Filozoficzno-matematyczne inspiracje średniowiecznej wizji „śpiewającego kosmosu”

Abstract

Cosmos, though always aroused amazement, was originally somewhat tamed by mythological and then logocentric reflection of man. Before the modem, physico-cosmological discoveries a man used to perceive cosmic phenomena differently than we do. Undoubtedly, the Neolithic and the Bronze Age man saw in celestial phenomena the emanation of religious imagery and fears, and was seen also by later generations as the arena sky supernatural phenomena and divine action. It was not until the Greeks that they began to look at the world not through the prism of religious mythical stories, but through the prism of logos - the rational and sincere reflection on the cause and principle of the universe. Looked up to heaven, not only with pious fear, but rather, to the delight of the perceived harmony and beauty to indicate the rules and order, which directs them. For the Pythagoreans, a manifestation of harmony in the universe was the music. It was music that in the entire universe, “harmonizes opposite and unite multiple things“ The appearance of a permanent relationship with the number of tones of musical sounds was the knowledge and understanding of determining the proportion of these numbers. Hence, the theory and the belief that celestial bodies orbiting around the center of the world, by their regular motion produce sound, the sound that must be harmonious by nature. If the heavenly bodies describe the circles by the number and harmony, they create the most beautiful-sounding tones, creating celestial music of the spheres. These intuitions in the Middle Ages took Augustine and Boethius, and has Dante through poetic verses in his Divine Comedy. And although the medieval cosmological model - the cathedral o f the universe - delightens and still impresses, but it has one, but rather a serious defect, from the physico-cosmological point of view this is a false model. Along with the discoveries of modem science space has become a dark, cold, empty, and above all relative.