Drew W. Hempel, MA
EcoEcho Cultivation, Minnesota
ecoechocultivation@gmail.com

[Image Source: http://legacy.earlham.edu/~tobeyfo/musictheory/Book1/FFH1_CH1/1M_RatiosCommas1.html]

Now by "instead" he means what a few other music theorists call "Our subdominant is a true fifth below its (the fundamental's) octave. Phantom Tonic: Not a fourth above, but a fifth below: the phantom tonic."

Nicolas Slonimsky once pointed out, in an effort to dissuade readers from the idea that Western tonality is the inevitable result of how we hear (as opposed to a largely artificial invention), that no matter how high one goes in the harmonic series, a fundamental pitch will not produce a perfect fourth above the fundamental. (LaFave, 2007)

It is quite ironic that most music theorists do not recognize the difference between the Harmonic Series and the Overtone Series with the Undertone Series. The Harmonic Series already assumes the symmetric logarithmic geometric continuum logic. And so most musicians assume "Hertz" as a physics model is the basis of music, requiring some external measurement. Yet music does not require an external instrument. What Philolaus did for his "external measurement" was to literally flip his lyre around, as McKirahan details, and then use the 8 string as the new root tonic ratio. Connes explains why this is actually noncommutativity:

When you permute A and B, and you make the A pass on the other side, you have to make it evolve with time. And the time in which it has to evolve is in fact the purely imaginary number. This is what is behind the scenes. (Jackson & Connes, 2021)

Math Professor Louis Kauffman corroborates Connes claim - what Connes calls "something more primitive than the passing of time" (Connes, 2021) and what Kauffman calls noncommutative primordial time: "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" (Kauffman, 2018). Kauffman has even demonstrated a noncommutative proof of the Pythagorean Theorem in his section From Pythagoras to Einstein and Dirac (Kauffman, personal correspondence, January 5, 2022). Here is Connes' primitive time explanation:

The fact is that when we take an algebra of a certain quality, which we call an operator algebra, which is non-commutative, well, it generates its own time ... that is really the time in the physical examples which turns over time. So, this is amazing and it comes exactly because you cannot swap a and b. (Connes & Prochiantz, 2018)

So then for Philolaus 4/3 was the new ratio based on 3 as the new root tonic value from the ratio of the 8, the Subcontrary Mean or Phantom Tonic now turned into the commutative Harmonic Mean (6/8 wavelength). Yet 4/3 will never be a natural overtone of the root tonic or the One due to the noncommutativity truth of reality.

This is true because Philolaus is dealing no longer with the musical intervals between the notes made by a particular pair of strings, but with the magnitude of those intervals ... (1, 4) = (7, 5). (McKirahan, 2013)

Any musician knows from internal listening that 1 to 4 is C to F while 7 to 5 is C to G. "It is confirmed by the fact that the notes F and C are the last one ... produced by the cycle of fifths if one considers the approximation mentioned before of 7 octaves with 12 fifths" (Abdounur, 2015). The uneven number of (3/2) to 2 hides the noncommutative truth as the source of 4/3 or C to F harmonic originated from the 2/3, C to F undertone.

[Image Source: Professor Reginald Bain, University of South Carolina, "Doe a Deer" Solfeggio scale. ]

In other words we start at 12 and take 2/3 of its length. Then we add a length corresponding to the ratio 4:3, but this time we are starting not at 12 but at 8 and we want to take 3/4 of that. (McKirahan, 2013)

Now the 8 is a ratio of 4/3 to the six string as the new root tonic (6/8) or "3/4 of 8" (McKirahan, 2013) as the string length. So, the root tonic was changed from 12 to 8 but this was covered up as the Liar of the Lyre "bait and switch" and that is the true origin of the first "Greek Miracle" irrational magnitude mathematics! McKirahan is then explaining that the octave symmetry equivalence can be set as equal to zero and Alain Connes makes the same point, that it is the "scale" of the "spectrum" that creates the zero point of spacetime.

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. (Connes, 2012)

It is the music of the noncommutative time-frequency two note chords that are the "invariant spectral" nonlocal resonance behind the scenes.

