<div id="LayerE10" style="visibility: visible; overflow: visible; z-index:0; left:10px; top:5px; position:absolute; "><?xml version="1.0" encoding="iso-8859-1"?> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> <html lang="en" xml:lang="en" xmlns="http://www.w3.org/1999/xhtml"> <head> </head> <body> <p> <table style="border-collapse: collapse;" bordercolor="#000000" cellspacing="0" cellpadding="3" width="600" border="0"> <tbody> <tr> <td valign="top" width="100%"> <div> <?xml version="1.0" encoding="UTF-8"?> <!DOCTYPE html PUBLIC "-//ABISOURCE//DTD XHTML plus AWML 2.2//EN" "http://www.abisource.com/2004/xhtml-awml/xhtml-awml.mod"> <html xmlns="http://www.w3.org/1999/xhtml" xmlns:awml="http://www.abisource.com/2004/xhtml-awml/"> <head> <!-- ======================================================= --> <!-- Created by AbiWord, a free, Open Source wordprocessor. --> <!-- For more information visit http://www.abisource.com. --> <!-- ======================================================= --> <meta http-equiv="content-type" content="text/html;charset=UTF-8" /> <title>Cosmology & Cosmogony - Robert Fludd.html</title> <style type="text/css"> <!-- #toc, .toc, .mw-warning { border: 1px solid #aaa; background-color: #f9f9f9; padding: 5px; font-size: 95%; } #toc h2, .toc h2 { display: inline; border: none; padding: 0; font-size: 100%; font-weight: bold; } #toc #toctitle, .toc #toctitle, #toc .toctitle, .toc .toctitle { text-align: center; } #toc ul, .toc ul { list-style-type: none; list-style-image: none; margin-left: 0; padding-left: 0; text-align: left; } #toc ul ul, .toc ul ul { margin: 0 0 0 2em; } #toc .toctoggle, .toc .toctoggle { font-size: 94%; }@media print, projection, embossed { body { padding-top:1.0000in; padding-bottom:1.0000in; padding-left:1.2500in; padding-right:1.2500in; } } body { text-indent:0in; text-align:left; font-weight:normal; text-decoration:none; font-variant:normal; color:#000000; font-size:12pt; font-style:normal; widows:2; font-family:'Times New Roman'; } table { } td { border-collapse:collapse; text-align:left; vertical-align:top; } p, h1, h2, h3, li { color:#000000; font-family:'Times New Roman'; font-size:12pt; text-align:left; vertical-align:normal; } --> </style> </head> <body> <div> <p dir="ltr" style="text-align:center"><span style="font-weight:bold" xml:lang="en-US" lang="en-US">Image 1</span></p> <p dir="ltr" style="text-align:center"></p> <p dir="ltr" style="text-align:center"><span style="font-weight:bold" xml:lang="en-US" lang="en-US">The Monochord as a Model of the World</span></p> <p dir="ltr" style="text-align:center"><span style="font-weight:bold" xml:lang="en-US" lang="en-US">Robert Fludd (1574-1637)</span></p> <p dir="ltr" style="text-align:center"></p> <p dir="ltr" style="text-align:center"><span style="font-weight:bold" xml:lang="en-US" lang="en-US">Format 4 : 5 (Major Third)</span></p> <p dir="ltr" style="text-align:left"></p> <p dir="ltr" style="text-align:left"><span xml:lang="en-US" lang="en-US">This image symbolizes an idea fundamental for harmonics: that the entire structure of the universe is musical, and that this structure can be expressed on the monochord. This idea, in Western culture, began around 500 b.c. with Pythagoras, who introduced the monochord as a musical measuring instrument.</span></p> <p dir="ltr" style="text-align:left"><span xml:lang="en-US" lang="en-US"> The image shows the assignment of tones on the monochord, first to the traditional four elements, then to the seven planetary spheres, then to the heavenly domains. Significant here is the implication that the Creator (in the sense of the Greek Demiurge), who tunes the monochord from above, knows the ratios of the monochord as they were established before all creation, and transfers them into the domain of hearing by adjusting the string-thus making them perceptible in the realm of material creation.