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The Sun is coming…Look busy !

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Super flares of 2013

BREAKING NEWS I have just updated this blog, since NASA has just announced a huge solar flare explosion due next week ( Feb 21-28th 2013). This flare is 6 times the size of the earth. It was just discovered a mere 48 hours ago.So this is a timely blog if I do say so. Here is the press release:

NASA: A colossal sunspot on the surface of the sun is large enough to swallow six Earths whole, and could trigger solar flares this week, NASA scientists say.
The giant sunspot was captured on camera by NASA’s Solar Dynamics Observatory as it swelled to enormous proportions over the 48 hours spanning Tuesday and Wednesday (Feb. 19 and 20). SDO is one of several spacecraft that constantly monitor the sun’s space weather environment.
“It has grown to over six Earth diameters across, but its full extent is hard to judge since the spot lies on a sphere, not a flat disk,” wrote NASA spokeswoman Karen Fox, of the agency’s Goddard Space Flight Center in Greenbelt, Md., in an image description.

Here we go again ! As if meteors slamming into earth were not enough to make one feel they had been tele-ported into a 1950’s era SciFi Movie.The CME’s are coming says NASA. CME is short for what they call a Coronal mass eruption and it pays to take notice of this term.You will see why as you read through this blog post. We may not have a choice as to what is being served by the speckled waiter in the sky, Monsuer Soleil AKA the sun. You see, the sun is throwing hissy fits lately, producing large eruptions of energy called solar flares. Can they kill you? Not in the way you would think.There is little chance of people burning up as has been portrayed in a number of sci fi movies. But there have been such occurrences in the past and they have knocked out whatever technologies Man has invented.And 2013 may well be a year to remember as far as the cosmos being the noisy neighbor from above.

Solar flares are no stranger to our planet, nor to civilization. Legends, myths and fables are littered with stories of stones, strange light, objects from the sky falling with no explanation. But is there any evidence to support the idea that Solar Flares have impacted our environs? In short, yes. The rather new and exciting developments of some archo- climatologists are shedding sunshine on the strange history of solar flares….I have borrowed some notes from various sources to illuminate the gentle reader. And as the saying goes, nothing new under the sun….

First things first. Science cannot predict many meteors.They simply do not have the technologies able to spot meteors like the one that hit the Ural mountains of Russia.Nor could science predict the other meteors witness over San Franciso and Cuba last week. Science even got lucky finding the asteroid that came close to us days ago.And CME’s are just as tricky to predict.The one coming looks enormous, so maybe a quick study of historic solar flares is in order.We will start with a CME I witnessed in Paris in 2000. I was staying at the Bastille hotel. Actually, I did not witness it, since it was invisible, and frankly, I did not notice it as it occurred.But it happened and more of the same seems to be on the way….

2000: The Bastille Day EventThe Bastille Day event takes its name from the French national holiday since it occurred the same day on July 14, 2000. This was a major solar eruption that registered an X5 on the scale of solar flares.
The Bastille. I remember dining late that night,ala fresco, oblivious to the flare..enjoying a glass of nice wine, like everyone else in Paris that balmy evening…

But the mysteries of the sun date back to the beginnings of our world,and are deeply ingrained in the human experience.

Since the beginning of human existence, civilizations have established religious beliefs that involved the Sun’s significance to some extent or other. As new civilizations developed many spiritual beliefs were based on those from the past so that there has been an evolution of the sun’s significance throughout cultural development. Even as late as the 17th century the development of tarot cards for fortune telling included a card that represents the Sun’s influence on the life of man.

If we look closely into history, we see that the religious beliefs of the very first civilization, the Sumerians,were consumed by the movement and expression of the sun…A land of blazing hot summers and precious little shade,Sumer was the “Hell’s kitchen” of the Middle East. While the Sumerian’s Sun god wasn’t the most powerful deity in their culture it initiated the development of future Sun worship. Over the centuries the Sumerian Sun god’s influence grew while other god’s influence diminished.

By the time the Egyptian civilization was at its peak, the Sun god had reached a supreme position. However, Sun worship reached its height and most involved form with the Aztec, Maya, and Inca civilizations of South America. The Inca culture was totally based on worship of the Sun.And by the 16th century, the gleaming armor of arriving colonialists in the 16th century surely caused the native peoples to tremble and deify the conquistadors..