Dr. Oscar Abdounor explains:

Anachronistically speaking, this means that, supposing both these both cycles meet, there would be m and n integers such that (2:3)n = (1:2)m, that is, 3n = 2m+n, which is impossible, since the left term is odd and the right is even. (Abdounur, 2015)

If you don't think this is the same noncommutative concept that Alain Connes is emphasizing, think again:

It explains the spectrum of the guitar because when you raise the number 2 to the power of 19, we get practically the number 3 raised to the power 12. It can't be a tie because when we raise 2 to the power 19, we get an even number. When we raise 3 to the power 12, we get an odd number. So it can't be an equality.... Because if we calculate its size using what I told you before, we obtain that it is an object of dimension 0, an object of dimension 0 in the sense that its dimension is smaller than any number, not zero but positive. (Connes & Prochiantz, 2018)

A biophysics book explains that musicians can hear the noncommutative "spectral invariant."

Let us draw up a fundamental vibration with its first and second harmonic overtones [1:2:3] ... if we then shift the phase relationship, we get a totally different course of the combined curve; that is, of the pressure course which is apparently effective in the final analysis. When looking at both curves, one might suppose that in the two cases we should hear two sounds that are just as different. But in fact our ear does not notice any difference. (Dröscher, 1969, p. 168)

The Perfect Fifth is phase shifted as a Perfect Fourth that then becomes the new root tonic that phase cancels out the first fundamental (root tonic here with wavelength one compared to the fundamental frequency of wavelength two and string length one of the "double octave" paradox as explained above), so the same Perfect Fifth remains as an inverse F, now 2/3 to the octave C instead of C to the G Perfect Fifth, as 3/2. Or to say the 6/9 is 3/2 wavelength as 2/3 undertone Perfect Fifth C to F as the inversion of 8/12 wavelength for 3/2 or C to G Perfect Fifth overtone. Helmholtz first discovered this experiment with a continuous tone phase shift and realized people could not hear a frequency difference. He had a debate about how the overtone and undertone beats played a role in this. Quantum physics Professor Fred Alan Wolf (who later became known as Dr. Quantum) reveals how this listening secret explains relativistic quantum negative frequency and reverse time tuning:

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. (Wolf, 1981)

This is another way of revealing the truth of noncommutativity, to quote Connes (2012), "They are isospectral [same frequency], even though they are geometrically different." So just as what Connes calls the "triple spectral" there is a two note "cord" as the Perfect Fifth Phantom Tonic undertone 2/3, C to F, that is not allowed as the noncommutative spectral invariant ratio thereby creating the zero point of space or spectral scale.

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 ... The point [zero in space] makes a chord between two notes ... You understand the finite invariant which is behind the scenes which is allowing you to recover the geometry from the spectrum ... The spectrum is entirely identical, but if you look closely, the notes belong to three types. (Connes, 2012)

More recently Connes (2020) gives the broader music context:

This lecture will explain this link by dealing, among other things, with "spectra" and "the music of shapes" ... This property makes it possible to characterize geometrical shapes from invariants that do not refer to a coordinate system. The resulting new geometry, illustrating the mathematical link between visual and auditory perception, has a wealth of applications in physics, in particular for gravitation and quantum physics. (Connes, 2020)

So to summarize Connes' noncommutative quantum nonlocal music claim from the discrete Pythagorean ratios:

The exponential uses 3 to the 19th and 2 to the 12th while the inverse logarithm uses 2 to the 1/19th and 3 to the 1/12th. That's what makes them noncommutative as the irrational number. Because the Pythagorean ratios are noncommutative as the Perfect Fifth with C to F as 2/3 and C to G as 3/2, therefore the 7 as the note integer of the 12 note scale is also noncommutative for the exponentiation. If you study quantum physics you'll see Conne's making the same point about the "inner automorphisms" of the Dirac Operator whereby the discrete diagonals of the matrices are noncommutative. The Pythagorean music exponentiation is noncommutative since the powers have to be inverted as a fraction that is therefore 3-dimensional as a noncommutative quantum sphere using the imaginary number. I'll let Connes explain as he does best in his first version of this music lecture:

