SuperDense Teleportation using Hyperentangled Photons
https://arxiv.org/pdf/hep-th/0112134.pdf
double rotation can be seen as in helical path on that torus. For a rotation whose two rotation angles have a rational ratio, the paths will eventually reconnect; while for an irrational ratio they will not.
The Pythagorean-Penrose Precognitive Protoconsciousness: The Noncommutative Torus at each zero point of space
https://core.ac.uk/download/pdf/25319046.pdf
Philip Moriarity is now claiming that the Dirac Delta Function prevents infinite time and therefore the time-frequency uncertainty principle creates a finite materialistic universe. Let's see how noncommutative quantum algebra solves this paradox, based on nonlocality.
OK so far...
So that's what Moriarity is referring to - the Dirac Delta Function as infinitely thin....so the noncommutativity creates a local limit using a Gaussian wave packet
Let's compare this with more recent analysis.
The possibility of detecting noncommutative space relics is analyzed using the Aharonov-Bohm effect.
OH now things are starting to make sense!! So there is a complete reversal of time-frequency as a nonlocal noncommutativity instead of just an infinitely thing Dirac Delta function....
Indeed.
So that paper is cited over 150 times and it was almost ten years ago but we know now that the noncommutative Aharonov-Bohm Effect has been empirically proven....
So this means that the discrete coordinates of spacetime due to a nonlocal noncommutative time-frequency phase has been proven. Let's continue on with more details.
This result is then generalized to all orders in the expansion parameter for a class of noncommutative electric currents induced by the Seiberg-Witten map; these currents reduce to the Dirac delta function in the commutative limit.
https://arxiv.org/abs/1609.02499
Now this:
The noncommutative torus and Dirac calculus
So it's a 2 dimension plus 1 noncommutative phase torus
https://people.maths.ox.ac.uk/zilber/dirac.pdf
HINCHLIFFE, I.; KERSTING, N.; MA, Y. L. (2004). REVIEW OF THE PHENOMENOLOGY OF NONCOMMUTATIVE GEOMETRY. International Journal of Modern Physics A, 19(2), 179–204. doi:10.1142/S0217751X04017094
. The "closest" chords by this metric are those that share two common tones, which results in graphically "flipping" the triangle along one of its three edges.
https://en.wikipedia.org/wiki/Tonnetz
The Tonnetz originally appeared in Leonhard Euler's 1739 Tentamen novae theoriae musicae ex certissismis harmoniae principiis dilucide expositae. Euler's Tonnetz, pictured at left, shows the triadic relationships of the perfect fifth and the major third: at the top of the image is the note F, and to the left underneath is C (a perfect fifth above F), and to the right is A (a major third above F). The Tonnetz was rediscovered in 1858 by Ernst Naumann[failed verification], and was disseminated in an 1866 treatise of Arthur von Oettingen. Oettingen and the influential musicologist Hugo Riemann (not to be confused with the mathematician Bernhard Riemann) explored the capacity of the space to chart harmonic motion between chords and modulation between keys. Similar understandings of the Tonnetz appeared in the work of many late-19th century German music theorists.[2]
Oettingen and Riemann both conceived of the relationships in the chart being defined through just intonation, which uses pure intervals. One can extend out one of the horizontal rows of the Tonnetz indefinitely, to form a never-ending sequence of perfect fifths: F-C-G-D-A-E-B-F#-C#-G#-D#-A#-E#-B#-Fx-Cx-Gx- (etc.) Starting with F, after 12 perfect fifths, one reaches E#. Perfect fifths in just intonation are slightly larger than the compromised fifths used in equal temperament tuning systems more common in the present. This means that when one stacks 12 fifths starting from F, the E# we arrive at will not be seven octaves above the F we started with. Oettingen and Riemann's Tonnetz thus extended on infinitely in every direction without actually repeating any pitches.
https://tel.archives-ouvertes.fr/tel-01912752/document
Non-commutative homometric musical
structures and chord distances in geometric
pitch spaces
2017
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