Something big happened in the year A.D. 774.

Scientists studying tree rings found a sharp increase in the amount of radioactive carbon-14 recorded in the rings of ancient Japanese cedar trees between 774 and 775. Carbon-14 can be created by cosmic ray particles arriving from space, but what causes such cosmic ray increases?

At first, experts were at a loss to explain the event, and the team that unearthed the tree ring data last year dismissed the sun as a possible explanation.

Now a new team of scientists argues that a solar flare is the most likely culprit.

Blast from the sun

The sun could have released a huge and powerful blast of plasma into space called a coronal mass ejection, which, when it hit Earth, could have sparked the creation of carbon-14, suggest astrophysicists Adrian Melott of the University of Kansas and Brian Thomas of Washburn University, also in Kansas, in a paper published the Nov. 29 issue of the journal Nature.

Carbon-14 is a variant of the normal form of carbon (carbon-12) that is common on Earth and throughout the universe. When cosmic ray particles hit Earth’s atmosphere, they can produce showers of particles such as neutrons. Some of these neutrons, in turn, hit the nitrogen nuclei that are rife in the atmosphere, and a chemical reaction occurs that transforms the nitrogen into carbon-14.

This carbon variant is unstable and decays with a half-life of about 5,730 years (meaning half of any amount of carbon-14 will be gone in that time). For this reason, it’s a useful date marker: A tree, for example, will stop absorbing carbon once it dies, so the amount of carbon-14 left in it is a reliable indicator of how old it is.

It had been widely known that a jump in carbon-14 occurred in the eighth century, but researchers first pinpointed this rise and fall on a year-to-year basis by looking at tree rings in a paper by Fusa Miyake of Japan’s Nagoya University and colleagues, published in the June 14 2012 issue of Nature.

“They found that whatever made that carbon-14 bump happened really fast, and took less than one year, which called out for some really major, powerful event,” Melott told SPACE.com.

The Japanese researchers considered that it might be a solar flare, but calculated that it would have had to have been thousands of times more powerful than the greatest one ever known, which made such a scenario unlikely.

Now, in a new calculation, Melott and Thomas say a solar flare is a reasonable explanation.

“Their mistake was, they assumed that the energy shot out by the sun in one of these coronal mass ejections goes out in all directions, like the light from a light bulb, but in fact it’s kind of shot out in blobs,” Melott said. In other words, there was a staggered emission of CME, which, in my view must change the very way in which we view such events.

That adjustment meant that a solar flare need have been only about 10 or 20 times more powerful than the greatest flare on record, the so-called Carrington event of 1859. You will find the events of 1859 amazing, in that the event was at first heralded as a spectator event, and later feared as the extent of damage was calculated. Could such an event, in 2013, cause dreaded grid failure? You decide. And now for the BIG EVENT….

Carrington Super Flare

From August 28, 1859, until September 2, numerous sunspots and solar flares were observed on the sun. Just before noon on September 1, the British astronomer Richard Carrington observed the largest flare, which caused a major coronal mass ejection (CME) to travel directly toward Earth, taking 17.6 hours. Such a journey normally takes three to four days. This second CME moved so quickly because the first one had cleared the way of the ambient solar wind plasma.

On September 1, 1859, Carrington and Richard Hodgson, another English amateur astronomer, independently made the first observations of a solar flare. Because of a simultaneous “crochet”observed in the Kew Observatory magnetometer record by Balfour Stewart and a geomagnetic storm observed the following day, Carrington suspected a solar-terrestrial connection. Worldwide reports on the effects of the geomagnetic storm of 1859 were compiled and published by Elias Loomis which support the observations of Carrington and Balfour Stewart.

On September 1–2, 1859, the largest recorded geomagnetic storm occurred. Aurorae were seen around the world, even over the Caribbean; those over the Rocky Mountains were so bright that their glow awoke gold miners, who began preparing breakfast because they thought it was morning. People who happened to be awake in the northeastern US could read a newspaper by the aurora’s light.

Telegraph systems all over Europe and North America failed, in some cases shocking telegraph operatorsTelegraph pylons threw sparks and telegraph paper spontaneously caught fire.Some telegraph systems continued to send and receive messages despite having been disconnected from their power supplies.

