The Secret of the Greek Miracle: An Analysis of the Harmonics in
Archytas' Doubling of the Cube
by Drew Hempel, MA
Wherein I present a hitherto unknown harmonic solution to Archytas
discovery of the continuum, the basis for the Greek Miracle.
Professor K Saito in his essay "Doubling the cube : a new
interpretation of its significance for early Greek geometry", Historia
Math. 22 (2) (1995), 119-137 notes that "Strangely enough, in contrast
to the abundance of solutions for inserting two mean proportionals, we
have little testimony on how Hippocrates' reduction was proved in
antiquity." Saito establishes that the usual proof presented for
doubling the cube ( i.e. WR Knorr) is not accurate since the technique
used was actually a process Saito calls "reduction to linear ratio."
Saito warns against the usual projection of modern mathematics onto
Archytas' proof: "At any rate, one should be wary of invoking the use
of the multiplicate and compound ratios in reconstructing early Greek
geometry, since these methods appeared to have been developed later
and are not directly supported by pre-Euclidean documentary evidence."
The proofs given for doubling the cube have thus far relied on
techniques that leave out the connection between the continued
fraction of Hippocrates and the multiplication of ratios as magnitude,
discovered by Eudoxus and used by Archytas. For example
Professor Barnabas B. Hughes in his essay "Hippocrates and Archytas
Double the Cube," The College Mathematics Journal, 1989:
"Unfortunately, Hippocrates did not say how the two mean proportionals
were to be found." Even Saito, while giving the geometric foundation
for Hippocrates' continued proportion proof, does not elaborate on how
the continued proportion, A:X::X:Y::Y:2A was then used algebraically
for doubling the cube. This later technique of continuum, based on
dynamics, is nothing less than the "Greek Miracle" itself, yet there
remains a vital missing link. As math Professor Luigi Borzacchini notes on the Historia Matematica listserve:
"In other words when music theory paved the road toward the discovery
of incommensurability the idea of geometric magnitude was too clumsy to
develop and even to understand such discovery, and it was exactly the
possibility of the
geometric drawing of a not-existent music interval to foster the
development of the Aristotelean continuity." (that's his unedited
Italian to English comment from "Music and Incommensurability", Luigi
Borzacchini, Wed, 18 Aug 1999).
Professor Borzacchini introduced online his research on music and
incommensurability, what he called the possible "secret of the sect."
There followed a very engaged discussion of this issue, including David
Fowler, author of The Mathematics of Plato's Academy, with one
mathematician, Robert Tragesser, noting that Karl Popper starts a book
by emphasizing the central role of music in the discovery of
incommensurability. To understand the importance of this music
"vanishing mediator" for science we should consider that, in contrast
to the relatively modern dynamic continuum relying on irrational magnitude, the
use of infinitesimals, for calculus, has been traced by Professor
Abraham Seidenberg back to 1800 BC, in Egypt, India, Babylon and China.
(A. Seidenberg, "On the Volume of a Sphere," Archive for History of
Exact Sciences, 1988, published posthumously). Professor Saito, in a
follow-up analysis, goes so far as to debunk the mainstream
interpretation of pre-Eudoxan analysis of proportions in
his "Phantom Theories of pre-Eudoxean Proportion," Science in Context
(2003). In other words Heath and all the other science commentaries
on Euclid are wrong. Saito states: "Heath's...position could be more
consistent if he extended this argument to the whole of Books V and
VI. In fact, these books can be better understood as description and
justification of techniques in geometry concerning proportion, not as
presentation of theorems about ratio and proportion in the abstract."
But it is recognized that the main technique used for the "reduction
to linear ratio" proof was the use of music ratios yet the details has
thus far been ignored, although Professor Luigi Borzacchini raised the
issue and he responded, by mail, to a preliminary music proof I sent
him back around 2001. Professor Michael Allen in his book Nuptial
Arithmetic: Marsilio Ficino's Commentary on the Fatal Number in Book
VIII of Plato's 'Republic' (1994) gives direct evidence for how music
ratios were the central idea in launching modern science. Stuart
Isacoff's book Temperament details how the ratio 5/4, as an extension
of the Pythagorean Tetrad, was the key for the Renaissance, since it
approximates the value cube root of two. This conversion of music
ratios to irrational fraction is further analyzed by music Professor
Emeritus Ernest McClain in his book The Pythagorean Plato as well as
Burkert who emphasizes the "reduction to linear ratio" technique:
"The important thing in Pythagorean musical theory was not the
function of the proportion but the meaningful numbers," Professor
Walter Burkert ( Lore and Science in Ancient Pythagoreanism ,
1972:400).
David Fowler notes in his Mathematics of Plato's Academy: "...the
manipulations of music theory seem to depend fundamentally on the
operation of compounding, an operation which seems to pose some serious
problems for mathematicians. My purely speculative suggestion...is that
music theory might plausibly give some help with this problem." (p.
146). Fowler certainly takes a close look at the connection between
continued ratio and the concept of compounding proportions which later
lead to incommensurability but again no direct music ratios are plugged
into the equation. He states, "In the event, it will turn out that this
contribution from music to mathematics is negligible or non-existent,
but nevertheless the idea is worth trying." (p. 138).
So let's try again.
What we are given for the continued proportion are the phonetic
symbols of the ratios, attributed to the sides of the cubes. So the
online essay "Duplication of the Cube," from McGill University
mathematicians, Francois Rivest and Stephane Zafirov, notes:
Hippocrates showed that the problem could be reduced to that of finding
two mean proportionals: if for a given line segment of length a it is
necessary to find x such that x cubed = 2a cubed, line segments of
lengths x and y respectively may be sought such that a:x = x:y = y:2a;
for then a cubed/x cubed = (a/x) cubed = (a/x)(x/y)(y/2a) = a/2a =
1/2. Pamela Brister in her 1995 online mathforum article on Duplicating
the Cube notes: "Hippocrates of Chino (a Pythagorean mathematician) in
440 BC ... declared that the problem could be solved if 2 successive
mean proportional line
segments were found between a given segment and another twice its
length. He gave the equation a : x = x : y = y : 2*a. Hence if a is
the side of the original cube, then x = cubic root(2*a) is the side of
it's volumetric double. Unfortunately, Hippocrates did not say how the
2 mean proportionals were to be found...." University of St. Andrews
math department gives the same description, again without the actual
numbers plugged into the equation: "(i) To find a cube whose ratio to
a given cube equals the ratio of two given lines. Now Hippocrates
reduced the problem to the following: (ii) Given two lines, find two
mean proportionals between them. i.e. given lines a, b find x, y such
that a : x = x : y = y : b. Now it is easy with our modern
understanding of ratio to see that (i) and (ii) are equivalent. For
a cubed : x cubed = (a:x) cubed = (a : x)(x : y)(y :B)= a : b. Thus
if we are given a cube with side a and want to construct a cube b : a times
the volume, we need to construct the cube of side x." And finally, just
to really clarify this trick business of compounding ratios, here's
how Wilber Richard Knorr's The Ancient Tradition of Geometric
Problems (1986) describes the equation: "Hippocrates' insight is of
course not restricted to lines assumed in a 2:1 ratio. If for any two
given lines, A and B, we can insert the two mean
proportionals, X and Y, then A:X = X:Y=Y:B. Thus, by compounding the
ratios, one has (A:X)cubed = (A:X)(X:Y)(Y:B), that is, A cubed:X cubed
= A:B. Thus, X will be the side of a cube in the given ratio (B:A) to
the given cube (A cubed)."
It's this key value in the continued proportion, A:X::X:Y::Y:2A with X
as the cube root of two that gives the lead for the music ratio
solution. Normally this connection between the harmonic proportions
and the geometric solution is not made but Bruce Director in his
online book Riemann for Anti-Dummies, clarifies the connection: "As
can be seen from the solutions to doubling the cube by Archytas and
Menaechmus, the harmonic relationship among these powers reflects a
characteristic curvature, that, when projected onto straight lines,
produces the relationships the Pythagoreans recognized as the
arithmetic, geometric and sub-contrary, (or harmonic) means. The
arithmetic mean is three numbers related by a common difference: c - a
= b - c, or, c = 1/2 (a+B). Geometrically, it is represented by the
half-way point along a line; musically it corresponds to the interval
of the fifth. The geometric mean is three numbers in constant
proportion: a:b::b:c. Geometrically it is represented by the middle
square between two squares; musically it corresponds to the Lydian
interval. The harmonic mean is the inverse of the arithmetic mean: 1/c
= 1/2(1/a+1/b). It is expressed geometrically in the hyperbola and
musically by the interval of the fourth. These harmonic relationships
are number shadows cast by the curved onto the straight. (See Riemann
for Anti-Dummies 33. EIR website.)
When it's contended that the "Pythagoreans recognized" the harmonic,
geometric and arithmetic means there must be the correction that in
fact these means were the innovation of Archytas to create the Greek
Miracle. Dr. Alan C. Bowen details how Archytas developed these means
from Pythagorean harmonics (from "The Minor Sixth (8:5) in Early Greek
Harmonic Science", by Alan C. Bowen, The American Journal of Philology, 1978:
"Archytas defined the genera of the tetrachord by a procedure
involving the division of the fifth (3:2) into a minor third (6:5) and
a major third (5:4), and of the fourth (4:3) into a septimal third
(7:6) and a major tone (8:7)....The fifth is partitioned according to
an arithmetic mean (3:2=6:5:4) and the fourth, according to a harmonic
mean (4:3=28:24:21).
"In other words, the minor sixth is derivable from the fifth because
it is a major third less than an octave [(2/1)/(5/4) = (8/5)] and a
minor third more than a fourth [(8/5)/(6/5) = (4/3)]."
Archytas could not use 5:8 (the ratio of the minor Sixth as measured
by frequency, not string length) because he had to extend the harmonic
ratios to beyond the octave in order to derive the minor sixth and
perfect 4th. As Bowen states, "For it was during this time that scales
of a double octave magnitude, i.e. the Greater Perfect System, were
constructed to facilitate the analysis of melody." The Greater Perfect
System, using two octaves, was the extension of the ratios by Archytas
as a transition to magnitude since now the middle of the octave,
normally the irrational square root of two as 9/8 cubed, could be turned into just 2:1.
Dr. Bowen clarifies:
"Any who doubt that the musical ratios are all of greater inequality,
i.e., that the antecedent or first term in each is greater than the
consequent or second term, should consult Archytas DK 47 B 2. This
Fragment requires that the ratios be of this form if the assertions
about the three means [arithmetic, harmonic and geometric] are to be
true. Accordingly, the ratios assigned to the octave, fifth, fourth
and minor sixth, must be 2:1, 3:2, 4:3 and 8:5, and not 1:2, 2:3, 3:4
and 5:8, respectively, as Mosshammer and others would have
them. Indeed, there is early proof deriving from the Pythagorean
school that intervals, such as the fifths, which are represented by
superparticular ratios cannot be partitioned into any number of equal
subintervals because the terms of these ratios admit no number of
geometric means. Consider now the question of the status of the ratio
(8:5) in the Pythagorean harmonic science that dates from the late
fifth century B.C. to the time of Apollodorus. One should not expect
that this ratio was recognized as melodic by every school of
Pythagorean musical theory. For example those who sought to derive
all the musical ratios from the Tetrad of the decad by compounding and
dividing the ratios of the primary and most familiar intervals, the
concords of the octave, fifth and fourth, would find the minor sixth
unascertainable.There is reason to believe that these were supplied
by Archytas in the early fourth century B.C."
At this juncture it should be pointed out that the interval of the fifth
as the arithmetic mean, while representing geometrically the midpoint
of a line ( 1.5), in fact is the value 2/3 -- not 1/2. Conversely while
the geometric mean is represented as "the middle square between two
squares," musically it is the midpoint of a line or string (what should
be the arithmetic mean) -- the tritone interval between the fifth and
the fourth. I clarify this incongruity because it appears that the
Greek Miracle depends on a conversion, an actual changing of the number
order from 5:8 to 8:5 so that symmetric phonetic symbols have
commutative correspondance with number, at the expense of the actual
geometric value of the asymmetric harmonics found in the Law of
Pythagoras. Only when the interval of the fifth, as the arithmetic mean,
is extended to the octave plus the fifth, is the harmonic, as the
interval twelve, a symmetrical reduction of the line or string into
thirds.
Here's how H. Steinhaus describes the difference in his Mathematical
Snapshots: "Between F and G lies F-sharp (the black key in the very
center of the octave): the ratio between C and F-sharp is the same as
between F-sharp and high C, amounting to an augmented fourth. If we
call x the ratio F-sharp:C, we get x squared = 2, hence x = square root
of two, which is an irrational number." (p. 44).
To give further background for the derivation of the asymmetric Law of
Pythagoras, the natural overtones, here's how Professor Michael Hudson
describes the difference of arithmetic and geometric progression in music:
"Archytas emphasized that there were different kinds of proportion.
Simple arithmetic proportion is characterized by the progressions 1, 2,
3, 4, or 2, 4, 6, 8. Each number in the series stands an equal distance
from the next. On a graph this progression appears as a straight
line.... But this is not how musical scales
work. Whatever the key or clef, the relative proportions among the
intervals and string lengths remain constant as they are transposed
higher or lower. Each octave is double the frequency (or half the
string length) of the tonic ( i.e., from C to C' or from G to G'),
while the interval of the fifth (C to G, or C' to G') sounds always in
the ratio of 3:2. Musical intervals rise by a process of
multiplication (and descend by division). Thus, the proportions
between the intervals remain constant, being doubled or otherwise
multiplied in the ratio 2, 4, 8, 16 and so forth. This is known as
geometric proportion. On a chart, this exponential series looks like
an ascending wave."
Professor Michael Hudson continues: "An octave can be doubled by
multiplying by twos, but this will only generate the same note on
every higher frequencies. To generate the entire scale by means of the
Circle of Fifths (3/2), the number three is needed. The musician
proceeds from C to G, and then to D, by multiplying 3/2 by 3/2 = 9/4.
The octave of "4" is 8; hence, 9/4 (D'/C) = 9/8 (D'/C'). The entire
circle of fifths may be generated by keeping even powers of 2 (i.e.,
2n) in the denominator, while the numerator is expanded by 3p."
"Music as an Analogy for Economic Order in Classical Antiquity" by Dr.
Michael Hudson, in Jürgen Backhaus (ed.), Karl Bücher. Theory,
History, Anthropology, Non-Market Economies (Marburg:Metropolis Verlag
2000): pp. 113-35
So we can see that the ratio 9/8 was created only after the octave was
doubled for the purpose of geometric mean. Although the later
Pythagoreans used the ratio 9/8 for tuning it must be emphasized that
the early Pythagoreans did not use the D' above the octave. Why?
