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In climatology it is expected that any phenomenon that is under observation will be based upon physical data. In other words something has to appear on a weather chart, something that actually happens. The problem with this is that on the average weather chart the actual data show is always an approximation or projection of a potential for such and such to develop within a designated time period. In other words the chart is really showing the potential probabilities of time values to reveal a particular pattern in space. In the last analysis weather is an image of time falling into space. It is not really a physical "thing"; it is really a time process that just borders on the physical. In this way it has a great deal in common with music.
As a result of the tenuous relationship to physical materiality the study of weather that forces it into physical based study protocols is missing a lot of what the phenomenon is about. Would it not be more to the point to study weather from the point of view of coincidental time events traveling in space and unfolding further in time rather than studying pressures, densities, temperatures and other physical phenomena? The pressure waves are in reality time signatures. Why not keep them in the context of time rather than assigning the wave motion to some physical manifestation?
To do this would require a phenomenology of time events and their resultant periodicities. The periods of motion themselves would be the phenomena independent of their manifestations. This would give us a phenomenology of seemingly independent events that would happen over large areas of space with no apparent connection except the mutual relationships within the field of time. What would then allow us to characterize the phenomena would be "time signatures" which would have affinities with other "families" of time signatures. We could say that the character of one family of time signatures would be consonant with the time signatures of other members of the same time family.
An example of this would be to look at all events that happen in the weather that have a period of 18. 6 years. This period is the signature of the time that the lunar node takes to travel backwards through the entire Zodiac. Every 18.6 years the lunar node will cross the same point in the ecliptic in which it stood 18.6 years ago. This period is known as the nodal cycle. It has a certain signature that represents a quality of lunar and solar eclipses. Its family are any rhythms which are divisions of 18.6 such as 9.3 or 4.6. As a result when looking at the unfolding of certain phenomena in climate studies, the period of a phenomenon coincident with 9.3 years is an indication that the phenomenon may have a family affiliation with the motion of the lunar node. There are many such affiliations and family rhythms in the motion in arc data of planets. Certain numbers in the context of planetary motion in arc reveal "types" of phenomena as clearly as do the leaves of a plant reveal its species character to a botanist. To a botanist the number of the leaves reveals a general or specific quality about the plant. In the planetary flux model certain numbers connected to motion in arc data of a particular planet or time frame in which the planet is moving, reveal general or specific qualities about climatic potentials in the atmosphere. A question could be asked as to exactly how can a rhythm generated by the backward revolution of an eclipse point through the Zodiac be seen to have anything to do with weather? To answer this question it is most useful to once again use the language of music.
There is a kind of musical instrument known as a water violin that is useful for illustrating the way in which sound vibrations induce vortexial potential in water. Vortexial potential is a term used by climatologists to describe the appearance of vortices in a given parcel of air. In practice a vortex motion usually appears rather suddenly in a parcel of air that more often than not has not shown any tendency towards vortex formation in the immediate previous time period.
The water violin, figure 1, consists of a stretched string that is fretted at half its length. The fretting divides the string into two sections each of which sounds the same note. A rubber band is placed so as to keep the string fretted at half of its length but not with enough force to actually prevent the string from vibrating along its entire length. This is important for the following reason. On one side of the instrument the taut string is suspended over a water- filled trough and the water just touches the string so that the whole length of that half of the string is tangent to the surface of the water. The other half of the string is fitted with a movable bridge that can allow the string to sound a scale when the string is bowed.
In the illustration the apparatus is pictured in schematic. The movable bridge is set to sound the octave in the portion of the string that is to the right of the fixed bridge. The sympathetic string over the water will vibrate in consonant intervals that are dependent upon how the bowed string is divided by the movable bridge.
In this image three vibrational areas can be seen. The string in the center is vibrating causing the powder on the surface to flow away from the vibrating area. The spaces between the vibrations are nodes in the string where there is no motion. The powder collects in these silent node areas. The string is tuned to produce three vibrating areas. When the bridge is moved the vibrating areas change and the number of the nodes is different for each tone. . If the movable bridge were to be shifted to sound another note on the string the vortices would also shift as the sounding parts of the string and the nodes would change places. If, for instance the movable bridge were set to sound a fourth above the open string there would be eight vortices around the sympathetic string; four above and four below showing that the sympathetic string was divided into the ratio of 3: 4 the numerical ratio of the 4th above the fundamental as can be seen in the Kepler scale.