On September 3, 1859, the Baltimore American and Commercial Advertiser reported, “Those who happened to be out late on Thursday night had an opportunity of witnessing another magnificent display of the auroral lights. The phenomenon was very similar to the display on Sunday night, though at times the light was, if possible, more brilliant, and the prismatic hues more varied and gorgeous. The light appeared to cover the whole firmament, apparently like a luminous cloud, through which the stars of the larger magnitude indistinctly shone. The light was greater than that of the moon at its full, but had an indescribable softness and delicacy that seemed to envelop everything upon which it rested. Between 12 and 1 o’clock, when the display was at its full brilliancy, the quiet streets of the city resting under this strange light, presented a beautiful as well as singular appearance.” rather poetic imagery. They politely forgot to mention the telegraph operators that were burned alive.

Similar events

American’s , as in Meso Americans also have their solar legends. Rock art designs in the Americas are often identical to those in locations around the world. Does this suggest ancient peoples were in direct contact with one another or could there be another explanation? Physicist Anthony Peratt has a bold new theory that argues the similarities are not based on contact but the result of witnessing and recording the same high energy auroral activity taking place in the sky. These auroras were the result of a massive solar flare which was intense enough to not only produce designs in the sky but also to literally cause bodies of water to boil. Native American legends appear to record just such an event sometime in the past. Is this also the origin of the Mesoamerican and Hopi belief in a series of world ages called Suns that each ended in massive destruction of human civilization? Could the “jealous sun” as sting calls it, bring a road raged Apollo and his chariot crashing down to earth, ready to mess with our connectivity? My son, his Ipad, and the rest of our friend and family hope not…….

My guess is that 2013 will be one for the record books and if anything, these challenges with birth new technologies. After all, we invented sun screen Right? Thomas Schoenberger

Could Da Vinci Have “Coded” His Later Paintings? By Thomas Schoenberger

I may have stumbled upon something new, something overlooked, and something that could rewrite the history books on Da Vinci. Could his greatest riddles lie right before our eyes?

Hair is water. At least it was to Leonardo. The riveting,and cascading, often turbulent hair noted in the subjects of his greatest paintings, Mona Lisa, John the Baptist, the Virgin, the Last Supper, all seem to draw the attention of the admirer in the most intriguing way. But what exactly did the artist think?Leonardo was fascinated by turbulent motion. Vortex motion was especially powerful, since a vortex speeds up towards its center Using meticulous observation and intricate theory, he created compelling images of water in spiral motion. It reminded him, typically, of the curling of hair. Therein could lie a key in solving what I believe is a mystery hidden on history’s front porch, overlooked by every major art scholar since the 17th century, a secret that could reveal a slew of messages Leonardo hoped one day we would find. Messages that speak to his fear that water remains our greatest challenge. As I write this, I am reminded that the mid section of the US suffered a drought in 2012 that destroyed 68% of our corn and wheat, or thereabouts .That we have suffered the increasing ravages of “Super Storms”. Storms that threaten entire counties, entire states, and the cities where our founding fathers once planned a revolution.

Some of my thoughts since the advent of these spectacular hurricanes, tsunami’s and super storms once again center around Leonardo Da Vinci and his obsession with water and its endless mysteries. Da Vinci was also obsessed with meteor’s, light and shadow,and weapons, but above all, water fascinated him……
Before I begin, I want to calibrate my gentle readers to the marrow of my argument. That Da Vinci was able to extrapolate the flood(s) he saw in his lifetime, to a larger argument that, as Florence goes, so goes the world. Da Vinci’s codex’s are an area of great interest for me. I have studied them for decades. In light of recent meteorological events, they lead me to conclusions that I hope others may now ponder.In short, I believe that behind many of Da Vinci’s greatest paintings lie a host of hidden markings, clues and riddles,meant to be discovered only after his passing and only when the technologies of the day can meet the challenge. I believe that upon extensive examination through x rays, we may be able to expose the secrets Leonardo hid underneath his masterpieces. As a composer who frequently uses hidden and arcane messages in my own music, I have a great appreciation for how Da Vinci chose to express his muse. I have written music inspired by the astonishment I have felt watching Mother Nature throw overwhelming tantrums. http://music.thomasschoenberger.com/track/mayhem. We all have seen, or felt Mother Nature’s fury.

