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The Harmonics of Storms - 07.14.04

Weather obeys the laws of music. The Harmony of the Spheres reveals the mysterious music of the atmosphere.

The planetary flux model is the study of climatic patterns seen against the backdrop of planetary motion . It makes use of a geometric system of lines that are projected across the northern hemisphere from eclipse points. The lines that are used to make forecasts are not really perceptible in the atmosphere. They are however, perceptible on weather maps as lines around which the jet stream will travel. The jet stream is a high altitude river of fast moving air that has been described as a fire hose loose on one end. Sometimes it seems to chaotically whip around frenzied and violent, while making strong north south loops. Sometimes it is just flat and lazy, moving from one end of the Atlantic to the other without a loop or center. A big question for long- range forecasters is to find out what causes the jet stream to be flat and docile one day, and then suddenly in a matter of hours the jet starts looping and sending cold polar air into southerly climes. In order to form some sort of modeling protocol or algorithm for jet stream behavior it would be useful to have insight into influences which effect rhythmically occurring long term events. A reliable and consistent body of long- term event data can be found in the motions of the planets whose orbital motions are exact and can be traced far into the past and are predictable far into the future. The problem using planetary motion data to track climate changes is how to show objectively that events that are happening in the solar system are linked to specific time frames and geographical positions on earth.



Pythagoras thought that the key to linking celestial events and terrestrial events was to look at the ways in which musical harmonics played themselves out in both the cosmos and on earth. The links for him as well as Johannes Kepler were the phenomena of harmony found in music. Contemporary science tells us that everything is vibrating and each vibration produces waves of compression and rarefaction. This is the basis for the phenomenon of sound. The waves travel in a linear path that is the axis of the wave (fig 1). When two sound waves are traveling with each other from a source their vibrations sometimes cancel each other and sometimes support each other. When they support each other then the sounds are said to be consonant. When they cancel each other then the sounds are said to be dissonant. A string, that is vibrating to make a sound, is actually moving in waves, which are often too quick to be seen. However, if a string the length of 10 feet is plucked the vibrations and their forms are readily seen. The vibrations are seen to be wave-like.



In figure 2 the long string (A) has been plucked in the center and the wave form can be seen which would be the form of the sound of the open string (B). If we dampen the string with a finger placed in the center and pluck it again the string will vibrate in the pattern seen in the third image (C). In this image there is a place in the center of the string that does not vibrate. In acoustics this is called a node. A paper placed on the node at the center of diagram C would remain still while a paper placed on point D would fly off of the string when it was plucked. By dampening different spots on the string many different notes can be brought out of the string each one with different vibrational sections and different numbers of nodes.

In diagram C the ratio between the whole string length and the dampened node is a ratio of 1: 2 that is, one whole string length to two halves. The divided string would sound an octave above the note sounded by the open string. The note of the open string is called the fundamental. When the octave is sounded it can be heard to be the same pitch as the fundamental only it is in a different place in the whole spectrum. Therefore, the fundamental and the octave are different, but they are also the same. This was of mystical significance to Pythagoras and to Kepler. It proved to the pictorial and cosmological consciousness of the ancient world that there was a cognitive creative link between the one and the many, the Creator and the Creation.

In experiments with sound figures it has been shown that when a string is vibrating the space around it is filled with rotating, vortexial lines of force interspersed with node places where there are no vibrations. Matter tends to gravitate to and gather in the node places as it circulates and rotates in vortexial forms activated by the sounding parts of the string. In non-living systems like sand on a vibrating plate matter tends to gather in the non-vibrating node space pushed there by vibrations. Sand particles on a vibrating plate will gather in lines at the non-vibrating spots on the plate.
In living systems in which water carries the vibrations the flow patterns around the vibrating areas on a string tend to be vortexial eddies motion in arc In their centers matter deposits itself in the concentric layers of the vortex. Our backbone can be thought of as an image of the harmonic vibrations that surround the vibrating notochord of the embryo. Matter, in the form of somites or embryonic vertebrae, is deposited in concentric vortices along the notochord like pearls on a string. Each vertebra in cross section can be seen to be in the form of a vortex. These vertebral vortices are suspended in the active centers of vibration. Where intervertebral disks will be formed in the fetus the string of the monochord has a silent node.

