Alain Connes: noncommutative time-frequency as zero dimensional noncommutative space is NOT Yuan Qi

So as Professor Patrick Edwin Moran points out (he taught Chinese philosophy but he started out in physics at Stanford) - the traditional Chinese music KNEW of the octave equivalence as pitch but did not USE the octave equivalence in their scale! Westerners equate this with a primitive form of oral music akin to, as Alain Connes claims, when Westerners first learned to read they HAD to read OUTLOUD (without an internalized thinking voice).
So then Connes argues that just as a Western conductor can "read" music in multiple clefs as multiple "spacetimes" - or octave transpositions at the SAME time - so too can noncommutative geometry have a zero point of space that transposes different octaves of music instrument tuning into the SAME octave equal-tempered equivalence.
This amazing "miracle" of polyphonic harmony in the Western equal-tempered scale hides the fact, as I have exposed, of the "Liar of the Lyre" from Philolaus. So the Harmonic Series assumes that the ratios of time-frequency can be inverted as a commutative symmetric because the original octave of the 2/3 as Undertone Perfect Fifth was hidden and covered up as 0 to 8. So that the 8/12 as 2/3 then became the new octave as 0 to 8. So then the direction of time and frequency are exchanged with the octave just as the 1 of the original octave now becomes the 3.
In other words in terms of frequency and time then 2/3 as the undertone Perfect Fifth now has 3 as the new "root tonic" as the new octave - even though the Phase as Pitch is in relation to the first octave of 0 to 12 as 6 to 12.
So the switch from linear magnitude of number into geometric magnitude as equal tempered tuning then hid this noncommutative phase change of the meaning of zero and infinity from the ONE as the root tonic that is LISTENED to (and not just heard as a visual measurement of wavelength).
In Greek PreSocratic mythology this "bait and switch" is explained as the switch from Dionysus and Pan as the Fertile Earth of frenzy (and underworld humanure composting from Hell) using Pitch Pipes - into the Apollo of the Lyre as stringed instruments (whereby the wavelength as undertone can not be bigger than the wavelength of the instrument).
The natural pitch pipes and flutes of ancient times have been proven to create an INVERSE doppler effect so that if the musician moves TOWARDS the listening audience then the frequency is heard to go down into subharmonics. This is relativistic quantum physics as quantum biology. This is what Sir James Jeans was also trying to communicate about music.
"The bandwidth of conventional negative refraction metamaterials is inherently limited by the local resonance. However, the pipe instruments exhibit different negative refractive indices over a wide range of frequencies. It therefore can be used as a basic unit for designing various novel smart broadband acoustic metamaterials...This type of metamaterial is composed of Helmholtz resonators of which the group and phase velocities are opposite in direction near the resonant frequency."
In humans then this inverse Doppler Effect occurs as the Ultrasound and Infrasound via the microtubules. So that the highest pitch we hear externally the resonates the whole brain internally as Ultrasound (based on a quiet room of listening to the Root Tonic or a single pitch - that shifts by the Perfect Fifth, faster than Fourier Uncertainty).
So we achieve superluminal quantum coherence via the "primitive" technology of the Human Brain and body - together - as we evolved out of the rainforest where listening was dominant.
Another way to explain this as per meditation is that the internal frequency is going up while external time is slowing down or getting BIGGER (black hole) and therefore the external frequency is going down (a subharmonic from the future) while internal time is going up (going to the future as an internal WHITE hole Emptiness). The paradox is that as per the principle of Pythagoras time is inverse to frequency. But as per the secret alchemy training of Orthodox Pythagorean philosophy there is a Yuan Qi or Taiji as the Wuji with the yin-yang at the same zero point in space by LISTENING (not just hearing).
"This study is the first to demonstrate a system that simultaneously contains normal and abnormal Doppler behaviours....
However, limited studies have investigated the sound effects caused by the relative movement between a flute and the audience. Considering that acoustic metamaterials composed of ‘flute-like’ meta-molecules can generate inverse Doppler effects, we hypothesised that the flute also exhibits the inverse Doppler effect."
"When the moving microphone approaches the source, the detected frequency is reduced by 1.51 Hz; as the microphone recedes, the frequency increases by 1.26 Hz."
The last music I played was with such a "street flutist" who called this Cave Jazz - he insisted on playing alone and now I know why.