Now if a master polymath such as Da Vinci, a student of autonomy, mathamatics, engineering and vibration, applied all these disiplines into his later paintings, could he have viewed the canvas as a foundational bone structure, a skeleton as it were, and hence viewed the finished surface of the paintings as their flesh? Following this thought, it might inidicate that Da Vinci would have put a score of messages underneath the pigment, as flesh itself covers sinew, muscle and blood. If this is found out to be the case, then we will have to look at the paintings in a whole new context. We should also look at some of his famous codex’s for clues.

The website http://www.vam.ac.uk/content/articles/f/forster-codices-leonardo-da-vinci-notebooks/ contains a simple yet accurate accounting of the Forster Codices: The abbreviated information below is a good start for amateur Da Vinci sleuths:

Leonardo was just 14 when the river Arno overflowed its banks, sending rivets of death and destruction upon the city state of Florence. The scene must have been crazy ! Young Leonardo, a talented boy who was being schooled in art at the time, was probably tramatized, if his later writings are any indication. I have studied these codex’s for many years and have reached conclusions, about what Da Vinci may have seen..and they point to many different scenario’s , including massive floods, a meteor storm that causes havoc soon,and even new weapons not yet developed,,,more on that this summer when I come up with a new paper on Da Vinci and his riddles.. What is a codex?

A codex is a bound book made up of separate pages. It developed in late Roman times and replaced the scroll as the preferred way of keeping texts. Codices were originally hand-written, though they began to be printed from the mid-15th century. Some texts, including personal memoranda and writings such as notebooks, continued to be written by hand. Of particular interest to me is the so called Forster Codices.

The Forster Codices were part of the library of John Forster (1812–76), bequeathed to the V&A on his death as a gesture of support for its educational mission. The Codices are made up of five of Leonardo da Vinci’s notebooks, bound into three volumes.

It is not known when the notebooks were bound together in this way. They may have been brought together and bound in Spain while they were owned by the Spanish sculptor Pompeo Leoni (1533–1608). Leonardo may have compiled the notebooks when they were unbound or in wrappers of some kind. The notebooks are not bound in any logical fashion and only one carries any indication of when it was made (Codex Forster I1).

The notebooks

The notebooks are written in Leonardo’s famous ‘mirror-writing’. This writing has given rise to much speculation. Was he trying to ensure that only he could read his notes? He was left-handed and probably found it easier to write from right to left. Writing masters of the period were liable to make demonstrations of mirror-writing, so that it may not have seemed as strange as it does today. The letter-shapes are in fact very ordinary: Leonardo used the kind of script that his father, a notary, would have used. Once the eye has become accustomed to the scripts of the period, it soon learns to decipher the mirror-writing Leonardo used.

The paper for the notebooks was probably bought at one of the many stationers’ shops in Milan. Leonardo either bought full-size sheets and folded them to make booklets, or bought the booklets ready-made. The ink probably came from the same source.

Codex Forster I2 (Milan, about 1487–90)
The earliest of the V&A’s notebooks was compiled around 1487–90 when Leonardo was a servant of the Sforza duke in Milan. It contains notes and diagrams for devices relating to hydraulic engineering and on the moving and raising of water. Some of the ideas recorded investigate perpetual motion. The writing on a few sheets of this notebook extend beyond the gutter which indicates that Leonardo wrote them before the sheets were folded into the booklet as it survives today.

Codex Forster III (Milan, about 1490–93)
This is the most miscellaneous of the notebooks. Interspersed with notes on geometry, weights and hydraulics are sketches of a horse’s legs, perhaps connected with Leonardo’s work on an equestrian statue for the founder of the Sforza dynasty, drawings of hats and cloths that may have been ideas for costumes at balls, and an account of the anatomy of the human head.

Codex Forster II1 (Milan, about 1495)
This notebook was compiled around 1495. It contains notes on the theory of proportions and mentions the work of Leonardo’s colleague in Milan, a famous mathematician named Luca Paccioli (died about 1514). It also contains a good deal of miscellaneous material: bells and a striking mechanism, a portrait of the General of the Franciscan Order, Francesco Nanni-Samson, and a passage discussing the postures of a group at a table, possibly relating to Leonardo’s work on the Last Supper fresco in Santa Maria delle Grazie in Milan, begun in about 1495.

