Stanford Quantum physicist Eddie Oshins: This representation only works for the (more fundamental) 1/2-integral representations (i.e. spinors/turns/quaternions) but also lets one build the vector and tensor representations. The converse does not hold....this property of "noncommutivity" in itself might be valuable in some way. My claim, and original idea, has been that this is circumnavigating a T'ai Chi (Yin/Yang) symbol! More recently (Oshins, 1993b) I have suggested that this proximate technique can be used to realize Wing Chun kung-fu's "bong sau/tan sau" movement out of the Kauffman/Oshins "quaternionic arm" discussed and referenced below in end note 5. I believe that this may be a way to get mind to code the relative relationship of part of oneself with respect to the rest of oneself (self-referential motion) and can explain the concepts of being "centered"/"one"/"integrated"/"extended"/"whole" etc. which one strives for in meditation. Oshins, E. (1993). A Test for Classical Psychospinors. (pdf) In Abdullah, F. (Ed.) Conservation and Invariance. Cambridge, UK: Alternative Natural Philosophy Association, London England.
They are the same [frequency] spectrum but they are not the same chord. There are three types of notes.... The point [zero in space] makes a chord between two notes. When the value of the two eigenfunctions [2, 3, infinity] will be non-zero. ... Musical shape has geometric dimension zero....There is a fine structure in spacetime, exactly as there is a fine structure in spectrals [frequencies]...Our brain is an incredible .... receives moments of space... of the photons we receive and manufactures a mental picture. Which is geometric. But what I am telling you is that I think ...that the fundamental thing is spectral [frequency]....And somehow in order to think we have to do an enormous Fourier Transform...on geometry. By talking about the "music of shapes" is really a fourier transform of shape and the fact that we have to do it in reverse....It is precisely the irrationality of log(3)/ log(2) which is responsible for the noncommutative [complementary opposites as yin/yang] nature of the quotient corresponding to the three places {2, 3,∞}. .it's related to mathematics and related to the fact that there is behind the scene, when I talk about the Dirac Operator, there is a square root, and this square root, when you take a square root there is an ambiguity. And the ambiguity that is there is coming from the spin structure. Alain Connes, 2012
The point being the Western tuning covers up the truth of noncommutative phase at zero point of space. So you say the "root" but maybe don't realize the Perfect Fourth does not have the same "root" since the Perfect Fourth can not be an "overtone" of the fundamental pitch, as frequency/time complementary opposites. So Philolaus lied with his Lyre - stating that 0 to 12 is the root as 1 pitch and so 2/3 is 8/12 with 3/2 frequency and so then how to make the Perfect Fifth plus Perfect Fourth = Octave as we are all incorrectly taught? Take 0 to 8 as the new "root tonic" so that 6/8 is 3/4 wavelength with 4/3 as the frequency so that now as geometric magnitude (not frequency/time) you have 3/2 plus 4/3 = 2 or 8/12 plus 8/6 = 2 with 12 to 6 as the octave. Notice the bait and switch? So then Archytas stated that the 3/2 is the arithmetic mean and 4/3 is the harmonic mean which multiplied = the octave 2 as the geometric mean squared. Which means 9/8 assumed as the starting pitch for Philolaus with the "root tonic" as geometric magnitude NOT as frequency/time. So we all have been lied about and Western math actually originates from the wrong music theory!! haha. You can not state that 2/3 is the Perfect Fifth even though it is - because that would go against Archytas equation of using geometric mean as the octave - to try to line up the Perfect Fifth. But Philolaus called the Perfect Fourth, the "Subcontrary Mean" thereby indicating it's origin from a different root tonic of 0 to 8 of 2/3 as 0 to 12 - and then using 6/8 of this new root tonic of what previously was the 3 of 12 - as a subharmonic. Meaning 3/4 has 8 as the new root tonic with 6/8 as the 3 as the octave with 6 as the 2 as the geometric mean!! All this was covered up by the symmetric math that assumes time is a spatial geometric magnitude measurement! But quantum physics rediscovered time-frequency uncertainty as actually noncommutative phase which is the 5th dimension. Louis de Broglie realized this as the Law of Phase Harmony and Fields Medal math professor Alain Connes realized this as the noncommutative phase of music theory - that he calls a "universal scaling system" with a geometric dimension of zero. So at each zero point of space there is still a "triple spectral" or triple frequency of 2, 3, infinity with the Perfect Fifth as both 2 and 3 frequency at the same time as nonlocal protoconsciousness