[voidisyinyangvoidisyinyang]

“The sound of square roots
Take two strings, one sounding an octave higher than the other, so that their lengths are in the ratio 2:1. Then find the geometric ratio (also called the mean proportional) between these strings, the length x at which 2:x is the same proportion as x:1. This means that 2:x = x:1; cross-multiplying this gives x squared =2. Thus, the “ratio” needed is √2:1 ≈ 1.414, in modern decimals. This is close to the dissonant interval called the tritone, which later was called the “devil in music, ” namely the interval composed of three equal whole steps each of ratio 9:8. The tritone is thus 9:8 × 9:8 × 9:8 = 729:512 ≈ 1.424.” from “Scandal of the Irrational” M.I.T. Press. pdf link here

"... the tyrant in the Republic as the tyrant's suffering is exactly 729 times that of a philosopher, using the metaphor of ... The ratio 729/512, three whole tones (8:9) above 512....“Since 9 actually reduces to a wholetone of 9/8, its cube will reduce to (9/8)³ = 729/512, a [FAKE] Pythagorean approximation to the square root. of two, a problem which fascinated Socrates in the marriage allegory.” Ernest McClain, The Pythagorean Plato: Prelude to the Song Itself (Nicholas-Hays, 1978), p. 36

[voidisyinyangvoidisyinyang]

What Philolaus called the Subcontrary Mean was 6/8 wavelength as 4/3 geometric magnitude as frequency of 0 to 8 root tonic and then Archytas covered up the wavelength part by changing the name of Subcontrary Mean to Harmonic Mean so that it was just frequency as geometric magnitude from 12 to 0, the opposite direction and different root tonic.

[voidisyinyangvoidisyinyang]

So the 200/300 Hertz interval is 66 Hertz while the 300/200 hertz interval is 150 hertz. So that 66 Hertz is F to 100 Hertz as C – a Perfect Fifth subharmonic. 150 Hertz is the Perfect Fifth as C to G. The same C and so it's non-commutative (2/3 as F to C and 3/2 as C to G).

Now the question is repeated: Is there a doubling of octaves or not with frequency? O.K. so for Hertz again on the Harmonic Series – it is 3/2 since the “root” frequency is 100 Hertz and it is the “root” frequency that is doubled as the octave; So then G to C as 4/3 can’t be used as the Perfect Fourth; It is inconsistent with the “root” frequency as 1 or 100 hertz. The 3 is not the “double” of 1 or 2. In other words in the same scale if G to C is 4/3 then why is G to C as 4/3 in the harmonic series not allowed for defining the Perfect Fourth? So instead the subharmonic of 1 as the Harmonic Series or 100 Hertz is used as 2/3x or C to F in the opposite direction – a longer wavelength. So we can just ignore that it is C to F as the Perfect Fifth in one direction while it's C to G as the perfect Fifth in the other direction?

I have been asked if this meant that the subharmonic was a subset of 3/2x and I answered yes. Harmonics are perceived as pitch intervals and not just Hertz frequency. So it’s been stated then that using “F” as the new root frequency for doubling the octave you still get – close to, but not quite the doubling of the octave of 100 hertz as C. Let’s check the Hertz: 132 plus 66 = 198 Hertz. Yep it's almost the same as 200 Hertz. It’s two Hertz off – exactly the same difference as the error of time-frequency uncertainty with the truth of the “infinite spiral of fifths.” I’ll repeat from above, Physicist Iori Fujita: “But even Δt is 1.000 sec, the bandwidth remains about 2 Hz.”

[voidisyinyangvoidisyinyang]

Or as Professor Borzacchini states:
"These remarks raise the question of the difference between the ancient Pythagorean ‘musical’ perception as displayed in the Pythagorean idea of ‘linear number’ in Boethius [Philolaus] or in Nicomachus, and the modern ‘geometrical’ perception of the linear numerical magnitudes."
This "difference" is precisely the Noncommutative phase that can only be LISTENED to.

[voidisyinyangvoidisyinyang]

In the nonresonance case the algebra M0 is commutative.In the resonance case(4), the algebraM0 is noncommutative.Thus, the resonance implies the “quantum” behavior of the problem under study. The word “quantum” we use as a synonym of “noncommutative.”

