Mothership Landing

[drew hempel]

My new book "When the Mothership Lands: Secrets of the CIA's Psi-Plasma Vortex" is now posted as a blog entry at http://mothershiplanding.blogspot.com

Enjoy! haha.

[rzero]

Congrats! I am on chapter four right now...

[drew hempel]

You're a true survivor! haha

[craazyman]

Drew I would not want to promote a course of action that would offend the purity of the variegated and richly textured logopoetic artistry of your literary style, BUT --- Do you think you could concoct an Executive Summary of your work? Maybe 4 or 5 paragraphs that sort of captures the main thesis.

It may pull some of us lazier readers in. I think maybe somewhere in there you've actually fleshed out the Moby Dick that taunts the Ahabs of our time. Maybe, maybe. And maybe they're all on autopilot and wouldn't even recognize themselves in your portrait.

[drew hempel]

Introduction is the synopsis Craazyman. It's about 10 paragraphs. I know it's rough but hey that's why it's a book!

I think what you are asking for is for me to "put it into my own words." This is often contrasted with writing that is "overly researched" and "too dense."

But I don't believe in my "own" words! haha. Writing starts with circular tautologies. My book is about music.

Listen to the space between the words and you should be able to grasp the meaning of the book!

hahah

[Budhabee]

Ok, I'm gonna bite. Be back in a minute.
Budhabee

[craazyman]

all right Drew, you got me, LOL.

But you have to admit my Moby Dick metaphor is a bulls-eye.

Hey, when the cash starts getting so tight you've gotta get a job consider this. Bottle some of that Minnesota water and sell it nationwide. I bet it would be a big hit.

[Isaiah Mpski]

Hey CM.How's the weather up there.
Thank God for air conditioner's eh.

Yes Drew really caught us all off guard with his book.
Maybe he and Daniel can team up,hit the road,and just,just maybe make a few bucks.
I'm sure any book signing with Lord Hemp would be something to see.
He Haw He Haw

[Caprinardo Delirio]

hey drew, didn't you lift that idea that kepler murdered tycho brahe from those gilder people?? i don't buy it. husband and wife authors always drift into conspiracy.. i don't know why, but it's an interesting phenomenon. maybe tupac and his girlfriend should look into that!

he was danish, tycho (tyge), as you probably have ringing in your head somewhere, and i'm pretty sure that the accusation against kepler doesn't hold much water.. but maybe you've just got the better info.

as it gets pointed out all too rarely, information gets severed from the matters that caused/informed them, and many of the western scientific and philosophical discourses are living lives of all their own, but that's unfortunately not to say that they do not effect our living world, which they really do, but in rather different ways that the noble intellectuals wrestling with their perennial problems will have themselves and others believe.. tautology will be the triumph of science no doubt, but the way you seem to see this, as a conscious evil and conspiracy, well, couldn't that in your reality simply be information management coupled with overstimulated frontal-lobal dramatological character multiplication and motivational narration? i think you have some great info to share, but you seem almost transfixed by the scenario that western history is all really some dirty, dark and slimy secret, and that it should be dispelled by means of similar literary tricks and traits.. well as the mr. bungle lyrics go: "it's a cheap world and you don't exist" and following the first statement, which i certainly think is true the deeper you decent into cultural conditioning, then i guess it's all very appropriate, yet i think you're missing out of all those very hypothetically hypnotized puritans of particular knowledge we all would like to shake from their dying dream. i mean, you have some great great header's and passages and i think that it's really quite amazing how you've taken such a heavy load of heavy theory and information and turned it into a penthouse-style sci-fi thrasher.. if that's what you aim at, then you can consider yourself a literary visionary, but if you really want to be "taken seriously", you have to gain some discipline, even if it only means to pamper your readers so as not to speak of sucking off..

[craazyman]

Hey CM.How's the weather up there.
Thank God for air conditioner's eh.

Yes Drew really caught us all off guard with his book.
Maybe he and Daniel can team up,hit the road,and just,just maybe make a few bucks.
I'm sure any book signing with Lord Hemp would be something to see.
He Haw He Haw


Pretty damn hot by the thermometer, Isaiah, but it's strangely dry for Washington DC. Actually, I haven't even turned on the AC and I'm usually "Mr. AC" in these humid Washington summers. Down in the basement, where I've got my "office" setup (a laptop and a desk) it's cool all day long. And standing out in the sun when I take a break it's been sort of refreshingly hot.

