A Question for ATS Masons, What is a Ster-convex

Now let us ponder this:

So let’s look a little more at this geometrical war of sound.

We start with a fixed area one surrounded by a border we seek to define, in this example a sphere or circle, we will use the one dimensional circle drawn as a border.

A starburst of sound occurs within the border, forming the pentagram the five pointed star, five directions reaching their zenith and ultimate point of extension at the border of the circle meant to contain the explosion.

Thus we have created a shape within the shape, with defined borders of its own.

Everything within the new borders is well defined making the star, what’s within these more limited star shaped borders is universally more or less agreed upon and now fixed and defined.

However everything outside the points and borders of the star taking up the rest of the space within the sphere is independent, not fully defined, and not fully under control of the star!

The star is trying to become a circle itself, through the sound of ordering everything and controlling everything within the fixed parameters of the sphere!

By defining the totality of it by first learning to occupy all of it, through mastering it all, by ordering and controlling it all, through a process of direction and expansion based on sound, what notions it formulates and what actions and reactions it causes!

So we have a war of geometric shapes, and the sounds occurring, shapes in essence looking to take on the form of another shape.

Now let’s look at the microcosm again, Rome a thought, a defined notion of reality, looking to master and control through that roaming thought everything within the sphere it first defined, in an explosive attempt to take over and control everything inside the sphere.

In our sphere this is happening violently, through domination, primarily by eliminating anything and everything that can’t be ordered appropriately within the sphere.

Now what made Rome so effective in its attempt to order the sphere?

Once again the microcosm is shapes. The military formations, which are shapes, born through the sound of commanding the soldiers to create a shape and a formation in their violent collision with those more disorganized and less ordered elements that they were battling against that had no specific fixed shape.

The Roman formations of tightly controlled boxes, ordered through the sound of how to define and maintain it would like a rock upon the ocean stand fixed and resolute in essence breaking up the waves, opposing it in the violent collision as it stood as either a fixed target or pushing forward and expanding to take over, define, master and control more of the sphere within which it was contained, all through an organized process of giving shape to and defining thing to control things.

All done with sounds and shapes!

The shapes that sounds make, the shapes made to define a perceived area of space and then control everything within it by creating and ordering the fixed properties within it.

An attempt to capture the sound, the sound that gives life, by sustaining the sound with sound!

So now let’s take a bit more of a look at what Jackflap has put together in the pyramid charts.

We have man arms stretched out and legs stretched out, forming the borders of the pyramid region with the sexual organ creating in essence a fifth point, pointed upwards to the heavens.

Subtracting the sexual organ and using each limb and the head to create a point of direction, a end from which energy flows we end up with the five pointed star, the pentagram, add the sexual organ pointed downward we have a 6th point of direction or the Star of David.

The six pointed star is of course a little more closer to filling in the sphere and controlling it all than the five pointed star.

Which of course might make one wonder about why religion then is so obsessed with sexuality and the morality of sexuality, in part as a means to control what actions are taking place within the sphere!

Once again all being defined by sound, the sound of words meant to direct what is permissible and what is not, what is accepted and what is not, creating fixed and known qualities mean to give shape to a form that is sacrosanct and define and sustain itself.

Once again with sound!

If we actually had contact or have contact in the future it more then likely will be with musical sound as in Close Encounters of the Third Kind.

Do you think that this movie was based on fact?

reply to post by Aquarius1


Well I think what we are seeing at it's most fundamental in that scene is that sounds themselves are thought universally to convey certain things.

And that there is a fundamental disagreement over what precisely is the sound, through trying to define it with sounds.

In other words the alien race that built the space ship has a viewpoint that we as a diffferent race are willing to consider and hear, but not necessarily agree to as we answer back with our own sounds, of what life and the definition of the universe and more importanly how to live within it and define it is viewed and thought to be by us, likewise through sound.

What ever this first sound was it caused a lot of trouble!

Giving rise to the phrase awake.

We here on ATS use awake often as a metaphor for aware, those who are aware are awake, those who aren't are asleep.

Yet it would seem that this sound caused everything to awake, and now once awake it is struggling to become aware, and define itself.

So something woke us up and is trying to make us aware.

Proto pronounces this sound a noisy neighbor!

It now must be charged with disturbing the peace!

reply to post by ProtoplasmicTraveler

A starburst of sound occurs within the border, forming the pentagram the five pointed star, five directions reaching their zenith and ultimate point of extension at the border of the circle meant to contain the explosion. Thus we have created a shape within the shape, with defined borders of its own. Everything within the new borders is well defined making the star, what’s within these more limited star shaped borders is universally more or less agreed upon and now fixed and defined. However everything outside the points and borders of the star taking up the rest of the space within the sphere is independent, not fully defined, and not fully under control of the star!

