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I just have to say something in words. This has been a productive creative period of my life. Yes, I still use words. But for the past five months I have been on fire—Amitabha and I are both playing with fire.

It all started when I broke my leg, or to be specific, the distal end of the left femur, on my way to see FunHome with Judy and Shira, my wife and kid. It was the day after performing with the great OG—Larry Roland’s Neo Urban Folk Project with Mike Wimberley on drums and Waldron Ricks on trumpet. We were in the Arts4Art Compassion Is Justice Festival and January 5 we played a couple of hot pieces including dancer Tyshawna. So I was feeling good until I hit the pavement after tripping over a curb the next day. The radiologist at the ER got the diagnosis wrong when he provided a negative diagnosis for bone fracture. In fact I went for five days thinking nothing was wrong and could have done some serious damage if I had put any weight on that left leg. So when another doc took his own x-rays and found a “hairline fracture” and asked if I wanted to go to a nursing home to recover (we declined) I ended up needing a wheelchair and a soft, moveable cast for eight weeks. I barely left the house except to make doctor appointments and to initiate physical therapy (again). My trauma surgeon refused to operate, saying at the same time I was the only person who broke a femur he had ever seen who did NOT require surgery because my femur didn’t shatter. Question: why am I always the “interesting patient” who doesn’t comply with any of the rules?

I began zoning out at the piano and a structural chordal concept introduced itself to my fevered brain. And that was it! The changes began morphing into a piece for renaissance jazz orchestra for which I had written back in the ‘70s for my group, Free Energy which consists of a reed, brass, string and rhythm section. Only it was over 40 years later, the computer has been invented, and I’m now working with FINALE, a computer music software. It was off to the races. I decided to name the piece in honor of my broken leg: C# or Bb, See Sharp or Be Flat. The next piece to surface is in five movements which I name The Old One.

My unconscious decides to name the fantasy group I have to form to play these compositions the Accidental Orchestra (I wake up in the middle of the night with “accidental” in my mind) because firstly, tripping and falling is an accident, secondly it’s a musical pun on accidentals—sharps and flats, thirdly it is an ode to my neighbor, composer John Cage who collaborated (upstairs from my apartment at Westbeth) with choreographer Merce Cunningham who utilized chance techniques, aka, accidents, as part of his process (as did Merce when choreographing), and finally, accidents are a subset of the quantum physics concept of superposition and are chance events because they are random. Are you with me on this quadruple musical pun?

Then the fun part began—asking cats to join up. First I had to have a project so I decided to record the Orchestra at Systems II in Brooklyn where Billy Stein and I recorded our Intervals cd in 2013. I ask Jon Rosenberg, the engineer on that date, to work with me. Jon makes it all seem like it could happen and gives great advice and suggestions. Then I need people. The first to respond are Steve Swell and Jason Kao Hwang who recommend friends of theirs. Then I ask Richard Keene, Eliot Levin, and my buddies in the New York Free Quartet, Chuck Fertal, Steve Cohn, and OG—Larry Roland. Warren Smith, followed by Badal Roy, Mike Wimberley, Vincent Chancey, and Michael Lytle, then Waldron Ricks, say they’re in. Now I have a reed section, brass section, rhythm section, and bass section. But I’m going to need to fill out the string section. Joining Jason Hwang, Charles Burnham signs up as do Bob Stern and Carol Buck. I’m now down one violinist and I need a conductor (still). John Shea agrees to conduct, making a connection back to the original Free Energy and then Tomas Ulrich and Carol Buck come on board as cellists. Rosi Hertlein becomes my third violinist. And I’m done. Now the hard part—getting a rehearsal schedule from 20+ of the most successful and busy musicians in New York.

The Accidental Orchestra: string sextet–Jason Kao Hwang, John Burnham and Rosi Hertlein (v), Bob Stern (vla), Tomas Ulrich and Carol Buck (vc), Larry Roland (b), brass–Steve Swell (tb), Vincent Chancey (fh), Waldron Ricks (tpt), drummers–Warren Smith (perc), Badal Roy (tabla), Chuck Fertal (d), Michael Wimberley (djembe, perc), and reed players–Richard Keene (oboe), Elliot Levin (f), Michael Lytle (bc), Ras Moshe (ss), myself on Bb clarinet, Steve Cohn (piano), Billy Stein (guitar), conductor–John Shea.  Jon Rosenberg is the recording engineer.