I think I've got the concept for Drew's new bottled water company. "Minnesota Moonshine" is the brand name and their slogan is "There's a fine line between genius and insanity." The logo can be sort of a pantheon of face portraits of Minnesota orginals, arranged like a mandala.

[drew hempel]

Cap -- thanks for catching my lack of reference on the Kepler murdered Tycho allegation. Indeed it's the Gilder book but then even if Tycho Brahe poisoned himself from alchemical mercury it still fits the Freemason spiel well enough.

Newton's shoulder-length hair was completely white at age 40 because of his alchemical mercury poisoning.

Then there was those 24 rabie vaccines I got in the belly at age 2. haha

In Tibet and India the mercury alchemical pills are "purified" with calcium hydroxide.

But apparently chlorophyll works just as well -- the magnesium and chloroplasts work together to activate the pineal gland photoreceptors.

Hence the secret of Peat Moss used in the most venerated Western alchemical text:

Muter Libris.

But then this is all in my book.... ah how spoiled you all are!

[gold'n'mean]

Not finished yet but enjoying immensely...

"My view is that resonance back to consciousness, through natural numbers that return to a fourth dimension of space (“empty awareness”) is a universal basic system for transcending space-time (i.e. pre-cognition, remote viewing, telekinesis, telepathy)"... Drew Hempel 'Mothership Landing'.

I am writing a book titled "The Fractal Edge of Universal Mind" that fits well with what you espouse. A field theory of Mind; form in flux, a new theoretical approach suggesting a deep connection between, the origin of inertia and the quantum wave nature of matter as consciousness manifest. However one of my main focus is on pointing out the erroneous nature of our '3D space-time' model in trying to illuminate the vagaries of 'time' as fourth dimensional extension. Starting with a 'point' to represent zero dimensions was a f#$@ up!

Inertia, charge and other forces are seen as effects of the wave interaction with the surrounding space medium. The ‘particles’ observed in quantum physics are the smallest three dimensional wave-fronts, standing-waves or interference zones we can detect. Standing waves don't go anywhere, but they do have regions where the disturbance of the wave is quite small, almost zero. These locations are called nodes. Standing waves are always associated with resonance. Holofractic Waveform Mechanics describes the resonance principles for an infinite universe of fractal geometry with respect to surface (topology), scale, complexity, connectivity, a continuum… the ‘Fractal Edge of Universal Mind’.

Using techniques of resonance 'sound vibration', I can frequency shift my bodymind interface into hyperspace. Utilising similar systems of information processing that you have tapped, I am able to engage the piezoelectric/phonon oscillator of my LCD light matrix... that is biology!

Once I had the correct frequency harmonics and overtones, the shift to hyperspace is a total blast! Schumann resonance gives cyber-mind Gaian Intelligence... 'the Mothership'.

My mission with my book is to find and activate unified avatars (144,000) to dance in the Golden Age... who's down????

back soon

[drew hempel]

Ok Gold'N'Mean -- this explains the insight I had this morning after returning to Gurdjieff's teachings in the book "In Search of the Miraculous."

Basically the concept of intensity in classical physics is based on Number of Particles measured by Amplitude

Whereas intensity in quantum physics is based frequency of particles based on a pure Number statistical waveform or DISTANCE of particles.

The means of changing classical to quantum physics is called the Poisson Bracket which uses ASYMMETRICAL mathematics -- just as I emphasize is the secret of free energy.

Only the Poisson Bracket relies on Planck's Constant x i (square root of negative one as the third dimension) divided by 2 pi.

But Einstein got his concept of the photon from an equation of pressure and volume -- without using Plancks constant.

And the value of PI can be derived as a continued fraction of music harmonics

The theory of relativity also relies on pressure and volume as temperature -- using spectroscopy.

So the difference between quantum mechanics and theory of relativity can actually be resolved be returning to the true source of Pressure.

Pressure is nothing but an acoustic oscillation!

Sound-current.

Science is inherently based on "deep disharmony" because of this early mistake about

Number and Distance

originating in the conversion of music harmonics into magnitude as geometry.

