Fundamental Frequency Force
Drew W. Hempel, MA EcoEcho Cultivation, Minnesota ecoechocultivation@gmail.com
Professor JohnJoe McFadden, one of the founders of quantum biology, explains the no repeatability paradox is resolved through acoustic quantum phonons:
This quantum biology resonance coherence, physicist Pascual Jordan insisted in the 1930s, was amplifying from "intuitive meaning" of "noncommutativity" (Howard, 2013). Quantum physics Professor Basil J. Hiley, the collaborator on David Bohm's extension of de Broglie's noncommutative quantum foundations, makes the same point as Connes:
Hiley emphasizes this secret of a newly discovered nonlocal energy: "a new form of inner energy possessed by the particle, organising the flow lines in a novel way and suggesting a 'formative' cause ... quantum phenomena emerged from a non-commutative phase space" (Hiley, 2016). By utilizing the noncommutative phase logic, Hiley distinguishes this new form of "inner energy." Hiley states:
Hiley also makes the connection to music as being noncommutative quantum logic:
Again, just as with Connes, Hiley emphasizes the noncommutativity truth of reality:
The parapsychological implications are lurking just under the surface as Hiley recognizes with the connection to nonwestern philosophy: "Then, of course, they thought we'd gone mystically East. But I mean the quantum potential is not a classical force. It's not a classical potential. It's something extraordinary, very strange. It doesn't get propagated, as far as we can find out" (Musser, 2013). And Hiley (2012) states: "Certainly that's [the paranormal] a possibility and that's why people get scared of it." So as Hiley alludes to, noncommutativity has also been key to explaining the paranormal. Eddie Oshins, working at Stanford Linear Accelerator Center (SLAC), argued that "this property of noncommutivity [sic] 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!" (Oshins, 1998). As I'll give more details, Oshins also calls this noncommutativity the basis of "Noi Kung" or paranormal neigong as an example of "quantum psychology." For follow-up analysis see Oshins' collaborator, Math Professor Louis Kauffman, in his article, Noncommutative Worlds, ... "I particularly thank Eddie Oshins" (2004). Oshins passed away in October 2003 but fortunately he had already developed his noncommutative Physics of Tao analysis:
Former Hampshire College quantum mechanics Professor Lawrence Domash also identified the noncommutative music model when he wrote on paranormal yoga meditation:
Harold Atmanspacher (2014) has emphasized "Non-Commutative Operations in Consciousness Studies: For reasons easy to understand, non-commuting operations must be expected to be the rule rather than the exception for operations on mental systems." Atmanspacher follows up:
Music resonance is often recognized as of crucial significance in science (i.e., the "music logarithmic spiral" concept key to Philosopher of Science Professor Oliver L. Reiser's UN thinktank work). Philosopher of Science Sir Karl Popper wrote:
Nobel Physicist Louis de Broglie considered his Law of Phase Harmony as his greatest discovery, based on the Pythagorean insight that as a particle goes towards the speed of light the quantum frequency increases while, paradoxically time also gets bigger (slows down) due to relativity. Logically this proves there must be a reverse time and negative frequency energy that is in phase harmony and guiding the particle from the future. From the invariance of light as the observer, a superluminal phase wave guides, from the future, the space ship (our brains):
[Image Source: http://mc1soft.com/papers/deBroglie/deBroglie_moving.gif ] Professor Yakir Aharonov's entangled reverse time photon weak measurements have empirically corroborated what's now called the de Broglie-Bohm model. Professor Basil Hiley reveals that "the Bohm approach has its origins in non-commutative algebra" (Hiley, 2018) and continues:
[Image Source: http://iopscience.iop.org/article/10.1088/1367-2630/15/7/073022 ] Yakir Aharonov corroborates Hiley's interpretation: "Alternatively, in the Heisenberg picture, the particle has both a definite location and a nonlocal modular momentum that can 'sense' the presence of the other slit and therefore, create interference" (Aharonov, 2017). Dr. Juliana Brooks (2009) revealed this error of quantum physics as directly from the standards of measurement units for Planck's Constant:
