Is the 'feminine principle' half the whole truth or half of a false dichotomy or just 'Dominant'?

 

f Picture Credit Surya Therapy
"Everybody's got a mother." Professor Ian Douglas; Manchester University

In 2017, we are approaching the 'event horizon' of irreversibility with climate change. In December 2017, Jeremy Mathis, Director of NOAA's Arctic Programme said
"the environment is changing so quickly . . . there is an almost runaway effect . . . we can't quite get a handle on what this new state is going to look like."

However, the UK Government refuses to align its carbon reduction target with the Paris Climate Agreement

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  1. All Country CREDIT DEBIT
  2. C&C first 20 years
  3. EAC Carbon Budget Enquiries
  4. C&C is Embedded in 'CBAT', the Carbon Budget Analysis Tool
  5. Collaboration with Plan-B
  6. Judicial Review
  7. HMG dodgy statistics 
  8. Assumptions (ideology vs logic)
  9. 'Dominance' (Music)

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Does order come from chaos or does chaos come from order? By putting the question as either/or, is there a danger of unhelpfully sustaining a false dichotomy?
'They' are not 'this' versus 'that' or 'in' versus 'out' or 'sacred' versus 'secular'. As concord precedes discord, does not 'singularity' precede all this as a unifying 'simplicity'?

It is a core question with the answer, simplest is best - where oneness (singularity) is not deleted or depleted by what goes into it or what comes out of it.
Does the Hindu proposition of Satchitananda or "truth, consciousness, bliss" or "Brahman" the ultimate reality, answer this?

John Archibald Wheeler & Richard Feynman both seemed to recognize that the answer to this goes to a unifying 'simplicity' that, whatever we call it, is some non-complex & useful,
functional reference standard. In other words, something thing that is less arbitrary (& evasive) than 'chaos', underlies, generates & at core helps explain the complexities of providence.

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Music & the Core Question

People sometimes ask, "responding to climate change - what has music got to do with it?". As in life itself, perhaps this is too a good a question to spoil with an answer.
However, Lao Tse expressed it not as in/out or sacred/secular, but sequentially as, 'from one comes two, from two come three, from three come the ten thousand things'.

Music is guided by what Stephen Hawking has called the first instance of theoretical physics. The aphorism of Lao Tse easily fits with this, where the 3-in-2-in-1 'trinity'
commutes 'perfectly' or rationally in the what in music is called a 'hemiola' (3 in the time of 2 in the time of 1). This is not I believe ('credo'); it is I know ('scio').

I am just 70, but as a life-long violinist, like all other musicians through the ages, I know ('scio') this to be axiomatically and untouchably true;
with a string of constant length and tension, halve the length, double the frequency; third the length, treble the frequency & so on.

Music - indeed everything - is only possible bcause this is so. Let us call this 'stringularity'.

This 'stringularity law' gives rise to the 3-2-1 'Hemiola' a Trinity of Wholeness

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Touch the image to see and hear this demonstrated in Pythagoras’ ‘string experiment’ (~ 530 BCE) in three dimensions, with the fourth showing time-dependency (Hz) where: - 

  1. if a string of constant length and at constant tension vibrates at 1/1 it gives
    One Fundamental at for example 100 Hertz
  2. if the same string of constant length and at constant tension is divided into two 1/2 lengths, the rate at which each 1/2 vibrates doubles & gives
    Two Perfect Octaves
    (with the fundamental this is the 'Tonic') at 200 Hertz
  3. if the same string of constant length and at constant tension is divided into three 1/3 lengths,
    the rate at which each 1/3 vibrates trebles & gives Three Perfect Fifths (with the Octave as 'tonic', the Octave and the 5th are called the 'Dominant) @ 300 Hertz

    THREE, vibrating in the time of TWO, vibrating in the time of ONE, is called in music a ‘HEMIOLA’.
    Taken together as the proportionality of Ratios & Rates, this is the immutable foundation of the stringularity law

    This 3-2-1 HEMIOLA is much more musically: -

    * familiar & fun than you might think
    * fundamental & formative than you might think

On-screen demonstration of the HEMIOLA over three octaves of 'Stringularity'

Below is an audio-visual of a strings tuned over three octaves of G Major. 'Gold buttons' are harmonics of G Major; Blue buttons are the steps in between. To explore both hearing
and seeing them being in-tune & in-time, in any chord and in any key, touch on-screen buttons once - gold and/or blue - to start them and again to stop them vibrating & sounding.