</span></p> <p dir="ltr" style="text-align:left"></p> <p dir="ltr" style="text-align:left"><span xml:lang="en-US" lang="en-US">But at the same time, the image symbolizes the end of an era of harmonic thought: from the time of Pythagoras up to the Renaissance, the concepts of the universal harmonic order and the harmony of the spheres were current for all thinkers, but hardly anyone questioned how these ideas were realized in empirical nature. Robert Fludd was a hermetic philosopher of the old school; he drew his ideas above all from tradition, and when people today attempt to reconstruct the conditions depicted in these images, they appear relatively arbitrary and interchangeable.</span></p> <p dir="ltr" style="text-align:left"><span xml:lang="en-US" lang="en-US"> Robert Fludd's contemporary, the great harmonist and astronomer Johannes Kepler, was the first to forge the path now followed by modern harmonics: starting with the ancient idea of the harmony of the spheres, he sought to discover, in the movements of the planets, the places in empirical nature where this harmony was realized. In his </span><span style="font-style:italic" xml:lang="en-US" lang="en-US">Harmonices Mundi</span><span xml:lang="en-US" lang="en-US"> he presents the results of his studies, and concludes by contrasting his methods of observation with those of Fludd, of whom he says:</span></p> <p dir="ltr" style="text-align:left"><span xml:lang="en-US" lang="en-US"> “One can see that he is satisfied with incomprehensible picture-puzzles of reality, whereas I begin by bringing things of nature, shrouded in darkness, right out into the bright light of knowledge...”</span></p> <p dir="ltr" style="text-align:left"></p> <p dir="ltr" style="text-align:left"><span xml:lang="en-US" lang="en-US">Peter Neubäcker</span></p> <p dir="ltr" style="text-align:left"></p> <p dir="ltr" style="text-align:center"><img alt="" src="/EZ/kayser2/kayser2/imagelibrary/Cosmo_Fludd/0.png" /><span style="font-weight:bold" xml:lang="en-US" lang="en-US"><br /></span></p> <p dir="ltr" style="text-align:left"><span xml:lang="en-US" lang="en-US"><br /></span></p> <p></p> </div> </body> </html> </div></td></tr></tbody></table></p> </body> </html></div>
History of Harmonics
Ancient Civilizations
Haase - Hermann Bahr & Harmonic Thought
Haase - Leibniz & Kayser
Summary of History
Harmonics & Mathematics
Magic Squares
Number Distribution
Number Symbolism
Fractal Harmonies
Harmonics & Geometry
Musical Ratios
Parabola, Hyperbola, Ellipse
The Proportions
Tone Spirals & Tone Curves
Harmonics & Astronomy
Kepler
Haase on Plato's Harmony of The Spheres
Harmony of The Spheres
Kepler`s Platonic Solids
Planetary Harmonics
Cosmology & Cosmogony
Harmonic Cosmogony
I Ching
Pythagoreanism
Robert Fludd
Robert Fludd Images
Octaves & Spirals
Harmonics & Architecture
Harmonics & Architecture
Architectural Examples
Harmonics & Language
Harmonics & Language
Harmonics & Symbolism
Cosmic Harmony in Symbolism
Doctrine of Correspondences
Harmonics as Symbolism
Hermann Hesse & The Glass Bead Game
Gann & Financial Markets
Partial Tone Diagram & Square of 9
Polar Diagrams & Spiral Charts
Harmonics in Nature
Human Canon
Animals
Plants
Snow Crystals
Harmonics & Music Theory
Harmonics as a Science
Interference
Harmonic Theories & Diagrams
Thought as a Sense
Color & Partial-Tone Coordinates
The Lambdoma
Lambdoma Applications
The Monochord
Library & Resources
Hans Kayser Biography
Hans Kayser's Horoscope
Rudolf Haase Biography
Bibliography of Kayser's Works
Bookstore
Law of the Cosmos
Natural Architecture
The Textbook of Harmonics
News - May 2010
February 2008 Newsletter
Links