For Kepler, the circumference of the earth was just like an open string on a great celestial instrument. In his imagination the earth would sound along it's circumference like a bell being struck when a planet created a particular angle in the heavens with regards to the earth and the fixed stars. A very significant angle would be the one that caused the earth to ring out with the sound of the octave of its natural tone or earth fundamental. In order to picture this, mentally take a string that is the length of the circumference of the earth and stretch it out into one straight line and secure it at both ends. Now dampen it in the center and pluck the string .The one half of the string which is vibrating will sound the octave of the natural tone or fundamental of the earth. Keep your cosmic finger on the string where you have fretted it in half. Put the two ends where it was secured on top of each other and place them on the fundamental meridian at Greenwich. Now place the whole string back around the earth. You can now see that your dampening spot is at 180 °s of arc to Greenwich.

Placing this into an astronomical context, if the Sun was at the fundamental meridian at Greenwich and the moon was at the dateline 180° of arc away and they were in the same degree of declination we would have an eclipse. If the circumference of the earth was reckoned to be a celestial string for the purpose of sounding the harmony of the spheres, then during a lunar eclipse the earth would be sounding an octave to it's natural tone. As we saw earlier according to music theory the same pitch would sound at the natural or fundamental tone and at the octave. In the planetary flux model this means that at both the lunar and solar eclipse the octave is being sounded. In practice there is a tremendous symmetry to the celestial harmonies since the earth is a living being requiring balance at all times, even in the chaos of storms. In all other angles and tones of the celestial harp the principle of symmetry of tone or what we could call reciprocal events is the dominant organizing element. Each position in longitude that is related to an eclipse position has its reflex or reciprocal position where there actually is no event in real time. This organizing principle can be found in mathematical systems of thought such as quantum physics and projective geometry and is a key element in the planetary flux model.

It is also significant that in western music theory, an octave is made of twelve equal pitches, the same number of pitches or divisions that we have in our celestial string in the form of the 12 signs of the Zodiac. The Zodiacal placements of eclipse points or eclipse nodes as they are called are not static but move in an east to west or retrograde motion backwards through the Zodiac. This is considered retrograde because the Sun and the other planets move through the Zodiac in a west to east or direct motion throughout their yearly orbits. The retrograde motion of the eclipse nodes takes approximately 18 and one half years to go through the whole Zodiac and return to the same longitude. During this time period of one nodal year (18.6 years) the shift of the nodes against the constantly changing placements of the planets gives infinite possibilities for climatic patterning. It is significant that there can never be a repeat pattern but that careful observation can reveal similar patterns that can then be linked to the climate record.

Even with these ideas a big question for weather and climate predictions on the basis of eclipse positions still remains. Eclipses only happen every six months so what happens in the time between eclipses when there are apparently no new impulses to stimulate vibrations on the celestial string of the earth? For an initial answer we could say that any time another planet crosses an eclipse point or its reflex a similar stimulus to the original eclipse sounds on the celestial string. But this would only occur on a very few days of the year so how would the weather and climate be relative to this since they are constantly shifting every day.



In answer, we could refer to a concept described by Kepler in the Harmonies of the World. In that work Kepler, referring to the ancient ideas of the harmony of the spheres, creates a system in which a whole set of strings could be formed on the earth using the idea of the monochord. The sound that the earth would make in the music of the spheres was the fundamental earth pitch. This was the equivalent of plucking the open string of the monochord. We could, along with Kepler, consider the circumference of the earth as the celestial monochord. If the celestial monochord were fretted in half to create a ratio of 1:2, then the earth would sound both the fundamental pitch and the octave. If the If, instead of the ratio of 1: 2 the open celestial string were dampened down in the ratio of 4: 3 then the tone which would arise from the earth would be a fourth above the earth fundamental (fig. 4) According to Kepler, this ratio would sound when any planet stood at a 90° angle of arc to another planet. In addition, a planet standing at a 120° angle to another planet would sound the fifth note above the fundamental. Pythagoras only had these ratios to work with in his explanations of the harmony of the spheres. Kepler added a "45° angle":http://www.docweather.com/index.php?sec=4&act=show&enid=20 for a second , a 72° angle for a third, a 108° angle for a tritone (the note that is in the center of the 12 pitch scale), a 135° angle for the minor 6th, a 144° angle for a major 6th, and finally a 150° angle for a seventh above the earth fundamental. This gave Kepler a complete scale with which he could write music for planetary events, something that he did with much enthusiasm.