I'm glad my thoughts this morning actually had a venue! haha

[rzero]

Well I finished your book drew. With knowledge of basic mathematics and the mathematics of music, I got a significant intuitive grasp of your thesis, but I would need to go over some parts again or perhaps explore other sources to get a firm picture of the mathematics behind it. Many different things came to mind while reading it, perhaps some I will attempt to explore further with you on this forum in the future.

As western culture is often criticized as being too logical, your contention that it is not logical enough, actually illogical, is refreshing. I wonder if "western" is the most accurate word however, as you detail this "containment of infinity" is widespread.

[rzero]

http://meru.org/goldmean.html

"In 2-dimensions, these spirals self-embed because they are self-similar. (Note: The Golden Mean spiral, a true logarithmic spiral, is often confused with a Fibonacci spiral by uneducated occultists. There are, in fact, an infinite number of spirals, based on the Fibonacci numbers, that are NOT Golden Mean spirals. Most ordinarily constructed Fibonacci spirals are also logarithmic spirals.*)"

http://meru.org/gmaddend.html

"The golden spiral is anachronistic. It was not known in the ancient world, and was only algebraically defined by Descartes in modern times. Any scholar attempting to reconstruct what was known thousands of years ago would be taken to be a fool for imposing the golden spiral on work of that period. This imposition has hurt Meru Foundation's credibility, because of the plagiarist's false claims."

"The golden spiral is not only technically unsound, is not only anachronistic, but it is also directly philosophically opposed to the beliefs of the persons whom the plagiarist claims made use of it. It is, in fact, the archetype of narcissism and idolatry. I can provide numerous academic and mathematical references that discuss the foolishness of the persistence of cult-like belief in the resurrective powers of the golden spiral. The plagiarist's linkage of the golden spiral with immortality is also, like the rest of what he presents, taken from others, and represented as his own. The history of the use of the golden spiral to seduce persons into believing that they can be immortal is well-documented."

[rzero]

http://www.meetingtent.com/CoastSpecials.html

"Scholars are not certain how the riddle of squaring the circle – with only a straight edge and a compass – was understood in the ancient world. Most believe Greek mathematicians did not know that the problem is not possible to solve exactly. Other scholars believe that squaring the circle was a way of teaching about philosophical concepts based on geometric thinking. Tenen demonstrates that the Hebrew alphabet solves the riddle.

"Posing the riddle of squaring the circle resolves the riddle of the Bible’s lost universal language.

"Squaring the circle expresses the transcendental relationship between radius and circumference. It also represents the relationship between the ONE and the MANY; and between the MIND and the WORLD.

"In spiritual metaphor, the Infinite EXTENT of the ONE-Lord in consciousness IS the Infinite EXPANSE of the WHOLE-God in the world."

[Isaiah Mpski]

...follow me....


Old frog,new pond.Old pond,new frog.Splash.

[drew hempel]

rzero -- I appreciate you digging into this issue. The Meru Foundation is part of the "stargate conspiracy" that I expose in my blogbook. Ralph Abraham and Arthur Young, for example, are both cited in my book. The Meru Mountain is the foundation of Ernest McClain's music-Freemason analysis which I also cite. McClain and I corresponded a few months ago and he also now leads a similar research institute as the Meru Foundation -- focused on ancient Hebrew exegesis.

The key issue is whether a Fibonacci Spiral is logarithmic or not. The problem with the quantum chaos Freemason scientists is that both the Golden Mean and the Fibonacci Spiral are considered to be logarithmic even though the Fibonacci series can also be created through pure Number.

But, as I note in my blogbook, the Golden Mean spiral can be composed by asymmetric sine-wave harmonics with no need for a logarithmic connection between phonetic language and number (i.e. the one-to-one correspondence of Western math).

So 1:2::2:3 is the same as the Octave:the Perfect Fifth sine wave harmonics.

But 2:3::3:4 resonate as the Perfect Fifth:Perfect Fourth.

For the Golden Ratio you have

A:B::B:A + B (or 1:2::2:3)

But for pure Number harmonics with asymmetric resonance

A:B is 2:3 while B:A is 3:4!!

Now you can say well that's not the Fibonacci Number Series but it's important to remember that the Golden Ratio can also be expressed as a continued fraction of

1 plus 1 divided by 1.