Because the ratio 9/4,
reduced to 9/8, is not of the Tetrad. As Professor Andre Barbera
notes: "Orthodox Pythagorean theory recognizes five consonances:
fourth, fifth, octave, twelfth, and double octave; and these are
represented by the
multiple and superparticular ratios from the tetrad. The number 8
obviously does not belong to the tetrad." from "The Consonant Eleventh and
the Expansion of the Musical Tetractys: A Study of Ancient
Pythagoreanism," by André Barbera, Journal of Music Theory, 1984.
Barbera does note that Archytas used the Babylonian tetrachord, an
extension of the tetrad, 6:8::9:12 whereby 8 is the geometric mean and
9 is the arithmetic mean between 6 and 12. We see further
confirmation that this use of 9:8 is an innovation of Archytas and Eudoxus in
"Pythagorean Mathematics and Music," by Richard L. Crocker, The
Journal of Aesthetics and Art Criticism, 1963. Crocker notes that
R. P. Winnington-Ingram's, "Aristoxenos and the Intervals of
Greek Music," (1932) as an article "admits that the pre-Platonic theorists
used the tone 8:9 to construct a scale, but for some reason is reluctant to
attribute this construction to the pythagoreans."
We can see a close analogy between the Hippocratic continued
proportion used for doubling the cube, A:X::X:Y::Y:2A and the tetrachord
from Babylonian math, 6:8::9:12. It is in this analogy that the
original symmetry between phonetic letters and number arose because in
"orthodox" Pythagoreanism C to G is 2:3 while G to C is 3:4, in
violation of the commutative prinicple. And indeed Archytas applied his
equation whereby the Arthmetic Mean times the Harmonic Mean equals the
Geometric Mean squared in order to double the cube. Plugging in the
values 1 and 2 for A and B the GM is the square root of two,
approximated as 9/8 cubed, giving a music interval proof for
incommensurability.
For further clarification let's quote a Truman State University review
on Scriba, Christoph J. "Mathematics and music." (Danish) Normat 38
(1990), no. 1, 3--17, 52:
"The author discusses the relationship between mathematics and music
from Pythagorean through modern times. His story begins in in
Pythagorean times, and as he explains, the notes of the musical scale
were then determined by the ratio of a perfect fifth, i.e. 3:2. Twelve
intervals of a fifth are roughly equal to seven octaves, but are in
reality slightly more than seven octaves, the discrepancy being the
"Pythagorean comma" of 312:219, or roughly 74:73. Whole steps in the
scale were in the ratio 9:8, and half steps were in the ratio 256:243.
Thus two half steps were slightly less than one whole step. In fact,
Philolaus noted that one whole note is equal to two half notes plus a
Pythagorean comma. Archytas showed that intervals like the octave 2:1,
fifth 3:2, fourth 4:3, and whole tone 9:8, or any other interval in
the ratio (n+1):n cannot in fact be divided with rational numbers into
two equal intervals. However, he noted that the product of the
arithmetic mean and the harmonic mean is equal to the square of the
geometric mean, so this gave a way of dividing the fifth of 3:2 into
the product of 5:4 and 6:5. 5:4 can be thought of as a major third,
and 6:5 can be though of as a minor third. So the ratio 3:2 is divided
as 6:5:4. Similarly, the fourth of 4:3 can be divided into the product
of 7:6 and 8:7, so the ratio 4:3 is divided as 8:7:6. The interval 7:6
can be though of as a shrunken minor third and 8:7 can be though of as
an enlarged whole tone. Scriba suggests that the germs of the idea of
making this division lie with the Babylonians."
Now finally we can proceed to the actual continued proportion proof
using music harmonics. If the cube root of two is the value for X and
if the cube root of two was approximated as the music ratio 5/4 then
A:X::X:Y::Y:2A with A as 1 and 2A as 2 and X as the cube root of two
gives the following result. By doubling the octave to 4, so that
Archytas could apply his geometric mean, the continued proportion of
Hippocrates can also be cubed so that A is 1 and 2A is 8 and the
proportion is 1:2::2:4::4:8. Since the cube root of this equation
means that X equals 5/4 then the cube root of four, as Y, gives the
harmonic ratio of 8:5, the complimentary opposite of 5/4 (the
major Third, 5/4, is inverted as the minor Sixth, 8:5).
1:5/4::5/4:8/5::8/5:2.
That's the secret of the Greek Miracle -- converting Pythagorean
harmonics into the continuum.
It should be noted that the Golden Ratio A:B::B:A + B must
have the order reversed to A - B for a quadratic solution using zero.
The Harmonic Mean also does not work if zero is used. For the 8:5
Pentgram as the original origin for the discovery of incommensurability,
via "mutual subtraction" of side lengths using the 60-based number
system (and not the continued proportion Pythagorean Theorem proof in
Euclid) see, "The Discovery of Incommensurability by Hippasus of
Metapontum," by Kurt Von Fritz, The Annals of Mathematics, 1945. The
Fibonacci Number series, 1,1,2,3,5,8 must have its order reversed to 8:5
(see H.E. Huntley's Divine
Proportion) to achieve the quadratic-based irrational Golden Ratio --
for the same reason that enabled Archytas to approximate the square
root of two as 9/8 cubed, and to double the cube, using 5/4. Robert
Lawlor's book Sacred Geometry gives further connections between music,
Archytas, and the Golden Ratio.
The Golden Ratio, which "governs black holes" (Dr. Mario Livio), and is
found in special relativity, can now be seen to arise from the inversion
of the minor Sixth music interval, from 5:8 to 8:5. This simple
harmonics analysis of the doubling of the cube reveals a paradox in
symmetry that appears to be on the order of Heisenberg's discovery of
uncertainty. As Guy Murchie describes in his book Music of the Spheres,
Heisenberg considered extremely long radio waves but they would be
blind to the position of the electron since energy is proportional to
frequency. From uncertainty came Max Born's discovery of the violation
of the commutative principle, just as in the Pythagorean Tetrad whereby C
to G is 2/3 and G to C is 3/4. More recent applications of nonlinear
resonance enables the creation of acoustoelectric energy from the
pressure of bones. Maybe the orthodox Pythagorean shamans were correct
after all.
Kepler's use of 3/5 (Major Sixth), from the Golden Ratio pentagram, and
5/4, based on sacred geometry applied to music, was then considered to
the basis for his "major and minor modes" of the Solar System. The
extension of his sacred circle-equilateral tetrad symbol to 5/4 creates
an ellipse -- due to the inherent complimentary opposite principles that
Kepler found in the Golden Ratio method of exhaustion proof. (for
futher discussion see, "Kepler's Celestial Music," by D. P. Walker,
Journal of the Warburg and Courtauld Institutes, 1967).
Bruce J. Brackenridge sums up the mystery of asymmetry in his article,
stating: "Thus the pentagon is the archetypal figure of generation
itself." ("Kepler, elliptical orbits, and celestial circularity: A
study in the persistence of metaphysical commitment," Annals of Science,
Volume 39, Number 2, March 1982 , pp. 117-143).
Although I couldn't find which of Sir Karl Popper's 50 books kicks off
with an ode to Pythagorean music as the key to incommensurability I did
discover a kicker from one of his final speeches: "Of all Schrodinger's
precursors, Kepler is the only one who foresaw that harmony - resonance
- holds the world together." (from All Life is Problem Solving by Karl
Popper, Routledge, 1999, p. 75).
The heart is called Yi [unified power] becuz when intent moves, spirit is agitated; qi is dispersed. Qi is the Mother of spirit; Spirit is the child of qi. The Mother as qi is the horse that guides/conducts the river chariot (yin spirit) in the water (yin jing). Once your mind is away from the lower Elixir Field, your Qi will be led away from it and be consumed. By gathering the Shen into the lower tan tien then the Qi follows it there. Light of eyes descend as Yang fire inner yin qi line
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- Taoist Yoga: alchemy and immortality book word searchable
- As for music theory - it is very simple. The root tonic is the first note that you hear and it naturally has harmonics as the natural numbers so, 1, 2, 3 in the Dao refers actually to music harmonics. The trick is that the octave is the same "pitch" as the first note - and so you double the frequency. But frequency is inverse to TIME and you can not see time. The West assumes a visual measurement of frequency as wavelength and then tries to make it a symmetric geometry lining up with the 3. The 3 in Daoism is also called the Single Perfect Yang because as the subharmonic it is 2/3 as C to F, a Perfect Fifth while as the overtone harmonic it is 3/2 as C to G. So you have G=3=F at the same time. This means that the 3 is nonlocal - in two different places at the same time as the future and the past, that overlaps over the one. To try to line up the 3 with the 1 then you "double" the subharmonic so that instead of 2/3 now there is 4/3. But if you are using 3 as the denominator that means you CHANGED what the "one" was as the root tonic! Therefore the root tonic has a geometric dimension of zero that can not be seen but it can be listened to - as the 5th dimension. That is the secret of the Dao. This was then developed as an alchemical science - from the original human culture, the San Bushmen. So the San Bushmen taught to visualize fire at the base of the spine and this creates a boiling steam called N/om. This is the same as Daoist teaching. The SAn Bushmen taught that the female sleeps in the left hand of the fire and the male sleeps on the right hand. In DAoism the left hand is yang for males - and the female is yang internally. So you can see how this developed into an alchemical science based on yin and yang of the energy channels. So for example the exercise "moving of yin and yang" relies on the male putting the left hand as yang facing the lower body as yin (below the navel) and the right hand is yin and faces the upper body that is yang. This naturally turns the body into a free harmonic oscillator since the yin energy as 4/3 is then transformed as yin qi into yang qi as 2/3. So then the yin keeps turning into the yang and the yang is actually nonlocal as the "three in one" unity. : Quantum professors: we first introduce the concept of a phase-bit based on the fermion-like behavior of phonons in some elastic structures as an analogue of a quantum bit (qubit). The analogy with the notion of spin suggests the possibility of developing quantum information technologies based on superposition of elastic waves....Reciprocity of fundamental frequency transmission coefficient (FFTC) is now investigated. Since the geometry is symmetric with respect to its center at f from A to B with two opposite values of v is equivalent to comparing FFTCs from A to B and B to A at f with a single value of v. .. a highly non-reciprocal FFTC is achieved. ... a single input frequency produces multiple harmonics in the output....The antisymmetric elastic waves exhibit quantum-like behavior...It is important to point out that the interpretation of the Dirac spinor is in terms of forward and backward propagating waves...The superposition of elastic states... is therefore measurable without wave function collapse in contrast to what would be the case for the superposition of states of a true quantum system...... By considering media that mix different types of waves, the book addresses the interaction of sound with other physical and biological waves but also brings to light examples of extrinsic processes that can lead to symmetry breaking. The coherent conversion of sound into other types of waves as well as the sound-induced non-conventional topology of elastic, electronic, spin and biological waves are presented in the case of media exhibiting elasto-electronic, photo-elastic, magneto-elastic effects and biological mechano-transduction. Professor Pierre Deymier, et. al.
- Second-order beating shows a modulation in the vibration pattern, i.e., a periodic change in phase difference between the two sounds that form the interval (Roederer, 2008, p. 49), although no amplitude modulation is present. Second-order beats are also called “beats of mistuned consonances” because they are audible when pure tones are superposed to form a fifth (Plomp, 1976). In fact, whereas the vibration pattern of a correctly tuned fifth (f2 = 3/2 f1) or fourth (f2 = 4/3 f1) is static, the mistuned cases f2 = 3/2 f1 + �� and f2 = 4/3 f1 + �� cause the vibration pattern to change periodically in form, but not in amplitude. From the octave to the fifth and to the fourth, the second-order beats become faster (beating frequency being �� for the octave, 2�� for the fifth, and 3�� for the fourth) as the vibration pattern grows in complexity (see Figure 1)....Their neural origin makes second-order beats an excellent phenomenon for investigating the link between the mathematical description of the signals and their neural processing, and consequently allows us to shed light on their perceived “pleasantness.” To achieve a consistent picture of second-order beats, it is fundamental to overcome the frequency–time space representation trade-off and the related problem of non-stationary signal characteristics. Graphic representations of sound typically plot the course of amplitude over time or report the relative amplitudes of the different frequencies computed by the Fourier Transform. Thus, there is no mention of time in the latter, and no mention of frequency in the former. However, in the actual hearing process, time and frequency are strictly intermingled, because specific frequencies are processed at specific moments. This fact suggests that we should focus on the simultaneous analysis of time/frequency dimensions (Roads, 2001). To determine the frequency of an oscillatory phenomenon, we must count the number n of vibrations that occur within a set time interval Λt. As n is an integer, the minimum error in measuring the frequency is one, thus generating a kind of uncertainty principle in the form Λf ≥ 1/Λt. Increasing the precision of the frequency reclaims a wider window in which to count the time, thus increasing the indetermination of the instant in which the specific frequency occurs. It is possible to neglect the explicit consideration of time and visualize tone relationships within the octave by computing the ratio of two simultaneous frequencies and then plotting the interval ratio against the amplitude. This is achieved by forming a linear combination of two pure tone waves, a glissando from the unison (f1) to the octave (2f1) and a firm wave at frequency f1. Similar stimuli were previously adopted by Helmholtz (1954) and Kameoka and Kuriyagawa (1969a,b). ...Harmonic intervals are a consequence of the entrainment of the nervous system with the sound excitation. This forms a universal biological foundation under any musical culture, determining the distinction between acoustic consonance and dissonance and leaving it to each culture to determine exactly how to employ these acoustic distinctions. However, the existence of different musical cultures and systems does not imply the lack of a shared natural/biological basis for music production.