What this grid system allows is that if an eclipse point is taken as a common point from which all of the above mentioned lines originates (fig 4) then a grid of lines resembling a musical instrument can be generated across the face of the earth. Not only the eclipse line, but all of the other aspect lines can be projected from any eclipse point. Any planet forming a significant angle to any one of these lines will set this line into motion and it will sound across the geographical space over which it is projected.

However, even with this grid there is still a nagging problem when projecting planetary motions and angles upon specific places on the earth. In his meteorological writings Kepler describes that a particular aspect of Jupiter and Saturn will produce a particular kind of weather on a certain date but there is really nothing in his system to allow it to be more precise with regard to actual geodetic projection that is the systematic projection of planetary positions and motions onto the earth. To Kepler this type of projection system in which specific planetary coordinates could be projected onto specific places on the earth remained a dream. Kepler said that it could be done but he did not provide a way of doing it with any degree of accuracy. There simply was not enough detailed data available to him. Many astrological weather predictions today fall prey to this same difficulty. In most systems a kind of world wide prediction is usually made based upon planetary aspects, ascendants and houses but with no apparent projective protocol. In more advanced systems of prediction the natal chart of a city at a particular place is used as a kind of sampling of the latitude and longitude coordinates of a particular geographical area.

But does this technique imply that because the chart of a particular city carries with it an ascendant and natal point that the whole earth in this place will have an experience that will make the jet stream shift when significant planets form aspects in the chart for the city? Put another way, if it rains in the longitude and latitude of Corpus Christi will it also have to rain in North Dakota too?

The apparent generalities in this technique make it difficult for another researcher to replicate an experiment even when a successful prediction is made. To further compound the problem, in many astrometeorological systems there also often seems to be disregard for recognized climatic l patterns that, experience has consistently shown, have significant impact on any prediction made from a cosmological perspective. Usually an unusual climate event occurs when a particular celestial pattern supports a particular climatic pattern in a strong way. If the astrologically based system is really good it should be able to give insights into recognized climate patterns as well as predict major weather events such as hurricanes and earthquakes. Big storms and impending tempests often tend to show up more easily in these kinds of studies than things like drought, simply because in droughts there usually not a lot of activity celestially but there is a lot happening climatologically. As a result of not presenting a systematic, climatologically sound protocol astrometeorology often lacks the scientific foundation of replication that would allow it to stand in the world as a science. The planetary flux model used in Doc Weather seeks to address that lack.

To try to provide some basis for establishing replication and a relationship to accepted climatology in astroclimatology, it is useful to turn to the work of Sepharial, an astrologer in the early 1900's. Sepharial developed a system known as "geodetic equivalency":glossary by interfacing data from epidemics with precise positions of planets. His work was carried on by Chris MacRae most recently and can also be found as an echo in the bio-rhythm research of others. Also, Rudolf Steiner, an Austrian esoteric teacher, gave certain students the indication that if the belt of Orion was placed over the equator in Africa the rest of the Zodiac could be projected onto earth. All of these systems of projection have common elements and make it possible to project the cosmos onto earth. It is fortunate that they agree enough in broad details to make them a good starting place for research.



Figure 5 depicts a geodetic projection system that places the Zodiac in a sidereal context adjusted for the precession of the equinoxes. Most of the information used in the planetary flux system is in the form of sidereal positions. This placement has proved effective in tracking storms in the Northern Hemisphere. In this system the vernal point is in a sidereal placement that has been adjusted according to the reactions of weather systems over decades of observation and reflects that fact. It may not be a universally valid placement of the vernal point for all purposes, in all systems but it works well for climate studies.

With the Zodiac hypothetically placed onto the earth the next problem is to account for the rotation of the earth in the diurnal motion of day and night. A question is often raised as to how a projection of a planet like Pluto which sits for long periods in a specific celestial longitude be seen to have and effect on a specific place on a rotating earth? Or for that matter how can a rapidly moving planet like the moon be projected upon a moving earth accurately?