The initial sound creating, mathematically, the star - convex pattern. Everything afterward has this property or golden ratio. The music we create even has it as we strive to repeat it on some level apparently. Do we want to be able to master it, control it, use it?

So that we can manifest geometric crystalline sound frozen in time. So that we might better understand the brief amount of time we have here and where we're going. Or where we can be by mastering the properties of creation and understanding what it means.


It'll make you wonder alright. It has been said that there were people who knew of the relationship between the sounds of harmony and the material world. As far back as the tower of Babel. It is purported that they worked on the tower and the knowledge that they possessed was passed on even after the flood. This of course is getting into how far back this discipline has gone again but I thought I would pass that on.

edit (fixed)

reply to post by ProtoplasmicTraveler

While just glancing through the thread. You guy's are going a bit over my head but I just made a post yesterday that I think somewhat pertains to this thread.

Dissonance was squashed in medieval times.

Consonance and Dissonance WIKI

thread

Originally posted by timewalker
Ok. I just love looking into stuff. Obviously.

Some of you might find this interesting.

If not, I just add stuff for later reference for myself.

Lets see who Debussy is that the crater is named after.

Claude Debussy

WIKI

Claude-Achille Debussy (French pronunciation: [klod aʃil dəbysi])[1][2] (August 22, 1862 – March 25, 1918) was a French composer. Along with Maurice Ravel, he was one of the most prominent figures working within the field of impressionist music, though he himself intensely disliked the term when applied to his compositions.[3] Debussy is among the most important of all French composers, and a central figure in European music of the turn of the 20th century. He was made Chevalier of the Legion of Honour in 1903.

[4] His music is noted for its sensory component and for not often forming around one key or pitch.

Claude Debussy was born in Saint-Germain-en-Laye, France, August 22, 1862

Given that Debussy's music is apparently so concerned with mood and colour, one may be surprised to discover that, according to Howat, many of his greatest works appear to have been structured around mathematical models even while using an apparent classical structure such as sonata form. Howat suggests that some of Debussy's pieces can be divided into sections that reflect the golden ratio, frequently by using the numbers of the standard Fibonacci sequence.[26] Sometimes these divisions seem to follow the standard divisions of the overall structure. In other pieces they appear to mark out other significant features of the music. The 55 bar-long introduction to 'Dialogue du vent et la mer' in La mer, for example, breaks down into 5 sections of 21, 8, 8, 5 and 13 bars in length. The golden mean point of bar 34 in this structure is signalled by the introduction of the trombones, with the use of the main motif from all three movements used in the central section around that point.[26][page needed]

The only evidence that Howat introduces to support his claim appears in changes Debussy made between finished manuscripts and the printed edition, with the changes invariably creating a Golden Mean proportion where previously none existed. Perhaps the starkest example of this comes with La cathédrale engloutie. Published editions lack the instruction to play bars 7-12 and 22-83 at twice the speed of the remainder, exactly as Debussy himself did on a piano-roll recording. When analysed with this alteration, the piece follows Golden Section proportions. At the same time, Howat admits that in many of Debussy's works, he has been unable to find evidence of the Golden Section (notably in the late works) and that no extant manuscripts or sketches contain any evidence of calculations related to it.

To go a little deeper his and Maurice Ravel' (I love Bolero) field of Impressionist music.

The impressionist movement in music was a movement in European classical music, mainly in France, that began in the late nineteenth century and continued into the middle of the twentieth century.

While this era was characterized by a dramatic use of the major and minor scale system, Impressionist music tends to make more use of dissonance and more uncommon scales such as the whole tone scale.

Consonance and Dissonance

Physiological basis of dissonance Musical styles are similar to languages, in that certain physical, physiological, and neurological facts create bounds that greatly affect the development of all languages. Nevertheless, different cultures and traditions have incorporated the possibilities and limitations created by these physical and neurological facts into vastly different, living systems of human language. Neither the importance of the underlying facts nor the importance of the culture in assigning a particular meaning to the underlying facts should be understated. For instance, two notes played simultaneously but with slightly different frequencies produce a beating "wah-wah-wah" sound that is very audible. Musical styles such as traditional European classical music consider this effect to be objectionable ("out of tune") and go to great lengths to eliminate it. Other musical styles such as Indonesian gamelan consider this sound to be an attractive part of the musical timbre and go to equally great lengths to create instruments that have this slight "roughness" as a feature of their sound (Vassilakis, 2005).

