The same person also created an "ancient knowledge" harmonics site

Or maybe they're just recommending that site. http://cor-non-siponis.tumblr.com/ seems to say they author all of these site.

And their Ancient Knowledge youtube vid series

I'm talking about the person who posted/created the Ancient Knowledge video - 6 parts or 7 1/2 hrs long. the first part is on sound as consciousness.

Right so out of gratitude - I repost my Do-Ohm Up the Yin-Yang! book:

**The Devil’s Interval and the Pre-established Disharmony of Western Science:**

**The Secrets of**

*Inner Sound*Alchemy Spiritual Paranormal Energy Explained by Music Theory**By**

**Drew Hempel, M.A.**

**2015**

**This article (e-book/blogbook) is LONG with about 25 years of research summarized into it. If I had to sum it up into one phrase it would be this seemingly silly one - this innocent question that started it all for me:**

Warning: This article is not just about music theory and Taoism but rather it is exposing a lie at the foundation of Western mathematics. 432 cultists also will be debunked in this article. Finally do not "speed read" this article (the format of this article is not linear - if something is not clear just keep reading, explanations will follow and you can circle back - like a spiral). If you are a 432 cultist and you do not engage with the content of this article but instead just rehash 432 lies and I point this out - please do not blame the victim. I am a victim if I post this link and instead of the reader engaging with my content they just ignore it and spew forth 432 lies. If I point out the lies in response - again do not get upset at me since I was not the first one to ignore the content of this article. haha. That is my warning to 432 cultists.

For example one of the 432 cultists states:

here

*Capturing F#:*

The issue I am talking about is not based on choosing a certain letter for a certain number - that is numerology. You can make a certain number line up with a certain letter - it doesn't mean anything. The secret of Taoism is exactly

*against*this "one to one correspondence" between number and letter which is gematria as symmetric numerology. So 2:3 is C to F while 3:2 is C to G. Same "C" as 1 hertz but the C to F is an undertone as yin and the C to G is overtone as yang. To use geometric angles for frequency already assumes a symmetric one to one correspondence based on a contained infinity. Listening as meditation is not geometry and it is not a contained infinity.

*The Tao can not be "captured." The Perfect Fifth/Perfect Fourth as the Tai Chi symbol:*source, http://altered-states.net/barry/newsletter479/Harmonic.jpg

Instead go to the links given for 432 given below. For example a 432 and Sacred Geometry video from http://www.sonicgeometry.com/ sent to me by a 432 cultist, in the first 25 seconds shows images of irrational magnitude geometry symbols next to Egyptian architecture. The Egyptians, as I detail in this article, did not use irrational magnitude geometry! Stop the 432 lies. It's repeatedly claimed that Egyptian ancient instruments "unearthed" have 432 hertz but no evidence is provided. In this article I give the evidence of "unearthed" Egyptian instruments and they don't have 432 Hertz! Another 432 lie is that neanderthal flutes used 432 hertz! I searched all the academic articles I could find on the subject covering six different ancient bone flute discoveries between 40,000 BCE and 6,000 BCE. Nothing - no mention of 432 hertz. Again stop the 432 lies.

So not only is the 432 geometry video promoting just another equal-tempered tuning irrational magnitude scale (i.e. F# as 720 - as close to the irrational magnitude tuning as possible) but it's all based on the size of the so-called "sacred" geometry. Sure the angles stay the same but the sound of an object is obviously based on the size - a bigger triangle or square and you get a lower sound - which is, guess what,

*not the same frequency*! Anyone who doesn't have enough common sense to notice this is a cult follower, plain and simple. So the idea of basing frequency on angles which stay the same no matter the size of the object is not accurate at all - it's a lie. Fourier analysis has proven that any geometric form can be created from the basic sine waves but that the Fourier Uncertainty Principle, the time-frequency uncertainty principle, demonstrates an underlying infinite non-local formlessness to this process of time-frequency energy creation out of the low rational harmonic numbers. O.K. consider, in contrast, astronomy professor Gerald Hawkin's "fifth theorem" of Euclid that he claims to have discovered.

In fact Gerald Hawkin's claims are from the original continued proportion analysis at the origin of Western mathematics as explained here - for sacred geometry sound analysis, the

*ratios of geometric areas,*not the angles of the areas. So, for example, Hawkins analyzed a triangle circumscribing and inscribing circles or a square circumscribing and inscribing circles or a hexagon circumscribing and inscribing circles. He always found that the ratios were simple numbers like 2:1 or 4:3 - the Pythagorean harmonic ratios. Those ratios stay the same, no matter what the size of the object is as long as the relative size of the circumscribing and inscribing objects also change in the same relative proportion. These ratios are nothing new at all but geometric length is not the same as arithmetic distance - something this article will discuss in greater detail. Remember we

*listen*to sound - sound is not dependent on a visual geometry! The West is very much a visual-oriented culture measuring time as a spatial distance (speed)! But in reality frequency is based on listening and time is not limited to spatial distance as wavelength.

The mysticism of 432 actually is from originally using a 60-based number system from Sumeria and Babylon with Egypt also using this - all for a Solar based calendar - tied to Vedic Brahmin philosophy as well. Mathematician Abraham Seidenberg in a series of "origins of ritual geometry" articles in

*Archive for History of Exact Sciences*explains that the Pythagorean theorem was approximated as far back as 3000 BC in Brahmin India, and the Pythagorean Perfect Fifths music scale was documented in the 2nd millennium BCE based on the Sumerian musical terms of some of the cuneiform texts. Professor John Curtis Franklin, email communication, April 12, 2011. Penn museum cuneiform music article: here Seidenberg notes that the Pythagorean triangles in Egypt had the base of the triangle equaling Isis, and the height as Osiris, and the hypotenuse as the complementary opposite resonance between Set and Horus. These ancient empires used Solar Dynasty ritual priests practicing sacred geometry ritual sacrifice from music harmonic ratios as Gods and Goddesses contacted and transmitted through mantras or srutis.

This ritual sacrifice process started in 10,000 BCE through what archaeologists call "the symbolic revolution" as an attempt to use male-based rectlinear geometry to contain the wild, untamed infinity of Mother Nature. By 1200 BCE iron-based technology in India had become more valuable than the silver-based lunar female goddess energy. The chariots for warfare, spreading iron-based farming, were designed by an approximation of the Pythagorean Theorem to "square" the circle and then even circular female-oriented houses were destroyed and circular ritual sacrifice altars had to be made the same area as the squares. Seidenberg's articles in

*Folklore*Volume 94 issue #2, 1983; Vol. 80, 1969 and Vol. 70, 1959, are in collaboration with Lord Raglan, as a promotion of this mass ritual sacrifice as the spread of rectilinear architecture, called

*the separation of heaven and earth*based on the separation of a man, through ritual sacrifice, heaven being the alchemical head and earth being the lower body of the man. In contrast real orthodox Pythagorean harmonics are based on

*the harmony of heaven and earth*. Juzhong Zhang, Xinghua Xiao, and Yun Kuen Lee, “The early development of music. An analysis of the Jiahu bone flutes,”

*Antiquity Journal*, July, 2005 documents a Pythagorean 12 tone scale in China from the sixth millennium BCE.

harmonized components….

*The Journal of Indo-European*

Studies, Volume 30, No. 1 and 2., 2002, p. 13.

Studies

The Devil's Interval refers to irrational magnitude geometry. When in the 17th Century Francis Bacon studied the secrets of the octave he declared:

*"The Cause is Dark."*This article is not just about some "reference frequency" as so-called sophisticates like to claim - you know people who memorized a bunch of things by rote and so think they are very intelligent. Since the 17th Century with the origins of modern science, "The most concordant simultaneous tones are ones that coincide most regularly and frequently,..." IDEAS OF ORDER IN SEVENTEENTH-CENTURY MUSIC WRITING 2012 m.a. thesis link This came to be known as the “the coincidence theory of consonance” thereby disowning the Pythagorean Tetrad of 1:2:3:4 based on the philosophy of numbers. Modern music theorists still rely on this 17th C. idea to be "sophisticated." David Hykes "Harmonic World" music is based on the same principles this article elaborates on - the rational number harmonics as sound healing

or more harmonic overtone music here

Yeah that's right - I want you to be listening to sacred overtone music while you read this article.

The content of this article covers a lot of different territory so don't just glance at it and think you know what it's about. Prepare to learn something new in this article - not some whimsical "sound byte" by people using Audacity or other tone generator software but who know nothing of real music theory. I have advanced music training from being enrolled in college and university music composition degrees and trained in classical piano performance for 12 years, advanced music theory, ear training, orchestration, playing all different music genres in classical, jazz, rock, punk, country, folk, blues, reggae, bands, choirs, etc. I also performed a classical piano concert, memorizing the Bach Italian Concerto, Brahms, a Mozart sonata, avante garde John Cage and my own original compositions.

**SUMMARY OF ARTICLE CONTENT**

1) Taoism teaches that yin is 4/3 (C to F) as the Perfect Fourth and yang is 3/2 (C to G) as the Perfect Fifth. So also does real Pythagorean harmonics - not the fake pythagorean harmonics that are taught in the West. See image of the Perfect Fifth/Fourth as Tai Chi symbol. http://legacy.earlham.edu/~tobeyfo/musictheory/Book3/FFH3_CH1/Images/Means.png Why is this image so important? It demonstrates that "before frequency" which is a symmetric commutative measurement, the rational integers of the Tetrad-Tai Chi are non-commutative and asymmetric, thereby creating nonlinear feedback as infinite energy. Physicist Charles Madden in his

*Fractals in Music: Introductory Mathematics for Musical Analysis*(1999, reprint 2007)

*points*

*out that the*

*Tai Chi symbol is not a fractal. Because of the yin-yang (Perfect Fourth/Fifth) resonance it is asymmetric and therefore not a logistic or irrational logarithmic equation. Click on the image to enlarge it.*

and https://www.youtube.com/watch?v=eT_XTM9MSx0

Notice that the Bushmen men trance dancing are moving in the Tai-Chi symbol! This video documents the origins of qigong and yoga and trance dance healing as N/um, a boiling energy that is stored in the belly and rises up the spine as electromagnetic force, turning into light spirit energy via the third eye pineal gland. More on this process in the article.

*is*the fundamental tone? Again I am not referring to a "reference frequency." A composer wrote a music theory article titled, "The Phantom Tonic," and in an attempt to analyze this conundrum states: "Not a fourth above, but a fifth below: the phantom tonic." here Tonic meaning the fundamental tone.

Listening is actually an infinite process of energy creation due to this paradox of the Tetrad-Tai Chi Perfect Fifth and Perfect Fourth. So the Perfect Fourth is made from the

*undertone*, making it a complementary opposite harmonic, C to F as 2/3x, a Perfect Fifth in the opposite time. The energy is infinite because the overtones and undertones, as asymmetric complementary opposites, naturally pull towards the octaves since they are close harmonics as the Pythaogorean Tetrad 1:2:3:4 which is also the Tai Chi symbol. See infinite spiral of fifths images.

4) Because it's an infinite spiral the sound resonates into ultrasound and infrasound which then ionizes chemicals as electrochemical energy. This study shows music instruments do go into ultrasound from the 40th harmonic on up to the 108th harmonic. But again that is not the issue as much as the Perfect Fourth/Fifth document a nonlinear feedback that is strongest - so that the higher harmonics being more dissonant, thereby create stronger undertone beats and the process reinforces itself. This is proven in science as the quantum

*Law of Phase Harmony*discovered by Louis de Broglie. I will go into detail about this more below.

*monochord*– a single-stringed instrument he built to display how musical scales were produced by the natural overtone series).

When the electrochemical life force energy is ionized it creates electromagnetic energy as force called chi or qi energy. When this process continues it creates light as higher frequency electromagnetic energy. The light energy also enables superliminal signals - precognition and astral travel holographically. It is coherent light as biophoton laser light.

5) This ancient universal secret was rediscovered in quantum physics as the time-frequency uncertainty principle. For 1 hertz value the time-frequency uncertainty is an error of 2 hertz. When the complementary opposites of the Tetrad as the Tai Chi symbol are examined - using hertz analysis - the same 2 hertz difference is found. I do this analysis in the article. http://in.music.sc.edu/fs/bain/atmi02/pst/index.html image of scale used for analysis. This means that

*the order of multiplication*as time-frequency or frequency-time changes the value of the tone: 2/3 is C to G in one direction as overtone or C to F in the other direction as a subharmonic or undertone. It is a non-commutative operation just as is the quantum time-frequency infinite energy process, as the article explains. This secret violates the logarithmic commutative basis for Western math and so the "x" has to be used to cover up this secret complementary opposite value of time-frequency as the shamanic healing energy of the Tetrad-Tai-Chi symbol. The 2/3x has to be converted to a 4/3 value to hide the undertone complementary opposite dynamic - by doing so,

*the fundamental tone has been shifted*. I will discuss this in the analysis of the final section. Click on the image to enlarge it.

7) This training creates a permanent mind-body transformation and it used to be the norm for males to do this training to open up the third eye so that the light energy is transmitted as healing energy, but the training is through this

*inner sound*listening process creating sonoluminescence - sound into light. This is called "turning the light around" in the Taoist training - with our eyes open the spirit biophoton energy leaves our body. By emptying out the left-brain conceptual mind through trance music then the right brain activates the lower body energy that is ionized, creating a laser resonance of nonlinear feedback. This creates the lower body center as the Taoist "lower tan tien" behind the belly - the boiling "N/um" energy of the original human Bushmen culture where all males trained to do this to create the real love heart-pineal gland connection. The real secret of sound is that it is used to create light energy but this has been lost in modern Western times ever since the origins of Western civilization. The loss of this training is why modern human culture is based on warfare and violence.