Theoretically there does not seem to be a logical connection between remote planetary motions and earthly phenomena. Phenomenologically, the reactions of the atmosphere to eclipses and retrograde motion are remarkably direct to specific places. Watching the atmosphere around the time of eclipses is a good way to observe first hand that a specific event in the heavens is reflected in a specific event on the earth. In quantum physics it is the motion of the event that is most important for a true understanding rather than the position or even the identity of a particle. Position and identity are older reference points in both science and in astrology. They are, in a way, secondary phenomena in the planetary flux model. They both must yield to motion as a modeling force. In the world as it is being explored today, position of a particle, for instance, is not very useful for describing the reversals and creative motions being uncovered by the new physics. What is most useful are the motion characteristics of the whole field in which the phenomena are unfolding. Describe the motion characteristics of the field accurately as a phenomenon and you will be simultaneously describing the metamorphosis of the events in the field accurately.
A picture that might be useful for understanding this idea is that of a flywheel with its timing mark. To time an engine it is necessary to adjust a timing mark on a rapidly turning flywheel to a specific pointer fixed on the engine. This is done by the means of using a timing light that fires off as one piston reaches a predetermined point in it's firing cycle. The timing light only illuminates the flywheel when that specific point is reached and no other. When it fires in a stroboscopic way the timing mark which in reality is moving past the pointer on the engine at thousands of revolutions per minute is revealed to be stopped in space near to the timing mark. The engine's revolutions per minute can then be accurately adjusted to the timing of this mark and the whole system is brought into harmony. It would be impossible to do this work in any other way since the engine is in motion. The whole field of motion of the engine is reflected in the correct adjustment of a particular point in the firing cycle of one piston. By creating a way to reveal this brief event in a chaos of motions all other motions of the field can be understood. This is because all of the motions in the field are part of the same system of motions. They have a holographic or "wholistic":glossary relationship with regards to their qualities of motion. By illuminating and sampling one place where a particular piston reaches a particular point in its motion cycle the whole field of motion is projected into one point and then can be cognized.

In the planetary flux model that place for illumination is found at the time of the eclipse when a particular time gesture or tincture is imprinted upon the atmosphere in the form of the eclipse harmonic grid. The timing mark on the engine in the planetary flux model is the vernal point fixed by geodetic projection. As the rotation of the earth reaches top dead center each day (noon at Greenwich) the moving earth revisits the spring point and a smaller diurnal cycle of motion becomes coincident with the larger sidereal cycle of motion. Coincidence of motion is a powerful force in the world. The timing for the chaos of systems on the earth is integrated in this moment of coincidence. The position of the eclipse is the piston in planetary flux technique. Where the eclipse point is in relation to established climatic regimes is extremely important in the energy economy of the earth. Studies of drought cycles on the West Coast of the United States have shown that the placement of the eclipse point within 15° of the dateline was a common element in the six major drought events of the past century.

This image, I believe, accurately describes the action of the vernal point each day as the earth rotates to a critical few minutes before the Sun at zenith crosses the fundamental meridian. Since the vernal point is the timing mark for the whole system of Nature could it be that the daily recapitulation of the setting of spring allows the earth to upgrade the time and space increments in her systems and adjust them according to the new planetary relationships, which were encountered in the past 24 hours? Could it be that in the time space in which the vernal point and the Sun meet that the motion, time and space increments which have been played out during the previous day in the solar system are integrated into the atmosphere as a homeopathic adjustment of the atmospheric sheath of the earth?
Esoterically, this sheath is seen to be in deep communication with the other planets so that the soul of the earth can grow in wisdom and keep healthy. Seen from this perspective weather, or more specifically climate, is the way in which humans can most effectively see into the soul of the earth. This mood permeates the writings of Kepler but is often lost in the systems approach of modern research. In the last analysis speculative ideas like this can never be proved scientifically. So in order to make a stab at uniting astrology with science some other form of study seems necessary.

Watching the phenomenon of an eclipse appear coincidentally with a particular climatic shift, if repeated, can eventually lead to a valid scientific approach. As was said earlier the problem with this is that eclipses only happen once every six months and the path of totality is only a small fraction of the surface of the earth. Obviously there needs to be more to a valid technique or protocol than tracking eclipse shadows and then predicting earthquakes. This is not to say that such a study is not valid. Many researchers have pointed to this type of connection between eclipses and earthquakes. The question is, if the shadow of an eclipse can stimulate an earthquake as a planet passes the eclipse point two months after the eclipse, what is it in the planet or in its motion that is driving the phenomenon? Could the answer perhaps lie in the motion and not even in the position or character of the planet?