[Image Source: Chinese Philosophy Professor Patrick Edwin Moran (who started out in physics at Stanford): Juliana Brooks does not understand the noncommutative phase logic of Alain Connes but as Connes emphasizes: "The current definition which using the speed of light as a conversion factor is expressed in terms of inverse-frequencies rather than wavelength" (Connes, 2009). Remember that it is precisely the discrete inverse frequency as undertone of 2/3 that also reveals the noncommutative mathematical structure in Pythagorean music theory. De Broglie's protégé, Olivier Costa de Beauregard, a member of Princeton's Institute of Advanced Study, argued this asymmetric time from the future, due to negative frequency, proved the paranormal is, de facto, real. Costa de Beauregard calls this process a "factlike time asymmetry" or retrodiction of "negative frequencies" with time-frequency noncommutativity as a macroscopic measurement. Psychokinesis originates from precognition as a protoconsciousness organizing information will power (Costa de Beauregard, 1978). The CIA "released" the Costa de Beauregard paper from classified status in 2000, with all the paranormal references underlined:
Alain Connes makes this negentropic noncommutative quantum connection to music:
[Image Source: https://math.stackexchange.com/questions/1040202/ Aharonov also implies the paranormal power of this reverse time truth:
Citing Connes, math Professor Micho Durdevich confirms the Pythagorean noncommutative quantum paranormal protoconsciousness:
The Secret of the Sect: Math Professor Luigi Borzacchini reveals that the true music origins of Western science were a "secret of the sect" that is "shocking" and "really astonishing." (Bozacchini, 2007) For the orthodox ancient Pythagoreans, as Borzacchini (2007) points out, "We can suppose that the Quadrivium in its earlier Pythagorean version did not know any discrete/continuous opposition." I will return below to this noncommutative discrete/continuous connection. "Music ever since antiquity and until 17th century was a sort of 'open wound' of the relationship between discrete and continuous, between arithmetic and geometry" (Borzacchini, 2011). Pythagoreans discovered, "that the chief musical intervals are expressible in simple mathematical ratios between the first four integers. This single discovery would account naturally for all the most characteristic of Pythagorean doctrines" (Kirk & Raven, 1964, p. 229). The footnote mentions that the Pythagoreans practiced purification of the body and soul by medicine of music based on reciprocity of opposites. Soon though the "Greek Miracle" of irrational magnitude "alogon" math was achieved through Archytas, Eudoxus and Euclid and promoted, most importantly, through Plato (McClain, 1977). Yet Math Professor Borzacchini (2007) is pointing out that there was an ancient paradox of logic that still has not been solved in the West. "Continuum is not only inexpressible, but also external to the knowledge of reality" and the geometrical continuum can not be proved coincident with the numerical one, that it can not be empirically verified, that the place of the numerical continuum in the transfinite hierarchy is one of the greatest so far open questions, that it is linked to the most disputed axiom of set theory, etc. (Borzacchini, 2007) Borzacchini is explaining that the "Greek Miracle" of irrational magnitude math created "incommensurability" and, as a syntactic paradigm, has been "marked in its basic principles with a preestablished disharmony, that is even its hidden evolutive principle" (Borzacchini, 1998). Elsewhere Borzacchini elaborates, "there was a deep 'preestablished disharmony' ... this disharmony grounded many logical paradoxes that endure up to the present time" (Borzacchini, 2010). And so, the true music origins of the irrational magnitude math were originally a "negative judgment paradox" (impossibility of asserting falsity) that had to be covered up. As Borzacchini (2007) points out, "Such paradox forbade speaking about what is not." The earliest known use of Logos, in Heraclitus, refers to it as a fiery creative soul while alogos is when the fiery spirit, now incarnated in the body, becomes too wet (Finkleberg, 2017). This concept for the need of fire to go under water is closely tied to noncommutative alchemical meditation but as Kingsley notes the ancient meaning of wisdom was lost: "By the time of Plato and Aristotle, the doors of understanding were closed" (Kingsley, 1995). Borzacchini (2007) asked, "Why these silences? And why this sudden and radical change? Why the Pythagoreans' silence? The 'secret of the sect'?"
[Image Source: https://whizkidefos.files.wordpress.com/2013/03/tetractys_pyramid.gif?w=382&h=210 ] In 2001 Borzacchini replied to me with a written letter that my math-music equation was "good," but I had no historical proof that the specific equation had been used.