- ...the miraculous phenomenon - convergent final state with coherent phase - may be more or less "simulated" by a "conspiracy of causes" in the form of antecedent sources that are coherent in phase....Louis de Broglie thought I was completely mad. Nevertheless I published the idea...but I believe that much significance is lost by not making use of relativistic quantum mechanics. In sum the "new quantum mechanics" describes and experiment entirely confirms, the paradoxical correlation, or non-separability in B. D'Espagnat's phrase, either between two distance measurements...or between two distant preparations for measurement...coupled by their common past or future respectively.... I assert then that relativistic quantum mechanics accounts completely for all this...the observer is also an actor, and therefore what parapsychologists call "psychokinesis" must be logically accepted. "Precognition" too must be logically accepted if the future exists in actuality, and if convergent waves are not to be discounted. The indirect transmission of messages to Elsewhere along Feynman lines implies "telepathy" and "telekinesis" - and this is what frightened Einstein, twice mentioning "telepathy" in this connection in 1949, Schroedinger using the word "magic" in 1935, and de Broglie, seeing in 1956, "an incompatibility with our conventional notions of space and time." "Cosmos and Consciousness," in Science and Consciousness: Two Views of the Universe, 1980....Rauscher and Targ stress that paranormal distant knowledge in space or in (past or future) time is well established by serious investigation, and they produce useful references. They also stress that (notwithstanding "rationalistic" prejudices) arguments in favor of the paranormal can easily be drawn from the relativistic and the quantal paradigms. This I have recently claimed also in Foundations of PHysics (Costa de Beauregard, 2001)....Only a paradigmatic change can state what is lost by discarding the phase relations. These, reversibly telegraphed throughout spacetime, connect the preparing and the retroparing physicists - and beyond them all feeling and willing beings. So what decoherence discards is the paranormal. Far from being "irrational," the paranormal is postulated by today's physics....It is then simply reasonable to envisage that there should exist low-level neurophysiological manifestations of this peculiar sort of nonlocality. Olivier Costa de Beauregard, assistant to Louis de Broglie Sir Roger Penrose states the accelerating universe is going into the inflation that happened before our Big Bang. Time was very "asymmetric" but highly coherent - as a zero energy phase shift of the 5th dimension. This is the inflation that is "faster" than "time-frequency uncertainty" of Planck's Constant (the average energy of light). So time being asymmetric means time is Left-handed, thereby creating left-handed neutrinos of the electroweak force - which then leads to matter having priority over antimatter (which is reverse time momentum). So this 5th dimension is actually non-local spin that is asymmetric. Wolfgang Pauli discovered this, stating: "God is a weak left-hander." Life on earth is then from left-handed chiral UV radiation creating right-handed DNA-RNA and left-handed amino acids and right handed enzymes and then right brain dominance with left-handed sugars. But "symmetric math" is left-brain and right hand dominant - so our perception of the accelerating universe is actually due to the Entropy of logarithmic symmetric math that is actually asymmetric against ecology on Earth, based on the hydrological cycle of the Moon. So pigments in water like algae as bacteria for photosynthesis - this is asymmetric quantum entanglement. Bird migration is quantum entanglement. Our senses are from quantum entanglement. Quantum entanglement holds DNA together. Quantum entanglement as non-locality is the zero/infinity hidden momentum of light or the noncommutative phase momentum of light - it is the 5th dimension that powers light as the relativistic mass of light. Matter is from light but since light has relativistic mass then we perceive time as entropy or negentropy. Professor Steven M. Taylor: "This is the relative frequency of the light based solely on the increase mass-energy of its source. Paradoxically this is also the inverse of the transverse Doppler shift. This is essentially the same paradox that de Broglie faced during his seminal work in 1923 that lead to the defining of the relationship of a particle's wavelength with the quotient of Planck's Constant and and it's momentum such that [wavelength = Plank's Constant/momentum]....This means that the difference in energy of the relative and proper frequency of an orthogonally emitted photon equals the kinetic mass of the proper mass-energy that created the photon prior to its emission." So with right brain dominance we can resonant with the source of time, from the future. This is called the "pilot wave" by Louis de Broglie and his assistant Olivier Costa de Beauregard then stated that precognition is real, along with other paranormal abilities....Costa de Beauregard: "It goes without saying that great experimental care is needed for exhibiting over macroscopic distances these aspects of the quantal microreversibility because they are easily blurred by loss of phase coherence. They are specific of a sui generis space-time telegraph using waves as channels and a wavelike cybernetical coding. It is then simply reasonable to envisage that there should exist low-level neurophysiological manifestations of this peculiar sort of nonlocality....The claim here is that beyond the empirical reality entangled in the telegraph there is, exchanged between the investigators, discarded by decoherence, the paranormal....With Wigner we believe that psychokinesis is the lawlike reciprocal to cognisance, but is made factlike paranormal by the smallness in practical units of Boltzmann's k. We claim also that "the beyond reality" set aside by rejection of the phase relations but returning uninvited in the form of "nonseparability" is none else than the paranormal....Psychokinesis is legitimized as the reciprocal to the gain in knowledge. Precognition, telepathy, psychokinesis and teleporting are allowed....If past, present, and future of matter coexist (not now, of course, which would be self-contradicting), why not those of the subconscious mind immersed in Jung's "collective unconscious?" Retro- and pre-cognitive flashes could then cross the border line of consciousness. The whole concept of "non-locality" in contemporary physics requires this possibility....Believing in operationality of the final cause excludes that the psyche be a byproduct of evolving matter. Quite the contrary, it implies that matter is under the control of some universal psyche....Rediscovery of the hidden face of information implies that a chance event is not just a mechanical accident - or rather that it is such insofar as the subjective side of nautre, Jung's collective unconscious, is dormant....Postselection, the reversed recipe, formalizes the paranormal phenomenon of psychokinesis, retro-causation via converging waves....Telegraphing faster than light is normally forbidden, but paranormally allowed by associating psychokinesis with an EPR correlation....So via the relativistic and quantal telegraph, some sort of universal telepathy-and-telekinesis must be going on at a very low energetic level, expressing the subjective face of nature....It is the future that is significant in "creative process," the "elementary" forms of which should be termed "precognition" or "psychokinesis" - .... Let it be made clear that psychokinesis essentially is retropsychokinesis - if only because much less energy control is needed at the level of a random event than after its amplification for "registration."...At the macrolevel, of course, advanced actions are much repressed by retarded ones, very much like antiparticles are by particles. These two factlike asymmetries define the realm of validity of macrophysics, which would merely collapse in their absence. This builds up the comfortable "maya" in which we are living.
- "The Tao gives birth to One. One gives birth to Two. Two gives birth to Three. Three gives birth to all things. All things have their backs to the female and stand facing the male. When male and female combine, all things achieve harmony. Ordinary men hate solitude. But the Master makes use of it, embracing his aloneness, realizing he is one with the whole universe." chapter 42, Tao Te Ching, "If then all things are One, what room is there for speech? On the other hand, since I can say the word 'one' how can speech not exist? If it does exist, we have One and speech -- two; and two and one -- three(14) from which point onwards even the best mathematicians will fail to reach (the ultimate); how much more then should ordinary people fail?" - Chuang Tzu, 300 BCE; the noncommutative [complementary opposites as yin/yang] nature of the quotient corresponding to the three places {2, 3,∞}. -Alain Connes. "we inspect also the free non-commutative group F Ž
- Kent A. Peacock, Professor of philosophy of physics: There is a subtle fact about relative velocities that is not always explicitly mentioned in books on relativity, and a failure to grasp this subtle fact may be a cause of some of the confusion about superluminal motion. In special relativity all velocities (except for the velocity of light itself) are relative, including zero and infinite velocity....Dainton, et. al., possibly have confused the invariant fact that any superluminal propagation has infinite velocity relative to one frame (which one depends on the spacetime trajectory of the superluminal effect) with the notion (not correct) that any superluminal propagation would be invariantly infinite for all frames....Thus, there certainly is a theory that allows for influences which are instantaneous in one frame and finite (though superluminal) in all others; it is called 'special relativity.'...instantaneous in their mutual rest frame....Whether or not the local clock readings are equal at A and B is therefore independent of whether or not A and B are at the same global time coordinate in some inertial frame or other....Einstein's way of defining time-coordinate simultaneity neither assumes nor requires that light signals be either the fastest or the only way of communicating between distant events; it's only about what can be accomplished with light signals....an obvious candidate is phase: it is far more natural to think of wave functions as reducing over hypersurfaces of constant phase, and this automatically gives a covariant picture; ...While relativity is far more amenable to superluminal influences than has been generally supposed, ultimately it is classical relativity that must adapt itself to the quantum.... 2013, emphasis in original, "Would superluminal influences violate the principle of relativity" Professor Hiley responded to the above quote by Peacock, stating that it did not accurately represent his views and that he does not believe in a rest frame.
- Professor Friedwardt Winterberg, father of nuclear fusion rocket: "The origin of charge is explained to result from a field of virtual phonons, having their source in the zero-point fluctuations of Planck mass particles bound in the vortex fragments" An early commentary on the Dao: "listen to it, but it does not give any sound. Then, indeed, it is clear that the Dao is complete (quan). Thus, it can bring forth sounds and echoes; generate qi-energies and things;" He Yan was one of the leading intellectual figures of the early third century...Abhinavagupta says..."The nature of such a consciousness is its capacity for self-referral, and because of that, there always arises a spontaneous sound (dhvani) which is termed the supreme, the great Heart. That self-consciousness in the Heart in which the entire universe without remainder is dissolved, present at the beginning and at the end of perception of objects, is called in the authoritative texts the vibration (spanda), and more precisely, the universal vibration, and its nature is an overflowing in the Self. For that vibration, which is a slight motion of a special kind, a unique vibrating light, is the wave of the ocean of consciousness, without which there is no consciousness at all. For the character of the ocean is that it sometimes filled with waves and sometimes waveless. This conciseness is the essence of all." Governing the body means to inhale and exhale Essence and Breath (jing and qi) without letting one's ears hear them. Dr. Vadim Kaplunovsky, professor U-Texas: "So only because virtual photons have "odd" spin exchanges then the oldest law of electrostatics is confirmed: like-sign charges repel, while unlike sign-charges attract." Mike Towler: As we saw in Step 1, the nonlocal influences in the EPR-B experiment only concern the spin orientation not the motion of the particles themselves. Indeed only spins are entangled in the wave function (27) not positions and motions like in the initial EPR experiment. This is a key point in the search for a physical explanation of nonlocal influences." but the virtual photons then cause the electron to get pulled in closer to the proton - thereby creating a stronger spin energy as reverse time positron energy. This is then stored in the 5th dimension.
- Math professor Louis Kauffman: "A first mathematical direction is to see how i, the square root of negative unity, is related to the simplest time series: ..., -1,+1,-1,+1,... and making the above analysis of time series more algebraic leads to the following....If η is the order two permutation of two elements, then [a, b]η= [b, a]. We can define i= [1,−1]η and then i2 [squared]= [1,−1]η[1,−1]η= [1,−1][1,−1]ηη2= [1,−1][−1,1] = [−1,−1] = −1. In this way the complex numbers arise naturally from iterants. One can interpret [1,−1] as an oscillation between +1 and −1and η as denoting a temporal shift operator. The i= [1,−1]η is a time sensitive element and its self-interaction has square minus one. In this way iterants can be interpreted as a formalization of elementary discrete processes. A more general approach to discrete processes [18] includes this interpretation of iterants and the square root of negative unity. The more general approach is worth reprising in this context. Given a sequence of discrete algebraic elements Xt(t= 0,1,···) (we take them to be associative but not necessarily commutative for this discussion), we define an invertible shift operator J"...We see that, with temporal shifts, the algebra of observations is non-commutative....The square root of minus one is not really living in a commutative world. It's living in a non-commutative world....It just happens to be commutative for you when you're doing complex analysis because you only looked at the combination.... The "Quaternion Handshake" illustrates the fundamental orientation-entanglement relation that interlocks the structure of the quaternions with the geometry and topology of an object connected to a background in three dimensional space. In this case the objects are human hands, the background is the body and the connection is the arm that links hand to body. ... Starring: Martial Arts By: Louis Kauffman John Hart Eddie Oshins ...All of this points out how the complex numbers, as we have previously examined them, live naturally in the context of the non-commutative algebras of iterants and matrices.... A natural non-commutative algebra arises directly from articulation of discrete process and can be regarded as essential information in a Fermion. It is natural to compare this algebra structure with algebra of creation and annihilation operators that occur in quantum field theory. ..."In the notion of time there is an inherent clock and an inherent shift of phase that enables a synchrony, a precise dynamic beneath the apparent dynamic of the observed process....By starting with a discrete time series of positions, one has immediately a non-commutativity of observations, since the measurement of velocity involves the tick of the clock and the measurement of position does not demand the tick of the clock....In this sense, i [square root of negative one] is identical in concept to a primordial time." o the Yuan Qi as the female formless awareness or reverse time "Yin matter" (virtual information field) is truly electromagnetic negentropic force. the One (light as spirit) arises from the Absolute Void (Central Ether Fire that can not be seen) as eternal time that feeds on the light by breathing. Alcmaeon, a 5th Century BCE Pythagorean physician said the soul is in continual motion like the heavens as immortal light and this circular motion of energy creates health as isonomia.
