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The article is an attempt to answer the question why Wednesday has the status of a holy day in Yezidism. Wednesday can be seen as a commemoration of the fourth day of creation, when the life on earth began and the Peacock Angel became its ruler. The article points to the Yezidi worship of the Moon and the Sun and related angels (Melek Fakhradin and Melek Sheikh Shams) and connects it with the Pythagorean concept concerning the movement of the planets and the Music of the Spheres. Two sacred Yezidi instruments, def and shibab, appear as allegories of celestial bodies in the Yezidi sacred hymns in the cosmogonic context of the creation of the macrocosm and microcosm (Adam). The article also points out the meaning of Wednesday in Judaism as the day when God created the sun, moon and stars and briefly discusses relationships with planet worship in Harran, Zoroastrianism and Mandaeism, especially in the context of the Yezidi Çarşemiya Sor festival which takes place on the first Wednesday of the month of Nisan. [ABSTRACT FROM AUTHOR]

According to pythagoreanism and later Plato, if the world is perfect and ruled by mathematical laws, the movement of the planets is harmonious, drawing perfect circles and producing music. In this way, the "Harmony of the Spheres" theory considers that planets themselves have an eternal and beautiful "soul". Thus, we want to show in our article that the modern conception of "planet" has lost its spiritual meaning under the guise of rationality. If science claims to be more objective than before, in fact it reduces evey being to a simple material object. By opposition, Edmund Husserl calls the "Lifeworld" (Lebenswelt) the natural perception humans have of their world. According to him, the Earth itself is not a planet, because it is the "Arch" where Humans live in accordance with a natural world. We will question that point of view through the filter of disenchantment. [ABSTRACT FROM AUTHOR]

The cylindricity error is one of the basic form errors in mechanical parts, which greatly influences the assembly accuracy and service life of relevant parts. For the minimum zone method (MZM) in international standards, there is no specific formula to calculate the cylindricity error. )erefore, the evaluation methods of the cylindricity error under the MZM have been widely concerned by international scholars. To improve the evaluation accuracy and accelerate the iteration speed of the cylindricity, an improved harmony search (IHS) algorithm is proposed and applied to compute the cylindricity. On the basis of the standard harmony search algorithm, the logistic chaotic initialization is introduced into the generation of initial solution to improve the quality of solutions. During the iterative process, the global and local search capabilities are balanced by adopting the par and bw operators adaptively. After each iteration, the Cauchy mutation strategy is adopted to the best solution to further improve the calculation precision of the IHS algorithm. Finally, four test functions and three groups of cylindricity error examples were applied to validity verification of the IHS algorithm, the simulation test results show that the IHS algorithm has advantages of the computing accuracy and iteration speed compared with other traditional algorithms, and it is very effective for the application in the evaluation of the cylindricity error. [ABSTRACT FROM AUTHOR]

Fugal composition has traditionally been taken as 'a sign of order and tradition' (Chapin, 2014). In the seventeenth and early eighteenth centuries, it was normally associated with cosmic order, in keeping with the concept of the harmony of the spheres, and it later came to represent social order (Chua, 1999). In this article I argue that in a variety of early twentieth-century manifestations, fugue came to represent chaos rather than order, maintaining both cosmic and social interpretations. Drawing from music by Milhaud, Schoenberg, Stravinsky, and Toch, and paintings and writings by Kandinsky, Ball, and Huxley, I demonstrate how the early twentiethcentury fugue frequently served as a metaphor for chaos as a redemptive or generating force. In later commentaries, many of these manifestations were later misinterpreted or misrepresented in terms of the metaphor fugue-as-order. [ABSTRACT FROM AUTHOR]