In this close up of two vibrating areas complex circulation eddies can be seen all through the spaces between the vibrating areas. The nodes are permeated by the vibrational movements of the powder as it circulates in the eddies, but the vibrating areas are the place of the greatest dynamic. The vortices around the string give the water a general circulation that closely resembles the vortex trains that form around an eclipse line on the day of an eclipse
This is a close up view of eddies around the vibrating string. The resemblance to ridges and troughs in the atmosphere is uncanny. In the planetary flux model the vibrating string would be a geometric line raying out of the eclipse point that represents a harmonic angular relationship. When the eclipse point is aspected by a moving planet the atmospheric string is thought to oscillate and the pressure cells arise as vortexial potential around the oscillating "string".
What the water violin reveals is that around a sounding string the space becomes organized by the sound into ordered units. Of course there is a physical relationship between the string and the water and the sound. But the principle that there are potentials for vortices to form around a sounding string can also be used as an image of forces in any system when they come under the influences of sound or any wave activity. The waves are an ordering principle. They show that there is a reciprocation happening in the system in which forces at one level are participating in the same sort of ordering principle at another level. The waves of energy from a solar flare can be seen two days later as shock waves over the polar regions and a day after this these same waves are seen as fluctuations in the jet stream and a day after that they can be see as the frontal wave of a weather system. The ordering principle is a manifestation of wholeness throughout the whole system and the waves at whatever level they are encountered speak of the same kind of forces except for the fact that they are happening at different levels of energy in the particular system of which they are a part.
As a working model then we could try to form an experiment in such way that we could consider the timing and onset of wave formation from the farthest spaces and its reflection in physical systems to be linked in spaces which have more of the quantum energy of symmetry than in the usual physical spaces of matter. In quantum symmetry we can find a principle that is also a fundamental concept in projective geometry that of the reciprocal nature of all complements found in physical systems.
Matter must be studied always in the context of anti-matter. Quantum symmetry demands such balance. This idea in turn finds voice in the ancient alchemical idea that what happens above also happens below and vice versa. If all energies exist in the form of waves and that the economies of scale do not really change this organizing pattern then the waves that we see on the ocean at the beach or in the jet stream crossing the Pacific are listening to the same archetype.
In quantum systems symmetry could allow that the greatest and the smallest were of the same cloth. The conundrum for the researcher lies in objectively proving particular relationships in the causal relationships of the parts but this may ultimately prove to be simply a physical bias on the part of researchers. In the world of quantum properties, laws that address the laws of the soul are slowly replacing the physical laws that allow us to explain physical systems. It may ultimately be more important for human development to develop algorithms for clearly revealing the mysteries of Nature than it is to seek to solve the mysteries with terrible certainty.
If quantum symmetry is the rule and reciprocal relationships form the model that Nature is using to put the underpinnings in systems a new approach to climate could be undertaken in which waves of time moving through space could be tracked by the onset of vortex formation in particular latitudes in particular time frames. The coincidence of planetary motion and the onset of vortexial potential in a given area is the working basis for the planetary flux model.
For the past three decades interest in protecting satellites from solar flare damage has developed imaging technology which has given researchers images of waves of solar energy crossing vast distances in very short time frame. More recently a strong interest in gravity waves has shown that the waves of gravity experienced between planets apparently have a direct effect upon the jet stream. In such a context is it so far fetched to propose a system of geometric coordinates that are instigated by eclipse activity which can serve as a framework with which modeling of climate fluctuation can be undertaken? Could the music of the spheres simply be the realization of the sounding of the whole universe through the music-like rhythms of waves of energies at all levels?