The Golden ratio converges -- it's the slowest nonlinear converging series but 1 as a continued fraction ALSO resonates as the Harmonic Series WHICH DOES NOT CONVERGE --

The Harmonic Series diverges.

The secret is how does it diverge? Not through one-to-one correspondence of letter and number!

And finally the Golden Ratio can be created geometrically through the sine-waves of the harmonic series!

So which comes first? math comes from music -- not the other way around -- as the Meru foundation admits:

The Golden Mean Ratio can not be applied back on to Egyptian ancient culture because the Golden Mean Ratio is a product of

Gematria -- Freemasonic phonetic visual-dominance

"containment of infinity" through

deep disharmony.

See the end of Chapter Four: Secret of the Freemasonic Greek Miracle at http://mothershiplanding.blogspot.com for more details.

[bopes]

welcome back, Drew. Folks were worried a bridge fell on you. Glad you avoided that.

[drew hempel]

had another enquiry and comment today as an email. I offer a further response in lieu of reading the following from Alain Badiou's opus: "Being and Event" (reissued, 2005):

"What had to be declared it that the one, which is not, solely exists as operation. In other words: there is no one, only the count-as-one. the one, being an operation, is never a presentation. It should be taken quite seriously that the 'one' is a number. And yet, except if we pythagorize, there is no cause to posit that being qua being is number. does hits mean that being is not multiple either? Strictly speaking, yes, because being is only multiple inasmuch as it occurs in presentation." (p. 24)

Now Badiou is way trendy among the hoighty-toighty left (i.e. those post-grads drinking espresso in the anarchist cafes). But the above quote shows Badiou is off on the wrong foot. In fact I pointed this out to a couple of these trendy dudes. Badiou is wrong about Parmenides and he's wrong about Pythagoras.

The psychological symptom unearthed in Badiou is his emphasis on "operation" instead of Pythagorean "presentation" in number -- yet Badiou turns the name Pythagoras or Pythagorean INTO AN OPERATION.

Why? I've read tons of Pythagorean texts and commentaries and have never seen the verb "pythagorize" (as catchy as it is). The reason Badiou made this fundamental Freudian slip is because he doesn't understand that Pythagoras stated "All is Number and Harmony" -- not "all is number" as Western Freemasonic mathematics have erroneously reported.

So in fact to pythagorize is an operation -- but one of asymmetric resonance -- NOT the one-to-one correspondence of set theory that Badiou relies on for his all encompassing art-political-love philosophy. Badiou is right: Math is ontology but Badiou has his conclusion completely turned around!

[rzero]

This seems to be similar to Stan Tenen of Meru's assertion that "God is a process".

Tenen does state however that the Fibonacci Spiral is not truly logarithmic, as I quoted above. I'm not sure what this implies. I have just started looking into his work, as well as yours.

It does seem like he may have discovered hidden meaning within ancient hebrew. Not that this means anything in and of itself.

[rzero]

gold'n'mean,

I would be interested in hearing more about your work, and the specifics of your tones if you wish to share them.

[ielectric]

drew

the 11 month old laughs constantly, started walking a month ago, will be done with a year on the 6th september.

he hates 2 things, throws screaming, wriggling fits whenever we:
1) change his diaper
2) put him in the carseat.
this is understandable.

thanks to you, i have a tactic that stops his screams and wiggles every time. i simply intone syllables you discussed in a post several months back -- whuuuu, etc.

this works like a charm. i did this a few days ago, having returned from 3 months away, and my woman thought i was mocking the boy. i tried to explain my actions, pointing out the success in quieting el nino, etc. but i cannot find the post you submitted describing the origin/nature of this resonant harmonics.

drew, i implore you, help a brother out.

peace

[rzero]

Another quote from Tenen:

"We have to remember," he says, "that the math is only a map; our feelings and experiences are the territory."

http://www.meru.org/Press/Atlantisrising.html

Even if he is part of the conspiracy, it's a good quote.