This article discusses two interpretations of musical harmony around the 3rd century BCE based on the Xunzi 荀子 and the Lüshi Chunqiu 呂氏春秋 ( Annals of Mr. Lü), comparing the concepts of resonance between sound and qi 氣 in each interpretation. The Xunzi supports the moral influence of the sage kings' music where ethical resonance between sound and bodily qi serves as firm ground for musical harmony begetting social harmony. In contrast, the Lüshi Chunqiu advocates the idea of physical resonance between sound and cosmic qi whereby musical harmony acts as a contributor to cosmic harmony. In discussing resonance between sound and qi, the Xunzi restricts its scope to the human realm while the Lüshi Chunqiu extends it more broadly to the cosmic realm, which indicates that humans foster cosmic harmony. This broader perspective is an adequate reflection of the germinating idea of a resonant correlation between the human and cosmic realms. [ABSTRACT FROM AUTHOR]

“Paranada: Beyond Beyond” represents the culmination of the author'sresearch findings of geometric evidence in the Pythagorean design of the temple andtheatre complex of the ancient Greek Temple of Delphi. Rather than a dualistic moraljudgment, Delphic rites sought a dynamic equipoise between Apollonian and Dionysianpsychic forces, transcending the self/boundless dichotomy. The temple has a deflection of7.5 degrees—1/12th the 90-degree gravitational fall of all existents, the gravitationalfactor in music theory (as in the Pythagorean "harmony of the spheres") in each note'sdescent in the 12-tone scale's octaval fall. Significantly, this means that the Delphicdesign encapsulates a space/time concordance. The design reveals that Pythagoras'epochal concept of a transcendent kosmos is realized in both space (the sacred site'scosmic plan) and in time (the nightly celestial whirl of constellations above it).“Paranada” traces this discovery of a divine order at the Delphic center to the sages of thekingdom of Bharat in ancient India and the birth of speculation on the meaning ofexistence in their most sacred Rig Vedic "Creation Hymn" X. 129. “Paranada” thussuggests that the Western cultural tradition is derived not ultimately from Greece, butfrom India, and contemplates the significance such ancient visionary philosophicalinsight might have for the daunting challenges continually confronting us. This workconstitutes an eclectic integration of transdisciplinary insights into the known and theunknown, the arts and the sciences, and science and religion. In descriptive and poeticforms, “Paranada” seeks to find vital correspondences and affinities among Pythagoreangeometry; numerology; cosmology; ancient psychologies; nature philosophy andmysticism; Greek mythology; Greek, Shakespearean, and modern tragedy; quantumphysics and astrophysics; and transcendent cosmic consciousness.

The integration of music and science is embodied in the music of the spheres, the ancient concept that the universe is ordered in a manner consistent with principles of musical harmony. This idea boasts a long history, from the teachings of Pythagoras (ca. 600 BC) through Isaac Newton in the eighteenth century, and makes a fascinating interdisciplinary topic accessible to middle and high school students. Several music-science correlations are explored, including the mathematical commonalities between musical intervals and planetary orbits. The article includes teaching suggestions and student activities. [ABSTRACT FROM AUTHOR]

In issue 18 of Communicating Astronomy with the Public journal, we explored some of the influences of astronomy on fiction, drama, and poetry. In this second part of our interdisciplinary survey, we examine some musical examples of astronomical inspiration. [ABSTRACT FROM AUTHOR]

The article discusses the use of music and the invocation of the concept of harmony in politics and political campaigns in order to promote national unity during the early U.S. republic. It examines harmony as a theme of public festivals and holidays, the significance that early U.S. political leaders attached to music in national unity, and the concept of what was known as the music of the spheres. It also discusses rhetoric concerning harmony from U.S. political figures such as U.S. presidents Thomas Jefferson, James Madison, and John Adams.

