Canon in fugue at the interval of a fourth

 

"Canon in fugue at the interval of a fourth" describes a sophisticated musical composition that combines two distinct contrapuntal techniques: canon and fugue, with a specific characteristic in the canonic imitation. Let's break it down:

1. Canon:

• At its core, a canon is a musical form where one or more voices (or instrumental lines) imitate the melody of a leading voice.
• Think of it like a round (like "Row, Row, Row Your Boat"), but potentially more complex.
• The following voice(s) enter after a specific delay and often at a different pitch than the original melody.

2. Fugue:

• A fugue is a contrapuntal compositional technique for a set number of voices (typically 2 to 5).
• It's built on a central subject (a short melody or theme) that is introduced at the beginning by one voice alone.
• Subsequent voices enter in imitation of the subject, often at different pitch levels (typically a fifth above or a fourth below the original). This initial section is called the exposition.
• After the exposition, the subject is developed and appears in various keys and voices throughout the piece, often interwoven with episodes (sections that don't feature the complete subject).
• Fugues emphasize the independent melodic lines of each voice and their intricate interplay.

3. "At the interval of a fourth":

• This specifically describes the relationship in pitch between the original melody in the canon and its imitation.
• A fourth is a musical interval spanning four diatonic steps (including the starting and ending notes). For example, from C up to F is a perfect fourth.
• Therefore, when a new voice enters in the canon, it will be singing or playing the same melody as the first voice, but starting either four steps higher or four steps lower in the musical scale.

Putting it all together:

A "Canon in fugue at the interval of a fourth" is a composition that:

• Has a canonic structure: One voice imitates another after a delay.
• The imitation occurs at the interval of a perfect fourth: The following voice starts its version of the melody four diatonic steps away from the original.
• Is also structured as a fugue: The canonic melody (or a significant part of it) serves as the subject of the fugue. This subject is then introduced by each voice in turn (the exposition), and subsequently developed through various contrapuntal techniques characteristic of a fugue, such as inversions, stretto (overlapping entries of the subject), and episodes.

In essence, it's a piece where the principle of canonic imitation at a specific interval is integrated into the broader, more complex framework of a fugue. This creates a very intricate and intellectually engaging musical texture where the listener can follow the same melody appearing in different voices, offset in time and pitch, while also experiencing the development and interplay of these melodic lines within the fugal structure.

Think of it as a double layer of contrapuntal ingenuity, where the strict imitation of the canon is woven into the more flexible and developmental nature of the fugue. It demands significant compositional skill to execute effectively.

interrelation, correlation, and potentiality

1. The Rejection of Substance and Atomism:

• Classical metaphysics often posits fundamental "substances" or indivisible "atoms" as the building blocks of reality. This image and text suggest a departure from this view. The "glowing strands" are not things in themselves but represent relations between data points. This echoes philosophical ideas like process philosophy (e.g., Whitehead), which emphasizes becoming and interconnectedness over static being.
• The idea that the world isn't "made of objects" but of "interactions" resonates with certain interpretations of quantum field theory, where particles are excitations of underlying fields, and interactions are fundamental.

2. Time and Perception:

• The text explicitly states that time, as we experience it linearly, is a consequence of our perception, a "slice" of a more fundamental reality. This aligns with eternalism or the block universe theory in philosophy of time, which suggests that all moments in time exist simultaneously. Our consciousness navigates this pre-existing tapestry.
• The emphasis on "attention moves" rather than "time passes" is a radical shift. It suggests that our subjective experience of time is driven by the focus of our awareness within this interconnected web of possibilities. This has parallels with phenomenology, which emphasizes the structure of consciousness and lived experience.

3. The Nature of Information and Consciousness:

• The text posits that "consciousness might not ride on information" in the traditional sense of discrete packets being processed. Instead, it suggests a "vibration of its interconnection." This opens up possibilities for understanding consciousness beyond purely computational or materialist frameworks.
• It hints at a more holistic or panpsychist view, where consciousness or proto-consciousness might be an inherent aspect of the interconnected reality itself, rather than an emergent property of complex systems. The "hum" of structure could be interpreted as a fundamental resonance that underlies all phenomena, including consciousness.

