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Is the 'feminine principle' half the whole truth or half of a false dichotomy or 'Dominant'?
Does order come from chaos or does chaos come from order? By putting the question as either/or, is there a danger of 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'.
John Archibald Wheeler and 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,
functional reference standard. In other words, something thing that is less arbitrary and evasive than 'chaos', underlies, generates and at core explains the complexities of providence.
It is a core question surely, as they imply with an Occam's Razor answer - where simplest is best.
This is where oneness (singularity) is not deleted or depleted by what comes out of it or what goes into it.
Music & the Core Question
Lao Tse expressed it with skill, 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'.
People sometimes ask, "coping with 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, music is guided by what Stephen Hawking has called the first instance of theoretical physics. The aphorims 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).
I am just 70, but as a life-long violinist, like all other musicians through the ages, I know 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 simply impossible without that being so. I call this 'stringularity'.
This 'stringularity law' gives rise to the 3-2-1 'Hemiola' a Trinity of Wholeness
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: -
- if a string of constant length and at constant tension vibrates at 1/1 it gives
One Fundamental at for example 100 Hertz - 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 - 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
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 bottons 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 much more significant because of its four-dimensional 'space:time'-dependency'.
What you 'See'
decreased by a factor
of 100 for visibility
The inverse relationship between String Length Ratios & Herz Rates is clear to see.
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.
However, the 'Hemiola' also gives rise to 'Phi' and the subtly breathtaking 'dominance' of Phi or the 'Feminine Principle'
In common with many other physicists who routinely cite Pythagoras, Hawking's reference draws short of acknowledging the profound resonance structure
of this real (not 'theoretical') first instance of 'theoretical' physics, as it is the matrix from where the neg-entropic feminine principle of 'Phi' is generated.
This hemiola is providence giving both the Perfect 'logia' of harmonic structure and also the 'alogia' of 'Phi' that transforms it.
This is because, while 12 Perfect 5th don't commute with
7 Perfect Octaves,
12 Well Tempered 5ths do commute with 7 Perfect Octaves.
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 and dawning on you slowly, derived from the Initial Conditions of Stringularity comes 'Phi' (0.618).
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 a unique monotonic, time-dependent curvature of a 'neg entropic' deceleration curve that ultimately stabilises at ~0.666.
Therefore one can conjecture this is was created at the Big Bang and 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: -
- the conservation curve that immediately decelerates to Phi 0.618 & ultimately settles around 0.666 (creating an organic rather than a purely entropic growth curve);
- the defining value of deflection in the Golden Spiral, Nature's 'vortex spin' (or 'torque');
- observable as the dynamic force of these organic (feedback-rich) spirals in evidence at all scales across the universe;
- like this, the feminine principle, on which all of creation depends (we wouldn't be here without it).
As such it seems clearly to be: -
- closely related to the Fine Structure Constant (which appears on this curve near PC step 13);
- functionally relevant to the Higgs-Boson/Higgs-Field (the gravitational influence that slows much of everything from travelling at the speed of light).
It may well be that the Pythagoreans came to grief over all this as, like the square root of 2, 'Phi' is: -
- an 'irrational number' which however is not chaotic (i.e. a result of randomly picking numbers out of a hat);
- is without limit and yet, while never repeating any pattern, always calculates the same sequence (here is 'Phi' to the first 20,000 decimal places);
- is interdependent with the trascendental (intrinsically 'equation-free') value of 'Pi', and of squaring the circle which is demonstrated at Khufu and linked to 'Phi'
But the key point is that Pythagorean 'Stringularity' gives rise to the irrational 'Phi' as a time-dimensional 'rate' as a point on a non-monotonic curve,
rather than just the usual space-dimensional 'irrational ratio' from the quadratic equation (1 + √5 )/2 = 1.6180339…
By well-tempering emissions allocations equally per person, the functionality of
'Phi' is the basis of the 'Well Tempered C&C-methodology'.
C&C's 'commutation-methodology'
remains robust, unchanged, widely supported & is fundamentally unchallengable.
Like music, life is evolutionary, but it is also 'goal-focused' or 'evolitionary'.
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.
In other words like music, life itself is also evolitionary. This fundamentally countervails not only 'randomness' but also the fully interlocking geometric ratios of 'rigidity'.
It is this potency of the rates of 'evolition' that is supple, nested and resilient and that reshapes the merely entropic tendency to expand, freeze, dissipate and disintegrate.
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 'Phi' . . .
This curvature of
the 'Phi-Code' is the evolitionary 'matrix', recognized since time immemorial as 'Haranya Garbha' or simply the 'feminine principle'.
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.
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