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In Laws 5 (732d-734e), the Athenian argues in favour of virtuous over vicious lives on the basis that the former are preferable to the latter when we consider the pleasures and pains in each. This essay offers an interpretation of the argument which does not attribute to the Athenian an exclusively hedonist axiology. It argues for a new reading of the division of 'types of life' at 733c-d and suggests that the Athenian relies on the conclusion established earlier in the Laws that we humans take pleasure in harmony and order. Virtuous lives exhibit just such harmony and order and are therefore always more pleasant than and pref-erable to vicious lives. [ABSTRACT FROM AUTHOR]

The article discusses the study on the real message of the First Book of Enoch or known as the Book of the Watchers. It refers to the book that tells the story of angels that transgress the boundaries of the cosmic orders of God which can have a disastrous consequence as the heavenly angels intrude the worldly and human sphere to cause chaos and suffering. The author believes that Enoch plays an important role as a messenger from heaven that announces God's condemnation of the angels and their sins.

The article discusses the connections of the six-part ricercar, the most monumental movement in "The Musical Offering," by Johann Sebastian Bach. The ricercar has been viewed as abstract music unintended for actual performance, as a treatise of classical rhetoric and as a representation of Johannes Kepler's music of the spheres. According to the author, it is unlikely that the work should have been meant only for the eyes and the intellect.

This essay presents the four mythemes - Happy Place, Cosmic Harmony, Violence Bacchic and Puer aeternus-present in the choruses of Euripides' tragedy The Bacchae, these mythemes help us understand the thinking of Euripides, more complex than the easy simplifications that has been treated. Indeed, the four issues is one reason only of literature, the human aspiration to a permanent order in which space comedian and a man find a harmony that was originally denied. The key to this lies in an anthropological examination of the human condition, be dropped (Semele) and yet full of divine aspirations (Zeus), while this duality is resolved, the history of man is a little story, closer of the epic tragedy of Pentheus that of Achilles. [ABSTRACT FROM AUTHOR]

"Paranada: Beyond Beyond" represents the culmination of the author's research findings of geometric evidence in the Pythagorean design of the temple and theatre complex of the ancient Greek Temple of Delphi. Rather than a dualistic moral judgment, Delphic rites sought a dynamic equipoise between Apollonian and Dionysian psychic forces, transcending the self/boundless dichotomy. The temple has a deflection of 7.5 degrees-1/12th the 90-degree gravitational fall of all existents, the gravitational factor in music theory (as in the Pythagorean "harmony of the spheres") in each note's descent in the 12-tone scale's octaval fall. Significantly, this means that the Delphic design encapsulates a space/time concordance. The design reveals that Pythagoras' epochal concept of a transcendent kosmos is realized in both space (the sacred site's cosmic plan) and in time (the nightly celestial whirl of constellations above it). "Paranada" traces this discovery of a divine order at the Delphic center to the sages of the kingdom of Bharat in ancient India and the birth of speculation on the meaning of existence in their most sacred Rig Vedic "Creation Hymn" X. 129. "Paranada" thus suggests that the Western cultural tradition is derived not ultimately from Greece, but from India, and contemplates the significance such ancient visionary philosophical insight might have for the daunting challenges continually confronting us. This work constitutes an eclectic integration of transdisciplinary insights into the known and the unknown, the arts and the sciences, and science and religion. In descriptive and poetic forms, "Paranada" seeks to find vital correspondences and affinities among Pythagorean geometry; numerology; cosmology; ancient psychologies; nature philosophy and mysticism; Greek mythology; Greek, Shakespearean, and modern tragedy; quantum physics and astrophysics; and transcendent cosmic consciousness. [ABSTRACT FROM AUTHOR]

In this work the equation of circular loops of cosmic string possessing time-dependent tension is studied in the de Sitter spacetime. We find that the cosmic string loops with initial radius r( t0)>0.707 L, L de Sitter radius, should not collapse to form a black hole. It is also found that in the case of r( t0)<0.707 L a loop of cosmic string whose tension depends on some power of cosmic time can not become a black hole if the power is lower than a critical value which is associated with the initial size of the loop. Our research gives rise to some important corrections to the conclusion in the case of loops of cosmic string with constant tension in the same background. [ABSTRACT FROM AUTHOR]

The article discusses the meaning of the word kosmos and what it means for society today. It states that kosmos is an ancient Greek word which means both order and beauty. Pythagoras is cited as being the first to use it to refer to the universe, because he saw that it was both ordered and beautiful, a view shared by later philosophers. It claims that when order and balance exists, so does harmony. The disharmony it sees existing today is the result of a mechanistic view of the universe, which results in the mindless exploitation of people and resources.