- “Before the idea of frequency existed, however, the same relation was expressed simply in terms of length, the length of a resonating agent multiplied by 2/3 being equivalent to the frequency multiplied by 3/2. The length of a zither string, then, multiplied by 2/3 gives a note which when struck is a perfect fifth higher than its fundamental. This is the first step (or lü) in a process which evolves an unending spiral of notes. The length of the resonating agent which sounds the perfect fifth is then multiplied by 4/3, the resulting note being a fourth below the perfect fifth …” Joseph Needham, Science and Civilization in China, Volume 4, Part I, pp. 172–173. Between heaven and earth, they say, there is perfect harmony. Now, 3 is the emblem of heaven, 2 is the symbol of earth. If two sounds are in the proportion of 3 to 2 [the perfect fifth interval], they will harmonise perfectly as heaven and earth. All the tubes were cut on the same principle, … The lüs [notes] were divided into two classes, the yang lüs and the yin lüs… Everything in Nature belongs to one of these two grand categories, from whose combinations and reciprocal action results all that exists or takes place in the universe.” J.A. Van Aalst, Chinese Music (Shanghai: Chinese Imperial Customs Service, 1933), p. 8. The Yellow Emperor, Huang Ti, in 2700 BCE, told Ling Lun to create the “infinite spiral of fifths” music tuning based on the Perfect Fourth music interval as yin and the Perfect Fifth musical interval as yang, according to the 240 BCE book, Lü-shih ch’un-ch’iu ( The Spring and Autumn of Lü Pu-Wei Yang pipe became Yin, and by “increasing” the Yin pipe was transformed into Yang. In the first case, the result was a downward generation, and in the second, an upward one. Thus we find a continuous process of generation, with continuous exchanges of qualities between Yang and Yin, making clear the dynamic characteristics of the procedure followed. Each of the 12 lUlU [pipes of Perfect Fifth/Fourth] were assigned a hou [climatic season] chosen among the 24 jieqi [solar terms]. For example, Huangzhong corresponded to Dongzhi [winter solstice]; Linzhong recalled the Dashu [great heat] and so on. Furthermore, the figure indicates, together with the names of the lUlU, the 12 dizhi [earthly branches] in their relative order. Thus the first lUlU corresponds to the first dizhi, that is to say Zi [son] and so on. The dizhi were also used to indicate couples of hours during the day; for example, Zishi [time of the son] indicates the hours from 1 1.00 p.m. to 1.00 a.m., and the other dizhi follow the order of the hours
- Master Lee then gave us a koan: Kung Fu [gong fu] is basically Zen. Zen is also medicine. Medicine is also Kung Fu. He added: Zen is also music. Music is medicine. Music is Kung Fu. Music helps to heal....When asked about the daily routine at the Temple, the GM said they eat at 11 am and practice until 3 am. Then the master seemed to balk, or Master Lee did. Lee apologized. Apparently it was/is a secret that the Shaolin practice at night.... The realm without entry is the impetus behind the famous spiritual cultivation...which involves listening to sound to trace it hearing back to its source....highly recommended for our world by the Buddha....return the function of hearing-consciousness to the consciousness skanda and then fathom the stillness or emptiness within to realize the self-nature and attain Tao. ...If you analyze sound to the smallest slice of time, you will not find any sound at all, but just empty silence. Yuan Qi arises from Emptiness. Bill Bodri (and master Nan, Huai-jin) "[Wuji er Taiji] Calling it [Taiji] "non-polar" correctly clarifies its non-spatial form. It exists prior to things, and yet at no time is it not established after the existence of things." Zhu Xi "In actuality, the Spirit of the Valley referred to by Lao Tzu can be clearly understood by carefully reading the principle of "Attain the utmost emptiness, Guard carefully quietness" embraced in Chapter 16 of Lao Tzu: "All things flourishing as they do, Each returns to its root. Returning to the root is called quietness, Quietness is called restoring life." If one is able to calm the mind, make it empty like a valley, one can then understand the sphere of "Sound transmitted in a deserted valley, listening in an empty hall," and "It is there within us all the time." Master Nan, Huai-chin, Story of Chinese Taoism, 2002
- ..the energy-momentum flux will be larger in the blue shifted part than in the red shifted part...In a moving frame, they diverge: the mean internal frequency of the photon will increase; simultaneously the orbital frequency of the photon will decrease due to the relativistic law of the slowing down of clocks. Despite the difference in frequency, at any point in space-time these two oscillations must be in phase....This provides a possible physical origin for the postulated law of the "harmony of the phases" first proposed by de Broglie, which lies at the origin of quantum mechanics. ...Is the electron a photon with toroidal topology? J.G. Williamson and M.B. van der Mark, 1997... "It is not always appreciated that the De Broglie wavelength for quantum particles is a direct consequence of the reciprocal relativistic transformation of mass m=E/(speed of light squared) and frequency f=E/Planck's constant while representing the same energy. Note that while the particle velocity is always below the light speed, the De Broglie wave is simultaneously associated with a phase velocity v(phase) = speed of light squared/velocity that is always higher than light speed....A "polarized" particle of spin 1/2 has two independent components that are correlated over the entire wave function, so communicating, by phase difference, the spin state at super-luminal phase velocity.... For the “photon”, the previous statement is just as true, but the phase and group velocity are equal to the speed of light. Here, an extra insight, obtained from Tetrode, Einstein and Wheeler and Feynman can be applied: The interval of time and space are both zero as seen from an observer traveling at the speed of light watching the emission and absorption of a co-moving light ray or “photon”. In this frame, the emission can be interpreted as the causal transfer of energy to the absorber, by invitation of the absorber. The emitter, electromagnetic wave and absorber are part of the same, indivisible single event. Martin B. van der Mark, 2015 The shorter the wavelength...of the photons, the heavier the box....Matter is transformed to radiation but mass stays the same [frequency/speed of light squared]. Put on a balance in a box, it is impossible to know whether [it is matter or light]....The confusion that sometimes arises can often be traced back to the mix-up between the words "mass" and "matter." Matter can be transformed into radiation. ... What is intriguing is that matter's most basic building blocks, the elementary particles, all have non-zero spin, intrinsic angular momentum, which seems to imply they all have some sort of intrinsic dynamics....So what is matter really made of then? In the Dirac theory, the electron is like electromagnetic energy quivering at light speed, just like a photon in a box. If really so, matter is light. Nobel physicist Gerard t'Hooft and M.B. van der Mark, 2000: The Physics of Heavy Light "The yin and yang of a human being are originally combined into one energy; it is because of mixture with temporal conditioning that yin and yang separate. Liu Ming Yang qi is actually time from the future as blue-shifted light (due to a spacetime phase shift, called a "phononic field.") So Shen is our spiritual ego as the experience of time. The Yuan Qi is then the universal rest frame of zero/infinite time as the 5th dimension, including precognition as the future and the ability to heal the past. So with our eyes open, then heaven is not harmonized with earth, unless the light is turned around and the third eye is activated. Science has proven now that spacetime is curved at only 2 centimeters - the size of the third eye pineal gland. So then light has a superluminal internal phonon energy (Yuan Qi) that is a higher frequency as reverse time, with a negative frequency value, relative to external time (that is experienced to slow down). So then a receiver of yuan qi will experience conversely, internal time slowing down as a red shift of great heat and bliss (so that their past blockages are now healed). For the receiver of the yuan qi then external time appears to speed up. p. 100, Foundations of Internal Alchemy, by Wang Mu According to the principles of alchemy, between the stages of "refining Essence to transmute it into Breath" and "refining Breath to transmute it into Spirit" there is an intermediate stage. At that time, the Internal Medicine and the External Medicine coagulate with one another. First, by means of the external cycling of the Celestial Circuit, one accumulates the External Medicine; then, through the operation of Spirit, the External Medicine is moved to the lower Cinnabar Field and rapidly generates the Internal Medicine. When the Internal and the External Medicines coagulate and coalesce together in the lower Cinnabar Field, the form the Great Medicine (dayao). This is the so-called "mother of the Elixir" (danmu). After a further refining of seven days, which is called "entering the enclosure" (ruhuan), it forms the Embryo of Sainthood (shengtai), also called the Infant (ying'er). "Entering the enclosure" is also called "barrier of sitting" (zuoguan); in Buddhism, it is called "confinement" (biguan). Paranormal Physicist Ph.D. Claude Swanson: f we look at a hologram and observe the radiation flowing into and out of it, we see that the light is coming from the PAST, flowing through the image and then on out into space where it is absorbed in the FUTURE. (See Figure 13.21) This may be a key. The energy only flows one way, from the past to the future. But for electrons and other real particles, we have seen that it flows both ways. As in the old Feynman-Wheeler model, when it is absorbed by distant matter in the future, it is reflected and radiated back in time. These resulting photons flow backwards in time until they reach the present. There they combine with the original photons to create the energy field around a real particle. In the process they also create inertia, which is the key to mass." So science has now proven that light has an internal spin as a magnetic momentum that is superluminal - from the future - as a chirality (handedness) of spacetime itself. So this spin causes a blue shift of light that "diverges" from the external light as matter (with gravitational or inertial mass) as a red light shift. So the more we meditate then we resonate the blue light from the future - as Yuan Qi which is harmonized with the red light (the jing as the lower tan t'ien). This is why 6 hours of full lotus meditation for a year (while not losing energy) will restore the Yuan Jing of a middle age male back to a 16 year old, according to Daoist master Wang Liping. “If your eye be Single, your whole body will be full of Light.” (Saying preserved in Matthew 6: 22) “For this reason I say, if one is whole, one will be filled with Light, but if one is divided, one will be filled with darkness.” (YesHUa, from Saying Sixty-One, Gospel of Thomas) “There is Light within a Person of Light, and it illuminates the entire cosmos.” (Saying Twenty-Four, Gospel of Thomas)... So the quantum frequency of light goes up as the matter increases but the mass stays the same since the relativistic mass as momentum goes into negative frequency (as time from the future).
- While observing the world, we should use our mind, consciousness, and qigong abilities, such as the so-called "telepathic function," to listen to and hear deeply and clearly the endless, ever-changing, mysteriously wonderful notes of all beings. While observing the world with our eyes, we hear the sound of the heart of the world. This is a qigong method, principle, technique and effect. We deviate from true Guanyin Qigong if we fail to make efforts to cultivate virtue. We miss the point if we simply focus on blind worship, hand posture and mantras - paying attention only to visible and superficial external effects while ignoring the true essence of these qigong methods. Qigong Master Yan Xin The student, awakened to the teaching, should strive to control his heart (the house of fire) by driving his mind into the field of concentration so as to still and disengage it from sense data. When the mind stops wandering outside, consciousness will melt away, and the five aggregates will be empty of externals so that spirit and vitality will gather and stay within and no longer scatter without. Who says that sublimation by fire cannot be taught Since only silent circuits can plumb the depth sublime? Taoist Yoga: alchemy and immortality ..." The True Yang...the Yang principle is born from Zi and is stored in the Gate of Life....As it rises, it merges with Li [Fire], and by replenishing Li, it forms Qian [Heaven]. The yin principle returns where it belongs, the Yang principle is transformed, and one reverts to the origin. p. 30, Foundations of Internal Alchemy, quoting Wang Haican (Yuan Dynasty).
- It works based on the fact that, in the quantum world, all light particles can be fully described by wave functions, rather than as particles. So by embedding messages in light the researchers were able to transmit this message without ever directly sending a particle....holography - was developed to record not only light intensity but also the phase of light," the researchers write in the journal Proceedings of the National Academy of Sciences.."One may then pose the question: Can the phase of light itself be used for imaging? The answer is yes." The basic idea is this - someone wants to send an image to Alice using only light (which acts as a wave, not a particle, in the quantum realm)....In the experiment, the phase of light itself became the carrier of information, and the intensity of the light was irrelevant to the experiment." And Dr. Stephon Alexander says what is so amazing about de Broglie is how instead of visualizing the electron as "orbiting" the atom, rather it is a "standing wave" with the momentum (speed and location) as the inverse of the wavelength based on frequency. Claude Swanson: We have assumed the electrons all travel at the speed of light at the very small scales. Therefore, if they go around in a circle at the speed of light, and take a certain amount of time (their period) to do so, this determines how big their circular path must be. It will be the same for every electron. The longer the period of the orbit, the bigger the radius of the orbit. The frequency is just I divided by the period, so the bigger the frequency, the smaller the orbit. In quantum mechanics this radius is called (roughly) the "Compton wavelength."...This means that the parts are not independent of one another, irrespective of the distance between them. This requires the rejection of either the principle of local realism or non-superluminal signalling, and it is the former that is chosen in conventional QM.2 However, although superluminal transmissions of classical information is not possible, entanglement does allow for correlations beyond those allowed by classical theory....general relativistic effects are also seen in high precision quantum experiments such as those that are able to observe time dilation at distances as small as a few cms where previous experiments assumed spacetime to be flat [9]....the phononic field of a Bose–Einstein Condensate (BEC) is particularly well-suited to measuring spacetime effects [17,18,20]." Ivette Fuentes
- Until recently, the failure of most musical tuning systems to conform to the mathematics of small integer ratios was grounds for rejecting Pythagoras's proposal that small integer frequency ratios account for the perception of musical consonance and harmonicity [19]. However, recent modelling of the cumulative effects of physiological nonlinearities at each way-station of the ascending auditory pathway has disclosed the presence of ‘resonance neighbourhoods’ at whole integer ratio spacings on the tonotopic maps of the auditory system [20–22]. This finding not only accommodates a wide range of tuning systems and musical scales found worldwide, but appears capable of accounting for human judgements of consonance, dissonance and tonal stability/attraction in terms of inherent organizational features of our auditory system ([20]; see also [23–27]), as follows. The pattern of ‘resonance neighbourhoods’ in auditory system tonotopy is likely to be shared by all mammals, being a product of quite elementary properties of the neural circuitry in question. It did not evolve for purposes of music, in other words, but as an incidental by-product of the interaction of excitation and inhibition in a neural system evolved to process natural sounds efficiently [20]. Origins of Music - in The Royal Society, 2015 Brain asymmetry for language may actually correlate more highly with brain asymmetry for skilled manual action, such as using tools [47],[48], which again supports the idea that language itself grew out of manual skill—perhaps initially through pantomime., Professor Michael Corballis Attention is right brain dominant. "vision and attention were biased toward the right hemisphere, language and internal thought to the left. " Corballis
- "On the other hand, the ancient Pythagorean musical scales naturally lead to a simple quantum circle....There is something profoundly quantum in all music. A discrete space–the skeleton hosting any musical score, morphs into a true musical form, only after being symbiotically enveloped by a geometry of sound. And this geometry is inherently quantum, as it connects the points of the discrete underlying structure, invalidating the difference between now, then, here and there; thus creating an irreducible continuum for a piece of music: continuous discreteness and discrete continuity.... By taking the inverses L to 1/1 + L and 1/infinity=0, we can identify M = {0, 1, 1/2, 1/3,...}. The geometrical picture is that we have a circular object, unifying infinitely circular 'oscillating modes.' The limiting oscillating mode is the classical mode....All other modes are purely quantum 'virtual modes,' so we can not distinguish separate fibers over the classical points labeling these modes. The entire structure is a unified and irreducible quantum circle.... The oscillating modes base space M...will be quantum (noncommutativity of the algebra V).... However, even in this case there is a highly non-commutative world of higher order collectivity algebras B(n). This can be used to capture the geometry of rotations, like those appearing in the classical Pythagorean octave versus perfect fifth considerations." Durdevich, Micho Institute of Mathematics, UNAM (Mexico City) “Music of Quantum Circles” 10/2015 I'd answer but I just work at the Clickfarm. actually W-ONE-der has a secret beyond frequency. The idea of "frequency" actually just assumes that the "one" is a visual measurement of time. You could say "no one is listening" - like in deep dreamless sleep. There is something beyond "frequency." There is a deep primordial TIME that we listen to - it is faster than light - so it's not visual. Zero does not exist as a visual measurement of geometry - the VOID is what we listen to eternally. Frequency is really not "symmetric." So the "one" is actually a THREE (look at that "W" in front of the One and the "three in one" secret is found in music theory (but it's not HERTZ as frequency). It's much more simpler but much more radical. all human cultures do healing music as listening to the source of light. Octave is 1:2 and Perfect Fifth is 2:3 (yang) and Perfect Fourth is 3:4 (yin) - but it's not frequency. Why? 2/3 is C to F as subharmonic while 3/2 is C to G as overtone harmonic so G=3=F at the SAME time but in two different places. C to F is changed from 2/3 to 4/3 (to cover up this noncommutative secret). So the 3 becomes the new 1 as the octave. It's the fifth dimension that we listen to as time but it's a zero dimension of geometry. Sorry - no it's not 432 Hertz or any other "Hertz." haha. There's fancy names for this in science - "time-frequency uncertainty" as "noncommutative phase." Hertz assumes that frequency is geometric magnitude as irrational magnitude logarithms from the LIE of the Lyre (flipping around the direction of the lyre so that the double octave of 6:8:9:12 covers up how 6 is the new 1 for 6/8 as the 3/4 of 4/3 geometric magnitude). Oops I got into too much Math I think. haha. Yes we Learn what Frequency is by ROTE without really "thinking" about the logic of the math. If the octave as the ONE is 0 to 12 then 6 to 12 is 1/2 or frequency of 2 and 8/12 is frequency of 3/2 or wavelength (time as 2/3) - so that is the Perfect Fifth as G if the one is C. so 6/8 is only 3/4 if the One is then 0 to 8 but that is a different geometry - it would be G into of C. So you FLIP the Lyre around as the LIE at the foundation of Western civilization - to create "frequency" as geometric irrational magnitude. Now the new ONE is 12 to 6 as geometric magnitude with 4/3 as geometric magnitude (8/6) PLUS 8/12 as 3/2 (frequency - but actually now geometric magnitude). In other words NOW you can say the Perfect Fifth PLUS the Perfect Fourth = the Octave. So now you can say that 4/3 PLUS 3/2 = 6/12 as frequency/time. Do you see what just happened? That is what I call the Rotten Root at the foundation of Western civilization - the original "bait and switch" to CREATE irrational magnitude math from time-frequency uncertainty as noncommutative phase logic. One music theory calls it the Ghost Tonic.
