Saturday, May 20, 2023

How is the imaginary number asymmetric fundamental time of the past and future overlapping? Algebra and Joe Mazur

  My response to Math Professor Joe Mazur:

On Mon, Jul 19, 2021 at 9:11 PM Joseph Mazur wrote:
Hi Drew,
Wow! has it been 15 years? I read this once and watched your Youtube video. Very nicely done. I'm trying to understand the notion that algebra, like music, is linked to time. Algebra can exist without time but music cannot. 
Joe
Hi Professor Joe Mazur: I noticed your Psychology Today article on brain entrainment. To follow up on your comment see math Professor Lou Kauffman's paper https://arxiv.org/pdf/1406.1929.pdf and 
 
 
 
what I find fascinating is the brain entrainment has "sub and super" harmonics but the scientists do not realize they are noncommutative:

In keeping with this, experimental evidence of higher-order entrainment to brain stimulation is so far limited to the most stable higher-order ratios such as 1:2, 2:1, 3:1, and 4:1 [3, 25, 26, 38]. https://iopscience.iop.org/article/10.1088/1741-2552/acbc4a/meta

 
Hi Professor Emeritus Joe Mazur: This is "drew hempel" - with an update on that music math research you encouraged me to submit for publication about 15 years ago. I found this quote that corroborates my claim:
Math Professor Michio Durdevich: Music of Quantum Circles October 2017 DOI:10.1007/978-3-319-47337-6_11 In book: The Musical-Mathematical Mind (pp.99-110)
"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. "
And so I have used this to point out a logical "omission" in math professor Steve Strogatz's latest book.
thanks,
drew hempel
Hi Professor Strogatz: You're not alone. haha. https://www.youtube.com/watch?v=a4sNsGePgs8 Check out this "sheet music" for "Here Comes the Bride" - it is in the key of B Flat major yet it is the F to B flat octave as the "Here Comes the Bride" melody. So the F is actually the "Sol" (Perfect Fifth) in the scale - not the "Fa" as the Perfect Fourth (as you claim in your book). Yes the ratio is a Perfect Fourth as F to the octave B flat but it is still "Sol" (Perfect Fifth in the do-re-mi-fa-sol-la-ti-do scale) as the Perfect Fifth as the note in the octave scale. thanks,
drew
Math Professor Steve Strogatz has a new book on the Infinite Power of the calculus. He starts out with the usual reference to Pythagorean number - only he makes the typical "Bait and Switch" illogical cover-up that I've exposed numerous times before. Strogatz was recently featured on Dr. Brian Keating's youtube channel - to talk about and plug the new book. So I got it at the library and suddenly discovered this glaring "bait and switch" music trick - a noticeable omission of information - that Strogatz used - to cover up the truth of reality as noncommutative phase from music theory as the Yuan Qi. Now it's time to repeat the infamous quote of Math Professor Michio Durdevich: Music of Quantum Circles October 2017 DOI:10.1007/978-3-319-47337-6_11 In book: The Musical-Mathematical Mind (pp.99-110)
"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. "
citing Fields Medal math professor Alain Connes: Music, Math, and Time - In the book Triangle of Thoughts (American Mathematical Society, 2001) Alain Connes, Andre Lichnerowicz, and Marcel Paul Schutzenberger See Alain Connes lecture on Music of the Quantum Sphere for more details.
"Nature is quantum. Nature is very quantum. ..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.... And this answer is coming from quantum mechanics.....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....]. And the only thing you need to know...is the relative position of the algebra...a "universal scaling system," manifests itself in acoustic systems....There is something even simpler which is what happens with a single string. ... 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? ..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]...... Musical shape has geometric dimension zero...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..... the phase space of a microscopic system is actually a noncommutative space and that is what is behind the scenes all the time....A fascinating aspect of music...is that it allows one to develop further one's perception of the passing of time. ...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!... .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..."
Fields Medal math professor Alain Connes (compilation of quotes)

 see also http://www.alternativetech.com/publications/Clarifying%20Fuzzy%20Logic.pdf
CLARIFYING
FUZZY LOGIC:
A
SPECTRAL DECOMPOSITION AND ICONIC REALIZATION

by Eddie Oshins, Department of Psychology, Stanford University;
De 0 artmerit
of Biochemistry, UC Berkeley; and
Alterriative
Techri•::.lc•gies, Boulder Creek, Calif.

http://www.quantumpsychology.com/pdf/Quantum-Psychology-of-Nots.pdf

http://www.quantumpsychology.com/pdf/Technical-Comments-Q-Psi.pdf

 

 https://anpa.onl/wp-content/uploads/2015/07/V2-3_1991.pdf

 

https://libcom.org/article/chris-knights-theory-human-origins-abridged-account

http://www.chrisknight.co.uk/liz-dalton/

They signalled No with the blood of menstruation; and the equation ‘Blood = No’ simultaneously extended the taboo to the blood of game animals. Hunters must not eat their own kill. It must be returned to camp, handed to the collectivity of women, and cooked to remove all blood before being communally eaten. At one blow the women’s strike action prompted the collective organisation of men for the benefit of all; outlawed generalised or individual male dominance; and, in seeming paradox, separated sex from foodgetting. Individual sex-for-food bargaining was banned. Women’s bodies were sacred — to themselves and others. The food given by men to their sexual partners was then shared among the women’s blood kin....

We went on strike, not once, but every month. Our clock was the moon. The rhythm of our blood flow sent the men to hunt and us to our inner world where we could centre ourselves and be close, both sexually and spiritually. The men’s rhythm, and their intragender closeness, mirrored ours.

 

 

 

 

 

 

 

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