Revisiting Heisenberg's 1925 noncommutative time-frequency origin of quantum physics as "transition frequencies": Basil J. Hiley

 

 EQuation 1:

Understanding Heisenberg’s “magical” paper of July 1925: A new look at
the calculational details
Ian J. R. Aitchison, David A. MacManus, and Thomas M. Snyder
Citation: Am. J. Phys. 72, 1370 (2004); doi: 10.1119/1.1775243

 

 

 

 

 

 

 

 

 

 ω = angular frequency (rad/s)

 

 

 

 Professor Basil J. Hiley's lecture on Heisenberg

 

 

 This is what Alain Connes talks about and so the Pythagorean Comma is actually the same noncommutative exponential as the inverse for the matrices math!

So Professor Hiley points out there no longer is "time" in the exponential but rather his noncommutative nonlocal phase as the "unfolding parameter"!

 So then Hiley explains when you use the noncommutative complex conjugate that you get the Jordan Product.

So the classical world is not probabilistic but rather emerges as a limit from averaging out the noncommutative time (future and past of Feynman paths) from the amplitude for the position of the particle. From the perspective of the frequency as momentum that time does not EXIST because it is simple the noncommutative nonlocality of the frequency.

So Mass Renormalization was created by assuming the mass changes to separate out the noncommutative phase for the squared term to get the kinetic energy for particle location. Louis de Broglie in 1960 demonstrated that actually the definition of Mass appears to change since it has the quantum potential contained in it from h-bar squared. 

music is based on intervals while zero is a point. So when Alain Connes says, "two, three, infinity" he's referring to the music intervals not having a zero point. We can think of this as the frequency 2/3 having a wavelength of 3/2 which is longer than a zero to 1 wavelength while a frequency of 3/2 has a wavelength of 2/3.

So if we LISTEN to the source of a frequency from the ONE it naturally resonates as Two and Three (the Octave and Perfect Fifth frequency) but this has no zero as a point of wavelength. The zero point of wavelength only exists by assuming the 2 is an inherent squaring (Geometric Mean Squared as explained below) but this assumes that 4/3 can exist as a Frequency even though it has a different "zero" point of wavelength of the One. 4/3 is NEVER a natural overtone of the ONE since the denominator is not in the same "scale" as an octave resonance. So 4/3 is actually the doubling of 2/3 (as the Noncommutative Perfect Fifth) as the natural harmonic UNDERTONE as an infinite resonance that is noncommutative - aka the Void as yin-yang or Taiji truth also called the Undifferentiated Triad with no point. The "three gunas of no guna" as formless awareness in Indian Advaita vedanta nondualism.

So in order to HIDE this noncommutative nonlocal truth of the Pythagorean Apeiron what Philolaus did is introduce the concept of "irrational magnitude" by hiding his flipping of his lyre to create a second wavelength with a zero to 8 wavelength. So Philolaus as the Liar of the Lyre then created 4/3 Perfect Fourth from 6/8 wavelength of Zero to 8 while the original wavelength or ONE is zero to 12 so that the Perfect Fifth as 8/12 wavelength (3/2 frequency) PLUS the Perfect Fourth as 6/8 wavelength (4/3) frequency) = the Octave as Two. That was the FIRST logarithmic equation using irrational magnitude that Archytas turned into a "proof by contradiction" equation stating there can be no "halving" of the frequency of 9/8 equally of the Major 2nd music interval and so the Arithmetic Mean or 3/2 x the Harmonic Mean or 4/3 = the Octave as the Geometric Mean Squared (2). This reduces to 9/8 cubed as the Tritone or square root of two, the secret MUSIC origin of the Pythagorean Theorem as the "Power Axiom Set" foundation of the Greek Miracle of Science aka Alogon meaning the UNheard or UNutterable translated as the SURD in Arabic mathematics.

Another way to express this as Alain Connes dues is that the Perfect Fifth does not line up with the Octave so that 3 to the 12th approximates 2 to the 19th but to put this back into the SAME octave scale there has to be a noncommutative inversion as 3 to the (1/19th) approximating 2 to the (1/12th). This means that this noncommutative process is MORE dense than the real number geometric continuum based on symmetry. The exponential growth rate of the natural frequencies of music means that a person can not HEAR "shape" even if that "shape" is zero. Music inherently converges to a zero geometry but that means it is formless as nothing - not as a geometric "shape."