- If you press them down underneath your dense-packed diaphgram and oversee (epopteuseis) them with good will and with pure attention (karthareisin meleteisin) to the work, they will without the slightest exception stay with you for as long as you live. And from them, you will come to possess (kteseai) many other things....splitting what I am saying in your entrails." Empedocles, translated by Dr. Peter Kingsley pdf link http://www.nietzschecircle.com/AGONIST/2008_07/PDFs/AgonistJUL2008KingsleyReviewedByRuiz.pdf
- This musical property is the counterpart of the principle mathematical characteristic of the Pythagorean diatonic, very Pythagorean indeed, constituted by the fact that each interval of the scale is expressed by the ratios of type 2 to the m divided by 3 to the n OR 3 to the m divided by 2 to the n. Epimoric Ratios and Greek Musical Theory by Fabio Bellissima, in Language, Quantum, Music Editors: Dalla Chiara, Maria Luisa, Giuntini, Roberto, Laudisa, Federico (Eds.) Platonists, according to Aristotle, always posited intermediate mathematical numbers which are separate from both sensible things and the Forms. (googlebooks) Numbers as units that are "internally comparable" but "externally incomparable." Attic numbers favored a Cardinal Group (zero) and the myth of Number is that it was invented for the Art of War.....The alphabetical system of numbers is then internally ordered, starting around 400 BCE - but externally in-comparable. Since the alphabet is inherently ordered whereas the original Pythagorean definition of number as a group of units is not necessarily internally ordered as Cardinal Numbers (i.e. a group of pebbles) and each number has a different geometric shape. For Euclid those different shapes were all reduced to a line. In other words for Plato and Archytas a "unit" of number is redefined as an indeterminate form as Apeiron or irrational magnitude of the line as the Greek Miracle of the continuum. That is the say, as Aristotle understood but disagreed with, the Forms are based on the void of irrational geometry as indeterminate form of Apeiron or Alogon (irrational magnitude as the internal ordinal number that is odd-even at the same time). So what Plato realized is that prime numbers have to be cardinal since the prime numbers are not generated by 2 and 3 multiples or division. And so Form Numbers also do not have multiplication nor addition but instead have inherent monistic identity of "twoness" or "threeness" but are not cardinal as an external order tied to geometry. This means that Form Numbers are non-comparable units while non-comparable numbers are indeterminate form (alogon as irrational magnitude). And so the non-comparable indetermine numbers within the Forms are ordinate internal numbers of the Void within form while the Form Numbers are cardinal as external number. Aristotle says this can not be true since the number 2 is not unique to any particular form and so Form Numbers can not exist. Form Numbers contradicts number as a comparable unit non-differentiated abstraction. As Aristotle points out you can have two units come into existence at the same time and therefore are not "non-comparable units." Yes this is the secret of noncommutative phase! Also Aristotle states the concept of Form Numbers implies "equalization of unequals" which conflicts with "non-comparability" of units. Aristotle then points out that "ordinary" mathematicians do not use this concept of "indefinite dyad" (irrational magnitude) since it is assumed that all units are comparable as number. Not that some units are comparable as number and other units as number are not-comparable. For example adding one unit to another is always 2 but this is not the case with indefinite dyad (since then 2 is actually the geometric mean squared!!). If every 2 unit makes 2 then Forms can not be numbers if indefinite dyad is supposed to be a number. Aristotle defines number as Order without geometric position. And so Number is countable but not necessarily measurable. Aristotle does recognize that magnitudes are not-discrete units and so can not be counted. And so Aristotle states that matter is the infinite potential of the parts that make up a form that is actualized as magnitude. And so the infinite potential is "intelligible matter" versus sensible matter as magnitude form. Number is then an indefinite infinite potential that is made definite by the form as sensible substance. And so substance as form does not exist in actuality since it can never be reduced to one and so the one exists only as potentiality (this is the secret of light as consciousness as eternal motion). "no unit in the number 2 exists in actuality." That is the Indian definition of Maya!! And so Aristotle complains there is no analogy of the Soul (Light) for individual things. But this is what the Pre-Socratics as with the Daoist and Indians knew to be the truth - all is light based on time as relativistic mass from noncommutative phase (the 3-in-1 unity). What Plato did was used dialectics to put Form over the cardinal order of number so as to create Form Number that covers up the indeterminate form of irrational magnitude. Dialectics views Number Forms as the basic unit of reality covering up the secret of indeterminate form as irrational magnitude number (no longer Cardinal number). Aristotle believes is it the Soul (as light) that unifies a composite of sensible forms into counting numbers as order without position. So units as magnitude form have position as so are not intelligible matter. While the counting soul of light transforms inanimate actual matter into potential intelligible matter. Therefore Monodic number is abstract number that is not a number of actual concrete units with sensible substance but number as the order or time of light. Or to put it another way a physical triangle as Kepler understood "collapses" into an "intelligible" triangle of light as intelligible matter by the counting of light. And so Number as intelligible matter is the Process of counting versus that which we count. And so the formal aspect of the process of counting means the ORDER of counting aka the direction of time of light as the soul. Turning the light around as meditation therefore means reversing the order of counting time. Aristotle then concludes that time is impossible if the Soul (Light) does not exist!! A single unit does not qualify as a number and yet a number one is indivisible. And so the number one is not a number of units as sensible substance or inanimate matter but rather the number one is intelligible matter as the order of time of light as the soul. And so by counting with intelligible number then no new forms as substance are created. This is the secret of turning the light around into the Emptiness as reverse time energy. And so Aristotle defines Number as inherently Cardinal based on the order of time - not just a heap or substance that is sensible. It was when the Attic alphabet arose that Number aligned with a Form as the phonic symbol enabled Number to no longer be inherently Cardinal but instead be just a "heap" of "substance" , as both integers and geometric units combined. John J. Cleary, "Aristotle's Criticism of Plato's Theory of Form Numbers," in Platon und Aristoteles, sub ratione veritatis: Festschrift für Wolfgang Wieland zum 70. Geburtstag Wolfgang Wieland Vandenhoeck & Ruprecht, 2003 So we find that what Plato did is argue that the idea of "two-ness" or "pairness" is a symmetric or ordinal set before it splits into 2 numbers and so it is not indefinite nor is it cardinal. To make this argument he claims that we consider eyes and legs and arms to be an equal set of two-ness or pairness BEFORE we count them as number and so the Dyad does not need to be Cardinal before it turns into Number - nor after it is a Form. But Plato is WRONG to make this assumption - as nonwestern culture emphasizes - that there is no equal "pairness" as a non-ordered reality - for example for males the left hand is yang and right hand is yin, etc. The author of that article instead favors Plato and claims Aristotle's argument is sophistry!
- the purely sinusoidal ones, called pure tones, are the closest counterparts of stationary quantum states....results concentrate around the frequency (3 x the root tonic F), i.e., that of the third harmonic. This signal seems to be nonlinearly processed (distorted) before it reaches the heart of the detector, ie, the basilar membrane of the cochlea.... The factor is roughly constant in the region where the supposed third harmonic is generated and, at the same time, the pulse is too short to allow the fundamental frequency to be detected. Noteworthy is that the "beating of the uncertainty principle," by more than a factor of ten, as reported in [2], concerns qualities essentially of a very different nature than the pulse's duration time. (pdf) The clue to both binding and segmentation is in the accuracy of phase agreement of the spatially separated brain activities. That implies the nervous system (or the body field) can accurately detect phase, and is also able to control phase coherence. I have already alluded to the importance of phase information in coordinating limb movements during locomotion and other aspects of physiological functioning, so it is not surprising that the nervous system should be able to accurately detect phase. The degree of precision may be estimated by considering our ability to locate the source of a sound by stereophony. Some experimental findings show that the arrival times of sound pulses at the two ears can be discriminated with an accuracy of a very few microseconds [1]. For detecting a note in middle C, the phase difference in a microsecond is 4.4 x 10-4. Accurate phase detection is characteristic of a system operating under quantum coherence. Could it be that phase detection is indeed a key feature of conscious experience? Dr. Mae-Wan Ho The highest pitch we hear externally (as phase coherence) resonates the brain internally as ultrasound, creating non-local microtubule quantum coherence: More importantly when sound becomes ultrasound or infrasound then it ionizes electrochemical energy, creating blissful heat. Even more so the ultrasound creates “acoustic cavitation” which turns sound into light energy by bending spacetime as a vacuum! How does that work? The surface area of the sound wave collapses at a faster rate than the volume of the air that supports the wave so that the “group velocity” of the sound is travelling at a faster rate than the materialistic medium that is supporting it (air or water or even a black hole). "The truth is that we don't know what would happen when those black holes evaporating reach the Planck scale, they could very well stabilize into some kind of hybrid object. There could be some kind of balancing of the pressure as it loses mass. As a particle loses its mass it will have a quantum tendency to increase its wavelength, on the other hand it will have a gravitational tendency to increase and those two could balance each other....zero-dimensional noncommutative extension of spacetime could explain this....Photons do not experience time." Shahn Majid, Noncommutative Geometry Quantum Physics Professor.
- Listening to music involves the response of the aesthetic subsystem to the music, a process parallel to the resonant response of an atom to electromagnetic radiation. If we feed a system of atoms with energy in an appropriate way ('pumping' the system), a process of stimulated emission occurs whereby the atoms emit more radiation than they take in by absorption, a state of affairs which tends to result in the system becoming unstable and generating radiation spontaneously at a frequency close to the frequency of the spectral line. - Nobel Laureate quantum physicist Brian Josephson.... physicist Benjamin Solomon, Oct. 2015, explains the mystery of asymmetric noncommutative resonance thrust: "So why do massless photons create thrust? ...No, it's not kinetic energy (in the photon), just electromagnetic energy, that somehow has momentum and during collision, transfers some of its em energy into the mass particle's (electron) momentum and therefore we observe it as kinetic energy."
