Woodrow Wilson Fellowship. After several discussions in meetings with Dr. Berry, I declined the offer, choosing instead to follow my lust for the ocean waves, and the freedom of the open sea.

          Bete Noire was my first boat. I was twelve or thirteen when I bought it from the Sea Scouts for $15, trailer included. It was 14 feet long, built in Haiti, old style with steamed ribs, strip-planked and caulked. It had heavy canvass sails on wooden hoops, and was slow in the water. But even it moved with a sense of freedom like nothing else I felt on land. I quickly out grew the “Black Beast”. After classes and on weekends, I began designing and building much faster catamarans and trimarans. By the time I was 18, I had learned to navigate with a sextant using the sun, moon, and stars. It was a skill that was in demand back then (before GPS) and it was my ticket on to some fine yachts in races around the Channel Islands off Southern California, across to Hawaii, and to finish lines deep into Mexico. On the day I was to have received my diploma from USC, in July 1969, I was instead bound for Hawaii crewing aboard Trollop, a beautiful state of the art 42 foot trimaran. I left Trollop a year later in Panama and returned to California to build my own boat. I started a business, Independent Shipwright, and built custom boats and boat parts for several dealerships and individuals. I finally managed to start building my own 35 foot trimaran, which I launched in 1974. I immediately moved aboard, sold everything else, and began a ten-year odyssey.

          It was on these voyages aboard godot, usually late at night, that I began once more to think about those lessons in ancient history. A feeling I often experienced as a serious student, that something just wasn’t right about some of those stories I had been taught, continually haunted my visions of our past. One night, becalmed far out at sea in the middle of nowhere, I had what I can only describe as a mystical experience regarding the “history” of our number symbols. That night forever changed my worldview, and altered the course of my life. From that moment forth, I embarked upon an on-going voyage of discoveries teaching myself the knowledge necessary to produce this manuscript.

          After a year sailing along the west coast of Mexico as far down as Acapulco, then across to the south Pacific and the Marquises Islands, at last I found myself once again in the beautiful Hawaiian archipelago. More and more my interests became mathematical, especially geometric. For some reason, I was convinced that by studying the properties of mathematical relationships and geometric form, untainted by previous formal instruction, that eventually I would discover, on my own, whatever it was I was looking for. In time I began to see some order emerge out of the chaos of accumulated data and drawings. I began to see what I have now long since called The Geometry of Form.

          From 1977, now married and still living aboard godot (until selling her in 1984), my geometric studies continued in earnest. We lived a relatively carefree, gypsy-like life, and for years migrated with the seasons from one end of the island chain to the other (having two children along the way). After living most of my adult life as a seaman, we sold godot. We put the proceeds down on some raw land in Haiku, on Maui, and there on the slopes of Haleakala we became tropical flower farmers.

          I can’t say that it was only my incessant researching, and the time it took away from actually earning a real income that led to my wife divorcing me in 1989 . . . but never having enough money is not healthy for any relationship. After our breakup, circumstances led to me raising our children as a single parent. I made a basic living out of my various art-studio/woodworking shops (as I do pretty much to this day). All the while my research continued unabated.


          What I was convinced I had discovered, long before leaving godot, is the “rule book” that guided the hands of Nature in the delineation of the Universe. A cosmology that begins with a singularity and is based on geometric transformations began to emerge. Over the years, I found correlations between the constants of nature, in terms of mass ratios, and the consequences of geometric transformations. For example, the force that compelled a proton or neutron to be the size they are with respect to an electron, in light of this geometry, now appears to be the obvious result of “geometry”. In 2007, I compiled a book titled Excerpts From Some Thoughts On Universe, An Introduction to The Geometry of Form. In my art studio, I hand-made 17 (bookshelf quality) copies, very much like this present volume. I intended to send them out to publishers and agents. None were sent; most were sold off as part of my art inventory to help “buy time” for continued research. Eventually, one day in November of 2010, I inadvertently recognized number quantities in advertisements for gold and silver coins that were common to my geometric research. Up until that moment, I had believed that I was pioneering a new and original view of geometry. But seeing the ratios describing the metal content of the various coins compelled me to begin an investigation. I needed to know how and why they came to be.

          The coins comprising America’s original monetary system proved to be “the keys” that opened the door to an unimaginable view of our occulted past. The coins are an earthly, substantive manifestation of the most formative “quantities” at the very heart of geometry. During the ensuing years, through continued research, I have discovered the presence of the identical geometry in all of our contemporary world’s commonplace units of measurement. The unbroken continuity from one measurement system to another, and the sheer magnitude of the clear examples contained with this one book alone, . . . proves (by their works) the existence of a secret, technocratic society, that has manipulated the affairs of mankind from behind the scenes. Their works date back at least to the time of the Romans. This evidence proves, beyond the shadow of a doubt, that this group still exists to this day, and that they are continuing to control our perceptions of reality.


          For the most part, the chapters are arranged in the order of discovery. The one exception is the last chapter on the geometry of Bitcoin, which I was curious to investigate since its popularity had just spilled over into the “mainstream” media. I placed it at the end of the book because Bitcoin is the most recent artifact evidencing that these people are alive and well; and, still hard at work manipulating humanity. The first chapter differs from the rest in that it is a blending of fact and fiction. It is my attempt (based on the known history) to present a likely scenario as to how events unfolded back in the 1790’s with respect to America’s system of coinage. It was written shortly after discovering the numbers associated with the coins and long before I had any clue that what I was seeing went any further than those coins themselves.

          Certain quantities, and “powers” of these quantities, have been red-highlighted throughout the text. These are the formative monetary measures describing the weights of America’s gold and silver coins. These are not only fundamental to the monetary measures, but as the reader will soon see, to man’s measures of lengths (inch/millimeter), areas (acres/hectares), volumes (gallons/liters), weights (ounces/grams), and even to the natural elements of gold and silver themselves! Long before man, and even the physical universe, geometry existed as the eternal forms of which Plato spoke. And geometry too, at its most primitive level, reveals these very same monetary measures to be fundamental.

          Lastly, the reader will find that from time to time I have a penchant for making up words. I do this when none exist; or, when those that might suffice are less illustrative than those I can create. I give myself permission to do this because of my “artistic license”, which is the only license I’ve ever really been proud of. Also, I like italics. I am expecting accusations of over use. But I use italics for at least two reasons. The first is for emphasis, and for the reader to pay extra attention. And secondly, when this text appears in a web page format (at some time in the future), a sizeable percentage of the italics will become links. Repetition of some photos in later chapters is for clarity. And finally, an addendum has been added to this edition of handmade volumes.