All this takes place as the New York Free Quartet rehearses and records a cd at Tedesco Studio. That is a trip too. Every one of my horns (flute, my new Bb clarinet, soprano and tenor saxes, bass clarinet) go into Perry Ritter’s repair shop and come out perfect. That’s May 3, 2016. Now I’m mixing it down with John Shea who mixed the first NYFQ cd, Free Play.

So I have just (I think) finished C# or Bb. The first four movements of five of The Old One based on my readings into the Qabbala, Egyptian Book of the Dead, and the Tibetan Book of the Dead are (more or less) finished. It is entitled The Old One as an homage to my cousin, Albert Einstein, who referred to God as the old one. It has a completely different feeling from C# and is very intense. I think I’m beginning to discover how to write for strings. The process is taking me over.

I don’t think I’ve ever talked about this before, certainly not in public in a blog post. I hope you see this less as blowing my own horn and more as expiation, explanation, imagination and creation.

All this is prelude to saying something that I think about from time to time—why did I survive? Why did I become that “interesting patient?” How did I pull through getting so sick that, aside from myself, some felt I was not going to make it? Last year, in January, 2015, I got really sick with a bacterial infection, became septic, got a UTI, and went to the hospital—twice because it invaded my nerves, nervous system, and every joint I had ever injured making them so inflamed that I had inflammation arthritis—similar to getting arthritis over the years, except this went down in 48 HOURS. It caused extensive neuropathy and my hands became completely numb. I can tell you that streptococcus G is so rare no one has ever seen it before. Because I was now an “interesting patient” doctors lined up outside my hospital room to examine me three at a time. Yet I never doubted I would make it.

The struggle I have waged with the complete and total support of my wife, Judy, daughter and son Shira and Ari, friends, and the team of docs Judy and I assembled resemble the dream team of the basketball players in the Olympics. They—the most thoughtful, problem solving, and, yes, creative group—kept me alive. They supported my irrational goal which is to completely recover EVERY faculty, regain ALL my strength, and honor my desire to ski again. Music becomes my therapy—by practicing instruments I can no longer feel because of neuropathy (nerve damage) I re-teach my brain physical sensation. But what is most amazing is the obdurate will that never questions that I will, with effort, get back. Call it Spirit.

Now that I—just when I am starting to feel better—broke my leg and can’t leave the house but feel relatively healthy I start playing the piano, which sits in my living room relatively tuned and sort of ready to play. Well I take three days to tune it myself by ear, then begin composing large pieces on it and on a midi-keyboard directly into Finale.

The first piece is basically honoring my desire to never fall again, which I entitle C# or Bb—See Sharp or Be Flat. But then I begin reading Rabbi David Cooper’s book about the Qabbala, God is a Verb. This re-introduces me to a previous lifetime of intense readings into Qabbala, The Egyptian Book of the Dead and The Tibetan Book of the Dead. All of which inspires me to compose another of my Jewish pieces, which I call, after my cousin Albert Einstein’s referent to God, The Old One. Here are the names of the five movements of The Old One: I Inception/The Mind of God; II Bridge; III Tree of Life/Qabbala; IV Bardo Thödol/Tibetan Book of the Dead; V The Old One.

I am beginning to ask more cosmic questions. Will I drop dead the second the last note is written? I don’t think so but my unconscious has already named the renaissance jazz orchestra the Accidental Orchestra. How do I make it to this point if not to write more music? And is this the final religious piece I compose? Or am going to record my choral piece inspired by a poem by Louisa Strouse Boiman, Forget Being Born Remembering, written when Judy and I moved into her father’s house to help him live with respect and comfort during the last seven months of his life? I have to think I am surviving for a reason and that reason is to compose music expressing my spiritual desire to understand the depths of the human spirit.

4th Stream Records, ERG 2013

INTERVALS: Michael Moss Billy Stein Duo

Creative restructuring of our planet appeals to my fellow musicians and me more than anything I can think of. Instead of putting the arts last, the arts should come first. Our country is the most creative country on earth and we have been going down the wrong path for years. It is time we restore arts programs, build new ones, buy art materials, musical instruments, pay arts educators well, and generally take advantage of the American gusto that has built up business and Free Play cover art so that the arts become a priority. I want to return to the days when Louis Armstrong was a musical emissary to Russia, when the Dance Touring Program brought dance to small colleges throughout the US and supported them on State Department Tours. I advocate doing the same for music and dance now and it is the major reason I am applying to American Music Abroad.