Part One: The bizarre rejection of qigong by materialistic “skeptic” scientists

I have been engaging the skeptics online about qigong, a type of paranormal training considered to be fake by the skeptics. The reasoning of the skeptics is very interesting. One skeptic, an undergraduate student with an atheist website, recently responded to me in regards to a qigong master:

“I don’t say that the ‘tricks’ performed by Master Zhou are absolutely as I described them. Rather, like a proper skeptic, I claim that there are alternative explanations for the tricks he is performing without resorting to claims that he’s performing real magic and using supernatural powers. We have a natural explanation which is infinitely more parsimonious an answer then using a magic force that no scientist has ever been able to measure, despite its claimed reality and power. You are guilty of committing the fallacy known as an argument from ignorance. You are claiming that, because we may not have any rational explanation for trick X or trick Y, then it is somehow reasonable to usher in chi as a not only possible, but plausible alternative.” Colin Wright, “An American Atheist,” http://anamericanatheist.org/2013/08/21/investigating-woo-master-zhou-qigong-healer-debunked/

I know the skeptics dismiss this as simply the Mayo Clinic doctor (at a top medical research hospital) somehow falling prey to the placebo effect but this relies on a strange interpretation of the results. The healings were very effective but then as the longer time went by with no more qigong healings, the results were not as significant. This is then interpreted by the skeptics to mean the effects were just psychological, wearing off as time went by. On the contrary – the qigong worked for the four treatments given over four weeks. That’s why when it was discontinued at four weeks the results diminished so at eight weeks no significant difference was noted. In no way did the clients claim to be permanently healed but only that the qigong effectively relieved their chronic pain while for at least three years previously no Western medicine could achieve that result. The skeptics then state that

*because*the people wanted to get healed this made the qigong effective, as if the people did not want to get healed when they took Western medicine! Haha.

**Part Two: Plato’s Lambda was a promotion of the Devil’s Interval music covering up real paranormal qigong training**

Image of Plato’s Lambda which describes three dimensional space from squaring. Plato closed off the infinite power of sound by “squaring” it into a closed circle. http://www.geocaching.com/geocache/GC2EP1K_the-circle-of-fifths. In the West we are taught this image of the “circle of fifths” but in actuality music as energy is an infinite spiral of fifths.

*Timaeus*Plato defines the concept of the World Soul by the Pythagorean ratios but he stops at the end of the fifth octave overtone, where the overshooting comma of Pythagoras occurs – the difference between six whole tones and the octave. This is because Plato was relying on his Lambda to “contain” the comma of Pythagoras created by the difference between the natural perfect fifths and the octaves – 3 does not go into 2 evenly. According to Cornford Plato's choice of the Pythagorean Limited over the Unlimited (the prime dialectic of Pythagoras) was a reflection of Plato's perception of a closed system reality. James,

*Harmony of the Spheres*, pp. 46-47, citing E.M. Cornford,

*Plato's Cosmology*(London: Routledge, K. Paul, 1937).

**"The introduction of novel fashions in music is a thing to beware of as endangering the whole fabric of society, whose most important conventions are unsettled by any revolutions in that quarter." --Plato,**http://www.pianonoise.com/Article.Plato.htm

__The Republic__(c.428 B.C.-c.347 B.C.)*militarization of music*” from a standardized, logarithmic tuning. Other than that 432 hertz is based on FAKE Pythagorean teachings that are actually from Plato - not Pythagoras! O.K. so let's focus first on debunking the online 432 Hertz cult. It's really just people who can use some programs to modulate tuning without really understanding basic music theory. haha. It's ironic since using high tech gadgetry then becomes an excuse to embrace some supposed ancient past of 432 purity which is total b.s. Let's consider first the 432 evidence:

1) I've read lots of "first hand accounts" about aliens but that doesn't mean I believe them. haha. 432 Hertz "first hand accounts" are folklore - it doesn't mean anything. I could give you a first hand account now about the Goblin in my bedroom.

2) Any musician knows Bob Marley used 440 when he played live because he played with other instruments like horns that are pre-tuned to that standard. O.K.please read this basic music tuning information about Bob Marley which proves he did not use 432 hertz despite the "first hand accounts":

*everything moves along with the frequency relationships.*It’s like moving a Rembrandt painting a fraction of an inch down a wall and claiming an improvement. All the notes have moved, but the frequency relationships between them are identical (Table 2).” http://www.miltonline.com/2014/01/07/hertz-so-good/ Another “debunking” of 432 website agrees that the frequency is a “natural resonance” frequency but it is based on the arbitrary “one second” time measurement: “An octave is the frequency and wavelength ratio 1:2. 256 Hz is an octave of the time unit one second: There are eight doublings of frequency – and correspondingly eight halvings of the wavelength – in the 'interval' from 1 Hz to 256 Hz: 1-2-4-8-16-32-64-128-256. You reach concert pitch A4 = 432 Hz by moving three perfect fifths (ratio 2:3), up from 256 Hz and one octave down. In numbers : 432 Hz = 256 Hz x (3/2)

^{3}:2 (= 256 x 27 /16). In other words, already quite fishy, how to get from the time unit of one second to the frequency value 432 Hz.” http://detspringendepunkt.blogspot.dk/2013/11/432-red-herrings-per-second.html

The main song of this “Devil's instrument” was the tarantella trance. http://music.minnesota.publicradio.org/features/0010_halloween/violin.shtml

*slower and deeper rhythm*- reggae heals actually because of the 60 beats per minute Mozart Effect which is from slow baroque music that induces strong alpha brain waves (15 hertz) as serotonin trance. For example it is proven by science that the purring of cats heals the body of people! http://dailyinfographic.com/the-healing-power-of-cat-purrs-infographic The emphasis is on the low frequencies which naturally increase the amplitude, as any boom box testifies the power of the bass in dub music. Elizabeth von Muggenthaler, (2006) “The Felid Purr: A Biomechanical Healing Mechanism,” Proceedings from the 12th International Low Frequency Noise and Vibration Conference, p. 189-208. “Vibrational stimulation between 50-150 Hz has been found to relieve suffering in 82% of persons suffering from acute and chronic pain (Lundeberg, 1983).” A science project found that Cows produce 1000 pounds more milk to classical music because of the slow relaxing beat compared to modern music

*Italian Concerto*with my favorite part being the second movement, a slow baroque movement. I never knew why I liked it so much until soon after I took part in a paid medical experiment study to earn some college money. The nurse had to give me an EEG and I never had one before - she exclaimed: "You have very strong alpha waves!" I didn't realize what this meant but I did know people thought I was stoned a lot although I never smoked, I was just in a very happy trance all the time. Then I remembered my piano teacher being very impressed at how fast I memorized Bach music. Now I knew why - it was the "Mozart Effect" from my favorite slow second movement - the increased alpha waves had increased my visual memorization skills. My piano teacher even recommended I attend an elite chamber music camp with other classically trained musicians - my roommate at the camp was a violist and music composer who got a perfect SAT score with a full ride music scholarship to Harvard. We even composed music together one day and he went on to teach at Columbia University in NYC, etc. Meanwhile I pursued my trance discovery to the deeper Pythagorean-Taoist qigong connection!

I did immerse myself in music which, I learned, as a

*listening*trance increases the dopamine (the tingling eargasm) and even at deeper levels (the slow rhythm) the serotonin and (7 beats per minute) the oxytocin heart-love levels. So for drumming the rhythm as trance music has been shown to be usually 7 beats per second, thereby synchronizing and amplifying the heart energy which has a much stronger - 1000 times stronger magnetic field - than the brain. So this is also created by bouncing the legs or "shaking" that happens when the ball of foot is rested with the knees bent - the vibrations are 7 beats per second as Dr. Bradford Keeney emphasizes. So when this process is combined with opening up the heart energy - the lower body energy is sublimated up the spine and then down the front of the body to the heart. So it is more than just listening but the learning of an instrument or dancing to music - the synchronization - has been proven to increase the auditory part of the brain more significantly but also music increases the integration of the brain. here and here - increased corpus callosum from intense music study before age 7

Obviously we can’t “escape” Western music but it was discovered when Western music was played to a tribe in Africa that had never been exposed to it that people intuitively know the emotional power of music. So that the “program” effects of music - whether a melody is happy (major), sad (minor), or scary (tritone focus), is actually universal. “But music has continued to rely on the basic tunings from natural consonance simple ratios. Dr. Sandy Trehub has even documented that babies naturally like consonant music while Dr. Kathleen Wermke found infants cry out in simple music ratios regularly and it's not just from exposure to music but due to auditory design.” Elena Mannes, producer,

*The Music Instinct: Science and Song*, PBS Documentary, June 2009.

*Dr. Thomas Fritz tested Western consonant tuning on the Mafa tribe in northern Cameroon – a tribe completely unexposed to Western music. The tribe correctly identified the emotions for happy, sad, and scary music. Dr. Fritz states: “The emotional expression of the music is inherent in the music itself. And it is not solely decodable through cultural imprinting.”*

*Dimensions of Music*, Neurolinguistics, Rice University. http://cnx.org/content/m22649/latest/

*Emblems of Mind: The Inner Life of Music and Mathematics*, p. 28. Or to put Rothstein into perspective: “Generally, overtones which are close in frequency produce dissonance,

*unless*, they happen to be exactly the same. This is why two notes exactly a Perfect Fifth apart sound consonant, while if one note is slightly out of tune, the pair sounds very dissonant. For example, if you play the note at 660 Hz just 10 Hz too high, at 670 Hz, the second harmonic will be at 1340 Hz. This will beat with the harmonic at 1320 Hz in the first note with a frequency of 20 Hz, and this will sound very unpleasant! So, consonance and dissonance are really determined by the frequencies of the overtones of the two notes.”

*Interference in Time: Beats*http://www.phys.uconn.edu/~gibson/Notes/Section5_5/Sec5_5.htm

*Bela Bartok*, p. 24. Jeans provides the following on the topic: “In the case of wider intervals such as C and F# [the tritone] there are no beats to be heard, either pleasant or unpleasant, but Helmholtz asserted that C and F# sound badly together because certain of their harmonics (e.g. g' and f'#) make unpleasant beats.” Jeans,

*Science and Music*, p. 157. The Perfect Fifth and Perfect Fourth are taught as the “circle of fifths” in Western music theory but in reality they are the infinite spiral of fifths. “A true (just) perfect 5th contains no beating, because it is a true 3:2 ratio. An equal tempered perfect 5th contains beats but they are not that ‘rough’ sounding, because the beating is slower than with, say, an equal tempered major 3rd, which sounds very rough and out of tune.” Online comment citing Harry Partch,

*"Genesis of a Music"*

So by having “no beats” the Tetrad-Tai Chi tap into the infinite spiral of energy where there is no fundamental note but rather an infinite listening process. When we get into time-frequency uncertainty this will be clarified.

*discarded music and gymnastics*, Socrates proposes considering the science of “number and calculation” (522 C6-7)…. The link between the correct use of mathematics and the capacity of this discipline to lead to an extrasensible dimension recalls the link between the correct use of the science of harmony (of music in general) and the potential of this art to establish a contact with the soul and supersensible harmony.” Francesco Pelosi,

*Plato on Music, Soul and Body*(Cambridge University Press, 2010), p. 118. Plato actually promoted a new type of mathematics based on irrational magnitude – the Greek Miracle – but the “secret” of Plato which made him so mysterious is that he got this new type of math from music theory, from the Devil’s Interval itself. What is the Devil’s Interval? Here’s how it’s explained from music mathematics:

*The Pythagorean Plato: Prelude to the Song Itself*(Nicholas-Hays, 1978), p. 36 Again this was not really a “Pythagorean” approximation, as I will document below – but it was the

*cover-up by Plato*of real Pythagorean teachings. In fact as sound healer John Beaulieau of Biosonics, Inc. discovered the sacrum of the body, origin of the word sacred, creates a Perfect Fifth interval ratio as the key healing ratio: “For example, the distance between your extended toe to the top of your sacrum relative to the distance from the top of your sacrum to the top of your head is also 3::2.” The Perfect Fifth ratio. http://www.biosonics.com/uploads2012/Calendula-Booklet.pdf So when we open up the sacrum of the lower back, what sound healer alchemist Gurdjieff called the “Kundabuffer,” then the life force energy is able to harmonize again with our third eye – the harmonization of heaven (third eye) with earth (sacrum). When the lower back is “closed” off then people are subconsciously controlled by the Kundabuffer.

*Theory, History, Anthropology, Non-Market Economies*(Marburg:Metropolis Verlag, 2000): pp. 113-35 citing Burkert, Walter (1972),

*Lore and Science in Ancient Pythagoreanism*(Harvard University Press, 1972). So this philosophy of reality not only was the basis for the Greek Miracle creating western science but also the elite control of the technology – justified still by the logarithmic fake Pythagorean cover-up. “The necessity of tempering

*pure*intervals, defined by the ratio of

*integers*, is one of the great themes of Plato’s

*Republic*. In his allegorical form, “citizens” modeled on the tones of the scale must not demand “exactly what they are owed” but must keep in mind “what is best for the city.” Ernest McClain,

*The Myth of Invariance: The origins of the Gods, Mathematics and Music, from the Rg Veda to Plato*(Nicholas-Hays, 1976), p. 11.