of the Universe - or noncommutative phase as quantum nonlocality at supposed time zero. This is why Aristotle was against zero as a materialistic negative infinity - and so was Boethius - stating that Philolaus was wrong to keep dividing the octave based on 9/8 - as geometric mean ratios. So 9/8 cubed approximated the tritone as the square root of two. Math professor Luigi Borzacchini published this secret music origin of Western math - that he called "really astonishing" and "shocking" since this music theory origin of WEstern math was covered up, concealed as a "secret of the sect" as he called it. And Borzacchini then states that this wrong music theory created a "deep pre-established disharmony" that is the "evolutive principle" of Western science - secretly guiding it. Philosophy professor Oliver L. Reiser and his collaborator Dr. Andrija Puharich, CIA mind control scientist, realized this as well, calling this secret music theory the "music logarithmic spiral" from Esther Watson's research (daughter of Thomas Watson). Esther corresponded with Einstein about this secret of the subharmonics of the overtones. For example in India this is well recognized - that the overtone of the Perfect Fifth will NOT reaffirm the root tonic but the overtone of the Perfect Fourth will - and so the root tonic actually depends on this inversion of the Perfect Fourth. This is called the "phantom tonic" in Western music theory. http://ecoechoinvasives.blogspot.com/2017/05/my-last-blog-saved-by-ancient-knowledge.html I go over this - in my article on the Devil's Interval and the deep disharmony of Western music tuning. Noncommutative phase is the answer - but it is not even recognized by the supposed Pythagorean tuning of microtonal avant-garde scene. No - mantras are seemingly boring, just as supposed primitive music documented by Dr. Victor Grauer is seemingly repetitive and unsophisticated. In fact the purpose of such music is sonofusion and sonoluminescence - and it is the most advanced technology on the planet. haha. As the early Pythagoreans taught, "one is not a number" and so instead the number 9 is "creative fire" - Plato turned all this around and lied in his Timaeus. The Tetrachord is 8 to 12 or fire into Earth as 9 to 6 or Water into Air - this is alchemical meditation that the Pythagoreans called "incubation" - and in India it was the "three gunas." As the Daoists tuned the scale - each note alternates as 2/3 and 4/3 wavelength of each other - not just a "spiral of fifths" to try to line up with the octave. Rather each note is noncommutative phase with itself - as infinite yin-yang undivided. I go into this with the Ancient Advanced Acoustic Alchemy research - we can LISTEN better - as quantum coherence with subangstrom wavelength - and listening with the eyes closed is right brain dominant so the right side vagus nerve connects to the left brain. But the left side vagus nerve does not connect to the right side of the brain - so left brain dominance for listening doesn't work. Syncopated rhythm switches the timing perception of the left brain, over to the right brain, as music professor Daniel Oore points out in his 2017 Ph.D. thesis on blues music - you can read free online. So the two ears create a triode amplifier that ionizes the neurohormones via deep right side vagus nerve transformation - and stores up energy - to go to the source of light - as Professor Manfred Euler details. Our ears are the equivalent of the Pilot Wave experiment with nonlocal consciousness resonating as the subharmonic of ultrasound, the highest pitch we hear externally resonates the whole brain as ultrasound which then amplifies the collagen of the neurons with 3000 times greater electrical conductance - as quantum nonlocal coherence of the tubulins. We can thus capture virtual photon energy from the future.
Results show that for the most dissonant interval, which has a less periodic stimulus waveform than the most consonant interval, the aperiodicity of the stimulus is intensified in the subcortical response. The decreased periodicity of dissonant intervals is related to a larger number of nonlinearities (i.e., distortion products) in the response spectrum. Our findings suggest that the auditory system transforms the periodicity of dissonant intervals resulting in consonant and dissonant intervals becoming more distinct in the neural code than if they were to be processed by a linear auditory system.Neural Transformation of Dissonant Intervals in the Auditory Brainstem
Quantum approaches to music cognition Peter beim Graben, Reinhard Blutner (Submitted on 20 Dec 2017)
So this approach by Graben and Blutner is WRONG because it's foundation is a visual measurement that is "unobservable" - not realizing that the phase harmony can be HEARD as spin 1/2 quanta that is coherent with the future.
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