[drew hempel]

There's a blogspot called "rigourous intuition" that has discussed my work a bit and one of the posters there just threw down a long comment that is based on the concept central to my research. He also answers while VOWEL MANTRAS CREATE HAPPINESS. Part of this information is not precise -- Bach didn't actually use equal-temperment but an approximation while it took Simon Stevin's logarithmics to create real equal-tempered tuning. That's the key difference between what makes the "spiral of fifths" logarithmic versus or not. Any western math "spiral" -- be it Fibonacci or Golden Mean -- is logarithmic based on the cipher of math (one-to-one correspondence) but this cipher does not hold up for nonwestern music -- here's the excerpt:

Thus, the rest of that Music and Harmonics section notes that crop circles may be even designed based on some kinds of "cymatics logic", if many some are actually 'alien' after all.


2.

My rebuttal about 'pure tones' and current music, which I think more should know about if you start to seriously get into cymatics issues and vibration issues in health or strange physics effects--which fit into the presumed "Philadelphia Experiment, to the Hutchinson (harmonics) Effects, to Cold Fusion high frequency effects, to presumed crop circle diatonic scales being used in many of them in the physical ratios of the patterns, to various interesting cymatic frequency healing devices, to Qigong practitioner's hands emitting secondary sound waves they have found out that, when recorded and played back to hospital patients, heal faster (more on that below), etc. The healing (audial) touch?

The "Music and Harmonics" section above talked of notes fitting harmonically into an 8-note scale and passed over that this is actually unnatural for the harmonics that the human body and mind tend to recognize as harmonic and pretty: fifths.

It's only fifths that are actually strangely human-mind felt harmonic and pretty (no one really can explain why), while octaves are just the same frequency doubled, without the various reverberatory tones of consonant notes like fifths (or thirds, fourths). Though it's fifths that humans tend to note as the prettiest, the world round.

However, most music (and fifths) you will hear nowadays will always be tuned flat from instruments. Every note.

Why?

That's what this long quote is about, from a book.

How intentionally flat tunings became known as "well-tempered" is the point of this. "Well-tempered" tends to on the surface imply harmony, though perversely it's nothing like that. It is equal, though it's all flatted notes and subtly outside of harmonic resonance, particularly for fifths.

Our admixture of odd tunings popularized by the West from the early 1700s has an interesting history. Europe started to popularize non-harmonic scales subtly out of whack, for intentionally creating flat notes equally flatted to squeeze in fifths into octaves, to avoid retuning an instrument when you wanted to change keys.

However, the idea of 'equal flatting' of fifths to fit them into octaves series was actually a Chinese inventor's idea in the 1580s: to put two different disharmonic scales (octaves, based on 2x the previous note; and fifths, based on 1.5x the previous note, that never really match anywhere) artificially together into the same instruments by 'flatting all fifths' over a scale of 12 notes equally, to scrunch and make the octave series the basis for the flatted fifths--which it is the fifths that are the most human-healing oriented and pretty.

The "tempering" allowed for transposings between octaves and keys. Got that? No. :-)

Well, I copied (really, spoke into some text to speech software) to clarify from a book I have on Chinese science history, in its interesting chapter on music.

When Bach wrote his "well tempered clavichord" it is generally unappreciated that he was actually writing a musical manifesto of this different transpositional and intentionally flat tunings. He wanted to popularize this flatted tuning, and demot previous different harmonics based tunings in Europe and and it turns out, worldwide. The implication of Bach's publication of 1722 flatted Well-Tempered Clavier series has been very profound.

(Perhaps this is why I've always enjoyed "pre-Bach" music: of the 1600s with different tunings on ancient instruments more than other 'modern' 'post-Bach' European music. There's something about Bach that has always just made me feel angry like it was harmonically wrong or something. Grating. :-)

However, the odd thing is that Bach was drawing his ideas about equal tempering from a Chinese musical theorist of the 1580s.

Anyone who gets into 'pre-modern' tunings and scales or actual pure harmonics is going to run into both Egyptian (pyramids) issues and Chinese issues of their harmonic scales and their 2,000 year old bells.

Forgive the quote's length. It's just three pages in a book. Skip over it if you are not interested-- though if you follow anything from above or the last post, 'real harmonics' are key to a lot of different things discussed here at RI.

The quote is from The Genius of China: 3,000 Years of Science, Discovery and Invention, by Robert Temple (1989), 206-213:

"

The first understanding of musical timbre. Third century A.D.