I quoted

*Plato on Music, Body and Soul*- what was the context of that quote? here

^{1}” “Nay, that,” he said, “was the counterpart of gymnastics, if you remember. It educated the guardians through habits, imparting by the melody a certain harmony of spirit that is not science,

^{2}and by the rhythm measure and grace, and also qualities akin to these in the words of tales that are fables and those that are more nearly true. But it included no study that tended to any such good as

*Timaeus*tells us that the Demiurge needs to bond tangible

earth with visible fire. To do so, we are told we will need a third to draw them together. Of the

nature of this bond,

*Timaeus*relates: "And of all bonds the best is that which makes itself and the terms it connects a unity in the fullest sense: and it is of the nature of a continued geometrical proportion to affect this most perfectly." The geometrical mean is most perfect in that it both

conserves the "form" of the relationship, the ratio, as well as provides a universal

interchangeability between the means and extremes.... The movement which the

Timaeus was meant to breath into the inanimate animals of

*the Republic*is a kind of natural growth within this released expansion.

More details here in this critique of Kennedy's music Plato analysis:

*Republic*at 531a4” (p. 18, n. 68). Kennedy sees significant divisions occurring at every quarter of each of his twelve “notes,”16 but relating this to Plato is problematic. The term referenced as “quarternotes” is actually pyknomata17 (dense or compressed things), which in the context of the

10 discussion may be considered to be equivalent to an enharmonic diesis (approximately the quarter of a 8:9 tone, hence often referred to as a “quartertone” in English)....

Moreover, Plato specifically refers in the cited passage to such intervals by saying that some believe “that that is the smallest interval, by which measurement is to be made, while others take issue with them, saying that the notes sounded are already the same.”18 In other words, the pyknomata are intervals so small that people argue whether the two notes are the same or not....

Plato himself gives one important example of a musically significant number in the

much-discussed “Myth of Er” of the

*Republic*. Here, Plato famously writes about a group of eight sirens standing on the rim of the circles of the Spindle of Necessity, each singing a note of constant pitch, “and the eight notes together make up a single scale [mian harmonian].” (Rep., 10.617b)....

The early Pythagorean Archytas, for example, suggested a

diatonic division of the diatessaron into a whole tone (8:9),.... we can say with

some confidence that the music theorists in Plato’s circle—above all Archytas, also of Tarentum—were very much the kind of rationalist Pythagoreans.... Continuing with the Timaeus construction, Plato notes that his two series result only in intervals with the Pythagorean ratios 2:3, 3:4, and 8:9 (the whole tone).... If Plato were using a hidden Pythagorean musical scale within his dialogues, it would have to use similar principles as the Timaeus scale, which is a rational extension of Greek music theory and Pythagorean principles to create

a system whose large span could represent the cosmos.

Plato’s Dialogues and Greek Music Theory: A Response to J. B.

Kennedy.”

*Apeiron*44, no. 4.

Youtube interview with ancient language/music academic Jay Kennedy on cracking Plato's secret Pythagorean code

**JK: These findings do open up many new lines of research which promise to revise our understanding of ancient Greek philosophy, science, literature, politics, and music theory.**

And Jay Kennedy's book on Plato features what?

*The Science of Harmonics in Ancient Greece*)

And so Ernest McClain who also cracked this music code of Plato says what about this equal-spaced (irrational magnitude) scale:

*the Pythagorean Plato*.

p. 394

*Socratic, Platonic and Aristotelian Studies: Essays in Honor of Gerasimos Santas*2011

citing Vassliis Karasmanis, "Continunity and Irrationality in Ancient Greek Philosophy and Mathematics."

^{th}grade high school geometry but rarely do we learn it actually originated from music theory. An overview of music theory from a physics perspective is here with images of the piano keyboard: http://physics.info/music/But the real issue here is: what was the original use of this Pythagorean music theory? When Plato promoted the Devil’s Interval through his Lambda he was covering up the real teachings of Pythagoras. The Pre-Socratic philosophers, the real origin of Western civilization, did practice a type of shamanic training with the same foundation as qigong – a philosophy called the musical Logos, part of the tradition of Apollo. Peter Kingsley, a Ph.D. philosopher, had his thesis on Pythagorean philosophy published by Oxford University Press in 1997,

*Ancient Philosophy, Mystery and Magic*. In that book Kingsley says:

Kingsley continued his research with more popular-focus books like

*In the Dark Places of Wisdom,*and

*Reality.*http://peterkingsley.org Kingsley’s first academic work was largely dismissed by the Academy because Kingsley took the Pythagorean philosophers, (

*aghast)*, at their word. Kingsley did not dismiss their views as arguments “from ignorance” as would have the materialistic skeptics. Kingsley actually investigated the Pythagorean claims of magical training. In Kingsley’s last book he traces the Pre-Socratic origins of this shamanic meditation back to Asia.

*listening*and it is this process that enables discovery of the secret infinite power at the source of sound – the ancient alchemical energy called nada (sound yoga) by the Indian yogis – the subject of “psychic music” analysis by paranormal investigator D. Scott Rogo. He noted that when people have near death experiences the music they hear is usually vocal singing or stringed instruments. But Rogo did not understand this secret of why. The reason is the voice and “open” tuned instruments rely on the natural harmonics which are infinite as frequency – they

*don’t*rely on the Western attempt to contain sound as a geometric physical logarithmic measurement. http://www.amazon.com/Psychic-Study-Music-Spheres/dp/1933665041 So I am talking about music by humans – even before instruments were used – music as the secret of alchemical paranormal energy training relying on the 1-4-5 music intervals.

*listening*to how sound divides itself through overtones and undertones, rationally. So the first tone as 1 is an infinite creation process whereby sound actually, via frequency, transduces into other forms of energy: heat, ultrasound, electromagnetic energy and even spacetime travel. I will go into how Western science can explain this alchemical transformation of sound energy but my point is this secret was discovered experientially by the original human culture – the Bushmen, from at least 70,000 years ago, and it was passed on as the secret shamanic traditions of healing energy for humanity – qigong in China, yoga in India and trance dance shamanism found in the thousands of indigenous tribal cultures worldwide. https://www.youtube.com/watch?v=eT_XTM9MSx0 So the Perfect Fifth is 3/2 as part of the Pythagorean Tetrad – you square it to get 9/8 and cube 9/8 to get the tritone, the Devil’s Interval aka "the unutterable" or "diabulus in musica." People have created numerous New Age music healing “systems” (i.e. the Rosicrucian octaves from sound into light) but they all still rely on this 9/8 assumption which is from

*squaring*the Perfect Fifth as an attempt to contain it in a symmetric geometric materialistic measurement. These systems are not the real secret behind “the unutterable” which challenges our very concept of time and space.

*nada*for the Indian yogis – also called Spanda under tantric philosophy. The music theory has consistently been misunderstood in the West – why? Because it is so simple yet very powerful and very radical. This is why there are so many New Age proposals of different healing frequencies, etc. but they all still rely on a logarithmic “Greek Miracle” materialistic model that creates the Devil’s Interval as a geometric irrational magnitude. For example the Westerner Alain Danielou created a 53 note music instrument which he argued was the closest to the Perfect Fifth natural ratio harmonics and this was part of his work for UNESCO studying Indian yogic tantra. But Danielou was still projecting a Western materialistic idea of sound as a visual wavelength measurement instead of sound as a magical listening process for internal mind-body transformation. Googlebook review of

*Music: A Mathematical Offering*by David Benson, page 225 on the 53 note scale: http://books.google.com/books?id=Ko1NsIq4qLIC&pg=PA225&lpg=PA225&dq=53+note+scale&source=bl&ots=u8sYdSatsa&sig=LaVwH95cKI_OzOSlr572xZpwWjg&hl=en&sa=X&ei=5WtET9P3BYfx0gHeh62uBA&ved=0CFoQ6AEwBg#v=onepage&q=53%20note%20scale&f=false

*listening*process of energy transformation or alchemical transduction.

*unlearn*many assumptions that start to be presented as solid truths in early education. For example the Pythagorean Theorem did not come from Pythagoras but the Pythagorean Theorem did have its origins in music theory. I corresponded with math professor Luigi Borzacchini who wondered if this music origin of the Greek Miracle was the “secret of the sect?” His research paper eventually got published: “Incommensurability, music and continuum: a cognitive approach.” (English).

*Arch. Hist. Exact Sci.*61, No. 3, 273-302 (2007).

What's Borzacchini mean by incommensurability and music theory? I devote a whole section to his analysis below but first this - his airing of the topic on a professional math forum in 1999: here Jul 12, 1999 5:39 AM

the introduction of the "absurd" proof in an earlier visual and constructive mathematics, so that the theorem had to be proved together with the establishment of its method of proof.

However it is of great relevance the hypothesis of a 'musical' background for the discovery. And actually a 'negative' proposition, asserting the incommensurability in musical and arithmetic terms, can be found in the prop.3 of the "Sectio Canonis", ascribed to Euclid (Appendix).

The same proposition can be found in Boethius' "De Institutione Musica" iii,11 (DK 47 A19), ascribed to Archytas: "No mean proportional number can ever be found between two numbers in a ratio superparticularis". 'Ratio superparticularis' is the 'epimorion diasteema (logos)', i.e. the ratio n+1:n or mn+m:nm, for n,m integers (Appendix).

*Historia-Matematica*, August 18, 1999. http://mathforum.org/kb/thread.jspa?forumID=149&threadID=382241&messageID=1177287#1177287

*preestablished harmony*between reality and language that we can not

*not*believe after almost four centuries of astonishing achievements, but we must even say that, neither tendentially,

*syntactic representation*can thoroughly mirror reality, become someway

*iconic*. And this because it is marked in its basic principles with a

*preestablished disharmony*, that is even its hidden

*evolutive principle*.”

*Semiotica*, 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.

For those of you who still don't believe Borzacchini is talking about the arithmetic connection to music - here is his description of his book in Italian:

*Plato's Computer*.

In this framework modern science achieved its greatest breakthroughs: quantum mechanics, formal logic and computer science. All of them, however, can not avoid the occurrences of the never ending paradox connected to the syntactic paradigm. Below the surface of the antinomical form, we can maybe reveal the deep 'preestablished disharmony' of the link between human knowledge and reality.

*Number theory in science and communication: with applications in cryptography, physics, digital information, computing, and self-similarity*by Manfred Schroeder (Springer, 2009). Schroeder states how amazing it is that the differences between rational and irrational numbers actually determine the creation of chaos – that chaos is simply the irrational number extending the digits unpredictably and never repeating. “In fact, the deterministic chaos, which dominates many a physical discussion these days, is ultimately understandable in these simple terms: the evolution of a complex number, in the final analysis, is akin to the left-shifting of digits of a real irrational number. No matter how precisely the initial conditions are known, temporal evolution will sooner or later bring the originally unknowable, far-right digits (representing the exact initial conditions) into the neighborhood of the ‘decimal’ point, where they will dominate the system’s behavior, which will then seem chaotic.”(p. 402) Meanwhile Schroeder states that resonance using rational, low Pythagorean integers is too powerful and causes matter to disintegrate through nonlinear feedback.

So again the "irrational" number are actually - empirically - an

*infinite spiral*of energy that can not be precisely predicted by science. Here's how Charles Madden describes it in his Fractal Music book as quoted in The Two - Part and Three - Part Inventions of Bach: A Mathematical Analysis Honors Project By Jennifer Shafer 2010

negatively from side to side in a smaller and tighter trajectory, and could be said to spiral in on

the limit. The center of this convergence (the circle itself) is the attractor.”

Has this process of energy-matter from natural numbers been tested physically? Yes: “Mogens Jensen,Tomas Bohr and I, working at the University of Copenhagen, recently investigated phase locking in great detail. We found that at the transition to chaos the motion is always locked: As one changes the frequency of either oscillator – for example, by changing the length of a pendulum or the frequency of a driving force – the ratio between the two frequencies locks onto

*every single rational*value…. If one subjects a pendulum to a fixed driving frequency and plots the actual frequency of the pendulum against the natural frequency or length of the pendulum, one obtains a curve consisting of an

*infinity of steps*.” Chapter on the “Devil’s Staircase” as this is called – from the Devil’s Interval. scribd link here for A book on nonlinear physics.

*Devil's Interval*is the Tritone. 2) The Harmonic Series diverges so it's the

*"invention of the Devil*." 3)

*The Devil's Staircase*is the nonlinear quantum chaos harmonic oscillator of the Perfect Fifth and Octave. That's the Simple Answer – a triangulation of evidence for the Perfect Fifth/Perfect Fourth as the secret to alchemy.

*The Mathematics of Plato’s Academy*(Oxford University Press) “...the manipulations of music theory seem to depend fundamentally on the operation of compounding, an operation which seems to pose some serious problems for mathematicians. My purely speculative suggestion...is that music theory might plausibly give some help with this problem.” Fowler though wanted to dismiss this music connection and as Borzacchini points out – the Western science created a “disharmony” by changing the Pythagorean Logos to create the irrational magnitude as the Greek Miracle.

