cloudcycle

Archive for the ‘vari’ Category

tonight we will cross the Leonids meteor cloud on board of our lovely spaceship Terra (Earth)
enjoy the show

http://www.dancewithshadows.com/tech/watch-leonid-meteor-shower-2009-this-wednesday/

In musical tuning, the intervals of Pythagorean tuning are just intervals involving only powers of two and three.
The fundamental intervals are the superparticular ratios 2/1, 3/2, and 4/3. 2/1 is the octave or diapason (Greek for “across all”). 3/2 is the perfect fifth, diapente (“across five”), or sesquialterum. 4/3 is the perfect fourth, diatessaron (“across four”), or sesquitertium. These three intervals and their octave equivalents, such as the perfect eleventh and twelfth, are the only absolute consonances of the Pythagorean system. All other intervals have varying degrees of dissonance, ranging from smooth to rough.
The difference between the perfect fourth and the perfect fifth is the tone or major second. This has the ratio 9/8, and it is the only other superparticular ratio of Pythagorean tuning, as shown by Størmer’s theorem.Two tones make a ditone, a dissonantly wide major third, ratio 81/64. The ditone differs from the just major third (5/4) by the syntonic comma (81/80). Likewise, the difference between the tone and the perfect fourth is the semiditone, a narrow minor third, 32/27, which differs from 6/5 by the syntonic comma. These differences are “tempered out” or eliminated by using compromises in meantone temperament.The difference between the minor third and the tone is the minor semitone or limma of 256/243. The difference between the tone and the limma is the major semitone or apotome (“part cut off”) of 2187/2048. Although the limma and the apotome are both represented by one step of 12-pitch equal temperament, they are not equal in Pythagorean tuning, and their difference, 531441/524288, is known as the Pythagorean comma.
There is a one-to-one correspondence between interval names (number of scale steps + quality) and frequency ratios. This contrasts with equal temperament, in which intervals with the same frequency ratio can have different names (e.g., the diminished fifth and the augmented fourth); and with other forms of just intonation, in which intervals with the same name can have different frequency ratios (e.g., 9/8 for the major second from C to D, but 10/9 for the major second from D to E).
from wikipedia article



Means, Meaning, and Music: Pythagoras, Archytas, and Plato

Whether man is aware of it or not, nonetheless every exertion of his psyche, every thought, feeling, word or breath, attracts and repels specific classes of elementals, charging and magnetizing them with an unerring exactitude on an incredible scale. One may compare this to the action of a magnet upon iron filings, though the number of elementals polarized and impressed by even seemingly trivial thoughts is surprisingly vast. Once these congeries of elementals have been impressed, they either lodge in one’s vestures or move on. They themselves are really moving under certain infallible laws of attraction and repulsion. These laws are integral aspects of the universal forces of attraction and repulsion, ultimately the most fundamental laws of all evolution and existence.

‘Attraction’ and ‘repulsion’ should not be thought of perfunctorily here, either in a narrow Newtonian sense or in an anthropomorphic and romantically indulgent manner. ‘Positive’ and ‘negative’ are meant in senses that far transcend the myriad examples one could freely take from the external world.  These laws are so basic to the cosmic process that there is no way the Seven Sons of the Flame could, by a progressive descent through a second class of mind-born sons and a third class of Builders, give rise to the whole cosmos without becoming both agents as well as victims of the process of differentiation, which subsequently acquires an inexorable logic of its own. Through centripetal and centrifugal patterns and by polar movements, it breathes in and out, swelling from within without and from without within, back and forth ceaselessly forever, until the time comes for the great sleep of the whole cosmos – the pralaya that succeeds each manvantara.

Until that awesome moment is reached, nothing can still or sway the process or prevent it from going on “without let or hindrance”. This is the metaphysical sense in which karma is supreme as to cause but not as to effect. From this it follows that there can be no quick remedy or simple panacea to the long-standing problems of human life and spiritual evolution. Certainly, all pseudo-doctrines of vicarious atonement, instant satori or deathbed moksha – deceiving the docile and fearful into thinking they could be saved by proxy or by doing nothing – were costly death-traps for human beings over thousands of years. Equally, modern notions of self-reliance and the self-made man are disastrous evasions, deluding people into thinking that the entire globe is here merely to be exploited for private pleasure or personal profit. The hollow pretensions of the typical self-made man are all too evident to his spouse, children and parents, and the same could be said for the self-made woman. It is truly sad that so many are caught up to such an extent in clutching the costly illusion that one has “done it all myself”. This standpoint simply will not wash, any more than a desperate immersion in the Ganges, and it is too late in human evolution for souls to be so apathetically forgetful of the time-honoured laws of continuity and transmission, much less the primordial facts of origin and cessation as taught by Buddha.

Hermes, December 1987
Raghavan Iyer

Music is a language that directly communicates what cannot be said with words. When you
encounter rhythm, melody, timbre, tone, harmony – the components of music – your first
instinct is to surrender to their language. You crossover into the mysterious world of their
creative presence where a bridge can be built and integration between these two worlds
can be formed.
The human instrument absorbs the sounds present in music and can, if the music is
properly tuned, form a sympathetic resonance with the music. Similar to two tuning forks
that resonate on the same frequency when only one is struck, the human instrument can
be a resonant system in which its cellular and atomic structure is entrained by the music –
or more specifically – the vibratory frequencies contained in the harmonics of the music.
The atomic structure of the human instrument is a vibrating harmonic system. The nuclei
vibrate, and the electrons in their orbits vibrate in resonance to their nuclei, but to what
does the nuclei resonate with? What is the primal vibration that establishes the vibratory
expression of a human instrument? And can this vibration change and adapt – in a sense
migrate to new levels of vibration that are more aligned and supportive to the spiritual
purpose in which the human soul chose to incarnate?
Modern humanity has been deluded by sound and music – in effect, sung to sleep. The
material world of sonic vibration has ensnared the human instrument, keeping the primal
vibration of the human soul suppressed and diminished. This condition creates a
heightened sense of separation, which in turn creates an unspecified, broad-spectrum
anxiety that is difficult to identify, and, consequently, to resolve.
from “Coherence of the Evolutionary Consciousness”

(tnx 2 plantatota 4 the link)