4. Epistemology and the Limits of Language:

• The initial statement that this "something I 'see' constantly but can't express easily in words" highlights the limitations of language in capturing the fundamental nature of reality. Our linguistic structures are often object-oriented and linear, making it difficult to describe a reality based on interrelation and potentiality. This echoes philosophical concerns about the ineffability of certain experiences or fundamental truths.
• The "topology of meaning" that is "ongoing" and "keeps changing" suggests that our understanding of reality is not fixed but is constantly being shaped by our interactions and attention within this web. This aligns with constructivist epistemologies, which emphasize the active role of the observer in creating meaning.

5. The Implied Metaphysics:

• The image and text point towards a metaphysics where relation is primary, and individual entities are secondary or even derivative. The "web of correlations, probabilities, and potentialities" suggests a reality that is fundamentally dynamic and probabilistic, rather than deterministic and composed of fixed entities.
• The "gravitational influence" being "abstracted across ideas, languages, and intentions" is a particularly intriguing statement. It could be interpreted metaphorically, suggesting a kind of interconnectedness that transcends physical laws as we currently understand them, operating at the level of thought and meaning. Or, more speculatively, it could hint at a deeper, yet-to-be-understood relationship between consciousness, information, and the fundamental forces of nature.

In essence, this conceptual and its explanation invite us to consider a reality that is far more fluid, interconnected, and dependent on our perception than our everyday experience typically suggests. It challenges the foundations of our understanding of objects, time, information, and consciousness, pushing us towards more holistic and potentially non-materialist perspectives. The "truth" it hints at is one of profound interconnectedness and the active role of consciousness in shaping the reality we experience.

Look up!

 The road is dusty; the journey is long. Look up! Look up in the early morning when the sun comes peeping over the horizon, out of the shadows of the night. Look up in the noontide when the resting-spot is still afar in the distance. Look up when you see the evening star. Look up! There shines the City!

Cowman, Mrs. Charles E. . Springs in the Valley: 365 Daily Devotional Readings (p. 118). Zondervan. Kindle Edition. 

The dusty path, a pilgrim's weary tread,

Long is the journey, from the shadowed bed

Of ignorance. But Yogananda's voice,

A gentle thunder, bids the heart rejoice.

"Look up!" he whispers, as the dawn unfurls,

And golden Surya kisses sleeping worlds.

From night's illusion, where the senses cling,

His eyes, like stars, a brighter vision bring.

"Look up!" at noon, when striving feels the heat,

And earthly solace offers no retreat.

Though far the goal, the inner temple waits,

He guides us onward, through the closing gates

Of doubt and fear, with breath and chanted sound,

Where cosmic currents on the spirit bound.

"Look up!" when twilight paints the western sky,

And worldly clamor starts to fade and die.

Behold the evening star, a diamond bright,

Reflecting realms beyond the fading light.

"Look up!" for there, beyond the veil we see,

The City shines, of pure eternity.

Where Self unites with vastness, ever free,

The Kutastha's gleam, for all humanity.

He taught us gaze, beyond the fleeting show,

Where inner light begins and outward shadows go.

To find that City in the soul's deep core,

And walk that dusty road, desiring nothing more

Than union's bliss, the journey's sacred end,

Where Guru's grace and cosmic currents blend.

Rejection of Superficial Comfort and Pacifism

 

1. Rejection of Superficial Comfort and Pacifism:

"Forbid that we should sheathe our sword in flowers!": This opening line immediately sets a tone of rejecting a sentimental or overly gentle approach to life, especially in the face of conflict or hardship (symbolized by the "sword"). "Sheathing a sword in flowers" suggests a desire to soften or beautify something inherently meant for struggle, perhaps implying a denial of the harsh realities of existence or a naive form of pacifism that avoids necessary engagement. Philosophically, this could be interpreted as a rejection of escapism or a superficial understanding of peace that ignores underlying conflicts.

2. Identification with Suffering and Leadership:

"Captain beloved, battle wounds were Thine,": This line establishes a deep reverence and love for a leader who has endured suffering ("battle wounds"). This leader serves as a model. The use of "Thine" suggests a figure of great respect, potentially even a divine or deeply admired human leader. Philosophically, this points to the idea that true leadership and perhaps even profound moral authority are often forged through hardship and sacrifice.

