Mike Corey

They can only be ellipses that account for all of the anomalies of the,

the retrograde motions of Mars and even Jupiter has its own retrograde every 20 years.

Mars is like every 687 days.

And he's like, these retrogrades, when it appears as though the planet moves back for like two weeks, Mars, and then back into its natural cycle to do it all over again 687 days later at a slightly different place, according to the backdrop of the fixed stars or the zodiac.

The only way to account for that properly would be if we imagine that ellipses are what are shaping the behavior of those planetary orbits and not the popular dogma, which was circles.

Circles don't work.

Because that forces you then to create epicycles and circles on top of circles to account for these weird little things, which you could, again, angels arguing on a pinhead of a needle, you could have all sorts of infinite theories that appear to be a debate.

So again, the idea of harmonics for me and the Nine Muses is that in a harmony, just like Plato gets across in the Philebus dialogue on how do we judge right and wrong and good and evil?

Do we use pleasure and pain as our standard or do we have a better standard that is not simply pleasure and pain?

He looks at the example of harmony and vowels and consonants.

And so you have the idea of that within an infinite spectrum of sound, there are certain quantized moments

that we can consider to be harmonious as consonants, which then Plato takes even further in the Timaeus dialogue, that each of those consonants are generated by certain shapes that are discoverable, like the square to the triangle, and how the square will generate a certain ratio if you inscribe it within a circle of the same circumference to another circle that has a triangle within it.

it all ties into it.

But yeah, in the case of the square, you would create within one half and one.

So if you have like an octave, an octave is just half the string to the whole string, right?

Or half the circle to the whole circle.

And then if you put a square in there, then you get three fourths as sound.

So you could hear the sound of what that three fourths would be to the one fourth or to the half.

And then you could do the same for the triangle that has two thirds to one third.

And then here, how does that sound in tandem with the