So if we take the 2-sphere, if we take the round sphere, its spectrum this time is very very simple. It is also formed by integers, exactly as in the case of a string. But these integers appear this time with a certain multiplicity, that is to say it's not exactly integers. It is more exactly the root of J(J + 1) ... The shapes on the sphere are different, the sound we hear is the same. [Isospectral but not isomorphic]. And that is what we call spectral multiplicity, that is to say that in the spectrum, what will happen is that we will have the same value, but it will happen multiple times. I will come back to this for the musical shape, that, we will see that later ... when you make music, in fact, it is not at all integers 1, 2, 3, 4, 5, etc., as frequencies which are used ? Absolutely not, these are the powers of the same number, the powers of the same number, that is to say we have a number q. And we look at the numbers qn, that is what counts, because it is the relationships between frequencies that count. And the wonder that makes piano music exist, called The harpsichord well temperated, etc., it is the arithmetic fact that exists, which means that if we take the number 2 to the power of a twelfth, if you take the twelfth root of 2, that's very, very close to the nineteenth root of 3. See, I gave those numbers. You see that the twelfth root of 2 is 1.059 ... etc. The nineteenth root of 3 is 1.059 ...

Where does 12 come from?

The 12 comes from the fact that there are 12 notes when you make the chromatic range. And the 19 comes from the fact that 19 is 12 + 7 and that the seventh note in the chromatic scale, this is the scale that allows you to transpose. So what does it mean?

It means that going to the range above is multiplying by 2 and the ear is very sensitive to that. And transpose is multiplication by 3, except that it returns to the range before, i.e. so it is to multiply by 3 / 2, that agrees.

Well, that's the music, well known now, to which the ear is sensitive, etc. Okay.

But ... there is an obvious question! It is this: "Is there a geometrical object which range gives us the range we use in music?" This is an absolutely obvious question.

If you look at what is going on, like these are the powers of q, you notice that the dimension of the space in question is necessarily equal to 0. Why? Because earlier, I had shown you its limits ... So I had shown you earlier that the objects had a range that looked like a parabola when they were of dimension 2.

When an object is larger, it will be a little more complicated than a parabola.

For example, if it is in dimension 3, it will be y = x to the 1/3, okay, but here, it's not at all a thing that is round like a parabola like that ... This is something that pffuiittt! ... that gets up in the air like that. And what it tells you is that the object in question must be of dimension 0. So you say to yourself, "an object of dimension 0, What does it mean? etc. Well ...

What I hope one day is that we will find the noncommutative sphere in Nature and one will be able to use it as a musical instrument and it will be a wonderful instrument because it will never detune." (Connes, 2011)

So the paranormal quantum biology claim is that our body-mind-spirit IS that noncommutative sphere musical instrument in Nature that will never detune, as long as we know to properly play it and listen to it.

Due to the noncommutativity behind time-frequency uncertainty, science has proven that humans can hear up to ten times faster than time-frequency uncertainty. This means that despite noncommutativity being limited to observables of spectral frequency light in science, through direct listening to the source of music as meditation, the noncommutative paranormal power is accessed, as I will explain. "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" (Majka, et al., 2015).

[Image Source: http://www.treeincarnation.com/images/earspirals.jpg ]

This denotes "quantum coherence" as quantum biologist Dr. Mae-Wan Ho points out.

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. [ultrasound frequency] 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? (Mae-Wan Ho, 1997)

And then this corroboration of Dr. Mae-Wan Ho and Dr. Larry Domash:

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 ... microscopic mechanisms in which quantum coherence lives for a time comparable to measurement time, on the order of one millisecond. It is these results which completes the evidence in favor of Schroedinger's view of [negentropic] 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 ... Sitting in a quiet room, we can hear sounds that cause our eardrums to vibrate by less than the diameter of an atom. ... (Bialek, 1983)

Physics Professor Manfred Euler via our correspondence, provides more details:

Phase harmony in de Broglie theory relates a local periodic phenomenon (the 'particle clock') to a periodic propagating field in such a way that relativistic invariance is satisfied. If a similar phenomenon in the cell is relevant it should couple the global oscillation pattern locally with periodic (mechanic, electric, biochemical ???) processes ... Binaural hearing is the acoustic analog of the interferometer or double-slit experiments. The two ears can be regarded as an acoustic interferometer, which recovers the phase difference of signals between the two ears by binaural correlation.