Codex Forster II2 (Milan, 1495–97)
Made up between about 1495 and 1497, Codex Forster II2 has extensive notes on the theory of weights, traction, stresses and balances. It also contains an examination of a crossbow (a terrifying weapon outlawed on several occasions by the Papacy), and a remark ridiculing those who thought perpetual motion possible.

Codex Forster I1 (Florence, 1505)
A note in Leonardo’s own hand gives this notebook a title, ‘Libro titolato de strasformatione’, and dates it July 1505. This shows that it was begun when he was in Florence, just after he had undertaken to produce his famous ‘Battle of Anghiari’ mural in the Palazzo della Signoria, the centre of the city’s government. The notes consider the measurement of solid bodies and the problems of relating changes in shape to those of volume, a branch of mathematics known today as topology.

I am keenly interested in Paccioli, not because he was considered the father of accounting ( he invented double digit entry) but because he seems to have been at least someone that Leonardo knew and trusted, but also a person who shows up in the codexes by no accident, or so I assume. I have been busy studying a most interesting book by Paccioli, one that delves into magic and math. Wiki describes the mystery book here:
De viribus quantitatis (Ms. Università degli Studi di Bologna, 1496–1508), a treatise on mathematics and magic. Written between 1496 and 1508 it contains the first reference to card tricks as well as guidance on how to juggle, eat fire and make coins dance. It is the first work to note that Leonardo was left-handed. De viribus quantitatis is divided into three sections: mathematical problems, puzzles and tricks, and a collection of proverbs and verses.

The book has been described as the “foundation of modern magic and numerical puzzles”, but it was never published and sat in the archives of the University of Bologna, seen only by a small number of scholars since the Middle Ages. The book was rediscovered after David Singmaster, a mathematician, came across a reference to it in a 19th-century manuscript. An English translation was published for the first time in 2007 .So there you have it, a book written by Leonardo’s friend and fellow researcher, living in Milan, sharing in Leonardo’s secrets, obsessed with mathematics and alchemaic matters, a fellow genius who happened to be both neighbor and colleague … More on all this later gentle readers……..Any good blog , if it is to be read, must reveal its secrets a hint at a time..If this little blog can open up the mysteries of one of the greatest geniuses of all time, then it shall remain modest in both it’s temperament and it’s tempo….lest it overwhelm the reader.
Thomas Schoenberger

Albrecht Durer – Child Genius

Albrecht Durer’s first known work, drawn as a silverpoint, when he was just 13 years old. A beautiful achievement of child genius. Some people are born into greatness or find it at an early age.

In composing my “Music for Infants” series, I strove to create a musical backdrop that could help foster an environment that would compel infants to imagine, and think, and develop their natural skills in mathematics, perception, and sense.

It’s my belief that there is genius in all of us, waiting to flower and take root.

My life’s work as a composer is to urge the youngest minds on the planet to prepare to meet and beat, or at least emulate. the great geniuses of prior centuries. In keeping with the themes of genius, perspective, nuance and polyphonic melodies that promote learning, please listen to a fugal melody I composed in honor of Durer’s brilliance. The piece is based on one of his mathematical equations.

By the age of thirty, Dürer had completed or begun three of his most famous series of woodcuts on religious subjects: The Apocalypse (1498), the Large Woodcut Passion cycle (ca. 1497–1500), and the Life of the Virgin (begun 1500). Durer, a blue chip genius of history

Thomas Schoenberger

Thomas Schoenberger Composing Soundtracks to History’s Greatest Works of Art -Recently discovered Leonardo Da Vinci

In composing music for my newest work entitled Heaven, I turned my attention to whispers of a “lost” Leonardo Da Vinci masterpiece “Salvator Mundi’ otherwise known as the “Savior or the World”. Here is the first track of the Heaven album “A Lost Love Shall Return”. When I actually saw an image of the painting, I knew it was indeed Da Vinci circa 1513. Why? Because all the clues were there. We know he painted the piece, and the watery flowing ringlet nature of the figure’s hair is also a dead give away. Beyond that, the globe in his hand, an orbitas opulus was, according to my research, a prop that Leonardo himself actually owned. The painting did not appear until 1649, well after Leonardo has passed away(1519) and the provenance showed it was owned by a king who coveted it. I felt that this was the lost Salvator Mundi I had heard of over the years, from both art and art historian circles. I immediately set out to explore everything I could about the painting and the research team investigating its authenticity. I was delighted to discover the seminal investigative work of Robert Simon, who’s careful research into the painting’s manner provenance and pedigree was both terribly astute and prudent. Mr Simon is a true visionary, a man that I suspect Da Vinci would have enjoyed the company of. Then I composed the piece of music for the work, A Lost Love Shall Return, as part of my Heaven series. I have posted both the image, the research and my composition, so the viewer may listen to the music while gazing at the painting (high resolution image) and be transfixed as Leonardo intended. Thomas Schoenberger