So if the Pythagorean Logos did come from Asia originally, as Peter Kingsley documented, then what was the music theory connection in Asia for the qigong training? The Yellow Emperor, Huang Ti, in 2700 BCE, told Ling Lun to create the “infinite spiral of fifths” music tuning based on the Perfect Fourth music interval as yin and the Perfect Fifth musical interval as yang, according to the 240 BCE book, Lü-shih ch’un-ch’iu (

*The Spring and Autumn of Lü Pu-Wei*). Empirically the frequencies are infinite. “Before the idea of frequency existed, however, the same relation was expressed simply in terms of length, the length of a resonating agent multiplied by 2/3 being equivalent to the frequency multiplied by 3/2. The length of a zither string, then, multiplied by 2/3 gives a note which when struck is a perfect fifth higher than its fundamental. This is the first step (or

*lü*) in a process which evolves an unending spiral of notes. The length of the resonating agent which sounds the perfect fifth is then multiplied by 4/3, the resulting note being a fourth below the perfect fifth . . .” Joseph Needham,

*Science and Civilization in China, Volume 4, Part I*, pp. 172–173. So once again we are questioning the very concept of frequency! Here’s details on how a Chinese traditional instrument would be tuned using the Pythagorean spiral of fifths: http://www.silkqin.com/08anal/tunings.htm

*Music and Sound in the Healing Arts*, p. 47 In Taoism this “infinite spiral of fifths” is practiced as 12 notes applied to the body-mind for alchemical transformation. It’s called the “small universe” or microcosmic orbit meditation. You can read an introduction to this – with this book link here: http://www.scribd.com/doc/50065135/Awaken-Healing-Energy-Through-the-Tao-195 and the real traditional explanation of the 12 “notes” or nodes of the infinite scale is explained in this crucial book

*Taoist Yoga: Alchemy and Immortality*here in full free read:

*true*clock-face is that shown in fig. 55; it extends to

*infinity*in both directions and all simplicity has disappeared.” Sir James Jeans book

*Science and Music*, (Dover Publications, 1968), p. 166 (my emphasis). See image archived here of the infinite spiral of fifths

*“Tuning & Temperament: Closing the Spiral,”*chapter one of

*Music and mathematics : from Pythagoras to fractals*by John Fauvel,. Oxford ; New York : Oxford University Press, 2003

*Pythagoras: A Life*(London: Routledge and Kegan Paul, 1979), p. 137. The Void for Pythagoreans was the principle of differentiation, “in Pythagorean arithmetic, the principle of differentiation is the first

*even*number, the dyad….” Dominic O'Meara,

*Pythagoras Revived*, (Oxford University Press, reprinted 1990), pp. 67-68. The Westerners have it turned around – the real secret power of infinity was covered-up and replaced by a “compromise” since the real alchemical inner training could no longer be accepted.

**Hearing the irrational: music and the development of the modern concept of number.”**O.K. again the focus here is to

*unlearn*all this Western science training and to take the ancient Chinese at face value – the infinite numbers as the yin and yang of Taoist inner alchemy qigong training. Just like the Taoists, Pythagoreans taught that numbers, like yin and yang, were female and male. So the number one was male but actually not a “number” since it represented the first form of infinity. The number two was female but was the form as matter yet resonated with and from the female formless origin of the number one – the female formless called Apeiron by the Pythagorean philosophers. Sounds too woo-woo? Again consider physicist James Jeans – the “infinite spiral of fifths” is empirically real – it is infinite frequency as number. It is energy that considered too chaotic by Western science, creating the “Devil’s Staircase” – an unpredictable infinite resonance in Nature.

*only*used the Tetrad but you won’t learn this by studying Pythagorean philosophy since it has been kept secret. To quote an expert: “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. Like I said, the Pythagorean Theorem did not come from Pythagoras! No 8 means no 9/8 which means no 9/8 cubed as the square root of two, no Devil’s Interval and no “scandal of the irrational.”

*Apeiron: A Journal for Ancient Philosophy and Science*, 2010, pdf link: http://personalpages.manchester.ac.uk/staff/jay.kennedy/Kennedy_Apeiron_proofs.pdf “Greek theorists like Plato’s correspondent Archytas constructed measures of relative musical harmony.” Carl A. Huffman,

*Archytas of Tartenum: Pythagorean, Philosopher and Mathematician King*(Cambridge University Press, 2005). Huffman argues that Plato and Archytas were host-friends and competitive colleagues – with Archytas stressing the practical side of Pythagorean harmonics while Plato emphasized the pure philosophy of Pythagorean Number. Both Plato and Archytas were relying on Philolaus and therefore were not “orthodox” Pythagoreans.

*Philolaus of Croton: Pythagorean and Presocratic: A Commentary on the Fragments and Testimonia with Interpretive Essays*

**by**

**Carl A. Huffman Cambridge University Press, Jul 22, 1993, p. 163. It is**

*interesting*isn’t it? Because there had not yet been a conversion by Archytas to the symmetric, irrational magnitude of the Pythagorean ratios. Hence Philolaus would not have used any other term for 9/8 while Archytas created the new “geometric mean” term for the square root of two. Here’s a graph image explaining the means used by Archytas: http://www.ex-tempore.org/means/fig6y.jpg

We find further confirmation that this use of 9:8 from the orthodox Pythagorean Tetrad 1:2:3:4 is an innovation of Archytas and his possible pupil Eudoxus in “Pythagorean Mathematics and Music,” by Richard L. Crocker,

*The Journal of Aesthetics and Art Criticism*, 1963. Crocker notes that 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.” Yep, “some reason” – unknown, until now: “Apart from the interval sizes, which were disputable, Archytas overturns the otherwise canonical relationship between the enharmonic and the two other genre.” P. 196, Stefan Hagel,

*Ancient Greek Music: A New Technical History*(Cambridge University Press, 2009).

"The 'demusicalization' of the theory of proportions by Plato is shocking." (Borzacchini, p. 281 of his academic article on the topic, "

*Incommensurability, Music and Continuum: A Cognitive Approach*").... "...this 'removal' seems really astonishing!"

Math professor Luigi Borzacchini has done the best work in exposing this ancient "secret of the sect" as he questions the founders of the Greek Miracle of what became western science.

*Incommensurability, Music and Continuum: A Cognitive Approach) ....*"...this 'removal' seems really astonishing!"

*the musical proof was only negative*, whereas the geometrical approach allowed the effective construction of incommensurable magnitudes."

So, in other words, music proved you can "not" physically construct an infinity while geometry created a way around the conundrum - the first proof, due to the truth of alchemical training, had to remain a secret! Borzacchini confirms this secret: "Many authors (Szabo, Knorr, Burkert) have discussed Boethius’ text, and all of them have recognized a musical phase in the discovery of incommensurability." You can't talk about something that is not real (a physical demonstration of the infinite). The only real truth is non-physical consciousness and so it must be taught in silence - the real Pythagoreans practiced nine years of silence as

*inner sound yoga training*! As Borzacchini explains, "a purely negative result (speaking about 'something which is not') had to fall under the blows of

*the negative judgment paradox*. Such paradox forbade speaking about what is not, and played a crucial role from Parmenides to the Sophists and Plato, widespread between the end of the V and the beginning of the IV century in Athens, as witnessed in Plato’s Sophista (Plato 1964)."

So then Borzacchini states that irrational magnitude as incommensurability was something of a revolution: "...it rose instead from the basic cultural and political questions of the (not only Pythagorean) ancient Greek culture, where music and the relationship between musical modes and state/society played a role that is difficult to understand nowadays, and were essential ingredients of both society and culture....at the time of Archytas and Plato a sharp rupture occurred that fostered a shift from musical to geometrical incommensurability, so that we can find nothing about the geometric approach in the extant Pythagorean fragments as well as nothing about the musical approach in Plato or Aristotle." In other words we are talking about a serious cover-up and what

*exactly*was the previous role of the Pythagorean harmonic music ratios? Indeed it was just like the qigong training or yoga training or trance shamanic music healing training of the original human culture. Borzacchini notes that this Greek Miracle discovery indeed was an extension of a longer tradition: "From a comparative historical point of view, it is worth remembering Iamblichus’claim that the musical proportions were introduced by Pythagoras but originated in Babylon. According to Needham (1954, IV, 177), even the Chinese musical theory concerning pitches had the same origin, even if in China they were organized not as a “scale”, but as a “court” and a “spiral of fifths”." Borzacchini states that what enabled this continued to evolve into the Greek Miracle as a rupture - was the natural experience of the geometric continuum as a materialistic infinite process of division. And finally Borzacchini exposes this continuum, the basis for the "pre-established disharmony" as a formal idea of Western science: "If the continuum has never got empirical evidence or logical naturality, if it stems from complex processes of cognitive development and if it does not appear outside western civilization, we can suppose that also its evolution in Greek mathematics had to be quite complex." Of course readers will have to find access to an academic database to read Borzacchini's paper in full - which is a stunning expose of mathematical-music philosophy. I've had the pleasure of corresponding with him a few times - I had a dream of an equation of the musical origins of math which I scribbled and sent to him back in 2001. He responded that my math was good but that there's no historical proof for it.

O.K. there has been an accusation to me that Borzacchini is not referring to music theory when he says a pre-established deep disharmony exists as the origin and evolutive principle of Western science. Here is another quote from Borzacchini to established that phrase directly connected to music theory:

The simplest form of this dis-harmonic core is probably also today

*the ancient ''negative judgement paradox*'': <given that an affirmative statement corresponds to a fact in the world, something that is, we have that a negative statement corresponds to something which is not, but a statement about what is not, is about nothing and hence is impossible >. Here we find out the ancient irreducibility between being and not being, which cuts off any full matching between reality and language, between being and sign. And this disharmony has been the great source that has produced in the last more than two thousand years the evolution of the syntactic paradigm and the whole western civilisation cultural framework.

So what has to be clear is that the continuation of the Babylonian algebraic analysis (harmonic mean x arithmetic mean = geometric mean squared) was combined with a Brahmin insight into the void as a materialist ritual sacrifice - sunyata as "negative infinity" which Aristotle was against. In other words by inventing irrational magnitude the arithmetic ratios had to be with a value greater than one so that a theoretical abstract fiction of a physical geometric infinite magnitude could be created - first zero, then square root of two, then cube root of two and so on, into higher dimensions of technocracy as the evolution of

*pre-established disharmony*. This Greek Miracle was only established by using the Attic phonetic alphabet (originating from Indo-European roots) to create a commutative, symmetric geometric algebra of irrational magnitude - a "positive" embrace of a theoretical "contained" infinite that did not empirically exist. That is why the Perfect Fifth as 2/3x could not be allowed! It had to be covered-up, hidden with a "bait and switch" method since the Perfect Fifth as 2/3x is C to F while the Perfect Fifth as 3/2x is C to G - thereby violating the commutative myth of geometry using reversal time as a spatial wavelength.

The origin of time can not be seen but we can

*listen*to it as consciousness, the source of the thoughts in our mind, as the source of the I-thought. This is why in India consciousness was the goddess Kali that through creation and destruction created time as a

*spiral*which enables precognition of the future. Ancient Greeks knew time as Kronos - the God as Saturn which created Chronos as Time? How because Jupiter as the God of space (Apollo) protects Earth from comets. But what happens? As Kepler discovered the harmonic resonance of Saturn and Jupiter, through the Pythagorean low overtones, has great power. "Mars, for example, covered a perfect fifth, from C to G, the ratio 3:2, while Saturn sounded out perfect third. All the planets could produce glorious glissandos...as they intoned their way around the orbits, until each planet produced its own song." (Thomas Levenson,

*Measure for Measure: A Musical History of Science*, 1994, p. 112). Quantum chaos resonance has rediscovered this secret! So unpredictable in detail but with great accuracy, the orbits of Saturn and Jupiter, in the future, will resonate from being in the same plane, thereby resonating an asteroid to get thrown out of orbit, with Jupiter no longer protecting Earth, and the asteroid or comet destroying all 3-D bifocal life on Earth. Life will still exist on earth but the illusion of three-dimensional space as the "contained" geometric infinity will be destroyed and

*consciousness as holographic infinite time as an eternal present*will be restored. “Chaotic Heavens: Can mysterious wobbles in Jupiter and Saturn’s orbits spell doom for life on Earth?” of the Feb. 28th, 2004 issue of the magazine

*New Scientist*that the ratio of 2:5 causes asteroids and comets to destroy all life on Earth. pdf link

*infinite*and so in reality there is no original starting wavelength or time with its inverse frequency – not as a “zero” materialistic geometrically contained infinity.

The infinite spiral of fifths as pure number energy of sound are lied about - "contained" - into an octave measurement. This error of math creates what's called the "comma of Pythagoras" - the inherent difference between 12 notes created from fifths and their closest octave tuning - 7 doubling of the octave. This "comma" can never be resolved - infinitely - since 2 and 3 do not go into each other evenly with no remainder. So, for example, the Chinese created a 60 note scale in an attempt to "converge" this inherent difference - but it is not the same as equal-tempered tuning, because the philosophy of the "infinite spiral of fifths" accepts the infinite energy creation from yin-yang dynamics.