We have already mentioned timbre. It is sometimes called the "quality" of a musical notes. It may be defined as the original fundamental note sounded, together with the overtones present with it. A tuning-fork casts no timbre, because it merely sounds of the fundamental note free of overtones; but the rich and resonant sounds [caused by sympathetic vibrations in other non-played strings that sound when you play 'one' note on the piano, since the sound itself starts to 'play' any other sympathetic frequencies on other strings automatically through the air] produced by a modern piano are a triumph of the art of production of harmonious timbre.

The only sources of harmonious [automatically adjusting] timbre possible in non-electronic musical instruments are vibrating strings [in pianos] and [sympathetic] vibrating columns of air (as in pipes or flutes).

Bells can be acceptably harmonious in their timbre [particularly ancient Chinese bells, see below, that actually were cast to play fifths and thirds harmonically--which no one can still do today, a lost art how they designed their 3,000 year old bells], but percussion instruments have bad timbre.

The Chinese achieved a deep and profound understanding of timbre [sympathetic resonance], and went further than any other culture, before or since, in exploiting it for musical purposes.

The ancient Chinese zither known as the ku ch'in, or just simply ch'in (sometimes called the classical Chinese lute, although it is in reality a halftone zither, usually of seven strings but originally a five and occasionally of nine) is, as Needham tells us, "the only musical instrument in any culture which has no frets and actually marks the nodes of vibration on the board."

The very fact that there can be such a thing as a stringed instrument with no frets seems astonishing in itself.

The point of this instrument was that the strings were not played in such a way as to ever change their pitch, as happens when a string is pressed on to a fret in other instruments, such as the guitar or the violin. The ch'in was played with each string remaining at the same pitch at all times, and the art of playing was the production of different timbres of each string at a constant pitch.

This is so subtle that many Westerners might balk and question whether the result would strictly be music at all. But it is in fact a wonderfully rich and satisfying music.

The strings of the ch'in are all of silk. The traditional manner of playing them involve more than 26 different "touches" or means of plucking or stroking them, for vibrato alone....The playing of the ch'in obviously require a musical notation different from usual.

Musical notation for this instrument took the form of instructions, not only on which strings were to be used, note by note, but on the "touch" by which the fingers were to play each note.

Many piece of music for this instrument also survived which additionally indicates that the rising or falling intonation of the words [similar to different tones for the same word sounds in the Chinese language can mean different words] sung by the singer were to be accompanied by the zither; the change in voice intonation was matched by the variations in timbre of the instrument -- a particularly subtle musical technique [shadowing the Chinese sung language perfectly].


Equal temperament in music; 16th century A.D.

The inventor of equal temperament and music was Chu Tsai-Yu, who published his invention in 1584. The first mention of his invention was in the unpublished papers of the great mathematician Simon Stevin (died 1620). Chu Tsai-Yu was born in 1536, a prince of the Ming Dynasty.

But he turned his back on his princely rank and concentrated instead on studying music, mathematics and the science of the calendar.

This system of equal temperament appeared in his book A New Account of the Science of the Pitch-Pipes, published in 1584. The Chinese did not pay much attention to the new system, but the Europeans quickly saw its advantages [mechanistically].

Two years earlier, the great Chinese scholar of the Jesuits, Matteo Ricci, commenced his studies at Macao. From 1580, the Viceroy of the Cantonese province [where Portuguese city-colony Macao was on the Chinese southern coast] had established biannual "trade fairs" lasting several weeks, at which Chinese and Westerners exchanged ideas and goods.

The interchange between East and West was intense, just at the moment when Chu Tsai-Yu went into print with his new theory. It is a case of perfect timing which gives one the feeling that it was "meant" to happen.

We do not know the exact mode of transmission of the idea to Europe; there can be no doubt that Western music was to be totally conquered by the Ming prince, for within 52 years of Chu's publication, his ideas were published by Pere Marin Mersenne.

The Ming ended eight years later, but Ming music today blares from every transistor radio in the world.

The first published reference to the mathematical basis for equal temperament in Europe, was by Mersenne in one of his many books of musical theory, entitled Harmonie Universelle, issued in 1636. Werkmeister later popularized equal temperament, and Johann Sebastian Bach took up the cudgels on its behalf by composing a series of pieces, collectively entitled The Well-Tempered Clavier, consisting of "preludes and fugues in all the tones and semitones... for the use and practice of young musicians who desire to learn, as well as by way of amusement, for those who are already skilled in this study."