Near-field imaging with sound waves compellingly demonstrates the inadequacy of pictorial realism and promotes more abstract views of the reality displayed.

A comparison of sound and matter waves clarifies that these [noncommutative] limitations exist in principle.

de Broglie clocks as synchronization: a tangible model of how mass emerges. Matter waves are locally in phase with the particle clocks (de Broglie's Law of Phase Harmony). The clock runs forever so it's self-sustaining (consciousness-energy). It resonates with the quantum vacuum.

The harmonic beats create dynamic energy. So, then you have a "phase particle" that can be faster than the speed of light - superluminal - and a "mass particle" that is slower than the speed of light is the "group wave" of the "phase wave." The beats of the phase wave then are "in resonance" with the quantum vacuum - and so create mass from the massless field, explaining the Higgs mechanism.

"Universal coherence" - a "mind boggling outlook."

Coherence as consciousness.

"Ghost Tones"

Yet an acoustical answer can be given! Play the above mentioned infinitely rising tune and listen to a parable of scientific progress: The progress goes on but the central epistemological questions remain invariant."

And we can turn to Matti Pitkänen (2016), Ph.D. physics, for futher details:

The Josephson current decomposes into harmonics of the fundamental frequency ... For hearing the time interval is by a factor 1/100 shorter [see Dr. Mae-Wan Ho quote above] than the millisecond time scale of the nerve pulse ... inducing frequency modulutions of Josephson frequencies would resolve this problem."

Again recall that the microsecond left-right ear phase coherence as microsecond wavelength resonates as ultrasound frequency, now proven to resonate the microtubules as a quantum noncommutative coherence of nonlocality via the tubulin metamaterial, proven by Dr. Anirban Bandyopadhyay.

Tinnitus research has also revealed the "brain ultrasound demodulation" meaning inversely that the highest sound we hear externally then resonates the whole brain as ultrasound.

Monitoring neural vascular function with Doppler ultrasonic imaging provides unexpected support for the brain ultrasound demodulation theory. When the imaging beam was focused at the center of the brain, patients reported hearing a high audio sound, much like tinnitus. When the ultrasonic beam was directed at the ear, the sound disappeared. Setting the brain into resonance resulted in a clear high-pitch, audible sensation consistent with brain resonance in the 11- and 16- kHz range ... Because ultrasound produces high audio stimulation by virtue of brain resonance, the direct use of high audio stimulation is more economical in power requirements and still stimulates the brain at resonance. (Lenhardt, 2003)

In music theory this is called the "HyperSonic Effect" (Oohashi, et al., 2000) and has been proven from natural number overtones and undertones of nonwestern music tuning. The HyperSonic Effect is documented to cause deep brain stimulation with stronger alpha brain wave resonance. Dr. Andrija Puharich (1971; 1987) explains ultrasound as a gravitational potential subharmonic amplitude increase in terms of de Broglie's Law of Phase Harmony in quantum biology parapsychology: "We consider the psi plasma as a pilot-wave phenomenon; and we consider the nerve-conduction velocity as a group-wave phenomenon." This ultrasound splits the water as a reverse time negentropy force of virtual photons - similar to the antigravity propulsion work of Victor Schauberger. In Daoism this is called "The highest notes are hard to hear" from Chapter 41, Tao Te Ching, translated by Gia-fu Feng and Jane English. In Buddhism it's called the "inner ear" or "sound-current" meditation method.

In fact, traditional Indian music tuning, like traditional Chinese tuning, is based on the "three gunas" yoga philosophy that also recognizes the Phantom Tonic truth of music as noncommutativity.