How those TSA Strip Search Machines Could Unlock a Real Life Da Vinci Code

TSA is Removing Those Pesky Strip Scanners – from CNN

This week, the TSA announced it is ending its contract with Rapiscan “due to its inability to deploy non-imaging ATR software.” The Automated Target Recognition (ATR) software has been opposed by privacy groups since their introduction years back. In short, people do not like to be stripped searched naked in public,even virtually, hence these “backscatter” machines were reviled by some, and viewed suspiciously by the rest of us.The TSA will remove all 174 backscatter scanners from the 30 airports they’re used in now. Another 76 are in storage. It has 669 of the millimeter wave machines it is keeping, plus options for 60 more, TSA spokesman David Castelveter said.

The need to keep us safe from would be terrorists carrying either plastic or metalic weapons is seemingly outweighed by the need to keep these virtual strip search machines at bay. But what happens to these machines and how can they be utilized in new and surprising ways? The art world would be a strong possibility I think. I strongly suggest that the company L3 consider making arrangements with museums worldwide, with the intent of using these machines in a non invasive manner, on non living things, paintings.http://video.answers.com/row-over-lost-da-vinci-painting-517236409 In Europe alone, researchers have be stunned by how technology is revealing secrets hidden for centuries, paintings that, on the surface seem to be what they say the are, but in fact are hiding a treasure trove of information not seen by the naked eye.

Case in point: the recent discovery of sketches one of Da Vinci’s greatest paintings, a discovery that shocked the Louvre. Now researchers have also shocked the world by finding yet more symbols, hidden in some of the most important artwork in human history. How easy it would be to use these amazing machines in the archives of the many museums that strive to unlock the mysteries of thousands of paintings thought to contain all manner of secrets. Now that a real life Da Vinci code quest has been called off because of “invasive technique concerns” perhaps the incorporation of these scanners into archival settings will bring forth a wealth of information that these artworks seem to be slowly revealing., mysteries hidden for centuries, unknown knowledge told to canvas by artist, and hidden by pigment only to be revealed countless years later. There is your Da Vinci code, your Caravaggio code, your Bellini code, your skeleton key to history…And perhaps a better use for those Orwellian TSA machines would be in unlocking the countless riddles hidden by those amazing artists of the Italian renaissance. The journey could start here at the famed Uffizi gallery. Log on to www.uffizi.org for a wonderful stroll down history’s corridors.

Da Vinci and the Mysterious Singing Moon: Listen to an Actual Da Vinci Composition! Must See VlogBlog2013 by Thomas Schoenberger

In keeping with this year’s pledge to reveal to my gentle readers little known facts of towering geniuses ( Da Vinci, Frankin, Mozart, Lincoln, etc), I now want to show you a musical composition by Da Vinci. You did not know Da Vinci was a musician? He was – and a a superb one at that. How much of his music, like his paintings remain lost, hidden. Hopefully, more of it will appear in time. It is said that Leonardo was easily the most intelligent human being who ever lived. Who knows. He was easily the most famous genius who walked the earth. Here is a sample of a short piece of music he composed around 1500.

httpv://www.youtube.com/watch?v=8BxwsKtRdFs

If the above video clip doesn’t play, please see http://www.youtube.com/watch?v=8BxwsKtRdFs.

I also urge readers to listen to my singing moon composition herein one of my albums for infants. The idea of creating a polyphonic piece of music a la singing moon ( harvest moon) was the conclusion of an experiment, to see if I could merge a number of melodies at once, and reverse the melody onto itself, as Da Vinci achieved in his famous mirror writings.Thomas Schoenberger

The poet ranks far below the painter in the representation of visible things, and far below the musician in that of invisible things.
Leonardo da Vinci

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