Borzacchini (2007) had postulated a continued proportions music-math clue:
[Image Source: https://www.academia.edu/16496242/Incommensurability_Music_and_Continuum_a_cognitive_approach._Arch._ For_History_of_Exact_Sciences_61_2007_273-302._http_dx.doi.org_10.1007_s00407-007-0125-0 ] The Plutarch clue also emphasizes the uneven 9/8 from 17 as tied to the lunar energy cycle of Osiris with Osiris also defined by the Pythagorean triangle. The 12 note scale alchemy music meditation is also based on the lunar cycle. Plato was relying on his collaboration with Archytas who had changed Philolaus' term of subcontrary mean to harmonic mean (Kingsley, 2010, pp. 156-7). Borzacchini argues "it was exactly the possibility of the geometric drawing of a not-existent music interval to foster the development of the Aristotelian idea of continuity" (Borzacchini, 2007). This will be discussed below further: "Archytas says that this was formerly called the sub-contrary mean. Why was it so called? And why was its name changed?" (Makeig, 1981). And: "The term subcontrary may refer to the fact that a tone based on this mean reverses the order of the two fundamental musical intervals in a scale" (Bonar, Khoury and Khoury, 2016).
How I Discovered the Noncommutativity I had realized this noncommutative logical error in music when I took my first music theory class taught by my piano teacher in the evening adult class at McPhail Music School in Minneapolis. I was still in high school and soon after began private tutoring with her husband who had been a University of Minnesota music professor. I believed the logical paradox in music proved that Pythagorean universal harmony was true and when I took quantum mechanics as my first physics course, my first year at Hampshire College, taught by Professor Herbert J. Bernstein, I had another "aha!" moment. Professor Bernstein was teaching us quantum entanglement by his demonstration of the "Dirac Dance" (holding an imaginary wine glass while rotating your arm through 720 degrees and keeping the wine glass held up vertically).
[Image Source: https://www.thedaobums.com/applications/core/interface/imageproxy/imageproxy.php? img=https://lh3.googleusercontent.com/proxy/OzekFEmmrFNfHovSUSWih2M7AH6utk8tfViPUINFoH8zpI_qU3za WRvkr42DzYcAIFzX91TjCdcwaKbK6ihfC8hngK7C4Soiqw=s0-d&key=96d221fcb965f6232b9d989784e4085e8c16f1413b413243526f3ad85f94d9a0 ] It was not until I discovered Fields Medal math Professor Alain Connes 2012 lecture on music theory, posted on youtube, that I realized my concept had been corroborated. I had already tested out my music-math concept by doing intensive paranormal meditation training to finish my University of Minnesota master's degree in 2000. I first read Connes in 2001 but Connes' 2012 Music of Shapes lecture confirmed it truly was the precisely same concept. Previously, in 1995 I saw a telephone pole poster for qigong master Effie P. Chow doing a qi-lecture demonstration. I was so skeptical that I called up to ask for a "half off" admission fee. When Effie P. Chow agreed, via the lady who answered the phone, I then took my girlfriend with me to St. Mary's University for the evening class paranormal power demonstration. Effie P. Chow said she was filling the room with qi and had us make "qi balls" with our palms facing each other. Sure enough, I felt a very strong magnetic force pushing my hands apart! As the event was ending and half the people were gone, a University security guard wandered in and stated, "I'm just wondering what's going on in here because the fuse got blown in the room behind you." This was not staged because I did not even hear a response from Effie P. Chow, and I got kind of freaked out. This really got me intrigued to be sure and we soon left. In 1996 I discovered a book on "biosonics" by Dr. John Beaulieu and it explained how "yang" is the Perfect Fifth and "yin" is the Perfect Fourth in music theory and the "emptiness" is the Octave. Suddenly I realized how the Pythagorean music intervals explained the paranormal! As arising from the Diapason or Taiji of the Wu Chi (the void), "the fourth and fifth work together as yin and yang ... The fifth and the fourth are the basis for the 1-4-5 chordal progressions found throughout music of all cultures" (Beaulieu, 1984, p. 47).