Our whole universe is trigunatmaka, as it is pervaded by the three gunas ... Therefore one gets a wonderful visualization of cosmogony, while doing the elementary Nada-sadhana, with the help of a tanpura, which is one of the oldest musical instruments ... As a result the first musical vibration (Spandan) that has emanated out of the trigunatmaka (relating to the three gunas), equipoise of Cosmic Nature - that alone is the AUM or OMkara ... The most common tuning for the four-string tanpura sets the first string at "Pa," the fifth degree of the scale, while the second and third strings are tuned to the tonic above, and the last string is tuned to the tonic below. (Chandra Dey, 1990, p. 82)

Jairazbhoy notes the Phantom Tonic concept as key to Indian music meditation:

The thesis can be expressed in the following way: If two drones either a fourth or fifth apart are sounded, one of these will 'naturally' sound like the primary drone. It is not always the lower of the two which will sound primary, but the one which initiates the overtone series to which the other note (or one of its octaves) belongs. By amplifying a prominent overtone the secondary drone lends support to the primary and intensifies its 'primary' character. Ma [Perfect Fourth as 4/3], although consonant to Sa (root tonic), is alien to the overtone series and is not evoked in the sound of Sa. On the other hand, Sa is evoked in the sound of Ma, since Sa is a fifth above Ma and is its second overtone.

For this reason it can be argued that the tendency to view Ma [the Phantom Tonic] as the ground-note has a 'natural' basis. The same cannot be said for Pa as Sa is not part of its overtone series. (Jairazbhoy, 1995)

OK I promised I was going to return to that clue that Borzacchini dropped about the PreSocratic paranormal Pythagorean philosophers not understanding the discrete/continuous distinction of number. Connes (2012):

But the inverse space of spinors is finite dimensional. Their spectrum is so dense that it appears continuous, but it is not continuous ... 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 ... 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 a while 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.

Durdevich, citing Connes, explains the music connection:

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. (Durdevich, 2015)

And thus, Alain Connes considers the noncommutative music model as the key to explaining the origin of a zero point in space, as well as the key to how our brains perceive space.

These things exist in the brain, and they send you signals. Similarly in music, you can have something that exists in your mind, a tune or a theme. This is something amazing and very hard to define ... Algebra is much more time-dependent and evolving. In algebra, when you are doing computations, there is a definite analogy with the time dependence in music, which is extremely striking ... I am still thinking about the fact that the passage of time, or the way we feel that time is going on and we cannot stop it, is in fact exactly the consequence of the noncommutativity of quantum mechanics. (Jackson & Connes, 2021)

The fact that this noncommutative music model also explains the paranormal, as both Eddie Oshins and Lawrence Domash realized, is uncanny to say the least. Citing David Bohm, Nobel Physicist Brian Josephson similarly makes the music connection: "One can see conceptual similarities between psi skills and ordinary skills, e.g. between the perceptual skills of hearing and telepathy on the one hand, and between the forms of control of matter involved in the control of the body and in psychokinesis on the other" (Josephson, 1991).

The reference to the phonon super-radiance of the Josephson Junction by Bialek is not an accident as Lawrence Domash made the same superconducting phonon Josephson Effect connection to mantras. Josephson provides us the source:

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. (Josephson, 1994)

I have corresponded with Nobel Physicist Brian Josephson regarding music, the paranormal and noncommutativity. Josephson wrote,

Intelligence would be the product of a collection of adaptions capable of being specified by a coding system related to that of music ... It may be worth pointing out here that that the idea that there is a connection between sound and form is an ancient one, dating back thousands of years in the Eastern philosophical tradition. (Josephson, 1996)

Clearly Josephson retains this view:

I suspect that the truth of the matter is that evolution at this deeper level of physics produces efficient systems of this kind on the basis of natural selection, and thereby gain the inspiration to do advanced mathematics. Similarly, I think for music (c.f. Josephson and Carpenter [6]) where we don't appear to have any good explanation for musical aesthetics, which involves very specific forms that seem to have a special creative power. (Josephson, 2021)

Anirban Bandyopadhyay who corroborated the ultrasound quantum coherence resonance of the Penrose-Hameroff noncommutative paranormal model states, "I believe that consciousness is just the manifestation of music." (Adelaide, 2017) This ultrasound is being called the "common frequency point" or natural sweet spot due to the resonance amplification of the quantum coherence tubulin phase signals as mechanical vibrations with the electromagnetic vibrations of the molecule. As Puharich emphasized, the side-band harmonics create the reverse time quantum beat or ELF subharmonic of the future. For de Broglie's Law of Phase Harmony, the basis of Puharich's claim, then the internal frequency is negative as virtual photons during meditation while external time slows down and the external frequency energy increases while internal time speeds up.