In answer we might look at the idea that a natal chart cast for the earth would not really have a natal point fixed in any longitude. How could it? Likewise there could be no ascendant since the earth is having ascendants at all times. Time and space have different qualities for a human being in contrast to the ontology of the earth as a being. Time and space for the Earth are revealed in qualities not just quantities. A minute on an atomic clock is a minute no matter where it occurs. By this same measure, a minute in spring is the same as a minute in winter but the qualities of the two times are very different in the context of the life of the earth. We could extend this idea by saying that at any given moment in time many levels of time are included. Time, in this ancient sense is woven out of events and appears to be linear when in actuality it is layered. Layered time has qualities that make it appear space like. Things like deja vu' point to this time and space overlapping. The Earth has many such overlapping events created in a rich fabric of time. What at first glance appears to be chaotic in the weather, upon deeper insight appears to be structured in time. Then just when the time signatures of events appear to be regular and predictable the time quality shifts and a new kind of time space evolves into the next climatic regime. This is the allure of the mystery of weather and also the challenge. Put simply, how can we form a protocol for studying weather and climate which does not rely exclusively upon physical data but whose real focus is the quality of movement in the time space in which the phenomena is unfolding?
With regards to time and space, climatic events and rhythms are not site specific but extend for years over long periods of time. However there are repeatable elements in climate and weather events that can be recognized. These two qualities of time need to be integrated into an algorithm by layering time sequences and looking for similarities. Since ancient times it has been recognized that a fundamental language of these layered time/space qualities exists in the form of music. In the ancient world this was called the music of the spheres.



In western music theory there are only 12 basic pitches of which all other notes are made. In the well- tempered system of today, these 12 pitches are spaced at regular intervals from each other in the form of a scale of 12 tones. The space between two pitches is called an interval. In figure 6 we see the seven intervals of the octave found in western music. The interval is a kind of space/time between the pitches. It represents a discrete tonal distance (space) from the pitches above it and below it. It also represents a time quality in that a pitch can unite in consonance with another pitch in the tonal space. Then the two pitches can be sounded in the same time and they appear to blend. Or the pitch can be sounded with another pitch with which it is not consonant. Then the two tones sound an interval that appears to be disturbing or "dark" rather than consonant or "light.

To form a key or quality of harmony, seven notes from the 12 basic pitches need to be chosen and played in sequences which describe a seven tone scale plus one more that sounds the octave of the first pitch in the key. That is, the pitches configure into a scale in which some of the pitches are left out and some are included in order to make a key signature. Each different key has a particular sound quality even though it is made up of just the same 12 basic pitches. The final pitch of seven configured pitches is always the octave of the first pitch in the series. This is basic harmonic theory that underlies western music.

In the cosmos there are also 12 pitches in the Zodiac that are configured into seven pitches of a planetary scale. As we have seen earlier in the ideas of Kepler, the octave is sounded when there is an eclipse. All of the rest of the time the music is combinations of pitches from the other planets. The various tones playing into each other create a layered quality in which the intervals between the pitches are in either a consonant or dissonant relationship.

At the time of an eclipse the twelve pitches of the scale (Zodiac) take the configuration of the seven tones of a key (the planetary sphere) plus the new tone that is the fundamental earth tone resounding in a new way. Esoterically the eclipses represent a movement in the world soul that is filled with new potential in the sounding of the octave, as well as the urgency to get the old stuff out of the way.

Astronomically, a line describing 90° of arc longitudinally rays out from the eclipse point to the rising and setting points on the opposite horizons. We have also seen that from Kepler's point of view a whole series of harmonic lines is possible. To gather all of these lines from a new eclipse point would form a field of potentially new pitch configurations in effect creating something similar to a new vernal point or a recapitulation of the space/ time quality of the vernal point. We might say a remembering of the idea of new birth potential found in the Sun's crossing of the spring point is found in each eclipse.

However, applying the total of Kepler's harmonic angles to the eclipse point we can see that this 90° line from the eclipse is not formed in isolation to everything else. It comes with a sounding of a whole series of pitches that are also rayed out east and west from the eclipse point. Some of the pitches are stable like the relationship between the fourth and fifth above the fundamental. These lines according to Kepler are represented by the 90 ° angular aspect and the 120 ° angular aspect. Remember that in this model the circumference of the earth is like a string. If it is fretted at the halfway point, the ratio that arises on the string is 1:2 and the octave sounds. If it is fretted at the ratio of 3:4 the fourth above the fundamental sounds and the angular aspect is 90° of arc is manifest. If the string were fretted at a ratio of 2:3 then the fifth above the fundamental sounds and the angular aspect is the trine or 120°. The fundamental, the 4th,the 5th and the octave lines all are present in the sounding of the octave.