*comma*….that “cross over” from the “Pythagorean comma”.... This crossover over near-coincidence [is] acceptable today in Equal-Temperament theory – is no greater than the error in the first pair (A vs G, Plato’s harmonic and arithmetic

*means*shared by both systems).” Ernest G. McClain, “Children of Abraham,” 2007. The equal-tempered logarithmic scale is considered the “materialist” scale subset of the larger tonal scales, the 72 srutis, created by the infinite spiral of fifths used in traditional Indian music tuning. listen to traditional Raga dipak here “The idea is that the tritone is surrounded on the tone circle by the fourth (4/3) on its right and the fifth (3/2) on its left, two inverse tones. We can then repeat this by finding the average of this new value and its symmetrically placed inverse, and continue this procedure. The following algorithm shows how this succeeds in deriving the Vedic approximation.” Jay Kappraff, “Ancient Harmonic Law,”

*Bridges*, New Jersey Institute of Technology, 2007.

*“The Myth of the Irrational Numbers,”*pdf link here describes the problem as this: “Irrationals are becoming numbers but they will never, for all of eternity, be numbers. Think about this: (sq rt) 2 = 1.4142135... and the integers continue on forever approaching some value but never ever reaching it. Since (sq rt) 2 will never be a number because it is in continual motion moving towards some number, it is a non-number. Since it is a non-number, it cannot be located on the number line. I conclude then that only rational numbers have a location on the line and hence only rational numbers are real numbers.”

So for example Kepler was against the “closed” solution for the Golden Ratio triangle instead embracing the infinite Fibonacci numbers as “male” and “female” harmonic ratios. The Golden Ratio sound is demonstrated by the Shofar horn but as sacred geometry – not a “contained” irrational magnitude. So for the Golden Ratio of A:B::B:A-B the algebraic result is A(A-B) equals 2, 3, 10, 24, 65, 168 while B squared equals 1, 4, 9, 25, 64, 169 creating the male-female (complementary opposite) convergence. (“Kepler’s Celestial Music,” in

*Studies in Musical Science in the Late Renaissance*, 1975, Warburg Institute, Oxford University). The Golden Ratio is originally “A:B as B:A + B” but that's not the contained materialistic infinity of gematria (promoted by the

*incorrect*Pythagorean gematria of Leonard Horowitz and the Solfeggio early Western scale - see this debunking of the fake Pythagorean Leonard Horowitz Solfeggio scale for exposing why it is incorrect). Kepler realized that the replacement of “A + B” with “C=A-B” used to solve the Golden Ratio for the quadratic equation, as a “contained” infinity, is wrong. When A(A-B) exceeds B Squared the number is Masculine and where it falls short it is Feminine. For Kepler, the method of exhaustion, derived from “Plato’s Theory of Numbers,” (for the square root of two, the ratio of the triangle diagonal to the side as an infinite fraction series converging on the irrational, by alternately greater and less ratios) exposes the inherent Pythagorean complementary opposites of evolution – the male and female principles. (“Plato's Theory of Number,” by Ivor Bulmer-Thomas,

*The Classical Quarterly*, 1983).

*Temperament: How Music Became a Battleground for the Great Minds of Western Civilization*(2003).

*“The frequency ratio represented by four semitones, for example the interval from C to the E above it, is called a major third. This represents a frequency ratio of ... cube root of 2:1, or roughly 1.25992:1. The just major third is defined to be the frequency ratio of 5:4 or 1.25:1.” P. 292 pdf link*

*Mathematics of Music*: http://www.lpthe.jussieu.fr/~talon/MUSIC9.PDF

*secret of the sect*music equation for the compounding proportions of the side lengths is this: A:X::X:Y::Y:2A = 1:5/4::5/4:8/5::8/5:2. We find this same Archytas compound ratio approach for precise calculation of “doubling of the cube” to construct catapults in 350 BCE.

*Stanford Encyclopedia of Philosophy*. “In other words when music theory paved the road toward the discovery of incommensurability the idea of geometric magnitude was too clumsy to develop and even to understand such discovery, and it was exactly the possibility of the geometric drawing of a not-existent music interval to foster the development of the Aristotelean continuity.” Luigi Borzacchini, “Music and Incommensurability,”

*Historia-Matematica*, August 18, 1999. So these geometric proofs actually rely on the music ratios as harmonic string lengths. Thankfully the promoters of Platonic technocracy, the Lyndon LaRouchites, provide ample evidence of this: http://www.wlym.com/antidummies/part42.html and for a detailed explanation of Archytas’ geometric conversion of music ratios see this article: http://www.ex-tempore.org/means/means.htm

And in contrast to the technocrat "contained" geometric infinity LaRouchites, math professor Luigi Borzacchini gives a much more nuanced analysis of the transistion from the Orthodox Pythagorean music analysis to the materialistic infinity of Platonic geometry: here Borzacchini's later published version of this analysis is behind paywall except by going to your local college or university with database access or hard print journal access. As Borzacchini states, debunking the LaRouchites:

musical-arithmetical approach, because a rigorous proof could be built with

the techniques of the VIII book of the Elements, and

**without reference to**

geometric similarity....The first is that incommensurability was not the result of simply technical philosophical or mathematical problems, but rose instead from the basic

geometric similarity

anthropological and political questions of the (not only Pythagorean, but

tout court) ancient Greek culture, where music and the relationship between

musical modes and state played a role that today for us is difficult to

understand, in any case were the essential ingredients of both society and

culture.The second is that there was between Archytas' and Plato's schools a sharp rupture causing a shift from musical to geometrical incommensurability, so

that we can find nothing about the geometric approach in the extant

Pythagorean fragments, nothing about the musical in Plato or Aristotle.

*listen*to sound. When we listen then the resonance is due to the push-pull of the 1-4-5 music intervals, the basis for the blues, which then also became the basis for rock and jazz. Why do they “push and pull”? Because the Perfect Fifth as the 3 does not evenly divide into the octave as 2. It’s that simple – yet that radical. The Greek Miracle covered this up by creating the square root of two as the tritone, the Devil’s Interval. In the West we are taught to think hearing 1-4-5 over and over is boring and simplistic but that is because we hear it from the constraints of the equal-tempered tuning logarithmic system. In reality the 1-4-5 is infinite just as 2/3

^{ }was sacred for the Egyptians and just as the Cantor Set only uses 1 and 2/3 and yet it is considered infinite, but as math professor Borzacchini points out this has created unsolved paradoxes.

*Stargate Conspiracy*) realized this key secret of alchemical energy: “The cube roots of one are the points that divide the circle in three equal parts…But all these roots can be expressed in terms of square roots.” (his book

*Mathematics, Physics and Reality*.) Young argued that this procedure, using Gauss’ i-1 grid, proved that time is inherently asymmetrical and, as Dr. Heinz Pagel points out in his book

*Perfect Symmetry*(p. 358) if space is highly curved then particles are created out of nothing. The first use of this math was in the Egyptian Pyramids, as described in Napier’s book

*The Story of i: An Imaginary Tale*. The real “pyramid power” is like the full lotus yoga position, the highest secret of French Freemasonry, as professor Hugh B. Urban revealed. Professor Hugh B. Urban, “Elitism and esotericism: Strategies of secrecy and power in South Indian Tantra and French Freemasonry,”

*Numen-International Review for the History of Religions*44 (1): 1-38, 1997). The All Seeing Eye of the Pythagorean Tetrad can’t be visualized since “one” is not a number – that is the secret of the Nine of the Stargate Conspiracy, the ancient Ennead that controls the world. The Klein Bottle demonstrates this principle – it is the fourth dimension in three dimensions just as real pyramid power or the full lotus yoga position – the Klein Bottle inherently can’t be visualized. http://www.jcu.edu/math/vignettes/Mobius.htm This is the real meaning of “Order out of Chaos” as the Golden Ratio is sacred to the Freemasons – the attempt to contain the continued fraction of 1 plus 1 divided by 1, infinitely. In other words, the slowest converging irrational number is actually the inverse, the most “stable” example of what in reality is a rational number chaotic resonance free energy process, most powerfully expressed by the Pythagorean Tetrad or Taoist Tai-Chi symbol.

**Peter Kingsley notes, "In terms not only of formal and structural analogies but also of historical contacts, there can be no separating the Thracian Orpheus [of Pythagorean equivalence] from central-Asiatic shamanic tradition." This connection with Taoism is also made explicit by the motif of the Pythagorean master Empedocles who, "dies a miraculous death by vanishing into thin air but who leaves a tell-tale item.... A more classic Taoist concept is that of achieving the divine state either by fashioning a spirit-body...thoughtfully leaving a pile of discarded garments...."**

*Ancient Philosophy, Mystery and Magic*, Oxford Ph.D. thesis, 1995, p. 236.

**Part Five: Re-embracing the ancient Chinese secrets of qigong healing energy**

*The Harmless People*, lived among the Bushmen for several years and she states: “There are things about the antiquity of the Bushmen’s culture that we didn't know. A musicologist found very important music which was used at a woman's first menarche called ‘elan music’ (honoring the fat-rich antelope). This ‘elan music’ was also present in other language groups of other Bushmen language groups and also the noun-less speakers who are not exactly Bushmen but they're related. This means that way back before these groups diverged, somebody invented or composed (this) music and then they took it with them.” Interview with Elizabeth Marshall Thomas,

*Paula Gordon Show*(Peterborough, New Hampshire, July 19, 2008). We’re talking at least 70,000 years ago!

https://www.youtube.com/watch?v=eT_XTM9MSx0

Again the Bushmen trance dancing healing music in action. This original culture still survives as Dr. Bradford Keeney has documented in his several books on the master healers of the Bushmen.

Biologically the music-based shamanic inner alchemy paranormal training was the focus of 90% of human history and yet it remains largely unknown to modern society. As musicologist Dr. Victor Grauer documents in his blogbook,

*Sounding the Depths*, http://soundingthedepths.blogspot.com/ the shamanic trance music relying on the 1-4-5 music intervals as male and female alchemical principles was spread around the world as trance dance paranormal spiritual music. We in the West may not think of it as music but more as chanting, mantras yet the secret is much more sublime. “For a long time western rationalists smiled at the notion that the sound of a single word [a vowel mantra], a single syllable should have a formative, shaping, creative power....” Noel Berendt,

*The World Is Sound: Nada Brahma: Music and the Landscape of Consciousness,*p. 44. Dr. Grauer has documented this universal connection with the tuned scales based on this original Perfect Fifth/Fourth harmonics. Listen to this examples of the shamanic trance music worldwide based on the 1-4-5 music intervals. http://soundingthedepths.blogspot.com/p/audio-visual-examples.html

Chapter 18 of Dr. Grauer’s blogbook: “Closely related types of instrumental hocket, similar to that of the pipe, flute, whistle, horn and percussion ensembles of Africa, have also been found in roughly the same regions, among indigenous peoples of New Guinea, the Solomon Islands, Indonesia (Flores, Bali, Java, among others), the Philippines, Vietnam, and certain other enclaves in Southeast Asia, and China. We find somewhat similar practices, both instrumental and vocal, in certain villages in Russia and other parts of Europe, both East and West, and also the Andes and other regions of Central and South America. In some cases we hear vocal instrumental interactions of a very similar type.... While the Chinese myth places the Yellow Emperor and the Yellow Bell well back into a vaguely defined “olden times,” when China itself was being established as a state, according to my version of the myth tuned pipes originated at a much earlier time, before modern humans voyaged out of Africa -- and well before that, to the time before humans learned to speak to one another. And despite all the many tens of thousands of years from that primeval time to this, we still find ensembles of pipes and panpipes, still cut from lengths of cane, still tuned, in a great many cases (though not all), more or less according to the system described in the story of the Yellow Bell, based on the simple whole number ratios, 2/3 and 4/3. Remarkably, we still find, all over the world, musical traditions, both instrumental and vocal, based, more or less, on those exact same ratios.1 And just as the Yellow Bell became the foundation of so much that was central to Chinese civilization, so did the ratios long ago established in the “law of pipes” become the foundation of so much of importance in other civilizations, as, for example, in the pioneering mathematics and physics of the ancient Greeks, where the exact same ratios were ‘discovered’ by Pythagoras.”

*Kenyan Ritual Witchcraft Music*gives this secret of their tribal drumming healing music as “eating the females.” But as understood in tantra – the life force energy is lower frequency so it takes a lot of jing energy to create qi energy (electromagnetic force) and then a lot of qi energy to create shen energy (the coherent laser light spirit energy). So for a male to send out shen spirit energy he is using up more energy than he receives when taking in the life force jing energy from the singing or sounds of the females.

Nevertheless that is the open process of energy conversion that was the key to peaceful and happy healthy living for the original human culture. Dr. Bradford Keeney calls the healing energy an “impersonal eroticism” because it’s based on the males training to open up their sacrums – to ionize the energy up the spines as “boiling heat” and so the males during puberty go through Tshoma – a month of trance dance fasting away from the females. This enables the males to fully open their third eyes so they can then recharge their energy directly through the shen laser higher frequency – called the Shakti tantra energy from Indian yoga. “Hearing the sounds may drive the visionary experiences. Songs become called 'lines' or 'ropes' that take you somewhere.” Dr. Bradford Keeney on the Bushmen trance dance healing. http://www.psychologytoday.com/blog/tasting-the-universe/201202/the-shamanic-synesthesia-the-kalahari-bushmen

*The Modernity of Witchcraft: Politics and the Occult in Postcolonial Africa*by Peter Geschiere and Janet Roitman (University of Virginia Press, 1997) also gives these secrets taught as qigong in China. “A good example is the notion of

*djambe*among the Maka of eastern Cameroon….To them the

*djambe*is a force – or even a being – that lives in the belly of a person. It permits its proprietor to transform himself or herself into a spirit or animal and to do all sorts of other exceptional things. This force can be used to kill, and according to my spokemen, often is. One could therefore translate

*djambe*as 'witchcraft.' But the same

*djambe*, like the

*evu*of the neighboring Beti, can also be used in a more positive sense: for instance to heal or to affirm one’s prestige.”