Harmonies can be 'heard' & 'seen' as in Pythagoras famous string experiment. This demonstration is much more likely that of Pythagoras than the square on the hypotenuse equalling the
sum of the squares on the other two sides in a right angled triangle of Euclidean space-dependency. It is also much more significant because of its four-dimensional 'space:time'-dependency'.

MUSICAL 'INTERVAL'
RATIO
What you 'See'
RATE (Hz) What you 'Hear' & also 'See'
decreased by a factor of 100 for visibility
G0
Fundamental
1:1 Length
1:1 Herz
G1
One Perfect Octave
1:2 Length
2:1 Herz
D1
One Perfect Octave & a Perfect 5th
1:3 Length
3:1 Herz
G2
Two Perfect Octaves
1:4 Length
4:1 Herz
B2
Two Perfect Octaves & a Major 3rd
1:5 Length
5:1 Herz
D2
Two Perfect Octaves & a Perfect 5th
1:6 Length
6:1 Herz
F2
Two Perfect Octaves, a Perfect 5th & a Minor 3rd
1:7 Length
7:1 Herz
G3
Three Perfect Octaves
1:8 Length
8:1 Herz

The inverse relationship between String Length Ratios & Herz Rates is clear to see.

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To animate the device below for 'G Major' in 'root position', following the invariable law stringularity law (above),
touch the buttons in the animation below - once for 'on' and once again for 'off'. To make the proportionality
of the string's visual vibration rate cognitively easier to grasp, it has been decreased by a factor of 100.


With this device, many harmonic combinations are demonstrable as are the tensions & resolutions in the progressions
of these. After Millennia it is still the basis of the music we make & will always be for as long as we or whoever make music.

Well Tempered Tuning

The normalization of the Pythagorean Comma with Well Tempered Tuning of previously 'Perfect' 5ths means that,
12 of these Well Tempered 5ths now commute with 7 Perfect Octaves, enharmonically, notated so F# now is literally the same frequency as Gb etc;

With 'Well Tempered Tuning' all the notes in the top row notated in '#s' are the same as the notes in the bottom row notated in 'bs'
C
G
D
A
E
B
F#
C#
G#
D#
A#
E#
B#
Dbb
Abb
Ebb
Bbb
Fb
Cb
Gb
Db
Ab
Eb
Bb
F
C

The 'Cycle of Tempered 5ths' also becomes a 'circle' of 12 so-called 'Dominant 7ths', where C7 resolves to F7, which resolves to Bb7 and so-on, like this;

C7
F7
Bb7
Eb7
Ab7
Db7
Gb/F#7
B7
E7
A7
D7
G7
C7

Tempering the 5ths also entails making all the semi-tones within the octave equal to each other. The effect of this is 'normalising', making all keys 'equally in tune'.
This makes it possible to tune in, write in modulating between & playing in & modulating between all twelve keys.

Tempering is especially important with pre-tuned keyboard instruments & why J.S.Bach's wrote the '48 Preludes & Fugues of the 'Well Tempered Clavichord'.
It was really to demonstrate the viability of this all-important 'equality of keys'. However, as a 'necessity', this is what led to the flowering of the 19th Century repertoire.

Imagine if we had stayed stuck with the dissonance of an F# major chord being played on a huge church organ',
where its pipes hadn't been pre-tuned with Well Tempered Tuning (St Matthew Passion)!

The 'Hemiola' also gives rise to φ (Phi) & the subtly breathtaking 'dominance' of the 'Feminine Principle' or σοφία (sophia).

Bear in mind, the Hemiola or 'Stringularity' is still at the root of this entire structure. In common with many other physicists who routinely cite Pythagoras,
Hawking's reference draws well short of acknowledging the profound resonance structure of this first real (not 'theoretical') instance of physics.

Stringularity gives rise to the 'Perfect Octaves' and the 'Perfect 5ths', revealing the 'Well Tempered 5ths' and the subtle
'dominance' of the circle of 'Dominant 7ths', but it also gives rise to the 'organic' or neg-entropic 'feminine principle' of 'Phi'.

The 'resonance' of the Hemiola is providence giving both the Perfect 'logia' of harmonic structure but also the organic 'alogia' of 'Phi' that transforms it.
This indicates that the reality of diversity and chaos that confront us, is derived from and constantly informed by the unitary source-order that precedes it.

Why is this so?

This is simply because, while 12 Perfect 5th don't commute with 7 Perfect Octaves, 12 Well Tempered 5ths do commute with 7 Perfect Octaves and the
difference between 12 Perfect & 12 Tempered 5ths leads in a unique Hertz deceleration curvature to the subtly breathtaking 'dominance' of 'Phi'
.