Of course, this was still not the noncommutative secret, but it was enough to go on for me to start calling these ratios "complementary opposites." And the basis of the qigong meditation training was called the "small universe" neidan internal alchemy or "microcosmic orbit," using 12 notes (the 12-note music scale created from the yin-yang energy) or energy nodes along the body, with the eyes closed, as a listening resonance practice. I realized that this meditation of 12 harmonic nodes was a harmonic energy-consciousness transduction training, the same as the "infinite spiral of fifths" as explained by Sir James Jeans in his book
[Image Source: Sir James Jeans, Science & Music, 1937, Macmillan and Co., Cambridge, England ] Qigong master Shen Wu (2016) gives us corroboration: "The Chinese "lü" tuning is closest to the ancient Greek tuning of Pythagoras." The Western bias, of course, is that music has to be equal-tempered so that there can be polyphonic harmony. But as Alain Connes emphasizes it is a conductor reading an orchestral score who then is forced to transpose different clefs as noncommutative spacetimes all at the same time - phase harmonized - which is the real example of proper Western polyphonic music. And this same truth applies then to the "double quotient" of the rational discrete fractions that as noncommutative exponents then cause a resonance energy transduction from beyond sound as a mechanical wave into electromagnetic energy and spacetime transformations. That was the traditional meaning of music in its nonwestern context as the "infinite spiral of fifths."
Later I found confirmation of my hypothesis from a Daoist scholar Pregadio writing on Chinese alchemy: "The twelve-stage sequence also establishes correspondences with other duodenary series: ... the bells and pitch-pipes" (Pregadio, 2015). And then we find Table 6: Sovereign Hexagrams. The twelve "sovereign hexagrams" (biguas) and their relation to other duodenary series: earthly branches, bells and pitch-pipes, months of the year, and "double hours." (Wang, 2011, page 130) Most music theorists would dismiss the infinite spiral of fifths as just modal math and thus no different than an "infinite spiral of thirds." The key logical secret missing was noncommutativity. In fact, the Pythagorean simple ratios were dismissed by the time of Galileo as a "coincidence of consonance" phase synchronization error. But that supposed error has now been corroborated:
Recent science has confirmed the truth of the natural number simple ratio (Bowling and Purves, 2015).
[Image Source: https://cnx.org/resources/ae1c7c3826b3cb1eba187265035b51f5a4142cde/ISI8.png ] And again:
Abdounur (2015) gives us one: "This implicit contradiction ... [noncommutativity] maybe a defense-mechanism of nature against order." Later I discovered this same 12 harmonic nodes as a body-mind meditation paranormal energy transformation taught in India and Tibet and West Asia also - see my Ancient Advanced Acoustic Alchemy self-published free docdroid educational book for details. For example:
[Image Source: http://www.salagram.net/sstp-mgpuja3.html ]
I met qigong master Chunyi Lin in 1999 when he gave a presentation to my "Spiritual Healing" class for my Liberal Studies master's degree program at University of Minnesota. By this time, I had read Harvard medical doctor David Eisenberg's book Encounters with Qi (1985) and Chunyi Lin looked just like the person in the book who had demonstrated telekinesis. And so, to finish my interdisciplinary Liberal Studies master's degree I did intensive nonwestern meditation training based on my Pythagorean music analysis, through the African Studies department as "self-directed research." Pythagoras was reputed to have trained in Egypt for decades and I had argued that the Platonic "natural law" was inherently racist due to the eugenics of the equal-tempered music theory, as explained by musicologist Ernst McClain's book
Similarly, economics Professor Michael E. Hudson, who started out his college training in music, pointed out the ideological use of the equal-tempered music theory of Archytas and Plato. "Burkert [1972:441] notes that the harmonic mean discovered in the context of Pythagorean music theory has a major use precisely in approximating the square root" (Hudson, 2000). He continues:
So, the cover up of noncommutativity of Pythagorean philosophy had deep disharmony implications indeed.
Plato changed the PreSocratic meaning of Apeiron or Cosmic Mother Emptiness as nonlocal formless awareness to the Archtyas "Liar of the Lyre" value of the irrational magnitude "alogon." Or as a scholar explained, "Magnitudes have all the characteristics Plato attributes to Apeiron" (Karasmanis, 2011). In contrast, at the very first class in 1999 when Chunyi Lin walked past me while my eyes were closed, I did a "moving of yin and yang" qigong exercise and he shook his "Shaolin sword fingers" - suddenly I saw bright yellow light and I felt immense love as joy. By the end of my training in 2000, I had what my teacher called an "enlightenment experience" and I saw ghosts, experienced telepathy, telekinesis, and precognition, among other paranormal phenomena. I had proven my hypothesis true to myself and had permanently transformed my body-mind-spirit connection to the Emptiness, what the PreSocratics called the Apeiron or Cosmic Mother via Aeon. I could now feel a permanent magnetic bliss in the center of my brain, even after I stopped meditating for a couple months to see if the sensation would go away. I, too, also experienced a holographic universe, but it was based on noncommutativity, just as Eddie Oshins explained that Karl Pribram's holographic brain model is not accurate. I'll detail this below. Pythagorean music training also required a meditation deep mind-body transformation (Lebedev, 2017). Chronos was the Orphic name for, according to Pythagoras, the serpent psyche of the Universe, derived from "Time Unbounded" in Iranian Zurvan philosophy - Chronos Aion. Aion was the "procreative fluid with which psyche was identified, the spinal marrow believed to take serpent form" (Onians, 1951). The original source was attributed to the Pythagorean Hippo.