- Relativity has taught us that a single event cannot be referred; only a pair of events can possess referrals - one to the other. Any absolute time or location of an event would not have any meaning. While this is certainly true in physics, it may be a surprise that a similar referral structure involving pairs of events occurs in the conscious operation of the brain. Before there is any awareness there must be referring pair of events, leading to the projection of a temporal/spatial interval. This has surprising consequences....The question, "Is there really an 'actual time' at which conscious experience takes place?" I have answered negatively indicating, however, that while a precise timing for such an event does not occur, awareness of the peripheral, passive, sensory input must take place before the cortex....Perhaps this theory that a perceived event requires information flowing from end points coming before it and after it, much like a stringed musical instrument requires information coming from its nodal end points to set up standing wave patterns of musical harmony, is a fundamental requirement for both time order uniqueness and subjective experience. (pdf link) Physics Professor Fred Alan Wolf cut and paste this url: http://www.fredalanwolf.com/myarticles/12.4_wolf1.pdf ...The movement of the electron from one orbit to another lower energy orbit was a simple change of notes. As a violin string undergoes such a change, there is a moment when both harmonics can be heard. This results in the well-known experience of harmony, or as wave scientists call it, the phenomenon of beats. ...The light was a beat, a harmony, between the lower and upper harmonics of the Schroedinger-de Broglie waves. When we see atomic light, we are observing an atom singing harmony....They had no medium to wave in, and they had no recognizable form in physical space." Fred Alan Wolf (p. 94, Taking the Quantum Leap) The spin-1 kind of light doesn’t interact very well with the mind-of-God field. Once it’s released, it’s allowed to do its thing: it carries information, it becomes the medium by which we become aware of what’s going on. And it interacts with the spin-½ kind of light, which is zigzagging in the mind of God. So the mind of God is constantly buttressing and playing with the spin-½ kind of light. And the spin-½ kind of light then sends messages backward and forward using the spin-1 kind of light. These notions of spin-½ and spin-1 have to do with another kind of name. When light’s behaving that way, [when it’s behaving as] spin-½, we call them fermions, and when it’s spin-1 we call them photons, or ordinary light.... You can imagine the spin-½ particle is like a barber pole. And if you watch the barber pole, you’ll see that it’s doing a couple of things. First of all, the stripes are moving up the pole, or possibly down the pole, depending on which way it’s rotating. So spin-½ corresponds to having two possible rotations: it could be rotating so that the barber-pole stripes are going up, in which case we say it’s plus-½, or it could be rotating in such a way that the barber-pole stripes are going down, in which case we say it’s minus-½. So in other words, the spin-½ particle can either be pointing up or pointing down, or its barber-pole stripes can be moving upward or moving downward. That’s an important part of why electrons behave the way they do: they pair up an atom so that when you start to build up the atomic core, the atomic orbits about every atom, they always pair up. That’s why I say each one is incomplete; they want to pair up. They’re always looking to find the opposite-pair spinner so that they can feel more complete, so to speak. ..The best picture we have right now is that matter itself is not made of solid little hunks; it’s not itself material. Matter seems to be made of light, and this light spins like a whirling dervish, and interacts with something that we call in physics the Higgs field, which seems to be an invisible field that prevails and pervades all of space and time. And I look at it as the mind of God, as a God-mind. And it seems to bring into being the existence of solid hunks of matter, ...light particles of spin-½ are like barber poles that come into existence, and they’re always trying to complete themselves. " Fred Alan Wolf
- In Daoist meditation the trigram Kan represents the Kidneys and Dantian. Kan is full in the middle (it has a solid yang line in the middle). The yang line in the center indicates that there is a true yang-fire within yin-water. Li represents the heart and chest. Li is empty in the middle. This symbolizes the hidden true yin-water within yang-fire. Normally, fire is light and rises to the chest and water is heavy and sinks to Dantian. This is the post-heaven state whose trigram configuration moves temporally from birth to death. However if fire is brought beneath water, they mutually restrain each other and interact. This creates steam and condensation which is a rarefied energy. Then the middle lines of the trigrams switch places and the Qian trigram and Kun trigrams (Hexagram 11: Tai) are formed creating the original pre-heaven state, which in Daoist beliefs leads to stopping of the temporal movement and therefore “immortality”....It is known that the two nostrils under the nose are for respiration. This is because they can correctly grasp [the Hun Soul] Heaven and Earth. In exhalation one’s own internal Yuan Qi exits. In inhalation, Heaven and Earth’s correct (positive) qi from outside, enters. When the body is strong and healthy, it is possible to take in this correct qi of Heaven and Earth, so that one’s lifespan can be lengthened. If the Jing Qi is week and feeble, the correct qi of Heaven and Earth will disperse and escape with exhalation, the body’s Yuan Qi (Original Qi) will not return and instead will be taken by Heaven and Earth. Everyone fails to understand that qi is the true medicine for prolonging life and cannot find the gate to enter....In the Wu Ji state, the nose develops first, and then the two eyes. The spiritual qi of the eyes comes from the brain. The manifestation of intelligence in the brain comes is generated by the heart.... If the body and form are uneasy and the heart-mind moves, then the spirit will not enter the qi and the body’s qi will be consumed and dispersed. Then one’s nature will be confused and will lack understanding. Therefore it is said that the body’s spirit must not exit. General Discussion of the Medicine Collecting Method. excerpted from The True Transmission of Ba Gua Zhang 八卦拳真传 Ba Gua Zhang Zhen Chuan by Sun Xi Kun 孙锡 堃 Tai Chi Chüan: Harmonizing Taoist Belief and Practice - Jeaneane D. Fowler, Shifu Keith Ewers: The triagram Li is fire and predominantly yang, but the important middle line is yin, and so the Dragon is female. It is the yin essence in the yang, water in fire, the female in the male, the moon in the sun. It is referred to as Green Dragon....It is water that rises, being heated, and is therefore fiery but yielding, rising to Heaven. The triagram K'an/Kan is Water and predominantly yin and female. But the middle line is yang and alchemically it is the yang in the yin, the White Tiger, ....its function is to descend to Earth when fire reacts with it. It is the fire in the water. ...the Yang within the Yin of saliva-lead to go downward... downwards they strengthened the primary chi [yuan qi]..... The Fuqi jing (Scripture on Ingesting Qi) 5th Century A.D.: Quote The Way is qi. Protecting qi, one attains the Way. Attaining the Way, one is thus well-preserved. Spirits are seminal essence. Protecting seminal essence, one's spirit becomes intelligent/bright. Illuminating one's spirits, one lives long. Seminal essence is the river-flow of the blood vessels, and the numinous spirit which protects the bones. Discarding seminal essence, ones bones become brittle and brittle bones result in death. It is true that the business of the Way is treasuring one's seminal essence. Xici, Appendix of Yijing, (3rd BCE) is first appearance of Taiji in an extant text. Change is the fundamental state, the exact opposite of Platonic metaphysics...The implication that taiji/bipolarity is somehow also nondual. Yin-yang qi is a manifestation of the unitary principle of bipolarity. Professor Joseph A. Adler Hatha Yoga is actually Ha (Sun) tha (moon) Yoga (union) i.e. alchemy ... In the state “before Heaven,” yin and yang have a tendency to descend and ascend, respectively. In the state “after Heaven,” where original yin and yang are enclosed within entities of the opposite sign, the descending movement of yin takes along original yang, and the ascending movement of yang takes along original yin: Real Fire goes down with Water, and Real Water goes up with Fire. Original yin and yang, therefore, are bound to move in directions opposite to their authentic nature and to separate from each other. Neidan aims to set the original yin and yang free from their corrupted counterparts and allow them to follow again their natural tendency. The inner yin line of li descends while the inner yang line of kan rises, and yin and yang can again join in the centre, this time generating the inner elixir or embryo of immortality. This process is an inversion because it reverses the ascending movement of li/Fire and the descending movement of kan/water, but simultaneously it is not, because the movement of the inner lines follows their natural inclination. “Inversion” therefore, is a release of the natural properties of original yin and yang: The neidan process, as one often reads in the texts, is “natural” or “spontaneous” (ziran). Daoism Handbook CHAPTER 16 (LOWELL SKAR and FABRIZIO PREGADIO) citing the Ph.D. thesis of "paul benjamin michael crowe" The lungs correspond to metal. Metal originally sinks. On account of what is it yet able to float? The liver corresponds to wood. Wood originally floats. On account of what is it yet able to sink?... The lungs being caused to receive qi have yi wood located within and so it floats. The liver being caused to receive qi has geng metal located within and so it sinks. So then it is explained through hexagrams. p. 69... metal turns into Kan when it produces water in the north. Within Kan there is true fire that floats. Zhen as wood hexagram with the solid lower lines produces the fire of the south as Li, that floats. The true water within Li causes it to sink. Medicinally Lead as Metal sinks but then manifesting fire is then floats. Mercury associated with wood floats but then manifesting water it then sinks.
- "There's no difference between physics and biology. Fundamentally. And then you can even be outrageous, well then maybe even the electron has a proto-consciousness. There's a thought!.... When we appreciate music, what we find there, directly is, not that we hear a series of notes; rather that we are actually getting involved in recreating the theme as it goes along. We are making the past active in the present and we are anticipating the future. Now it's in that tension that we directly encounter the implicit order...When you are sort of carried along without thinking of anything. When you become part of that. That is the nearest I can give you as becoming part of the implicit order. You don't separate it out, so we can experience it directly.... We can not analyze it.... In many ways it seemed to be a new form of inner energy possessed by the particle, organising the flow lines in a novel way and suggesting a 'formative' cause rather than the traditional efficient cause. ....quantum phenomena emerged from a non-commutative phase space....What I'm really do here is I'm looking at a non-commutative algebra. My feeling is that if you're going to do something like quantum gravity you've got to take this non-commutative into of account and you got to go down the line of Alain Connes and get the non-commutativity.... HILEY: "Subquantum medium" was in fact the way in which de Broglie and Jean-Pierre Vigier talk (he feels this medium is actually the reality). Here I recall the early discussions of the role of an ether for electro-magnetic phenomena. The conclusion was that we do not need an ether - the vacuum would do. What Einstein actually said was that we did not want to explain the electro-magnetic ether in terms of mechanical properties of a substance. I see that people now, forgetting Einstein's remarks, want to provide a MECHANISTIC subquantum medium; they want to keep Cartesian categories and that is wrong direction. In quantum field theory there is the concept of vacuum. Normally people would say: Vacuum means that it is nothing there. But then you find that there are terms like "inequivalent vacuum states", vacuum fluctuates etc. What does it mean to have inequivalent nothingness? It is either nothingness or it is something. So, the idea is that the vacuum in fact is not empty. It maybe "full". We see these notions as vacuum polarisation in which virtual positron-electron pairs are created from the vacuum. It looks as if the vacuum state is not empty, but that it is a medium of some kind. Einstein said: "I did not ban the 'quantum ether', but I do not want it to have mechanical properties." Now, if you remove the mechanical notion, then I see no harm in reintroducing the notion of the subquantum medium. But it has got to be a medium which is much subtler than a mechanical medium. Indeed, I believe, there is some deeper underlying process that we have not begun to understand yet. " Quantum professor Basil J. Hiley, 2016: Quantum Trajectories: Dirac, Moyal and Bohm Professor Hiley: " I always felt the chances that a universal rest frame existed were very small. ... Today it is called 'non-commutative geometry’. In my view this demands a radical new view as to what geometry actually is. Things do not go on in space-time but space-time itself emerges from the non-commutative algebra of process." ...What seems to have been forgotten or not recognised was that Dirac already had the Bohm equation in his "Principles of Quantum Mechanics” because the equations are simply a different mathematical form of Schrödinger’s equation. What I have shown recently is that the Bohm trajectories are the mean of an ensemble of individual Feynman paths. Weak values are just a return to transition probabilities. Unfortunately they are presented as “values” cf eigenvalues. See Flack, R. and Hiley, B. J., Feynman Paths and Weak Values, in Entropy, 20 (5) May 2018. Hiley and Bohm, 1975: "But more generally the actual wave function of the entire field is a nonlocal function of the field variables at different places...Any attempt to explain this result on the basis of a system consisting initially of localized constituents would require a non-localized interaction (e.g. instantaneous action at a distance) the very existence of which is denied in the theory. ...To illustrate we shall make sue of an analogy from music. ...The entire theme is a single whole form, which is perceived directly as such. ...Thus the written notes are merely a representation of the structure of themes and evidentally not the structure itself. And it is only in the relationship of the notes, as actually played, that the structure exists....What we suggest here is that the single particle is similar, in some essential way, to a sequential structure of themes as described above. This wave functional is a solution of a Schroedinger-like equation. In some sense the photon is the feature, not of the wave function of the field, but of the field itself. So we are beginning to get two levels here. The discrete manifestation of the electro-magnetic field, the photon, is coming out of the classical field, which is controled or which is guided by a superfield. This superfield satisfies the super-Schroedinger equation giving rise to a super-quantum potential. So the quantum potential controls the field and the photons are actually aspects of the field. So, we have two-level-control of the photons.
- You must unify your will (or attention, concentrate yourself). Do not listen to it with your ears but rather listen to it with your mind. Do not listen to it with your mind, but rather listen to it with your qi. ...Qi however is something that is empty and waits for things. Only the Dao gathers where it is empty. Emptiness is the fasting of the mind. Zhuang Zhou, Zhuangzi chapter 4 a 9th Century statement by the Zen Master Dogen upon his enlightenment: “Incredible, incredible, inanimate things proclaiming dharma is inconceivable, it can’t be known if the ears try to hear it, but when the eyes hear it, then it can be known.” The ear collect the spiraling energy from the cosmos, this energy gives life to man, and we see this vitality in the light which shines forth from our eyes. Tibetan medical doctor.
- Qigong Master Shen Wu: With his theories of “Music before Medicine” and “Music is also Medicine”, he has revealed the lost remedies of ancient Chinese music therapy and became the first person to introduce Five Tones Therapeutic Music to the modern world. Over the last decade, Professor Wu spent a great deal of time studying ancient medical texts such as the “I-Ching—Five Tones and Eight Sounds”, “The Yellow Emperor’s Classic of Internal Medicine – Five Tones and Five Major Organs” and “Twelve Scales and Twelve Meridians”. He has combined music melody with physiology to create a systematic and organized subject with a series of musical therapeutic methods. It contains a strong root in ancient philosophy and is differentiated from the Western method of seven scales. The Chinese "lǜ" tuning is closest to the ancient Greek tuning of Pythagoras.
- as I pointed out - Western axiomatic logic has paradoxes due to time inherently involved. So Schroedinger tried to ignore relativity - he got his wave equation from Louis de Broglie who was critiquing relativity. So now de Broglie's pilot wave model is being rediscovered since it includes relativity. With noncommutative phase logic at "zero" time there is always-already "non-locality" as Professor Basil J. Hiley points out and Hiley emphasizes this non-locality is still ignored by almost all quantum physicists. And so Olivier Costa de Beauregard, the assistant of Louis de Broglie, states that relativistic quantum physics explains telekinesis, precognition, levitation, etc. Olivier Costa de Beauregard states, with George Lochak, that the reason that paranormal phenomenon are rejected as "woo woo" is because scientists are afraid to lose their funding. But the scientists at SLAC - like Noyes - and Kauffman - and Oshins - they realize that DAoist neigong is actually modeled by noncommutative phase logic as relativistic quantum physics. So this is actually the opposite of "woo woo" - ironically. The skeptics like to try to dismiss paranormal phenomena but only because they do not know enough high level science! haha. I have 77 different scientists discussing de Broglie's Law of Phase Harmony - in relation to spiritual phenomenon. http://ecoechoinvasives.blogspot.com/2018/01/summarizing-de-broglie-pilot-wave-law.html Noncommutative phase logic is non-locality - and so proves that indeed you can be in two places at the same time. Music theory, as Connes pointed out in his book, "Triangle of Thoughts," that I read around 2001 - music theory provides the "formal language" for quantum logic as noncommutative phase. So I have explained this music theory logic before - as does Connes in his youtube lecture on music theory. And the cover up of this noncommutative phase logic then launched Western symmetric math from the wrong music theory - from Philolaus and Archtyas, creating the Greek Miracle of the square root of two (with all the logical paradoxes of axioms). Yes it is Negative Energy as Negative Density but Positive Pressure as Positive Superluminal Momentum! spin 1/2 quanta are noncommutative to one phase cycle of 2 pi and so are converted to 720 degree spin that is symmetric math as the Poisson Bracket, circulating along a closed loop in a given time that is noncommutative! " For example h-bar means Planck's Constant based on a closed symmetric time phase cycle of h/2 pi aka ħ = h/(2π). But in fact spin 1/2 quanta are noncommutative to one phase cycle of 2 pi and so are converted to 720 degree spin that is symmetric math as the Poisson Bracket, circulating along a closed loop in a given time that is noncommutative! This is the secret cause of the Josephson Junction effect that converts phase into voltage as superconducting energy. In other words time is normally hidden in Planck's Constant as an outside parameter that has instead been converted to symmetric density as phase. And so due to noncommutative phase, de Broglie's Law of Phase Harmony discovered there is a 2nd time operator that is from the future and superluminal, and nonlocal, as a guiding phase wave ether. It has been argued that the commutation stated in the fourth postulate is a consequence of the operators associated with the corresponding observables, and thus a consequence of the experiments....a connection between discrete Fourier transform and uncertainty relations used in signal processing applications has been noticed in the past....generalized form of the Poisson Bracket , that is [...]= imaginary number x Planck's Constant as h-bar [ h divided by 2π,]....a comparable commutator between energy [frequency] and time... [change in]energy x [change in]time = 1/2 h-bar [half of the quantum phase space is quantum spin, which cannot be put in a Poisson bracket]. A Proof for Poisson Bracket in Non-commutative Algebra of Quantum Mechanics by Sina Khorasani, University of Vienna, 2014 pdf" This is the secret cause of the Josephson Junction effect that converts phase into voltage as superconducting energy....the negative vibrational modes correspond to antimatter ("anti-particles")....Daoist Logic has been rediscovered as noncommutative geometry that is also explained by music theory. So first of all there is no zero - the Wuji is actually "undivided yin-yang" (noncommutative phase) as Yuan Qi or the T'ai Chi. So then the One is also not a number - what this means is the One as spirit does not experience space nor time. The secret to this is actually not speech but instead listening to harmony as music theory. So the "one" is the fundamental pitch or root tonic - and so we call it C as geometry. The octave of C is then the one as the 2 - but it's the same pitch. And so 3 is then yin-yang that is undivided with the 2 because 3 is G as 3/2, the overtone harmonic as Perfect Fifth pitch while 3 is F as 2/3, the undertone harmonic as Perfect Fifth. Since they are both Perfect Fifth then 3 is yang but it has a different frequency and wavelength - and so it is the "undivided yin-yang" as the T'ai Chi. Where is the yin then? The 2/3 as C to F is the subharmonic and so it is "doubled" back into the same octave of the 1 and 2 of C - which then means the 3 as the subharmonic becomes the new 1 as the F, root tonic - or 4/3 as C to F harmonic. And so since 2 does not line up with 3 this process of yin and yang goes on infinitely. We see a different visual geometry of 2/3 and 3/2 as C to F and C to G - but since they are both the Perfect Fifth, then the seemingly "yin" of the subharmonic C to F, is actually Harmonized as Listening back into the T'ai Chi of 3 as the undivided yin-yang, also called the Single Perfect Yang as the yuan qi. ""The universe and I came into being together; I and everything therein are One...If then all things are One, what room is there for speech? On the other hand, since I can say the word 'one' how can speech not exist? If it does exist, we have One and speech -- two; and two and one -- three(14) from which point onwards even the best mathematicians will fail to reach (the ultimate); how much more then should ordinary people fail?...So since from nonexistence there comes existence and next there are three...depend on This and let that be the end of it." " - Chuang Tzu, 300 BCE So as the particle moves the internal frequency goes down while internal time (relativity) goes up (slows down as a superluminal ether phase from the future) and then the particle's momentum is the group wave as physical matter (increasing to the speed of light) while the wavelength goes down (the Planck point)....the momentum is inverse to wavelength it means that frequency being inverse to wavelength then changes based on the mass changing near the speed of light. And so - well de Broglie realized there has to be a reverse time phase wave. It is difficult to explain the math - the phase velocity is frequency x wavelength but it is noncommutative phase between the matter wave and the superluminal phase wave. So that frequency x wavelength does not equal wavelength x frequency. A standing wave can be regarded as a superposition of two oppositely-traveling waves of equal amplitude, the expected number of photons is twice the number of energy multiples of hv....based on the relativistic Doppler effect. The Yellow Emperor: "When sound moves, it does not produce sound, it produces echoes."