In Western music, dissonance is the quality of sounds that seems "unstable" and has an aural "need" to "resolve" to a "stable" consonance. Both consonance and dissonance are words applied to harmony, chords, and intervals and, by extension, to melody, tonality, and even rhythm and metre. Although there are physical and neurological facts important to understanding the idea of dissonance, the precise definition of dissonance is culturally conditioned — definitions of and conventions of usage related to dissonance vary greatly among different musical styles, traditions, and cultures. Nevertheless, the basic ideas of dissonance, consonance, and resolution exist in some form in all musical traditions that have a concept of melody, harmony, or tonality.

Relaxation and tension have been used as analogy since the time of Aristotle till the present (Kliewer, p. 290).

In early Renaissance music, intervals such as the perfect fourth were considered dissonances that must be immediately resolved.

Physiological basis of dissonance

Musical styles are similar to languages, in that certain physical, physiological, and neurological facts create bounds that greatly affect the development of all languages. Nevertheless, different cultures and traditions have incorporated the possibilities and limitations created by these physical and neurological facts into vastly different, living systems of human language. Neither the importance of the underlying facts nor the importance of the culture in assigning a particular meaning to the underlying facts should be understated.

For instance, two notes played simultaneously but with slightly different frequencies produce a beating "wah-wah-wah" sound that is very audible. Musical styles such as traditional European classical music consider this effect to be objectionable ("out of tune") and go to great lengths to eliminate it. Other musical styles such as Indonesian gamelan consider this sound to be an attractive part of the musical timbre and go to equally great lengths to create instruments that have this slight "roughness" as a feature of their sound (Vassilakis, 2005).

In human hearing, the varying effect of simple ratios may be perceived by one of these mechanisms:

Fusion or pattern matching: fundamentals may be perceived through pattern matching of the separately analyzed partials to a best-fit exact-harmonic template (Gerson & Goldstein, 1978) or the best-fit subharmonic (Terhardt, 1974), or harmonics may be perceptually fused into one entity, with dissonances being those intervals less likely to be mistaken for unisons, the imperfect intervals, because of the multiple estimates, at perfect intervals, of fundamentals, for one harmonic tone (Terhardt, 1974). By these definitions, inharmonic partials of otherwise harmonic spectra are usually processed separately (Hartmann et al., 1990), unless frequency or amplitude modulated coherently with the harmonic partials (McAdams, 1983). For some of these definitions, neural firing supplies the data for pattern matching; see directly below (e.g., Moore, 1989; pp. 183–187; Srulovicz & Goldstein, 1983).

Period length or neural-firing coincidence: with the length of periodic neural firing created by two or more waveforms, higher simple numbers creating longer periods or lesser coincidence of neural firing and thus dissonance (Patternson, 1986; Boomsliter & Creel, 1961; Meyer, 1898; Roederer, 1973, pp. 145-149). Purely harmonic tones cause neural firing exactly with the period or some multiple of the pure tone.

432Hz Anyone? I am no music theorist, but I have a hunch.

432Hz Validated

Turn your volume down for this one.

Any way that is one interesting crater.

edit on 31-3-2011 by timewalker because: (no reason given)

edit on 31-3-2011 by timewalker because: (no reason given)

edit on 1-4-2011 by timewalker because: arghh.

Hope you guy's find it as interesting as I did.

reply to post by JoshNorton


Fair enough JoshNorton, please do edit your post to exclude the quote of the image. I don't want to put something out there that may offend or suggest something that isn't true. That is not my intention friend. Thanks for the clarification.

Originally posted by ProtoplasmicTraveler

Originally posted by lo7s3v3n7ol
I'm probably going to have to spend three days on this thread alone. This is awesome!

Some really amazing links and books listed in this thread.

I am thinking it's going to take more than a few days to explore them all.

Awsome contributions from everyone. Thanks my friend.

As I've been reading I've been thinking this thread is a link mine, like the star convex it has arms spreading in a variety of interesting directions all linked by good vibrations in the centre.

Hope you guy's find it as interesting as I did.

I did, I've been interested in cymatics ever since I inadvertently discovered it in a train station cafe as I pushed my polystyrene cup of ultra hot tea around on the fake formica table and observed cones, spheres and structured patterns dancing around on the surface, iirc Nassim Haramein discusses cymatics in one of his lectures, I know he is not universally held in high esteem, anyway I think it's an important subject.

Thanks again for the stellar thread Proto.