Sacrum Ecstatics: The new Keeney blog post and Pythy at the Smithy

http://sacredecstatics.com/sacred-ecstasy-sacred-vibration/

The mysterious vibrational power associated with sacred ecstasy is called n/om in the Kalahari and it is regarded as the most important gift a human being can receive. Without it, singing, dancing, healing, or visioning cannot fully come to life. N/om is simultaneously the match, fuel, and fire required for sacred work to commence. We regard n/om as equivalent to the sacred vibration—it is the same complex mix of vibrational energy, sacred emotion, body movement, and the voiced tones and rhythms of the songs that awakens and amplifies its circulation in the body.

And so, Dr. John Beaulieu of Biosonics points out the Sacrum, as I quote in my master's thesis is the ratio 2/3 of the body. So it's time to start data-mining my master's thesis

So I find a pdf, "Pythagoras Musicus" by Gene H. Anderson 1985

So he explains that the Pythagorean myth of the Blacksmith hammers originally has Pythagoras stating that the different of the Perfect fifth and PErfect Fourth as 9/8 is dissonant on its own but complements the other ratios. So that means its the tuning of Philolaus! And that is from Nichomachus of the 2nd century but then it was Boethius in the 6th A.D. century that adds a 5th hammer as 9/8 and says it was rejected!

And yet the blacksmith music story may go back to 1300 BCE of the Hittites who worshipped, first, Kybele (Cybele) which was later transferred to the Phrygians. Then Porphyry has Pythagoras worshiping with a black smith. So the author concludes Nichomachus must have conflated Near Eastern mythologies with Pythagorean mythology - by the 2nd century AD

So now we get a 2012 pdf analysis of this Blacksmith story throughout Western science.

The author compares 9 different versions of the story - with 4 of them BEFORE Boethius - so that should clarify the claim of Gene H. Anderson! Andy Chi-Chung Tang, the author, says several versions have Pythagoras rejecting the 5th hammer of 9/8 ratio.

Nope - he also says Boethius was the first to add that fifth hammer.

But Tang details how it is this hammer story that then moves into the weighted string story with the weight being 12 and then 6, 9 and 8. So this is probably then definitely from Philolaus!

Especially since the weights are not valid - and so most people reject this story as fanciful. It was only Newton who realized the secret that in fact the weights are supposed to be square logarithms.

There is confusion with the Greek terms of "chord" applying to either string or the weight.

And so Ptolemy, a younger contemporary of Nicomachus, the original source of the story in the 2nd Century AD, criticizes the story as invalid, by showing empirical tests of a nonlinear relation of string tension to weight to pitch interval. But Ptolemy instead focuses on the original intervals from the string lengths and nodes directly, without the weights. And he never tested the hammer-weight sound aspect of the story.

And it was Newton who analyzed Ptolemy's astronomical data and considered Ptolemy a fraud - or at least massaging his data to fit his theory, which could have been incompetence. And so this must be the source for Newton to realize the inverse square law of gravity!

And so then Tang discusses how both the anvil and the block of metal anvil would make a sound from the collision - based on Newton's third law of equal reaction of magnitude of force in opposite directions.

Tang says while it's very possible the story is a fabrication, nevertheless it is not inherently false.

So then Tang points out that for Boethius he could be relying on a now lost updated version of Nicomachus story about Pythagoras. But since Boethius was arguing that music was based on quantity, not magnitude, as per Proclus defining the Quadrivium as music along with arithmetic, so music is moving quantity while geometry is based on magnitude, then Boethius had a bias to change the story of Nicomachus.

But since Boethius shares the story of Pythagoras adding the "eighth" string to the Lyre - we can also assume that Boethius is relying on Philolaus. And since we know that Boethius did not understand that Philoluas used geometric magnitude from 9/8 then when Boethius teaches that the anvil hammers are the source of the frequencies, he appears to not know better.

Death and rebirth being two sides of the same coin, both originating in the "vacuum" of our pelvis. It appears, that this nothingness is an inner mystery. We watch and feel it, but never grasp its depth. It is the bottomless abyss within ourselves. Once the breathing-in is "born", it moves up, expanding itself into our thorax, until it reaches its highest point. This moment is a turning point in which breathing-in turns into breathing-out. Everything without effort, whatsoever. This breathing-out moves spontaneously back to it "origin", the dark pelvic space. Watching and feeling transformed the entire process. Without it, the breathing was just a "floating entity", now it appears to have a dynamic structure. breathing-out, disappearing into the pelvis, point of rest, breathing-in, its upper turning-point, breathing-out, disappearing into the pelvis......The absolute sensational finding: conscious breathing is a reflection of the findings of cosmology, the latter confirmed by Cosmic (Spiritual) Realization. Science asserts that through "gravity" everything is returning to the Cosmic Vacuum ("breathing-out"). In its bottomlessness the light is born (Higgs Field). This light (also called "dark energy", better name would be "invisible energy") is expanding the universe ("breathing-in") until it reaches a turning-point, where the inflated power loses it energy. It is being transformed into "dark matter", pulled back ("gravity") into the bottomlessless of the Vacuum.

Han Marie Stiekema