However, if the fundamental, the 4th and the 5th were all that were sounding the weather would be blue skies and sunshine all of the time since these relationships reveal harmonic stability. But as we all know, into every life a little rain must fall and so it is with the cosmos. The 90 ° angular aspect (4th) can create so much tension that it is just begging to be released. In music that release of the tension of the fourth above the fundamental is found in the next pitch above the 4th the pitch of the tritone. The whole series of string lengths that represent the Kepler scale are seen in figure 7 with their ratios. The tritone is a pitch that is found in the middle of the 12 pitches in the octave. On the octave scale it is found between the fourth and the fifth. It represents a kind of release of tension of the fourth but it creates a discordant note when played together either with a fourth or a fifth. The tritone is a tension-producing interval that once was known as the Devil's interval. In Keplerian terms the tritone is the angle of arc of 108°. When sounded against the stable tension of the fourth we can expect a release to be on the way, usually as some form of dissonance. In planetary flux terms look for the emergence of low pressure and a shifting of the tropical jet stream bringing in monsoon energies along this line.
Borrowing two other lines from Kepler we find that the dissonant relationship that exists between the fourth and the tritone is also present in the relationship between the major sixth and the minor sixth. The major sixth is the angular aspect of 144°; it represents a string ratio of 3:5. The minor sixth is the angular aspect of 135°; it represents a string ratio of 5:8. When played together these two pitches beat into each other with a vengeance and in the planetary flux model they are the primary source of high latitude fluctuations of the polar jet. The space between the 108° line on a northern hemisphere planetary flux chart and the 90° line is a place of disturbance in the tropical regions and is known as the tropical front. The space between the 135° line and the 144° line on the planetary flux chart is also a place of disturbance but it is in the polar-regions and is known to climatologists as the polar front. The polar front and the tropical front are the centers of turbulence that are the seed beds of storm production. By watching these areas during the storm season much can be learned about the climate. By watching the polar front and the tropical front in the context of planetary motion and the eclipse grid intimate musical properties can be observed unfolding in vast stretches of the atmosphere. These ideas constitute a contemporary vision of the music of the spheres that can be verified by the satellites and computers of today's scientific establishment.

At this point we can present a rationale for the effectiveness of this method of modeling climate change. The technique of the projection of an eclipse grid onto the Earth allows for a subtle time space geometry to unfold in which motion in arc data carries more value than position of a particular planet. This method is an attempt to model the interaction of the whole field of motion of the solar system all in one time frame. Each motion in arc event alters the subtle balances of the whole field in ways that are not easily predictable since each event contributes a smaller or larger shift in the whole field. If the shift is part of a motion trend towards, for instance, high pressure, then the single motion in arc event may have a traceable causal relationship to the resulting weather pattern. However the same motion in arc event by the same planet happening three hours later may be entering a field condition in which the whole field has shifted from high pressure, and now is into a low- pressure trend. In that case the high-pressure motion in arc event will not find support and the motion in arc event will not enter into a causal relationship with the rest of the field.

Protocols for the evaluation of trends in motion in arc events have been worked out over the years. These technical details are beyond the scope of this article. The formation of the eclipse grid and the accurate tracking of motion in arc events on the eclipse grid is a departure from traditional astrological practices.

However, with such a grid of lines coming from both the solar and lunar eclipse points and their reflex points a rich field of potentials can be precisely and dynamically modeled over broad geographical areas . The grid is stimulated primarily by motion in arc events from other planets that are in close proximity to one of the eclipse lines either at its origin or at its terminal end. In the fluctuation of these planetary motions across the eclipse grid, the sensitive oscillations of the jet stream are often reflected. The complex, symphonic movements of the planets fluxing across this grid of lines can actually come remarkably close to modeling the complex motions and fluctuations of weather systems. In a way the system of motion in arc events is an analog of the stimulus response patterns that lie at the root of climatic patterns. When more complex data from such things as retrograde motion and the harmonic values of particular angular aspects of planets are added to the mix then very interesting insights into hurricane behavior and tracking are made accessible as are drought cycles and long term phenomena such as El Nino .

The goal of this work then, is to form an accurate analog model of climate using the motion in arc sequences of the planets placed on a harmonically tuned grid based on the work of Kepler and oriented to the sidereal placement of eclipse points. It is hoped that the revealed harmonies and cadences will not only satisfy the rigorous requirements of an empirical climate science but that this work can also be a step towards an understanding that the music of the spheres is a contemporary scientific reality worthy of further research.