This epochal work was published in 1722. Yet probably only a few of all those who have ever listened to or play these pieces have had any idea of Bach's underlying intentions. The Well-Tempered Clavier was a work of propaganda [and like much coldly thought out purposes of propaganda makes "bad emotional art", though that is just my opinion as a Tartini (1692-1770) lover [<-- listen] and von Biber (1644-1704) lover [<-- listen] instead of a Bach lover].

Bach (1685-1750) had adopted equal temperament with a passion later to be matched by that of his fellow-composer Giuseppe Tartini's opposition to it [whom I've always preferred].

Equal temperament allows one to modulate fluently from key to key consecutively in the composition and performance of music [without retuning].

It was passionately adopted by those who thought the practical advantages of this were paramount [or those who were lazy and emotionally tone deaf] and was as passionately opposed by those who thought that purity of tone and other substantial factor should not be sacrificed to such base utility.

These frenzied debates and disagreements have died down now in the West, at least for the moment. [However, if there's healing in only pure harmonics of frequencies or even Hutchinson-like or 'cold fusion'-like alchemy, or in medical practices, the concern for pure harmonics may be set alight once more in music through equal sympathetic vibration; see my conclusion to this quote].

Equal temperament, so hugely aided by the prestige [and manic coffee impatience/addiction] of Bach, triumphed utterly during the 19th century, yet many of today's musical experts do not really understand its principles, and no more than a handful of Westerners can now appreciate what music would sound like without it.

[Except you reading this perhaps, right now.]

The only way for the reader to appreciate the magnitude of the subject is for us to consider the underlying problem which makes perfection of tone in all music composition impossible. It is one of the most fascinating but least known of the fundamental enigmas of the Universe. There is no music conceivable, on what ever planet, in whatever galaxy, where the dilemma could be escaped.

Let us illustrate the manner in a simple way by discussing a piano.

Most people know that a note struck simultaneously with a note 8 notes higher (in a scale) is an "octave". The low note and the high note are the same (say a C), except that the high note is 'C an octave higher than the lower C'. The higher one is double the frequency of the lower one. [Middle C is around 264 Hz, or vibrations per second.] This is true whatever note played; an octave is defined as a note of a particular frequency sound with a note of twice that frequency. Octaves are quite simple. They also rather boring, because the same notes sounded an octave apart have no variety. There is neither consonance or dissonance; there is just uniformity. An octave is like a man standing and staring at a photograph of himself which he holds in his hand: a simple double image.

How much more interesting it would be if the man were to stand with his arm around a woman whom he loves, or were to be scowling at one whom he hates. The first would be a consonance and the second would be a dissonance. The interest of life is in its variety and juxtaposition; hence, a C played with any other note than another C takes on greater interest to us than the octave.

The most pleasing consonance of two notes sounded together is what is called a "fifth". This is not simply subjective; an analysis of the sound waves involved shows that the higher harmonics of the notes have consonant beats with one another. But there does remain a mystery about the preference human beings find for harmony and the annoyance they experience upon hearing dissonance. Sir James Jeans has written: "it must be admitted, however, that [there] is a defect of most theories of discord. Innumerable theories are ready to tell us the origin of the annoyance we feel on hearing a discord, but none even attempts to tell us of the origin of the pleasure we feel on hearing harmony; indeed, ridiculous though it may seem, this latter remains one of the unsolved problems of music."

What, then, is this most pleasing and harmonic of all sounds, the fifth?

For it was the fifth rather than the octave which was the basis for Chinese music. [Actually if you struck a Chinese bronze bell it would sound a fifth harmonic actually, or a third harmonic, instead of a 'note'. This has only been found out actually in the past 10 years, that the Chinese knew how to cast predictable HARMONIC multitone bells 3,000 years ago, which Europe couldn't even do until this century:

"Archeological sensation
The 65 bronze bells from the tomb of Marquis Yi of Zeng (433 B.C.) are considered as one of the most fortunate discoveries in archeology. Due to favorable conditions of tomb preparation, soil, and soon natural water filling, the bronze of the bells survived fully intact. The bells sound as they did 2,436 years ago, and - as yet - better than any replicas that have been made in our days.