*The Modernity of Witchcraft: Politics and the Occult in Postcolonial Africa*by Peter Geschiere and Janet Roitman (University of Virginia Press, 1997), p. 13

This Tai-Chi practice is again is the harmonization of heaven and earth while modern society using logarithmic math is a Freemasonic mass sacrifice ritual called the “separation of heaven and earth.” My free book

*Alchemy of Rainbow Heart Music*gives the details. A pdf link: here. Dr. Bradford Keeney in his several books on the Bushmen miracle healing emphasizes how the secret to activating the energy in the belly as boiling heat N/um is the shaking of the body at 7 beats per second for the deeper Theta R.E.M. trance state. So that activates the dreaming light spirit energy of the third eye to

*create*the lower tan tien or N’um energy center behind the belly – it is the ionization of the life force energy. This is also called "tummo" by the Tibetans - the jing energy of qigong internal alchemy training that creates the "lower tan tien" behind the belly. here Here you can see this phenomenon is well documented by top science research. Wim Hof, a Westerner, has also trained in tummo and then he has made himself fully available for numerous repeatable science tests by numerous scientists. I blogged in great detail on Wim Hof. here

^{th}century to carry on the work of Archytas – to once again argue that 5/4 was the cube root of two and the tritone was the square root of two. http://www.huygens-fokker.org/docs/stevinsp.html Stevin’s acknowledged the alternative as unfathomable – infinity stared back at him as unacceptable for his mind:

“One further comment by Stevin in

*L'Arithmetique*is worth recording. He noted that, as we stated above, Euclid's Proposition X.2 says that two magnitudes are incommensurable if the Euclidean algorithm does not terminate. Stevin writes about this pointing out what today we would say was the difference between an algorithm and a procedure (or semi-algorithm):

*Although this theorem is valid, nevertheless we cannot recognise by such experience the incommensurability of two given magnitudes. ... even though it were possible for us to subtract by due process several hundred thousand times the smaller magnitude from the larger and continue that for several thousands of years, nevertheless if the two given numbers were incommensurable one would labour eternally, always ignorant of what could still happen in the end. This manner of cognition is therefore not legitimate, but rather an impossible position ....*”

*J J O'Connor and E F Robertson, “The real numbers: Pythagoras to Stevin,” MacTutor History of Mathematics, 2005.*

*Chinese Music*(Shanghai: Chinese Imperial Customs Service, 1933), p. 8.

The Taoists understood that sound, from the complementary opposite yang and yin resonance, was transduced into higher and lower frequencies of energy – which they called “chi” or qi energy. Chinese, not being a phonetic language, did not have the "one to one" correspondence between number and symbol mainained for the commutative logic as the Greek Miracle - the syntactic paradigm of "pre-established deep disharmony" as Borzacchini discusses the Chinese in his online essay.

John S. Major explains, contrary to claims the Chinese created an equal-tempered scale, about the traditional Chinese spiral of fifths music: “The ratios given here will yield an untempered chromatic scale regardless of what note is chosen as the fundamental.” The Chinese concept of music as radically different than the West: “This is not simply a case of assigning pitchpipes to the 24 nodes as a system of correspondence; rather the

*qi*[energy] of the nodes themselves were believed to resonate these tones. With the arrival of each seasonal node, in other words, the appropriate pitchpipe was supposed to spontaneously emit its note.” John S. Major, “Celestial Cycles and Mathematical Harmonies in the Huainanzi,”

*Extreme-Orient, Extreme-Occident*, 1994. See also Erica Brindley,

*Music, Cosmology and the Politics of Harmony in Early China*, (SUNY Press, 2012).

So now the modern world listens to mainly “equal-tempered” logarithmic Westernized music without realizing it is also the foundation for Western science as well – incommensurability, irrational magnitude and the symmetric logic that has continued to expand into higher dimensions of math and applied technology. I exposed this as the Actual Matrix Plan - that I discovered soon after my masters thesis - and the Actual Matrix Plan completely corroborated my masters thesis in 2000.

The principle of reality defined by male and female number ratios has been lost – although the inner alchemy paranormal philosopher Gurdjieff tried to bring it back but Westerners did not understand, again, due to the long tradition of Western symmetric-based logic. If reality is not limited to only that which can be systematically measured then how can we “contain” infinity? As Gurdjieff explained the secret of the Logos is logically inferred from the I-thought by a process of internal listening. There is no need for irrational belief – just listen to the source of the I-thought as logical inference. Science still debates, “what is the meaning of consciousness?” And for each of us the “I-thought” goes away while in deep dreamless sleep. By listening to the source of our I-thought something is discovered beyond any assumptions of solipsism: An energy from higher and lower frequencies as sound transforms and transduces itself through resonance. This is called "turning the light around" which means by closing the eyes and listening or staring in a trance, repeating an internal mantra (focusing the left brain as "immutable thought"), the electromagnetic brain waves are resonated into the frequency of spirit light through transducing the piezoelectric pineal gland.

http://www.livescience.com/1212-sound-pulses-exceed-speed-light.html In this science experiment sound traveled faster than light but only as a “group wave” – not as a communication signal. (A new experiment finally proved in 2015 that only one photon is also an entangled nonduality wave of faster-than-light communication and so it's not a result of a group wave statistical measurement but it's actual physical entanglement - faster than speed of light - see below). But again this is not

*listening*!

Science is trying but readers should consider that this process of listening was actually the secret origin for Western science itself – only science cheated and “compromised” – tried to “contain” the infinity to create standardized symmetric mathematics. Again this secret music origin of Western science is covered-up! Even the square root of two is a geometric measurement that is based on a “pre-established disharmony.” This pre-established disharmony is the secret “evolutive principle” of Western science, so as the logarithmic dimensions of math expand, so too does the inherent destruction of Western science, with its also unjust logarithmic proportions.

I could “explain” the time-frequency uncertainty principle but again the focus of this article, despite the displaced inaccuracies of Western science, is the original human physiological goal of the inner alchemy paranormal training. The book that actually gives the details of this training, called

*Taoist Yoga: Alchemy and Immortality*, was considered by the original author, Zhao Bichen, to be an “ancient Chinese science.” What is the focus of that book? An internal alchemy practice called the “small universe” or “small heavenly cycle” or “microcosmic orbit” that uses 12 notes or nodes along the outside of the body-mind – that’s right: 12 notes as in the 12 notes of the music scale created by the “infinite spiral of fifths” of Pythagorean music theory. What if the 12 notes learned in Western music theory as the “circle of fifths” were not really a circle? Did we not just learn in this article that empirically, in actuality, the yang or 3/2 ratio as the Perfect Fifth, 1.5, is really not a circle, but is really infinite? Yes this was confirmed by Sir James Jeans.

**Part Six: Quantum Physics now reaffirms the ancient nonwestern science of qigong healing**

**Human hearing beats the Fourier uncertainty principle” Feb 04, 2013 by Lisa Zyga**

**link here**

Read more at: http://phys.org/news/2013-02-human-fourier-uncertainty-principle.html#jCp

**The researchers think that this superior human listening ability is partly due to the spiral structure and nonlinearities in the cochlea.**

Read more at: http://phys.org/news/2013-02-human-fourier-uncertainty-principle.html#jCp

Read more at: http://phys.org/news/2013-02-human-fourier-uncertainty-principle.html#jCp

Read more at: http://phys.org/news/2013-02-human-fourier-uncertainty-principle.html#jCp

*guide*reality.

**Researchers demonstrate quantum entanglement, prove Einstein wrong**

So the issue of subtracting frequencies under the condition of time-frequency uncertainty means that the logarithmic expansion of time causes an increase in frequency or vice versa -- this was described again with the higher harmonics resonating into ultrasound. The higher frequency has more energy intensity because of the quantum time-frequency uncertainty -- and this creates the relativistic nonlinear feedback with the ELF waves from the subharmonic beats -- as was pointed out by CIA mind control scientist Dr. Andrija Puharich as well. “Schwinger points out that even though the Maxwell equations call for a symmetry between electric charge and magnetic charge, the cold fact is that no magnetic counterpart to the electric charge is known....the proton now has a frame of reference which (depending on its energy) may have a wave length which is equal to the radius of the solar system....the 1 KHz signal, the acoustic phonon displacement....will set up a magnetic field....it will be picked up by the hydrogen proton....the higher the magnetic field the higher the frequency of precession.”

So the resonance of a sound based on the natural overtone series enables the harmonics to go into ultrasound which then produces a quantum nonlinear beating -- as higher harmonics have closer resonance overtones themselves -- so from the get go it's a nonlinear overtone resonance process that then feedbacks into the subharmonics which are then amplified this the same feedback process as a quantum relative resonance.

So subharmonics resonate the proton wavelength as jing energy (tummo heat, N/om or kundalini) -- what I was calling the ultrasound ionization of electrochemicals -- so the subharmonics of the ultrasound harmonics as ELF waves actually cause the ionization but this goes into a singularity as a mini-blackhole.

So the wavelength as time expands then relativistically as the subharmonic low frequency starts to go to zero -- the amplitude of the wavelength as time phase (before it's converted to amplitude classical) then spreads out to a cosmic distance -- as Puharich points out the ELF proton quantum relativistic wavelength as such a low frequency is half of the solar system. This is the double time of phase that is de Broglie's Law of Phase Harmony.

So there's the Pythagorean cosmic "sound of the planets" natural resonance.

By time reversal there is "destructive" and "constructive" interference of the amplitude through phase reversal -- and so that is the resonance as acceleration of frequency with slowing down of time with it's reversal. So the time flows backwards at half the speed due to the quantum relativistic bending of spacetime.

Again the frequency is the quantum energy while the phase is the spatial time and the amplitude is from the resonance of the interference pattern -- the measuring of the amplitude is "uncertain" - the more the frequency is measured, the less the time is measured and vice versa.

O.K. so Puharich says there is a "beat" subharmonic due to the frequency difference between the proton and electron. Their beat subharmonic is 657 hertz but is lowered to 600 hertz. He then states that due to the Tetrahedron structure of water there is a phonon pumping -- sound -- just like a laser. Sonofusion -- like sound into light like a biophoton laser. He cites Fritz Popp on this and Puharich calls it Phonon Hydron. So again this is from the subharmonic of the precession (backwards time) of the proton from the electron frequency orbiting the proton. Not subtracted but divided into the proton precession. So it's a division ratio.

O.K. so Puharich says there's proton-proton resonance between hydrogen atoms at the ELF frequency of 8 hertz. So then he gives the reverse time phase velocity difference between the precession of the proton and the electron orbit as 1/.125 which creates harmonics that increases the amplitude of the water electrolysis. (citing Puharich’s book

*ELF-Magnetic Model of Mind and Matter*pdf link: here it is.

So the highest sound we hear in our ears resonates into ultrasound in our brains and the subharmonics of the ultrasound turn into ELF waves which then ionize our electrochemicals as alchemy. This process is nonlinear feedback that reverses spacetime - creating precognition and astral spirit travel through coherent biophotons. Our spirit stores holographic information in our etheric electrochemical emotional yin qi (yang jing) energy of the organs. Our spirit has its future encoded in our deep emotional energy of the heart - the deep love desire - is our future fate of our spirit, the connection of the astral to the etheric. Whereas the soul is the impersonal infinite light that is eternal as light on its own experiences no time.

moment, we should conclude that electron zitter [phase] generates an observable electric

dipole field fluctuating with the zitter frequency. Evidently the classical coupling of

the electron source to its field must be modified so the energy in the dipole field is not

radiated away. That aside, the consequences of such a field can be investigated.

Evidently it would have implications across all of quantum mechanics, including

electron diffraction, tunneling, Lamb shift, vacuum fluctuations, van der Waals and

Casimir forces. Of course, what works for electrons is likely to be relevant to models

of all fermions. David Hestenes, "Hunting for Snarks in Quantum Mechanics"

So actually this phase as the double or internal clock of the electron has now been verified - first theorized by de Broglie when he discovered the paradox of Einstein relativity violating the Law of Pythagoras (frequency as inversely proportional to time as wavelength). O.K. so phase has been verified by David Hestenes and this remains largely unknown since the double internal clock model of de Broglie was ignored by physicists. This new experimential verification explains many anomalies in science - including the Bose-Einstein superconductivity that is sometimes considered a metaphor for spiritual consciousness. But the key concept again is the mass is actually frequency and by resonance, which happens easier at colder temperatures, then, ironically, the frequency resonance energy increases. Hence the irony of alchemy. Sonofusion. In other words the unknown origin of "magnetic moment" is actually from this left-hand asymmetry of the internal clock or time energy - creating spontaneous free energy and this knowledge can be used for resonance alchemy.

As I explained in previous articles – from a Western perspective we can say the sound, focused internally, resonates into the ultrasound and infrasound and this creates a piezoelectric transduction from the ultrasound frequencies. A good example of this is called “frisson” in music theory – it is when people get the chills or “skin orgasm” from listening to music. Musical chills: Why music gives us the thrills - sciencedaily This is from the upper harmonics having more beats which then creates a stronger subharmonic resonance. It’s a nonlinear feedback between higher and lower frequencies with lower frequencies having significant stronger amplitude.