[voidisyinyangvoidisyinyang]

In other words 2/3 is the Perfect Fifth as C to F subharmonic while 3/2 is the Perfect Fifth as C to G overtone harmonic. So 8/12 is 2/3 as C to G frequency while 6/8 is 3/4 as 4/3 frequency - one is the wavelength of 0 to 8 and the other is the wavelength of 0 to 12 - so that to create ZERO the meaning of 1 had to be phase shifted based on the noncommutative phase truth of reality. Infinity was 12 to 0 for the 12/8 wavelength as geometric magnitude and Infinity was 0 to 12 for the 8/12 wavelength as 3/2 frequency but infinity was 0 to 8 for the 3/4 wavelength as 4/3 geometric magnitude. Or G=3=F at the same time due to noncommutative phase as the 5th dimension.

[voidisyinyangvoidisyinyang]

R. P. Winnington-Ingram's, “Aristoxenos and the Intervals of Greek Music, ” (1932) as an article “admits that the pre-Platonic theorists used the tone 8:9 to construct a scale, but for some reason is reluctant to attribute this construction to the Pythagoreans.”
Professor Richard McKirahan reveals the secret:
"The word translated epogdoic is not a musical term but a mathematical one. An epogdoic ratio is the ratio of 9 to 8. The occurrence of a mathematical term here is unexpected. It has been treated as an unimportant anomaly but in fact it is the key to the entire fragment....The word magnitude normally refers to physical size, but here it is given a new application, extending the notion of magnitude to include musical intervals. "

[voidisyinyangvoidisyinyang]

"If you multiply both sides of the ratio by the same factor, the ratio doesn't change, so 2:3 is the same as 4:6 (just takes twice as long). So, in the time it takes the root to oscillate 4 times, the Major third oscillates 5 times and the perfect fifth oscillates 6 times, giving us a combined ratio of 4:5:6.

THiS HIDES the fact that the 2/3 is a Perfect Fifth subharmonic (not just a generic ratio) is actually from 8/6 as 4/3 with a different octave origin.
"5*f1 = defines the maj 3rd, 5*f1 / 2 / 2 = (5/4)*f1 this is 2 octaves and a third above the fundamental.
"This accounts for the 1, 3, and 5. As for others, any pair of notes related by a ratio that has a power of 2 in the denominator come from this sequence. The perfect 4th does NOT. It can be seen in terms of its relation to the 1 as a 5th down. That is the one must be a ratio of 3/2 to the 4th below it. Bumping that up an octave and inverting gives 4/3."
He is basically repeating Professor Richard McKirahan:
"Can we do something similar with Philolaus's other claim that 3:2 + 4:3 =
2:1? We might think that this would amount to the claim that 12:8 plus
12:9 = 12:6, but this is not an obvious result, since it is immediately
not clear how to perform the addition."
So here we have a ratio of 8/6 to the fourth below? NO it's actually 4/3 then as 8/6 to the fourth below NOT 3/2!! It is 2/3 as the fifth down from the one. The 3/2 is the frequency but NOT the wavelength whereas the 2/3 of 8/12 is the wavelength but not the frequency. So that is why the time-frequency has to be inverted to make 8/6 as the magnitude and neither frequency nor wavelength. 8/6 is NOT 3/2 to the fourth below. They mean 6/4 if 4 is the new "one" or octave of 8 so that 6/4 is 3/2 to the 4 of 8/4 with the root tonic of 0 to 8.

[voidisyinyangvoidisyinyang]

the Octave is to define the Perfect Fifth and Perfect Fourth not as the fractions 3/2 or 2/3 but as the logarithms of 3/2 squared being 9/4 with the Octave 2 defined as the Geometric Mean Squared. This is the subtle difference between multiplying as doubling and squaring as geometric mean.

[voidisyinyangvoidisyinyang]

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. - Nobel Laureate quantum physicist Brian Josephson.

[voidisyinyangvoidisyinyang]

“Orthodox Pythagorean theory recognizes five consonances:
fourth, fifth, octave, twelfth, and double octave; and these are
represented by the multiple and superparticular ratios [n + 1 : n] from
the tetrad. The number 8 obviously does not belong to the tetrad.” 