- In silence there must be movement, and in motion, there must be silence. A small movement is better than a big, no movement is better than a small. Silence is all the movement's mother. In Movement you should be like a dragon or a tiger. In non Movement you should be like a Buddha. The right path of Intent Boxing (Yi Quan) does not go beyond the ancient postures of old Three Fists and two energies (Qi) of Dragon and Tiger. Two energies of Dragon and Tiger are skills....» - Wang Xiangzhai, qigong master, martial artist
- The 'demusicalization' of the theory of proportions by Plato is shocking....If we consider the likely Pythagorean and Philolaic origin of the Timaeus this 'removal' seems really astonishing!....Why these silences? And why this sudden and radical change? Why the Pythagoreans' silence? The "secret of the sect"? ....all the more because a purely negative result (speaking about "something which is not") had to fall under the blows of the negative judgement paradox. Such paradox forbade speaking about what is not....But a statement about what is not is about nothing and hence impossible....The refusal of speaking of "what is not" ...was the reason why musical incommensurability fell into oblivion...."However, I think I can prove that in the Platonic Academy there was a trace of this earlier approach, with a tight connection between music, numerical means and similarity, and without any reference to geometric figures, such as square or pentagon." .....Continuum is not only inexpressible, but also external to the knowledge of reality....We can suppose that the Quadrivium in its earlier Pythagorean version did not know any discrete/continuous opposition....These remarks raise the question of the difference between the ancient Pythagorean ‘musical’ perception as displayed in the Pythagorean idea of ‘linear number’ in Boethius [Philolaus] or in Nicomachus, and the modern ‘geometrical’ perception of the linear numerical magnitudes. The Epinomis, authored by the Plato student Philippus of Opus, a member of the Academy, approximately contemporary of Aristotle and Eudoxus: Quote Thus the first
[proportion] is of the double in point of number, passing from one to two in order of counting, and that which is according to power is double; that which passes to the solid and tangible is likewise again double, having proceeded from one to eight; but that of the double has a mean, as much more than the less as it is less than the greater, while its other mean exceeds and is exceeded by the same portion of the extremes themselves. Between six and twelve comes the whole-and-a-half (9=6+3) and whole-and-a-third (8=6+2): All of them, however, can not avoid the occurrences of the never ending paradox connected to the syntactic paradigm. Below the surface of the antinomical form, we can maybe reveal the deep 'preestablished disharmony' of the link between human knowledge and reality." Math Professor Emeritus Luigi Borzacchini (origin of above 6th Century Boethius image from Philolaus (5th century BCE)) "In modern physics, as in pre-Socratic philosophy, the observer is a mouse in the cheese: he cannot be indifferent....After a few centuries of harmony and sleeping of paradoxes, again the ever-lasting antinomies and pre-established disharmony frame our knowledge enterprise." Hence Arithmetic is the source of that preestablished harmony between reality and language that we can not not believe after almost four centuries of astonishing achievements, but we must even say that, neither tendentially, syntactic representation can thoroughly mirror reality, become someway iconic. And this because it is marked in its basic principles with a preestablished disharmony, that is even its hidden evolutive principle. It plays the role of source of never ending paradoxes well recognizable ever since the beginning of formal thinking. Negation, truth and being ground an antinomical argument, from the “negative judgement paradox” (impossibility of asserting falsity), through the “liar paradox” (contradictory nature of self-asserting falsity), to set-theoretical paradoxes and to Gödel's and Tarski's limitative theorems. Luigi Borzacchini, THE SOPHIST. GENESIS OF FORMAL THINKING IN GREEK PHILOSOPHY AND MATHEMATICS. (Dipartimento di Matematica, Università di Bari). And so substance as form does not exist in actuality since it can never be reduced to one and so the one exists only as potentiality (this is the secret of light as consciousness as eternal motion)....And so Aristotle complains there is no analogy of the Soul (Light) for individual things. But this is what the Pre-Socratics as with the Daoist and Indians knew to be the truth - all is light based on time as relativistic mass from noncommutative phase (the 3-in-1 unity)....Aristotle believes is it the Soul (as light) that unifies a composite of sensible forms into counting numbers as order without position. So units as magnitude form have position as so are not intelligible matter. While the counting soul of light transforms inanimate actual matter into potential intelligible matter. Therefore Monodic number is abstract number that is not a number of actual concrete units with sensible substance but number as the order or time of light....Aristotle then concludes that time is impossible if the Soul (Light) does not exist!! - How does it work in a biological organism?....And how does a field, as weak as the Earth's magnetic field make much of a difference....it shouldn't make much any difference to any biochemical reaction.... In 1976 demonstrated certain chemical reactions involving free radicals were sensitive to magnetic fields. And the reason for that was that the unpaired electrons in free radicals, if they remain entangled, they become sensitive, or the reaction becomes sensitive to magnetic fields. The presence acts as an angle of a magnetic field, relative to the unpaired electron orientation makes a difference to the final products of those reactions....certain chemical reactions were sensitive to magnetic fields....Behaving as a wave, at room temperature...The really odd thing about it is that it is doing it for long period of times, it has to remain coherent; and how that is managed is not really clear. An interesting feature, in the last few years really, is that coherence in biology seems to be maintained by molecular vibrations. [acoustic phonons] This is why quantum coherence, entanglement and tunneling in biological systems is puzzling, because they are hot, messy, noisy where you wouldn't expect coherence to survive for very long. But it does.... Biology has somehow worked out how to use vibrations, use molecular noise, to maintain, rather than destroy coherence. There's a lot of evidence for that. Professor JohnJoe McFadden Why is there Orthogonality? Functional state of neurons is modulated by the aether - this is like musical instruments like Sitar. The Brain is like a musical instrument. Sisir Roy and Ralph Abraham youtube 2016 Nature Communications volume 7, Article number: 10340 (2016) "The human brain are predicted by harmonic patterns, ubiquitous throughout nature, steered by the anatomy of the human cerebral cortex,"
- "...superconductivity within one neuron could become phase coherent with that in an adjoining cell by virtue of quantum tunnelling, and this could be stimulated by the macroscopic analog of stimulated emission (alluded to before in connection with the mantra), that is an AC Josephson effect. ...At a more interesting level, the quantum vacuum state may be said to be empty (of excitation) and yet full in the sense of pure potentiality; it contains "virtual" (unphysical) representatives of all possible modes of matter and excitation in the form of vacuum fluctuations or "virtual particles" (zero-point excitations of each field mode, assigned one-half quanta of energy, due directly to the non-commutative property of the field operators)....The Super Radiance assembly at M.U.M. is named after the super radiant effect in optical physics, in which a small proportion of coherent photons in a beam of light influence all other photons to join in the powerfully coherent beam we call laser light. The Maharishi Effect is named, in the scientific tradition (the Doppler Effect, the Meissner Effect), after the man who first predicted it, the founder of TM and the worldwide movement for the Transcendental Meditation program, Maharishi Mahesh Yogi. Super Radiance assemblies, generators of social coherence," Former Hampshire College physicist Lawrence Domash, confirms superluminal quantum sound as noncommutative meditation! 1975, pdf "We discussed the quantum tunnelling paths in phase space and found that the quantum tunnelling rate is a complex number due to the noncommutative geometry of phase space." "The coordinate system of a phase space lattice has a noncommutative geometry which is fundamentally different from spatial lattices. It is this noncommutative phase space which creates an artificial magnetic field and is responsible for the asymmetry of the quasienergy band structure... which is a result of the noncommutative geometry of phase space. ..... been studied in voltage biased Josephson junctions [34, 35]."" Synthesizing lattice structures in phase space - IOPscience http://iopscience.iop.org/article/10.10 ... 023006/pdf by L Guo - 2016 "molecular vibrations exhibit a super-radiant instability....results in macroscopic quantum coherence...required to account for quantum-limited measurements in sensory systems....in accord with experiments in the sensory receptors of the inner ear....hearing is a macroquantum phenomenon....Thus, the ear not only makes use of a novel mechanism to reduce thermal noise, it possesses a device as noiseless as the uncertainty principle allows, and in this way it makes quantum-limited measurements, in spite of thermal noise. It is the presence of this device, a quantum limited amplifier, which makes the perception of sound a macroscopic quantum phenomenon....In the quantum-limited regime the phase of the signal is translated into the phase of the amplifier wavefunction, as is clearly true in Josephson junction devices, for example....they must be coherent....phonon super-radiance provides a natural means of explaining the macroscopic quantum effects....a coherent oscillation amplitude....spontaneous "beating"... at a frequency close to its resonance... will be reflected as sound emitted by the ear....microscopic mechanisms in which quantum coherence lives for a time comparable to measurement time, on the order of one millisecond. It is this results which completes the evidence in favor of Schroedinger's view of life as a macroscopic quantum phenomenon. There is simply no way to understand the sub-angstrom displacements in the inner ear without postulating a molecular mechanism in which quantum coherence is manifest on macroscopic scales of time and distance." Quantum Effects in the Dynamics of Biological Systems, 1983, Lawrence Berkeley National Laboratory, William Bialek (currently Princeton Professor) "For a quasiparticle, being massless means that it moves at the same speed whatever its energy."