We analyse observations, spanning 15 yr, dedicated to the extreme emission-line object Hen 3-209. Our photometric data indicate that the luminosity of the star undergoes marked variations with a peak-to-peak amplitude of 0.65 mag. These variations are recurrent, with a period of . The spectrum of Hen 3-209 is peculiar with many different lines (H i, He i, Fe ii, ...) showing P Cygni profiles. The line profiles are apparently changing in harmony with the photometry. The spectrum also contains [O iii] lines that display a saddle profile topped by three peaks, with a maximum separation of about 600 km s−1. Hen 3-209 is most likely an evolved luminous object suffering from mass ejection events and maybe belonging to a binary system. [ABSTRACT FROM AUTHOR]

From his first reflections on advertising as a ‘magical institution’ in 1952 to his last writings on ‘The Brain and Media’ in 1978, Marshall McLuhan was reproached for his utopian view of media technologies as the ‘extensions of man’ and for his failure to understand the new, more formidable rhetorical powers of the electric mass media. These criticisms are not entirely unjust. At times McLuhan does seem to view media machines as vehicles of flight into a ‘cosmic harmony’ that ‘transcends space and time’. But for all his ‘delirious tribal optimism’ (Baudrillard), McLuhan also understood that the global village or ‘global theatre’ has become a theatre of war, a staging area for ‘colossal violence’ and ‘maximal conflict’. In order to shed new light on this darker, more radical vision of the mass media set forth by McLuhan, this article explores his decisive — but largely unacknowledged — contribution to radical media studies today, especially to the work of Paul Virilio, Friedrich Kittler and others concerned with the alliance of war, media and information in modern society. After some reflections on McLuhan's ‘mosaic’ approach to the media ecology and his view of media as the extensions of man, I examine three modulations of his most infamous aphorism: the medium is the message; the medium is the massage; and the medium is the massage. [ABSTRACT FROM AUTHOR]

Several implicit features in the Andalusian and North African musical legacy give evidence of the coexistence of secular and sufielements, according to a pattern characterized by the interdisciplinarity of a humanistic and scientific concept already present in the oriental origins as well as in the Andalusian and North African later developments. In the transmission process led by the Moorish in the Northern Mediterranean border, melody, rhythm, poetic text, voice and instruments contributed to the integration of secular and suficontents as mirrored in the repertoires (Kunnašāt) preserved in the Maghreb. This "dual" reality in the Maghribian manuscripts offer a clear evidence of the differences between the Spanish medieval legacy and the music proserved in these repertoires. [ABSTRACT FROM AUTHOR]

Focuses on the meaning of symmetry for Copernicus and Galileo. Referral of Galileo on symmetry as the proportion of the speed of the planets and size of their orbit around the Sun; Classification of Copernicus' on symmetry as harmony; Application of symmetry in various contexts.

The article discusses the concept of harmony of the spheres and its tradition from Plato to the Renaissance period with assessment on its relevance to the history of dance. The metaphor of the Celestial Dance and its importance is explored. On the other hand, writers belonging to the later Pythagorean school were instrumental in developing the concept of celestial unity and harmony into Late Antiquity and the Middle Ages.

The article presents criticism on the second "Prolusion" by John Milton. The author looks at Milton's view of the Pythagorean notion of the harmony of the spheres, the Christian inclination of the representation of Pythagoras, and the comparison of Milton's work to the song "Hymn on the Morning of Christ's Nativity."

The article offers information on astronomy and music. Topics discussed include the harmonious musical intervals discovered by Pythagoreans, the Music of the Spheres philosophical concept, and heliocentric model of universe proposed by mathematician Aristarchus. Also mentioned are the concepts of philosophers Aristotle and Plato.