André Barbera, "The Consonant Eleventh and the Expansion of the Musical
Tetractys: A Study of Ancient Pythagoreanism, " Journal of Music Theory,
1984

[voidisyinyangvoidisyinyang]

Consciousness is when OR events become orchestrated, like sounds and notes becoming music...." Hameroff: "Consciousness depends on anharmonic vibrations of microtubules inside neurons, similar to certain kinds of Indian music, but unlike Western music which is harmonic."" Quantum biology dr. Stuart Hameroff

[voidisyinyangvoidisyinyang]

The characteristics ω(j)0 of these components are incommensurable.The algebra Fωis noncommutative if and only if the frequency system ω is resonance. This happens if and only if at least one of the components ω(j) has length greater than 1 (and so, the corresponding component F(j) is greater than one-dimensional)

[voidisyinyangvoidisyinyang]

“The Minor Sixth (8:5) in Early Greek Harmonic Science, ” by Alan C. Bowen, The American Journal of Philology, 1978:

"Any who doubt that the musical ratios are all of greater inequality, i.e., that the antecedent or first term in each is greater than the consequent or second term, should consult Archytas DK 47 B 2. This Fragment…requires that the ratios be of this form if the assertions about the three means [arithmetic, harmonic and geometric] are to be true. Accordingly, the ratios assigned to the octave, fifth, fourth and minor sixth, must be 2:1, 3:2, 4:3 and 8:5, and not 1:2, 2:3, 3:4 and 5:8, respectively, as Mosshammer and others would have them….Indeed, there is early proof deriving from the Pythagorean school that intervals, such as the fifths, which are represented by superparticular ratios cannot be partitioned into any number of equal subintervals because the terms of these ratios admit no number of geometric means….Consider now the question of the status of the ratio (8:5) in the Pythagorean harmonic science that dates from the late fifth century B.C. to the time of Apollodorus. One should not expect that this ratio was recognized as melodic by every school of Pythagorean musical theory. For example those who sought to derive all the musical ratios from the Tetrad of the decad by compounding and dividing the ratios of the primary and most familiar intervals, the concords of the octave, fifth and fourth, would find the minor sixth unascertainable….There is reason to believe that these were supplied by Archytas in the early fourth century B.C."

[voidisyinyangvoidisyinyang]

Newton then quotes twelve lines of Book I of De Rerum Natura which state that the void exists, and that of any bodies which are equal in magnitude, difference in weight is explained more or less by interstitial void. [noncommutative phase] Newton's comment on this passage is important:

For he [Lucretius] affirms that fire, and other bodies which are designated weightless, rise upwards not of their own accord but by a force which drives them from below....

Newton and the ‘Pipes of Pan’
J. E. McGuire, P. M. Rattansi,
Notes and Records of the Royal Society 21, 1966

[voidisyinyangvoidisyinyang]

6/5 (harmonic mean) x 5/4 (arithmetic mean) = Perfect Fifth as Geometric Mean Squared "However, he [Archytas] noted that the product of the arithmetic mean and the harmonic mean is equal to the square of the geometric mean, so this gave a way of dividing the fifth of 3:2 into the product of 5:4 and 6:5."
A Truman State University review on Scriba, Christoph J. “Mathematics and music.” (Danish)
Normat 38 (1990), no. 1, 3–17, 52.

[voidisyinyangvoidisyinyang]

Notice that he does NOT mention that 1:1 "decompounded by 2:3" is actually C to G and so that then G "decompounded" by and octave or 1:2 is then G to C which is NOT the same as starting from F an octave lower which is then doubled so that it is 6:8 as the 3:4 which is then once again 3:2 as the frequency of 8:12 generated by 2:3. But in the original example the 3:2 was C to G and NOT C to F - so Oscar Abdounur has just be disproven. He is hidiing the noncommutative phase truth by claiming that G=3=F.
2:3 =G is how it is defined early in his same paper. I sent him this debunking of his claim. We'll see if he responds.

[voidisyinyangvoidisyinyang]

So he [Richard McKirahan] states:
So he says "bottom note" twice to emphasize they are symmetric and then
says "via another" to HIDE that the "other" is the OCTAVE!!

That is the bait and switch - and then he says -
What is (1, 4)? It is a Perfect Fourth which is the PITCH of C to F
(overtone). Anyone who actually knows how to play music would not fall
for this bait and switch! What is (7, 5)? It is a Perfect Fourth which
is the PITCH of C to

[voidisyinyangvoidisyinyang]

Borzacchini also has a paper published:
[2001]  “Light as a Metaphor of Science: a pre-established
disharmony.”, 2001, 136, November 200, pp. 151-171. His term,
“pre-established disharmony” is evidently a spin on Leibniz' claim of a
pre-established harmony to Western science.

[nathanielritter]

Next video I want to hear some chopped and screwed SFQ music. 😎😆😘