So actually this is why the tritone as Devil's Interval is used for the diminished seventh chord (two tritones a minor third apart, e.g. B-F, D-A♭) as an enharmonic chord substitute of the perfect fifth. detailed here as the tritone substitution term in jazz. As this article gives the music theory - the "paradox of the poles" so that the overtones and undertones are complementary opposites. Sure enough a composer blogging using the phrase "the frisson on a Neopolitan chord" and Neopolitan refers to the flat sixth chord as the enharmonic of a seventh chord. It's the enharmonic substitution as tritones that creates the frisson. frisson isn't limited to frequency pitch changes in music - an excellent analysis here. This process creates a neurohormone increase of dopamine from sound, “frisson,” – the sound has transduced or resonated as electrochemical energy. This process is combined with the yin-yang body-mind exercises. Frission is inner ear activation of the vagus nerve connection to the pineal gland.

Leonard G. Horowitz, DMD, MA, MPH, DNM(hon.).

Quantum physics uses non-commutative math, not the symmetric commutative property of logarithms. So this non-commutative math is the rediscovered truth of the ancients – the order that is used to measure the time or wavelength versus frequency changes the pitch that is perceived or the value of the energy. For example the Egyptians did not use the frequency 444 or 432 nor did the Egyptians use the Golden Ratio (contrary to the New Age propaganda) - http://egyptsound.free.fr/table2_3_4.gif for no 440 and http://ia700500.us.archive.org/5/items/ArchitectureAndMathematicsInAncientEgypt/ArchitectureAndMathematicsInAncientEgypt.pdf for Dr. Corrina Rossi’s book on how Egypt did not use the Golden Ratio.

*Insect Molecular Bio-Electronics*(College Park, MD: Entomological Society of America, 1967) and Philip S. Callahan,

*Paramagnetism: Rediscovering nature's secret force of growth*(Metairie, LA: Acres, USA, 1995)

Sound therapist Jonathan Goldman remarks, "We can actually feel different parts of our body vibrate with sound. For those who have had no experience working with the subtle body [vital energy or chi], this physical resonance makes it easier for them to accept the possibility of resonating subtle energy as well...." Jonathan Goldman.

*Healing Sounds: The Power of Harmonics*. (Boston, MA: Element, 1996), p. 116. Goldman has extensively explained the healing effects of harmonic overtone mantra practices. He reports that when escorted to a normally off-limits chamber of a Mayan pyramid and asked to produce a mantra, his voice caused the secret room to become full of light called sonoluminescence.

*Law of Phase Harmony*.

*Likewise, the period of the internal phenomenon assumed to be associated with the particle will also increase (due to time dilation). Since period and frequency are inversely related, a period increase is equivalent to a decrease of frequency and, hence, of the energy given by the quantum relation hf. It was this apparent incompatibility between the tendency of the relativistic energy to increase and the quantum energy to decrease that troubled de Broglie.*The manner in which de Broglie resolved this apparent contradiction is the subject of the famous 1923 Comptes rendus note [Comptes rendus de l'Académie des Sciences, vol. 177, pp. 507-510 (1923)].”

*before*it is turned into a symmetric amplitude or wavelength measurement. So the phase time is superluminal – faster than the speed of light. Sure enough science has confirmed this reality:

**Quantum "spooky action at a distance" travels at least 10,000 times faster than light By Brian Dodson**

*March 10, 2013**http://www.gizmag.com/quantum-entanglement-speed-10000-faster-light/26587/*

“If, within [the old Louis de Broglie-Bohm hidden variable model (with pilot wave or quantum potential)], it proves possible to take explicitly into account the (undeniable!) fact that Wigners friend is conscious, it is conceivable that the basic idea underlying this solution can be extended, outside the model, to the general theory....To sum up, within this conception it is considered that even microsystems can be endowed with “internal states of consciousness” (or “protoconsciousness”, whatever this may be) that are elements of a basic, not publicly accessible, reality, rather than of empirical reality.” Bernard d’Espagnat, “A tentative new approach to the Schroedinger cat problem,” http://arxiv.org/pdf/quant-ph/0301160.pdf

Science has shown that humans emit biophotons and that ultrasound resonates the quantum microtubules creating quantum photon energy. “It turns out that the microtubules have residences in the kilohertz to megahertz range and I think the ultrasound is stimulating these microtubules and having an effect on consciousness.” Alex Tsakiris, 133. Dr. Stuart Hameroff, “On Quantum Consciousness and Moving Singularity Goal Posts,” Skeptiko Podcast, April 11, 2011.

**Good vibrations: Mediating mood through brain ultrasound July 18, 2013**http://www.sciencedaily.com/releases/2013/07/130718161525.htm

**So then the biophotons of consciousness are resonated – by listening to the source of the I-thought – and this process creates increased electromagnetic energy. I went into this process more in my previous article, “The Secret Science of Spiritual Healing.”**

*the direct use of high audio stimulation is more economical in power requirements and still stimulates the brain at resonance.”*

Dr. Martin L. Lenhardt, “Ultrasonic Hearing in Humans: Applications for Tinnitus Treatment,” International Tinnitus Journal, Vol. 9, No. 2, 2003, p. 3 and p. 6. Dr. Mae-Wan Ho reports, “Any mechanical deformations of the protein-bound water network will automatically result in electrical disturbances and conversely, electrical disturbances will result in mechanical effects…

*.detecting ultrasound emissions from mechanoelastic vibrations*caused by electrical pulses applied to the tissues. Proton jump-conduction is a form of semi-conduction in condensed matter, and is much faster than conduction of electrical signals by the nerves. Thus the 'ground substance' of the entire body may provide a much better intercommunication system than the nervous system.” From “The Acupuncture System and The Liquid Crystalline Collagen Fibres of the Connective Tissues: Liquid Crystalline Meridians”

*American Journal of Complementary Medicine*(in press, 2000). Since collagen is the most common protein in the body, as a piezoelectric force, with mechanical pressure, it creates the liquid crystal water as proton alchemy sonofusion energy.

*The Sound of Silence*, describes this inner activation of ultrasound to create electromagnetic paranormal energy:

In the Taoist qigong alchemy training this high pitch sound is considered activation of the kidney energy (again it activates the vagus nerve for the gut brain ionization of serotonin as kundalini N/om heat - the quantum subharmonics of ELF waves) and a strong low voice means strong kidney energy. The biosonics healer Dr. John Bealieau has done research documenting the role of the vagus nerve from the yin-yang harmonics of the Perfect Fifth/Fourth - so the inner ear activates the vagus nerve which connects down to the lower body organs, including the reproductive organs. Science calls this the HPA axis - Hypothalamus-Pineal-Adrenal axis.

So then neurohormones like dopamine and serotonin get turned into neurotransmitters but by ionizing the vagus nerve through innersound alchemy of overtone and undertone harmonics this enables the lower body serotonin which are in huge amounts to bypass the blood-brain barrier, via the vagus nerve ionization. The pineal gland is bypassed by the vagus nerve directly - bypasses around the blood-brain barrier. This ionization is activated by the pineal gland inner ear connection - the inner ear of humans used to be the jaw bone of our tree shrew primate ancestors. When primates lived in the forest with trees then hearing is the dominant perception, not vision since three-dimensional depth is lacking in a thick forest. This increase of brain serotonin and dopamine from the vagus nerve activation is called the "inner smile" in Taoism since again the inner ear connects to the third eye as the pineal gland.

Don G. Campbell, B.M.E.D.,

Director of the

*Institute for Music, Health, and Education*in Boulder, Colorado, states,

Those are just the beginning of the practice - called building up the jing energy in Taoist qigong training. Read the book

*Taoist Yoga: Alchemy and Immortality*for the details. The left side vagus nerve is the reptilian vagus nerve that connects to the right side of the heart, the source of Yuan Qi. Link on my blog sidebar. So the "throat singing" of the Tibetan monks is from vagus nerve activation - hear it here.

control of the ventricular folds through meditation! Meditation is a conscious

mental process that induces a set of integrated physiologic changes termed the

relaxation response. The elastic property of the ventricular folds may be affected

by meditation through autonomic functions. They become so relaxed that they

vibrate with complete closures at half the frequency of the true vocal folds....It is my hypothesis that overtone singing focuses the mind automatically on the weak pitch of the prominent nth harmonic. from Kargyraa and meditation by Chen-Gia Tsai here

Suffice it to say that the real qigong masters are way beyond the understandings of science because again quantum biology can only document these quantum entanglements in life without being able to reproduce the technology. Real qigong masters really do experience superluminal signals – information from the future – precognition – and also real qigong masters really do create coherent quantum biophotons as spirit energy which then leaves the body and holographically the spirit energy travels into the past or future or the spirit energy travels across space to heal people or see things at a distance. I have posted over a dozen different qigong masters demonstrating telekinesis abilities in videos – compiled the videos to one place on my blog.

**Qigong Master Telekinesis aka psychokinesis videos - a compilation: Skeptics debunked!**

**Liquid Crystalline Superconducting Meridians by Dr. Mae-Wan Ho, 06/02/2013**

*ν*is 0.1Hz, Δt should be more than 1 /(4π *0.1) sec which is about 0.80 sec. Middle C of the equal temperament is calculated approximately as 261.6256 Hz. If you want to determine C with this precision 0.0001Hz, you need Δt of 800 sec, or 13 min 20 sec. If you want to get the exact Middle C, you need an infinite time and a continuous wave of C. In other words, theoretically we cannot get the perfect fifth tone with a frequency

*f*( that is

*ν*) from a root tone with a frequency

*f*

_{0}by calculating

*f*=

*f*

_{0}× 3/2.”

*Uncertainty Principle for Temperament*by Iori Fujita, http://www.geocities.jp/imyfujita/wtcuncertain.html

So that uncertainty of time and frequency with the two as reciprocal actually does affect real music tuning – empirically. Again this proves the “infinite spiral of fifths” is the empirical truth.

*non-Western Pythagorean Tai-Chi Qigong Logos*we do not assume a Hertz symmetric measurement of time as wavelength. Why is this? Because such an assumption already relies on symmetric irrational magnitude for number while the Perfect Fifth “sacred” inner alchemy music is just pure number as ratio. So what is the empirical error of Western tuning based on this non-commutative truth rediscovered by quantum physics? Physicist Iori Fujita tells us:

*t*is 1.000 sec, the bandwidth remains about 2 Hz.”

Now I came to this

*same conclusion*doing my own calculations when people online demanded that I explain my reasoning for the secret music theory origin of inner alchemy training. I can show my analysis below.

**Part Seven: The Music Theory Explanation of**

*Inner Sound*Alchemy Qigong Paranormal Energy*dividing*2/3 by 3/4.

**That is probably the earliest manifestation of a logarithmic law.”**

**by John Webb**

*In perfect harmony***Again that is assuming symmetric math – notice what is missing? The geometry of the math is based on symbols as time wavelength. In other words C is 1 and G is 3 as an overtone harmonic but F is 3 as a subharmonic. 2/3 is C to F as subharmonic and 3/2 is C to G as overtone.**

What is missing? The symbols of the geometry as wavelength! So even though the reciprocal of the ratio is allowed - it's geometric value is assumed to be the same - despite 2/3 (the fifth that gets turned into its reciprocal) is C to F while its reciprocal as 3/2 is C to G - a complementary opposite geometric value (like yin and yang).

The commutative symmetric math is geometry requiring the symbols for the wavelengths. Here we get the math as number frequency ratios and the music intervals but not the geometry symbols of the music notes (C, F, G, etc.). By skipping one part of the equation it is very easy to cover-up the real truth of infinite alchemical energy. I’m not saying these people are doing it consciously – a “bait and switch conspiracy” – only that this issue is so basic and so radical that it is not even noticed.

*Why Beauty is Truth: The History of Symmetry*. In contrast to Stewart’s book physicist Frank Close’s book Lucifer’s Legacy focuses on the paradoxes from this secret asymmetry lurking in science: Lucifer's Legacy The Meaning of Asymmetry By FRANK CLOSE Oxford University Press

*frequency ratio*” then is what Slavoj Zizek calls a “vanishing mediator.” In other words the inverse is non-commutative geometrically and so the logarithmic value of using the reciprocal changes the geometric value. This is what was rediscovered about time and frequency for the quantum physics - the order of multiplication changes the value of the music harmonics as Taoist-Pythagorean complementary opposites.

But what is the big lie at the foundation of Western science?! To quote the above again:

*Law of Phase Harmony*. Phase in quantum physics is non-commutative but it has to be converted to commutative symmetric math for a physical amplitude measurement even in quantum physics.

*harmonic mean times arithmetic mean does not equal the geometric mean squared*. 4/3 (Perfect Fourth) x 3/2 (Perfect Fifth) = Square root of 2 (tritone) squared (octave). Notice that the subharmonic is less than value one - the value 2/3x but it is now hidden or covered-up for the logarithmic equation as the Greek Miracle. 2/3x has to be "doubled" so that it is no longer less than value one. 9/8 was from 3 squared / 2 squared or 9/4 then halved into 9/8, the major second interval. This is the secret formula using the tetrad compound ratio 6:8:9:12 from Babylonian mathematics that enabled the Greek Miracle of science.