In practice the identification of eclipse points with particular longitudes as it is used in planetary flux research makes it possible to actually see in physical space how apparent motions of planetary bodies can be linked coincidentally with strong planetary shifts in the weather. This is because the short term shifting of the eclipse point is by far the most potent motion in arc event in the life of the earth. Many short term storms and drought breaking rains can be attributed to the energies released when the eclipse point is shifting. This is why in planetary flux work the eclipse point is the generating point for the grid of lines.
The longer rhythms of climate change require that the slower motions of the outer planets be integrated into the eclipse grid lines It is the slower rhythms that make it possible to study drought and flood cycles that generally take much longer to build up and fade away.
Looking at the climate fluctuations present the climatic record it is possible to see that the primary zones of storm genesis are the polar front and the subtropical front. These two areas are the source of most of the weather dynamics in the Northern Hemisphere. The polar front lies between 60° and 50 ° north latitude. It is significant that a projection of the Kepler lines for a major 6th and a minor 6th (dissonant relationship) crosses this zone of latitude. Also significantly the sub tropical front lies between a projection of the 90° and 108 ° lines in the Kepler scale. These two areas in the musical scale are the source of major dissonant relationships. They also, by projection are the source of the major dissonant relationships in the weather.
When either of these two sets of lines is aspected closely by a planet then the area which is bracketed by their positions is the area which can be expected to be the site of the weather and climate anomalies during the time frames of the unusual aspecting. In the following chart an unusual aspect of Saturn and Jupiter is shown having an effect upon the high latitude polar front in the region of the UK.
In the chart the eclipse point south of Baja California is the source of the energies. It is being approached from the west by the moon. A motion in arc from a fast moving planet would stimulate the grid lines coming from the eclipse point. On the other end of the lines Jupiter and Saturn stand at strong relationships to the lines. They are sitting on the other end of the lines and each is moving retrograde. This would put a strong low- pressure impulse into the system. The 135° aspect is sounding the ratio of 5:8 as the basis for its relationship to the earth fundamental which is found in the open string of the circumference of the earth. The 144 line is sounding the ratio of 3:5. Together they sound a dissonant relationship. If we were to divide the 135 line into 8 equal divisions and mark where the 5:8 position would be when reckoned from the opposite end of the line from the eclipse point (see the circle on line 135) and do the same for the 144 line by measuring off 5 equal divisions and marking the 3:5 point from the opposite end of the eclipse line, also with a circle (see chart) the two places where the ratios would be most noticeable on the line would be the centers for unusual relationships between the motion in arc events and the onset of vortexial potentials in the atmosphere. What would be left to do in this case is see if any of the other ten or so lines which would also be part of this chart would influence the up or downstream patterns during this same time frame. If the Saturn, Jupiter Moon event is alone in showing some type of effect on these lines then this pattern would have to be compared to the mean climatic pattern for this area during this season. A great help in this is if records of the major climatic polarities for this climatic zone were available so that similar planetary aspects and motion in arc patterns could be compared to the situation in real time. Given these conditions and the absence of any extenuating circumstances a prediction could be made that a disturbance was most likely to appear in the area of the UK during the lunar transit of the eclipse point.
This sounds more complicated than it really is. All that is really necessary is that very precise records are kept using this system for a period of years. The system itself is a clear reflection of motion in arc data. It takes knowledge of climatology in order to extrapolate these data points into climate predictions. However, the motion in arc data has an advantage over conventional climate prediction methods. That advantage is that the planetary motions can be accurately computed far into the future and the past and present to the researcher a rich field of data on which to build experiments and to find new rhythms. This is not the case with prediction and analysis techniques that try to extrapolate from physical data since the variables are prone to great distortions inherent in the gathering protocols of the past and of course are not at all available into the future.
In conclusion the motion in arc technique of climate analysis used in the planetary flux model provides a scientifically repeatable body of methods which can offer significant insights into the vagaries of the weather and unite the researcher with the sublime mysteries of the cosmos all at the same time. These phenomenological methods are not used to find a unified field to explain all phenomen simply seek to reveal the mysteries of time and motion that lie hidden in the relationship between the atmosphere of the earth and the motion of the planets in the heavens.