- Stanford Quantum psycho-physicist, martial artist 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. ...Further investigation should be made into the possibility of coupling the two arms through the waist....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....I have predicted psychological effects for what are known in the physical literature as "Aharonov-Susskind-Bernstein Effects," such as a reversal of spinorial, brain current activity as a consequence of relative self-rotation by 2pi....If I consider my self to be situated at the locus of intersection of my two palms then I should realize such a spinor representation! Oshins, E. (1993). A Test for Classical Psychospinors. (pdf) In Abdullah, F. (Ed.) Conservation and Invariance. Cambridge, UK: Alternative Natural Philosophy Association, London England. (scroll down to find the pdf link) time evolution and conservation laws are presumed to operate differently Quantum asymmetry between time and space Joan A. Vaccaro Published:01 January 2016 As discussed in the Introduction, this symmetry comes at the cost of the non-conservation of mass. https://doi.org/10.1098/rspa.2015.0670 "Eddie will finally describe and propose a psychological Aharanov-Susskind-Bernstein effect such as a reversal of spinorial, virtual brain current activity as a consequence of relative self-rotation by 2p." http://www.quantumpsychology.com/Speak.html
- Alain Connes: "The point of noncommutative geometry is NOT to extend classical concepts and so on, to this situation,...it's more complicated than that. The point is there will be totally NEW phenomenas in the noncommutative case which will have NO commutative counterpart. This is really the important point. And if we look at the hierarchy of the levels of understanding of we have of an ordinary space...I mean - so you see - so something very trivial is the following - when you look at the space you can look at it from various points of view. The closest point of view is Measure Theory, then you have Topology, then you have Differential geometry, by this I mean the soft part, there are currents... Finally you have geometry per se which is the metric aspect....EVEN at the measure theory level, there is a completely NEW phenomenon, which was really the starting point of the whole story, which is the following very striking fact. So I will not talk about spaces - because I will convey all the structure to the corresponding algebra. There is a really striking fact which has probably not passed the mathematical community, which is the following one: IN the Measure Theory - which means it's only a certain kind of algebra which is considered, you are NOT allowed to stay what is a continuous function, it's a certain kind of algebra... An algebra A as a God-Given time evolution - so it moves, it rotates, it's a very strange thing. There is an absolutely God-Given morphism from the real line of the Group to the Group OUT of the algebra A which is the Quotient of the automorphisms...and this Group, roughly speaking, what it does is that it exchanges Left and Right... A very striking feature of noncommutative geometry from the Measure Theory point of view....standard music suggests dealing with new shapes which are quantum such as the quantum 2-spheres....On the other hand the stretching of geometric thinking imposed by passing to noncommutative spaces forces one to rethink about most of our familiar notions. ...And it could be formalized by music….I think we might succeed in this way to educate the human mind to deal with polyphonic situations in which several voices coexist, in which several states coexist, whereas our ordinary logical allows room for only one. Finally, we come back to the problem of adaptation, which has to be resolved in order for us to understand quantum correlation and interrelation which we discussed earlier, and which are fundamentally schizoid in nature. It is clear that logic will evolve in parallel with the development of quantum computers, just as it evolved with computer science. That will no doubt enable us to cross new borders and to better integrate the mathematical formalism of the quantum world into our metaphysical system.... When Riemann wrote his essay on the foundations of geometry, he was incredibly careful. He said his ideas might not apply in the very small. Why? He said that the notion of a solid body of a ray of light doesn't make sense in the very small. So he was incredibly smart. His idea, I have never been able to understand his intuition...But however he wrote down explicitly that the geometry of space, of spacetime, should be encapsulated, should be given by the forces which hold the space together. Now it turns out this is exactly what we give here...One day I understood the following: That we are born in quantum mechanics. We can not deny that... Quantum mechanics has been verified. The superposition principle has been verified. The spin system is really a sphere. This has been verified. This has been checked so many times. That we can not say that Nature is classical. No. Nature is quantum. Nature is very quantum. From this quantum stuff, we have to understand our vision, our very classical, because of natural selection way of seeing things can emerge. It's very very difficult of course. ...Why should Nature require some noncommutativity for the algebra? This is very strange. For most people noncommutativity is a nuisance. You see because all of algebraic geometry is done with commutative variables. Let me try to convince you again, that this is a misgiving. OK?....Our view of the spacetime is only an approximation, not the finite points, it's not good for inflation. But the inverse space of spinors is finite dimensional. Their spectrum is SO DENSE that it appears continuous but it is not continuous.... It is only because one drops commutativity that variables with a continuous range can coexist with variables with a countable range....What is a parameter? The parameter is time...If you stay in the classical world, you can not have a good set up for variables. Because variables with a continuous range can not coexist with variables of discrete range. When you think more, you find out there is a perfect answer. And this answer is coming from quantum mechanics....The real variability in the world is exactly is where are you in the spectrum [frequency] of this variable or operator. And what is quite amazing is that in this work that I did at the very beginning of my mathematical studies, the amazing fact is that exactly time is emerging from the noncommutivity. You think that these variables do not commute, first of all it is that they don't commute so you can have the discrete variable that coexists with the continuous variable. What you find out after awhile is that the origin of time is probably quantum mechanical and its coming from the fact that thanks to noncommutativity ONLY that one can write the time evolution of a system, in temperature, in heat bath, the time evolution is really coming from the noncommutativity of the variables....You really are in a different world, then the world of geometry, which we all like because we all like to draw pictures and think in a geometric manner. So what I am going to explain is a very strange way to think about geometry, from this point of view, which is quite different from drawing on the blackboard...I will start by asking an extremely simple question, which of course has a geometrical origin. I don't think there can be a simpler question. Where are we?....The mathematical question, what we want, to say where we are and this has two parts: What is our universe? What is the geometric space in which we are? And in which point in this universe we are. We can not answer the 2nd question without answering the first question, of course....You have to be able to tell the geometric space in an invariant manner....These invariants are refinements of the idea of the diameter. The inverse of the diameter of the space is related to the first Eigenoperator, capturing the vibrations of the space; the way you can hear the music of shapes...which would be its scale in the musical sense; this shape will have a certain number of notes, these notes will be given by the frequency and form the basic scale, at which the geometric object is vibrating....The scale of a geometric shape is actually not enough.... However what emerges, if you know not only the various frequencies but also the chords, and the point will correspond to the chords. Then you know the complete thing....It's a rather delicate thing....There is a very strange mathematical fact...If you take manifolds of the same dimension, which are extremely different...the inverse space of the spinor doesn't distinguish between two manifolds. The Dirac Operator itself has a scale, so it's a spectrum [frequency]. And the only thing you need to know...is the relative position of the algebra...the Eigenfunctions of the Dirac Operator....a "universal scaling system," manifests itself in acoustic systems....There is something even simpler which is what happens with a single string. If we take the most elementary shape, which is the interval, what will happen when we make it vibrate, of course with the end points fixed, it will vibrate in a very extremely simple manner. Each of these will produce a sound...When you look at the eigenfunctions of the disk, at first you don't see a shape but when you look at very higher frequencies you see a parabola. If you want the dimension of the shape you are looking at, it is by the growth of these eigenvariables. When talking about a string it's a straight line. When looking at a two dimensional object you can tell that because the eigenspectrum is a parabola.... They are isospectral [frequency with the same area], even though they are geometrically different [not isomorphic]....when you take the square root of these numbers, they are the same [frequency] spectrum but they don't have the same chords. There are three types of notes which are different....What do I mean by possible chords? I mean now that you have eigenfunctions, coming from the drawing of the disk or square [triangle, etc.]. If you look at a point and you look at the eigenfunction, you can look at the value of the eigenfunction at this point.... 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. ...The corresponding eigenfunctions only leave you one of the two pieces; so if there is is one in the piece, it is zero on the other piece and if it is non-zero in the piece it is zero there...You understand the finite invariant which is behind the scenes which is allowing you to recover the geometry from the spectrum....Our notion of point will emerge, a correlation of different frequencies...The space will be given by the scale. The music of the space will be done by the various chords. It's not enough to give the scale. You also have to give which chords are possible....The only thing that matters when you have these sequences are the ratios, the ear is only sensitive to the ratio, not to the additivity...multiplication by 2 of the frequency and transposition, normally the simplest way is multiplication by 3...2 to the power of 19 [524288] is almost 3 to the power of 12 [531441]....You see what we are after....it should be a shape, it's spectrum looks like that...We can draw this spectrum...what do you get? It doesn't look at all like a parabola! It doesn't look at all like a parabola! It doesn't look at all like a straight line. It goes up exponentially fast...What is the dimension of this space?...It's much much smaller. It's zero...It's smaller than any positive.... Musical shape has geometric dimension zero... You think you are in bad shape because all the shapes we know ...but this is ignoring the noncommutative work. This is ignoring quantum groups. There is a beautiful answer to that, which is the quantum sphere... .There is a quantum sphere with a geometric dimension of zero...I have made a keyboard [from the quantum sphere]....This would be a musical instrument that would never get out of tune....It's purely spectral....The spectrum of the Dirac Operator...space is not simply a manifold but multiplied by a noncommutative finite space......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,∞}. The formula is in sub-space....Geometry would no longer be dependent on coordinates, it would be spectral...The thing which is very unpleasant in this formula is the square root...especially for space with a meter....So there is a solution to this problem of the square root, which was found by Paul Dirac....It's not really Paul Dirac, it is Hamilton who found it first...the quaternions is the Dirac Operator....Replace the geometric space, by the algebra and the line element...for physicists this thing has a meaning, a propagator for the Dirac Operator. So it's the inverse of the Dirac Operator.... You don't lose anything. You can recover the distance from two points, in a different manner....but by sending a wave from point A to point B with a constraint on the vibration of the wave, can not vibrate faster than 1; because what I ask is the commutator of the Dirac Operator is less than 1...It no longer requires that the space is connected, it works for discrete space. It no longer requires that the space is commutative, because it works for noncommutative space....the algebra of coordinates depends very little on the actual structure and the line element is very important. What's really important is there interaction [the noncommutative chord]. When you let them interact in the same space then everything happens....You should never think of this finite space as being a commutative space. You have matrices which are given by a noncommutative space...To have a geometry you need to have an inverse space and a Dirac Operator...The inverse space of the finite space is 5 dimensional....What emerges is finite space... a point of the geometric space "X" can be thought of as a correlation ...which encodes the scalar product at the point between the eigenfunctions of the Dirac operator associated to various frequencies, i.e. eigenvalues of the Dirac operator....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.... We get this formula by counting the number of the variables of the line element that are bigger than the Planck Length. We just count and get an integer.... There is a fine structure in spacetime, exactly as there is a fine structure in spectrals [frequencies]....Geometry is born in quantum space; it is invariant because it is observer dependent....Our brain is an incredible ...perceives things in momentum 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 this enormous Fourier Transform...not for functions but a 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. This is a function that the brain does amazingly well, because we think geometrically....The quantum observables do no commute; the phase space of a microscopic system is actually a noncommutative space and that is what is behind the scenes all the time. They way I understand it is that some physical laws are so robust, is that if I understand it correctly, there is a marvelous mathematical structure that is underneath the law, not a value of a number, but a mathematical structure....A fascinating aspect of music...is that it allows one to develop further one's perception of the passing of time. This needs to be understood much better. Why is time passing? Or better: Why do we have the impression that time is passes? Because we are immersed in the heat bath of the 3K radiation from the Big Bang?...time emerges from noncommutativity....What about the relation with music? One finds quickly that music is best based on the scale (spectrum) which consists of all positive integer powers qn for the real number q=2 to the 12th∼3 to the 19th. [the 19th root of 3 = 1.05953 and 12th root of 2=1.05946] Due to the exponential growth of this spectrum, it cannot correspond to a familiar shape but to an object of dimension less than any strictly positive number....This means it is a zero dimensional object! But it has a positive volume!... As explained in the talk, there is a beautiful space which has the correct spectrum: the quantum sphere of Poddles, Dabrowski, Sitarz, Brain, Landi et all. ... We experiment in the talk with this spectrum and show how well suited it is for playing music. The new geometry which encodes such new spaces, is then introduced in its spectral form, it is noncommutative geometry, which is then confronted with physics....Algebra and Music...music is linked to time exactly as algebra is....So for me, there is an incredible collusion between music, perceived in this way, and algebra....I believe that this variability is more fundamental than the passing of time. And that it's behind the scene, meaning that the passing of time is a corollary of this....it's exactly the variability of which value you get in the spectrum of the operator....It's associated with a specific spin structure; You have the chirality and the charge conjugation operator....Chirality is put in in your algebraic formalism. You PUT the chirality. It's an operator and two spinors, so you put it there. ..This is quite tricky. If you want, what happens...when you write it because,...it's a two by two matrix....it's a map to the [quantum] two-sphere....This is a totally anti-symmetric tensor... Fields Medal math professor Alain Connes (compilation of quotes)
- The gate of the Mysterious-Female is called the root of Heaven and Earth. It is unceasing and continuous, and its operation never wears out.... In the Daode jing , it is said, “The space between Heaven and Earth––is it not like a bellows? When empty, it does not bend; whenit stirs, ever more comes forth.” This is the valley spirit. 《經》曰： “ 天地之間，其猶橐籥乎，虛而不詘，動而愈出 ” ，是谷神也。 Within yourself, this is called “ xuan-pin .” [mysterious female]其在吾人，是謂玄牝。 Why so? The xuan-pin is your numinous aperture. It is that by which your life endowment is established. 何以故？玄牝者，吾人之靈竅，命之所由以立者也。 Although the xuan-pin has yin and yang parts, actually it has never been split in two. 玄牝雖有陰陽之分，其實則未始判而為二。 We may say that this aperture of void-emptiness is the undivided Great Ultimate, possessed by your own body. 蓋此虛無之竅，乃吾人體具未分之太極也。 Master Zhou [Dunyi] has said, “The Limitless, and the Great Ultimate.” 周子曰： “ 無極而太極 ” 。 In the Daode jing , it is said, “The Dao gives birth to the One.” 《經》曰： “ 道生一 ” 。 So, the Limitless is the Dao, and the Great Ultimate is the One which it gives birth to. 無極則道也，太極則所生之一也。 Once the One is established, the two will subsequently follow, and with this there will be the gates of xuan-pin . 一者既立，兩者遂行，於是始有玄牝之門焉。 The gates are that by which spirit exits and enters. 門者，神之所由以出入者也。 In the Yijing , it is said, “Qian and Kun –– are they not the gates of the Yi ?” 《易》曰： “ 乾坤其《易》之門耶？ ”Qian [Heaven] is a thing of yang, and Kun [Earth] is a thing of yin. 乾，陽物也；坤，陰物也。 When yin and yang are divided, the gates of xuan-pin will close and open. Zaohua is born from this; the sacred work emerges from this. 陰陽分，則玄牝之門一闔一闢，而造化於是乎生，聖功於是乎出矣。(Professor William Clarke Hudson II,) University of Virginia. "Naturally, consciousness and chi are born of the same ultimate mother, so fundamentally they are one. They are two sides of the same fundamental nature....Science is starting to finally accept the notion that chi and consciousness are linked." Bill Bodri (and Master Nan, Huai-jin). "The position in motion is the Mysterious Pass" Li Daochuan "Li deals at length with the basic unity and dialectical relation of pairs of complementary notions such as movement and quiescence (*dong and jing), substance and function (*ti and yong), change and permanence, human and celestial mind (*xin), inner nature and vital force (*xing and ming), body and spirit, knowledge and action, contraction and expansion, and so forth. He stresses their fundamental unity and underscores the coincidena oppositorum operated by a tertium quid. This third element is the central one, the Mysterious Pass (*xuanguan), represented for instance by the intention (*yi) in the pair body and spirit....He repeatedly states that the only necessary thing is the Mysterious Pass, equated with the precosmic and transcendent particle of light and more important than the practices themselves." Isabelle Robinet. This is known as the Mysterious Female. This refers to the way of immortality, which exists within the Mysterious Female. Mystery is Heaven which, in humans, becomes the nose… As for Heavenly food, people take in the five qi101 through the nose, and store it in the heart/mind. The five qi are pure – they subtly transform into jing and [shen] spirit, intelligence, speech, and the five natures. The ghosts102 of Heaven are known as the cloudsouls. The cloudsouls [Hun soul] are masculine. Entering and exiting through the nose, they communicate with Heaven; this is why the nose is called Mysterious… [Breathe] in an unbroken thread, as if to conserve [the breath]" Yangxing yanming lu 養性延命錄(Records of Cultivating Innate Nature and Extending Life, hereafter YXYML) (Tang Dynasty compilation of early alchemy meditation aka yangsheng)...knowledge is limitless. Ji Kang 嵇康 says: To [plainly] desire without calculating forethought is a movement of one’s xing. [But] to first become aware of something and then to radiate feeling is a function of knowing (zhi 智). When the xing moves, the desire is equal to the thing encountered, and when it is satisfied, there is no additional movement. But knowing seeks on the basis of feeling, and even when exhausted, it is unable to stop. Thus the problems of the world are always to be found in knowing, not in the stirrings of xing. ...YXYML: If one can let the heart/mind roam in emptiness and stillness,111 cease thought112 and not act,113 ingest primal qi114 in the early morning,115 regularly practice daoyin 導引116 A Preface to the Records of Nourishing Inner Nature and Extending Life (Yangxing yanming lu xu 養性延命錄序)
- It can be said that the ancestral cavity is the mysterious entrance that humanity must pass through during self-cultivation, but the mysterious entrance is not inside the body, and the ancestral cavity is not outside the body. When the disposition of fire does not flare, then the dragon can be controlled and possessed. One can then obtain the time of lead. Therefore it is said: “If you don’t amass mercury, how can you seek lead? If you don’t subdue the dragon, how can you tame its tiger?” Xing ming gui zhi, 1615 Dr Andreas Schöter: Yi is the cause of movement as the "tone held in the mind": "The term yi 意 carries two distinct, but related meanings; the first is “idea" and the second is “intent"; it is the second sense that is of relevance here. The character itself is composed of two parts. The lower part is "in 心 which means “mind-heart", the two concepts being closely related in Chinese thought0 this is the domain where all mental activity originates. The upper part of the character is yin 音 , which means “tone" or “sound"..."In traditional Chinese medicine yi 意 and zhi . are both aspects of a larger capacity called shen 6 , meaning “spirit" And so the Void or wuji is yinyang: Quote Its Yang half corresponds to the inner line of Kan ☵ (True Lead), and is typically represented by the celestial stem wu 戊. Its Yin half corresponds to the inner line of Li ☲ (True Mercury), and is represented by the celestial stem ji 己. Being found within both ingredients of the Elixir, Soil stands for their fundamental unity, and enables them to conjoin.
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