So 2/3x as F to C is the subharmonic not the wavelength of C to G as 3/2 frequency. 2/3x subharmonic is then

*doubled*(assuming this symmetric reciprocal inversion) - even though 3/2 is the frequency as the inverse of wavelength – 2/3x is

*not*the frequency as the inverse of wavelength because it has to be doubled as 4/3x as C to F, the Perfect Fourth. We have just violated the “Law of Pythagoras” just as does light signals in Einstein’s relativity using the quantum Law of Phase Harmony. Again 2/3x is the subharmonic. So if you use the same C – the 2/3x as F to C and the same C is 3/2x as C to G. 2/3 is F to C is Perfect Fifth and 3/2 is C to G is Perfect Fifth. You can't just use the commutative reciprocal of the ratio since C to F is a different time value as phase subharmonic - instead of the assumed commutative wavelength time value.

Let's return back to an article I linked in the "summary" above:

*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.”

*The American Journal of Philology*, 1978. (my emphasis).

*listen*, perceived as complementary opposites but this is hidden and covered up to create symmetric commutative mathematics. Technically in Western music and sound physics this is called “frequency shifting” as explained here: http://www.canto-crudo.com/electric-orpheus-academy/stb_nr_11.htm But again this analysis puts the empirical truth of “frequency shifting” within an assumed classical physics framework when in reality the opposite is true! Frequency shifting is the empirical truth of sound itself – there is no fundamental tone as a physical wavelength but this is only discovered by listening to the source of sound from within ourselves.

*But with the Perfect Fourth this does not work because it is the complementary opposite of the Perfect Fifth*– so again it is non-commutative.

O.K. so then you take the subharmonic of the Perfect Fifth so that the harmonic is 3 and so the subharmonic is 1/3 – going the reverse direction of the octave. So this means it goes in the reverse time direction. So then the secret is that there are undertone subharmonics that increase in amplitude at the same time there are overtone harmonics of the perfect fifth – but since they are non-commutative then

**there is an inherent resonance or push-pull that drives the resonance, an inherent yin-yang dynamic**. It's a nonlinear feedback resonance. That is the secret of inner alchemy energy.

*minor third*and 5:6 is the

*major sixth*. So they are not the same perceived pitch music interval and so their numerical inversion is non-commutative – the number does not line up with the geometric symbol when the music perception is considered. So to achieve the commutative value then 5/6 has to be doubled to 5/3 so it has a value greater than one, just as 2/3x the subharmonic had to be doubled to 4/3 as frequency. So if we left out the music interval perception it appears to be commutative but when we include the music perception with the frequency math and the geometric symbols we discover it is non-commutative.

*has*to be greater than one - even though the description is of a vibrating string that has a fraction less than one - "an interval of a fifth if the string was reduced to 2/3 of its length." So that means the length value starts at zero to one if the fraction is less than one but we have to realize that in this case zero does not exist because the 2/3x is actually a subharmonic! 2/3 the length of what? Of an infinite string - that's what. As Daniel Bournelli's competitor for the harmonics of the vibrating string in the 18th century, D’Alembert relied on Rameau who did believe in infinite overtones from the one vibrating string – although both D’Alembert and Rameau realized there was no actual physical vibrating string to this philosophy – instead it was pure mathematics.

Thomas Street Christensen,

*Rameau and musical thought in the Enlightenment*(Cambridge University Press, 2004), p. 167.

Ralph Abraham, “The New Sacred Math,”

*World Futures*, 62: 6-16, 2006. Jean D’Alembert emphasized music theory as the secret model for reality. Christensen, Thomas. “Music Theory as Scientific Propaganda: The Case of D'Alembert's Élémens[sic] De Musique.”

*Journal of the History of Ideas*, Vol. 50, No. 3 (Jul.–Sep., 1989): 409-427.

*listening*to sound as harmonics and trying to convert sound to a geometric wavelength. The process of internal listening is a process of yin-yang alchemical energy. As math professor Borzacchini states:

*betrayed*on the musical side," Historia Matematica listserve [HM] Music and Incommensurability, Luigi Borzacchini, Mon, 12 Jul 1999.

The Law of Pythagoras is the origin of Number and harmony (frequency as harmonics) and the Law of Pythagoras is based on complementary opposites – not symmetric logarithms and irrational numbers. The Harmonic Series diverges – that's the origin of the title of the math book

*The Number Devil*. Remember that the tritone is the “Devil’s Interval” and the tritone is created by converting the complementary opposite number ratios into the symmetric irrational square root of two. So that is the cover-up – the real devil is not the divergent number ratios but the irrational number or geometric “containment” of infinity.

*do not show*that there are irrational numbers or compel assent to that proposition.”

Philip Hugly & Charles Sayward

*Philosophy*74 (2):169-176 (1999). (my emphasis).

Of course the “square root of two” exists right? Unless you are honest about incommensurability as a real mathematician is – then infinity stares you down. But that's just some obscure philosophy journal right? Nope.

*The myth of irrational numbers*, January 2008, by James J. Asher, Prize-winning math instructor. http://www.tpr-world.com/irrational_numbers.pdf

What is missing between the logical error of geometry and arithmetic? Besides the fact that the “point” of long division arithmetic length is converted to a geometric side for area, something else:

*Complementary opposite music harmonics*or the Pythagorean Tetrad, the Tai-Chi symbol. I knew this when I took "enriched geometry" in 10th grade and that's why I didn't continue further into logarithmic mathematics - I knew I was being presented with a lie, candy-coated as the truth. I could see the gap in the logic. Why? Because I knew the secret music theory of Pythagoras intuitively from the complementary opposites of the Perfect Fourth and Fifth intervals, from playing music. Then I took quantum physics as my very first physics course and our instructor stated this should always be the case since quantum physics is the foundation of physics. But instead everyone learns classical physics so they get the foundation of science wrong!

*t*is 1.000 sec, the bandwidth remains about 2 Hz.”

So notice how the "measurement" of quantum time-frequency uncertainty is now based on listening and the time it takes to hear the difference! A difference of 2 hertz (the bandwidth) takes 1 second to hear. As I said - this is because of the non-commutative or complementary opposite resonance of yin and yang or 2/3 and 3/2 as the Perfect Fourth and Perfect Fifth. The esoteric meaning of this listening to time is the heart-beat is the origin of the "second" measurement -

*but the heart beat is syncopated*(the order of the beat changes its value). When the heart beat speeds up which means, as per quantum time-frequency uncertainty, it takes longer to hear the difference because the bandwidth is smaller - time is experienced as slowing down because your heart-mind is processing information (beating) at a faster rate and so you perceive reality as smaller intervals and so time appears to move slower. In actuality this is because the kidney energy (again the vagus nerve connection to the brain) floods the brain with adrenaline and dopamine which over-stimulates the neurons recording memory. For old people if they don't get new experiences then it seems like time doesn't exist since the slower hertz or frequency of doing the same thing all the time means much less time is needed to perceive the differences and so time is experienced as going very fast (or not existing at all) - no memories are being recorded.This is detailed here: John Brockman, “Parallel Memories: Putting Emotions Back Into The Brain, A Talk With Joseph LeDoux,” The Third Culture, 2/17/1997

The ability to “create” frequency is dependent on how long of time you get to do so and so frequency is really not measured by a contained geometric wavelength as is the case for amplitude. In other words the higher your energy frequency resonates with its vacuum light source (a spacetime white-black hole) then less time is experienced subjectively as the subharmonic interference beat. So then the intense high frequency resonance as laser energy (from the ultrasound sonofusion) resonates subharmonics as the proton water alchemy of hydrogen bonds - creating the loud OHM sound from the heart as the deep vagus nerve activation of the Yuan Qi energy creating Yuan Shen energy. As inner sound alchemy meditation then the OHM sound creates the Perfect Fifth/Fourth/Octave resonance of a finer tuning in higher and lower frequencies. This is the secret meaning of the "zero" beats as the absolute void that I discuss in my masters thesis of 2000,

*Epicenters of Justice: Music theory, radical ecology and sound-current nondualism*. Physicist Charles Madden wanted me to explain that meaning to him and it took me 14 years to now finally be able to do it! haha. The "zero" beats is actually from this inherent non-commutative process of resonance that is eternal time-frequency subharmonic-overtones. my old masters thesis had not made this distinction yet, stating incorrectly that logistic equations were equal with the tai chi symbol Madden pointed out in his Fractal Music book that the Tai Chi symbol is not a fractal since a fractal relies on the commutative logistic equations. That was the key insight I needed to continue this research of the secret Pythagorean alchemy connection to Taoist training. See googlebooks link on Madden explaining Yin-yang symbol is not a fractal

*waved off*this difference as inconsequential but the issue is that doubling the octave is directly tied to doubling the Perfect Fourth in comparison to the “root” frequency and also halving the Perfect Fifth in relation to the “root” frequency – using the double octave as 9/4 to get 9/8. 9/8 is then cubed as the Devil's Interval – the tritone as the square root of two. This creates the pre-established disharmony that covers up the truly rational inner alchemy paranormal spiritual energy.

*like 70 doublings of the octave*."

*And all these rhythms are coordinated*, there is evidence for that.”

http://www.i-sis.org.uk/quantumJazzBiology.php (my emphasis).

So this is through quantum coherence as non-local communication as consciousness and yet also as time-frequency uncertainty resonance.

*Scientific American*: V. Vedral, “Living In a Quantum World,”

*SciAm*, June, 2011.

As Vlatko Vedral states:

*listening*the non-dual truth, proven by quantum coherence that is superluminal, is that the “music” is listening to us as consciousness – call it God, the Emptiness, the spacetime continuum, or “the pilot wave” as de Broglie called it. This is infinite energy creation due to the inherent complementary opposites of reality – we exist within this process as a part of it and we can choose to resonate with it, thereby creating more harmonized energy that goes through the full spectrum of frequencies to find where energy is best needed.

**Unusual quantum effect discovered in earliest stages of photosynthesis**http://www.sciencedaily.com/releases/2012/05/120524092932.htm

**Because the moment when the quantum effect occurs is so short-lived -- less than a trillionth of a second -- scientists will have a hard time ascertaining biological and physical rationales for their existence in the first place. ‘It makes us wonder if they are really just there by accident, or if they are telling us something subtle and unique about these materials,’ Tiede said. ‘Whatever the case, we're getting at the fundamentals of the first step of energy conversion in photosynthesis.’**

For humans, it's just a matter of practicing this philosophy. I urge people to study the book "

*Taoist Yoga: Alchemy and Immortality*" which uses the 12 notes of the infinite spiral of fifths as the means to creating energy that in reality is based on this same time-frequency uncertainty principle rediscovered in quantum physics. Enjoy. So science has the Devil's Staircase which means that the low rational integers resonate as nonlinear harmonics so the higher you go into overtones the stronger the amplitude of the undertone beats are. The driving resonance is strongest when the low natural harmonics are used.

So it's not one "frequency" - and in fact Hertz relies on a symmetric commutative definition of time as wavelength (amplitude) but rather because of time-frequency uncertainty then reality is non-commutative and the energy as consciousness is non-local. So we exist within sound as consciousness - no "one" is listening but rather the consciousness is listening to us. We discover this by a deep process of listening - there is no start or end to listening. In fact hearing is the final perception that is maintained at death so it is used to test unconscious people in comas to see if they should have the plug pulled or not.

So my article gives the evidence that the perfect fourth/fifth harmonics has the strongest brain resonance and also that ultrasound naturally resonates the skull cavity while the ELF subharmonics create sonofusion. So put that together and you have the Tai-Chi Tetrad as the best way to resonate the mind-body for alchemical healing.

But yeah the qigong master has said that these external technologies like rife machines or magnets, etc. can help and heal but overtime can create problems - because again the secret is not any one frequency but rather this eternal number resonance since 2 does not go into 3 and 1 is not really a number just as there is no source to the I-thought. We can logically infer the time-frequency uncertainty as non-local consciousness since when frequency is zero then time as phase (subharmonics) is infinite and vice versa but that process of listening never ends. So that is how zero-point energy works - because it is asymmetric or non-commutative number then it spontaneously creates energy as form.

I have some updates to the above research. Enjoy - May 2015

*Sonic Warfare*" misspells Evens' name as Evans (I corrected it below):

do justice to the original signal” (p. 229). Such glitches force engineering to deal constructively

with the problem, for example, the local intervention of the Lanczos sigma as

a response to the Gibbs phenomenon. Aden Evans, “The Surd,” in

*Virtual Mathematics:*

The Logic of Difference, ed. S. Duff y (Manchester, U.K.: Clinamen Press, 2004).

The Logic of Difference

limitation of the digital substitution, its difference from an actual object, but

crucially — and this is the crux of their differential ontology — it is “rather a productive

difference, a not- yet- determined, an ontological fuzziness inherent to

actuality itself. Difference as productive cannot be digitalized.” The processual

nature of the actual, and its generation of singularity, must exceed its capture.

In other words, the actual for Evans exceeds the sum of its digitized parts. This

is not merely a phenomenological point. Elsewhere, Evans develops a parallel

argument using intuitionist mathematics in relation to the concept of the differential

(specifically the surd) from calculus and what Deleuze termed the

process of differentiation.

This is great to see the postmodernist analysis agree with me about the "surd" (irrational magnitude) and sound - only the postmodernists are missing the key secret of complementary opposites which I provide. I did send this link to Evens though so maybe he'll respond! Check out Goodman's Sonic Warfare book - pdf link - fascinating read!

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