[Image Source: https://qph.fs.quoracdn.net/main-qimg-2ac97395c570981a507b18fceefd7cde ] The Liar of the Lyre: How Archytas and Philolaus covered up the truth of noncommutative paranormal music training We are told, "It is believed ... because [the Harmonic Mean] produced a division of the octave that the middle tone stood in the most harmonious relationship to the tonic and the octave." (Kullman, 2001). This is just a mathematician not delving into the noncommutative truth that was hidden by the "Greater Perfect" or Double Octave system, as I mentioned early on and will now detail.
In contrast: "Note that these 3 : 2 ratios can be thought of musically as perfect fifths or fourths," a claim that covers up the symmetric "Greek Miracle" commutative logic of Archytas, as Bowen documents (Makeig, 1981). The Perfect Fifth is also C to F, 2/3 to the One as the root tonic but as an undertone while the overtone is C to G, as 3/2 but this was not allowed by Archytas.
So what we have here is the secret music origins of commutative Western math that is the structural or dimensional trajectory of Western science - the expansion of the exponentials as higher dimensions. Once we go into the 5th dimension suddenly we have the noncommutative math of the Matrices but science practices "renormalization" to try to convert such noncommutativity back into the symmetric commutative algebraic geometry math. Professor Alain Connes details this noncommutative secret when he explains,
There is another way to explain this for the noncommutative ratios to be made more explicit.
The Pythagorean Comma claim wrongly assumes that the exponentials can be divided back into the octave, via the logic of Archytas, while not acknowledging the noncommutative ratio dynamic. I'll give a hint though, as to what this all means in terms of relativistic quantum biology as alchemical meditation training.: "This means it is a zero-dimensional object! But it has a positive volume!" (Khalkhali, 2014). For example consider this "standard" music-math analysis:
What the writer doesn't realize is they are repeating the same error as Philolaus who created the commutative math from the wrong music theory! Alain Connes emphasizes that the empirical truth of listening to music as multiplying ratios or exponentials is noncommutative or "not commutative" just as this person admits. Only Connes refuses to just "make up" his own math (of course he could with a Fields Medal, the hardest to get science award). No, Connes is true to the empirical truth of the music listening based on the multiplication of the "double quotient" or inverse ratios: 3 to the 19 as 2 to the 12 or 3 to the (1/12) as 2 to the (1/19). Hence the noncommutativity as explained about - "exponentiation is not commutative." But since most people don't train in music from a young age as Connes did, which has been proven to increase the corpus callosum that synchronizes the right and left brain, then most just regurgitate the commutative "Liar of the Lyre," as I shall now explain. Professor Richard McKirahan figured out the secret in his article on Philolaus: "it makes no difference which way we go, the result is the same. This corresponds to the commutative property of addition of numbers" (McKirahan, 2013). A circular argument indeed. The music theory of Philolaus was the first to use the term "magnitude" as a mathematical ratio concept for the Greek Miracle, to create the commutative symmetric math logic. "Historically, the first application of binary logarithms was in music theory" (Rubinstein 2000).
Math Professor Connes sets us straight: "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" (Connes, 2012). What does this really mean in terms of paranormal power? "... knowing the ratios 2:1, 3:2, and 4:3 (which, by the way, is all the early Pythagoreans knew) is not enough to know the nature of the octave; we also need to know what limiters and unlimiteds are in play" (McKirahan, n.d.). In traditional Chinese music tuning or Indian tuning - the octaves do no line up, as Sir James Jeans points out - the empirical truth is an infinite spiral with the octaves or root tonics also changing. McKirahan, following Philolaus, does not allow this.
--STORY CONTINUES HERE-- |