Two tones per bell

Two-tone bells were common in China between 1200 and 200 B.C. After that the advanced know-how to cast them was lost, and it could not yet be fully recovered in our days.

The bells have an eye-shaped cross-section and vibrate in one of two modes, depending on where they are struck.

A strike in the middle of the front makes frontside and backside vibrate as whole units and produces the lower tone sui.

A strike between the middle of the front and a side edge makes frontside and backside vibrate as two units each and produces the higher tone gu.

If struck correctly, both tones are fully independent, each with its own fundamental and harmonics. This is shown in a spectral analysis, presented together with the underlying sound samples, of the two tones of one of the original bells.

Quality and timbre of the two tones are fully compatible, and they are both marked by tone-name inscriptions on the bells.

Thus, both were intended to be used in musical practice.

Of the 33 bells in the melody section of the Zeng ensemble, 21 have a sui-gu interval of a minor third (mean 312.4 Cent, SD 13.8), 10 have one of a major third (mean 403.1 Cent, SD 18.1), and two have apparently mistuned ones with 244 and 342 Cent (details below).

Tone name system

The tone names inscribed on the bells very clearly reflect a theory of scale generation by both fifths and thirds. It must be examined, however, if the actual tuning practice agrees with the theory. The results show that it does not. The tone name system obviously had lost its theoretical background for the bell casters (details [not] below). But it is a very interesting name system, because it shows an awareness of the thirds in the concept of scale construction, something that developed in Europe [only] ca. 2000 years later."

http://web.telia.com/~u57011259/Zengbells.htm

That website may have a hardwired answer to why fifths and harmonics sound 'right' to the human brain, as well as why vowels in languages sound pretty: they are mostly the same harmonics and processed in the same way by the brain.

"

Pitch and harmony detection in the auditory midbrain

Before 1998 it was unknown that the unique neural map of acoustic frequency in the auditory midbrain (inferior colliculus) is a functional adaptation for pitch extraction from complex tones.

The vocalization sounds of many mammalian species and the vowels of human speech consist of a series of harmonics (e.g. 900 Hz, 1200 Hz, and 1500 Hz).

[All meditation mantras I've ever heard are full of sonorous vowels, hitting thus harmonics in the brain and body.]

They are unified in the auditory brain of these animals into a single percept of one pitch (an equivalent of 300 Hz in the given example).

This spectral synthesis supports the localization and the identification of single sound sources in natural, noisy environments.

The auditory midbrain is adapted to this task by its anatomy of stacked neuronal layers. Each layer processes sound signals from a specific bandwidth of the acoustical spectrum, and the separation into bands is optimal for the neuronal combination of harmonics that is needed for pitch extraction.

Because the auditory midbrain is hardwired for the processing of low-order harmonics in vocalization sounds, it is also hardwired for the processing of harmonic spectral components in music.

The mechanism that provides pitch detection in speech does the same job in music as well.

Our brain prefers harmonic tones and harmonic tone combinations, because it can extract more information from them [and because it 'makes the brain glow' more, as it hits different 'stacked neuronal layers' in their phrase simultaneously.]

[Thirtyseven]

Drew, just off your references alone I've gotten more brainfood from this single source than anything else I've found in 2007. THANK YOU for making this publicly available. Have you given any thought to doing a PDF version, possibly illustrated? I'd love to have this in the BIPT Library.

By the way, if you don't have that link:
http://www.docquan.com/lib_dead.html

^^Just a quasi-covert library of ours.

[drew hempel]

Hi 37 -- I'm glad your hip to my blogbook which is quite abstract -- a focus on the philosophical foundation of Freemasonry and how to escape the Matrix, etc.

Actually TrineDay just contacted me to continue the plan to publish the manuscript as a book sometime next year. So unless Trineday totally flips about me throwing the thing online -- a conspiratorial move on my part -- then hopefully my research may become a hard document.

I'm torn about the trees that would be pulped though in the making of a book that what -- maybe 37 people would read?!

haha.

In the meantime Trineday still has to pay off their Special Forces SLAPP suit....

http://trineday.com