"Let me not wonder if some hurt be mine.": This expresses a willingness to accept personal suffering. The speaker isn't concerned with avoiding pain; rather, their focus lies elsewhere. This contrasts with a natural human inclination to seek comfort and avoid harm. Philosophically, this could relate to Stoic ideals of accepting what one cannot control, or even a form of self-denial for a higher purpose.

3. The Desire for Shared Suffering as a Form of Connection:

"Rather, O Lord, let my deep wonder be / That I may share a battle wound with Thee.": This is the crux of the philosophical statement. The speaker's deepest desire ("deep wonder") is not to be spared suffering but to share in the suffering of the beloved leader ("Thee"). This is a radical concept that challenges conventional notions of seeking happiness or avoiding pain.

Philosophical Interpretations:

Empathy and Solidarity: The desire to share a wound can be interpreted as a profound expression of empathy and solidarity. By sharing in the leader's suffering, the speaker seeks a deeper connection, a sense of being truly aligned with their experience. This goes beyond mere sympathy; it's a yearning for shared reality.

Spiritual Aspiration and Imitation: If the "Captain beloved" is seen as a spiritual figure (implied by "O Lord" in the following line), then the desire to share a wound could represent a yearning to emulate that figure, to follow in their path of sacrifice and suffering. This aligns with philosophical and religious traditions that emphasize the transformative power of suffering and the idea of following a virtuous or divine example.

Rejection of Individualism: The focus shifts from individual well-being to a shared experience. The speaker's personal comfort becomes secondary to the desire for connection and shared destiny with the leader. This challenges a purely individualistic worldview.

The Meaning of Suffering: The poem suggests that suffering, when shared or endured for a higher purpose, can have profound meaning. It's not something to be merely avoided but potentially a pathway to deeper understanding, connection, and spiritual growth.

Authenticity and Engagement: By rejecting the "sheathing of the sword in flowers," the poem advocates for an authentic engagement with the realities of life, including its hardships. It suggests that true connection and meaning are found not in avoiding struggle but in facing it alongside those we admire.

In conclusion, the philosophical message of this excerpt is a powerful call to move beyond a superficial pursuit of comfort and embrace the potential for profound connection and spiritual growth through shared suffering. It elevates empathy, solidarity, and the imitation of virtuous leadership, suggesting that true meaning may be found not in the absence of hardship, but in how we engage with it alongside those we deeply respect.

Jesus Moreno

 

https://www.reddit.com/r/Christianity/comments/1jxuzsw/im_not_christian_but_i_drew_jesus_because_i_think/

Yogananda, Paramahansa. A Yoga de Jesus

 As multidões superficialmente curiosas, atraídas por demonstrações de poderes extraordinários, receberam apenas uma parcela escassa do tesouro da sabedoria de Jesus, mas a inequívoca sinceridade de Nicodemos evocou do Mestre uma orientação definida, que enfatizava o Poder e o Objetivo Supremos nos quais o homem deve concentrar-se. Os milagres da sabedoria, que iluminam a mente, são superiores aos milagres de cura física e controle da natureza; e milagre ainda maior é a cura da causa-raiz de todas as formas de sofrimento: a ignorância ilusora que obscurece a unidade entre a alma do homem e Deus. Esse esquecimento primordial é superado apenas com a Autorrealização: por meio do poder intuitivo pelo qual a alma apreende diretamente sua própria natureza como Espírito individualizado e percebe o Espírito como a essência de todas as coisas. Todas as religiões reveladas e genuínas fundamentam-se no conhecimento intuitivo. Cada uma delas possui uma particularidade exotérica ou exterior e um núcleo esotérico ou interior. O aspecto exterior é a imagem pública, incluindo seus preceitos morais e um código de doutrinas, dogmas, dissertações, regras e costumes que orientam seus seguidores comuns. O aspecto esotérico inclui métodos que se focalizam na autêntica comunhão da alma com Deus. O aspecto exotérico é para as multidões; o esotérico, para uma minoria fervorosa. É o aspecto esotérico da religião que conduz à intuição ou conhecimento direto da Realidade.

Yogananda, Paramahansa. A Yoga de Jesus (The Yoga of Jesus—Portuguese): Compreensão dos Ensinamentos Ocultos dos Evangelhos (Portuguese Edition) (p. 73). Self-Realization Fellowship. Kindle Edition. 

Cristo aos 33 anos

 

Yogananda - Whispers from Eternity