As deceptively simple as the violin - with Peripeteia dawning on one only very slowly (revelation precedes revolution) - derived from the Initial Conditions of Stringularity
comes the ineffable creative beauty of 'Phi' (0.618) without the dynamic organising power of which, the Cosmos could not and would not exist.

It becomes apparent with 'well tempered tuning' (WTT), making modulation in all keys and any register possible as 'equally in tune'. WTT 'normalizes' the
growing gap between a sequence of 12 Perfect 5ths (1.5^12) and 12 Well Tempered 5ths (1.4983070768^12) so the latter commute with 7 Perfect Octaves.

However, when the growing gap between a sequence of 12 Perfect 5ths & 12 Well Tempered 5ths is fed back on itself, 'Phi' is generated by the Pythagorean Comma precisely
at the 'Phi-point' between steps 12 & 13
in the unique, time-dependent curvature of a 'neg entropic' deceleration curvature that ultimately stabilises at ~0.666.

g

The Feminine Principle shapes the curvature in Inflation

Therefore one can reasonably conjecture this is was created at the Big Bang & what slowed inflation (where volume expanded as velocity contracted) which
makes it a formative precursor to the audible and visible (observable/measurable) universe we find ourselves within, 13.8 billion years since that event.

As it is: -

But the key point is that Pythagorean 'Stringularity' gives rise to the irrational 'Phi' as the space-time-dimensional 'rate' as a point on a non-monotonic curve,
rather than just the usual space-only-dimensional 'irrational ratio' from the quadratic equation (1 + √5 )/2 = 1.6180339…

The simplicity of 'Well Tempering' is precisely what music has to do with responding to climate change

By well-tempering emissions allocations equally per person, the non random functionality of the 'Well Tempered C&C-methodology' is revealed, where 'Phi'-derived equality
of the parts is the basis of 'commutation' with the whole i.e. any rates of convergence can be calculated, as a function of whatever contraction rate is chosen.

This is why it is better to understand any UNFCCC-Compliant response to climate change as a 'framework-based market' rather than a 'market-based framework'.
It is not a credo where, 'I believe'. This irreducibly simple 'order' is axiomatic. It precedes & constantly informs & shapes 'chaos' within
a given scio, where 'I know'.

Like music, life is evolutionary, but it is also 'goal-focused' or 'evolitionary'; this means that growth is 'organic'.

The 'functionality' of cause & effect that emerges from these simple numbers gives rise to an evolutionary process that embraces chance, change & what we think of as 'choice'.
But, governed by 'Phi' & so within this very functionality, an organically goal-focused tendency to integrate, self-limit, self-structure, & resolve is also embraced.

How we regard and engage with this depends on the assumptions that we make about initial conditions.

Like the rates of music, life itself is also evolitionary. This countervails the 'randomness' of infinite growth, but also the fully interlocking geometric ratios of 'rigidity'.
It is this potency of the rates of 'evolition' that reshapes the merely entropic tendency to expand, dissipate and disintegrate, with what is supple, nested and resilient.

c

Thus the goal-focused neg-entropic potency of 'Phi' is embedded at the heart of creation and fundamental to why the universe, its diversity
(including 'us') exists in the first place. Embedded in the 'Well Tempered Climate Accord' music is therefore fundamentally relevant to UNFCCC-Compliance.

All from the 'Hemiola' - and the truly awe-inspiring 'So-Phi-a' - it can be said that, "all life aspires to the condition of music" . . . .

b


This curvature of the 'Phi-Code' is the evolitionary 'matrix', recognized since time immemorial as 'Haranya Garbha' or simply the 'feminine principle'.

f

What all this is really saying is that the 'dichotomy', whether between

  • the sacred & the secular and/or
  • the left & the right
  • etc

ultimately offers a choice that is false.

Enquiring to this level may help better to reveal why: -

  • after 30 years of a disastrous climate-strategy,
  • of chaotically picking numbers out of a hat,
  • in the face of a growing existential threat
  • the rate of climate loss and damages is rising and
  • we are now worse placed for UNFCCC-Compliance than we were 30 years ago.


    a
  1. All Country CREDIT DEBIT
  2. C&C first 20 years
  3. EAC Carbon Budget Enquiries
  4. C&C is Embedded in 'CBAT', the Carbon Budget Analysis Tool
  5. Collaboration with Plan-B
  6. Judicial Review
  7. HMG dodgy statistics 
  8. Assumptions (ideology vs logic)
  9. 'Dominance' (Music)