They will engage skeptics in a debate on the nature of consciousness, and Bandyopadhyay and his team will couple microtubule vibrations from active neurons to play Indian musical instruments. "Consciousness depends on anharmonic vibrations of microtubules inside neurons, similar to certain kinds of Indian music, but unlike Western music which is harmonic," Hameroff explains. (Elesvier, 2014)

[Image Source: https://pubmed.ncbi.nlm.nih.gov/26227538/ ]

Professor Emeritus Stuart Hameroff (2015) explains, "Except with music you need a listener, whereas here, the vibrations are self-aware." The noncommutative music model of the "three gunas" from Indian music meditation philosophy as with Daoist music meditation philosophy originates from our original human culture, as musicologist Ph.D. Victor Grauer documented (Grauer, 2011).

From Eddie Oshins website (n.d.):

these symbols were precursors to a school of health systems, mind exercises and martial arts known collectively as neigong/noi kung (the "inner" or "internal" school of "shadow boxing"). The most well-known of these esoteric skills are taijiquan/t'ai chi chuan ("grand pinnacle" boxing), hsing-i chuan ("form of mind/will/intent" boxing), and baquazhang/pa kua chang ("8 trigrams palm" [boxing]).

In this talk, Eddie will give a short history of the above concepts and, in light of some work he has been developing in his Quantum Psychology Project, he will propose a new reinterpretation of these symbols. He will demonstrate mathematical aspects, such as the consequent "orientation-entanglement relation" and the Kauffman-Oshins "quanternionic arm." Eddie will use these concepts to illustrate his notion of "self-referential motion," and relate such understanding to both gongfu (kung-fu) and psychology. (Oshins, 5. Demonstration of Physics of Tao).

Eddie Oshins was tasked with trying to correct Karl Pribram's holographic classical frequency model but apparently Pribram was not able to understand the noncommutative model. "I was interested in the types of noncommutating interactions between observing and observed systems" (Oshins, 1990). Oshins was directly inspired by my own quantum mechanics professor Herbert J. Bernstein who demonstrated the "Dirac Dance" to my quantum mechanics class in 1989-90:

(Noi Kung) In a manner similar to Bernstein's resolution of translation hand movements into Fourier components, I hope to attempt a decomposition of motion of a Chinese "internal" (image-based) martial art (such as Pa Kua Kang or T'ai Chi chuan) ... 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. (Oshins, n.d.)

And since Eddie Oshins taught Wing Chun then he was able to have a Taiji expert also demonstrate the "Dirac Dance" only now as a Taiji paranormal power training exercise.

Chen Youqin demonstrating the application of Chen Family Chan ssu jin while doing the doing the double covering palm movement from Eddie Oshins self-referential motion. Chen Youqin middle son of Mr. Chen Qingzhou is applying Chen Family "chan ssu jing" (silk reeling exercise) to show an application of the spinorial "orientation-entanglement relation" described by Oshins as self-referential motion in his postnarrative research on the physics of tao (Oshins, n.d.)

[Image Source: https://lh3.googleusercontent.com/proxy/dS22yE5VHDWv70fX5pWwF9w7o4ZxqJSr3g9K4AeBnC3yroDFCl0VgsPxL7_
GluOjgWIj2yOrk_rPxOtxHatHCCbwQH6KpA=s0-d ]

Tai Chi master Chen Youqin is also one of the founders of the National Neigong Research Society (NNRS). And so, we've now come full circle - corroborating the paranormal noncommutative music "aha!" moment I had during my Herbert J. Bernstein quantum mechanics class.

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