I wrote a doctoral dissertation on Intuition and Creativity so I have studied creativity scientifically. Creative forces are constructive, bring people together and solve all kinds of problems. Creativity takes on cultural forms, of course, and yet there is a universality which is expressed in the folk tradition. I see this tradition as part of World Music, World Beat, and folk music. Jazz is a form of urban folk music. Beginning in the ‘70s I began searching out and playing with musicians from around the world to learn from them and to use scales and meter that catch my ear. Now I want to reestablish cultural ties that have become frayed and politicized, bring creative people to the fore, give them credit, and put them in charge of things to establish unity and purpose in the arts and to make things peaceful and harmonic.

What is Urban: city. What is Folk: artistically cultural tradition of the city. What is music: aural organized sound expression. What is Urban Folk Music: A genre of world music inclusive of art forms gestated in the creative cauldron of seething anxiety and suffering artists express when coming into collaborative work wit other urban based musicians, dancers, hiphopsters, poets, performance artists, story tellers, ad infinitum of the city.

About the suffering of artists: Artists suffering—a subgenre—is the physical, emotional, mental and spiritual self or center of the universe singleton/singularity which spawns the music of our urban culture. Pain, angst, fear, sex, drugs, and espresso drive urban musicians to produce pop music, blues, rock, classical both ancient and current and especially jazz to play with ideas.

Without artists—dancers, performance artists, poets, musicians, graphic artists, painters, sculptors—there would be cultural expression restricted to the thinking, feeling, sensation Jungian functions—no intuitive, nonjudgmental creative thinking or feeling, extraverted or introverted attitudes. We as a group form a culture shared across spacetime in an archetypal collective conscious that when expressed represents our inner selves.

The subgenre of music has numerous sub sub genres nesting within and one of those, jazz, blues, and western music spikes, when musically expressed, represents our oral and aural mindful experiences which raise the abstractive and emotional aspects of the experience of the audience—live and analogue or virtual and digital.

Over the past 50 years we have played with many musicians in a plenitude of cities. Finally resting in New York City we nonetheless have cultural baggage of many cities. Going back to the source, I (Moss) more and more feel consciously the father archetype. I feel older than people around me. Up till my latest illness, I even felt young in all the facets and faces I wore. Yet plans have a way of changing with circumstance and I find myself in a more reflective mood. I spend a lot of time to myself, practicing for my return to interaction. There is a difference between process and performance wherein process produces practice and performance produces quick or slow notes. The process rather than the performance rules my existence though I am getting out.

Interestingly, when I (Moss) started playing the flute after a 3-month hiatus because I got a strep G blood infection called bacteremia that caused me to go into sepsis, my musical sensibility had reverted to a 16th/17th century preoccupation with 4ths and 5ths. I am working my way through the music until I hear once again 21st c. feelings and musical expressions, progressing into more facile note manipulation. As for performance I believe it is enough to play a note. Note/s is/are implied in the note so quantum superposition is the rule here. That is, Schrödinger’s implication that nothing is real until realized forces any improvising musician to open to the infinity of possibilities—this is the fun part.

I try not to prejudge New Age pronouncements. I wrote a dissertation on Intuition and Creativity which taught me a hypothetical deductive way to think about big questions. I try not to be judgmental in general because there are so many sides to everything and as a believer in the wealth of the unconscious and in the mysterious it is important to me to keep doors open so I can see as much as I can to think holographically, intuitively and creatively.  We know relatively nothing about the universe; Physics for me is a scientific method that helps me to analyze results of cosmic and, yes, spiritual questions.


In Einstein’s 1917 paper The Quantum Theory of Radiation, photons stimulate the emission of photons by striking and being absorbed by molecules and by raising energy to the point at which new photons are emitted, thus lowering the energy (coincidentally, the theory behind the MASER, LASER, and quantum entanglement) by utilizing the equivalence of mass and energy (e=mc2). This posits the existence of the light quantum, radical since photons were not recognized as yet by the physics community, hence the title. Einstein felt his theory had a weakness—he really wanted there to be a “union with wave theory” and found this to be the greatest weakness of the quantum theory of radiation. He is searching for something but cannot reach it. He knows there must be something about this that explains particle-wave duality but cannot come up with it utilizing the level of experimental knowledge of the time, and cannot therefore arrive at ways to experimentally verify what he intuitively “knows” is true.

Now (2014), a hundred years later, the gap is closed. New work ( suggests wave and particle duality are the equivalent of Heisenberg’s uncertainty principle in which there is a relative duality between position and momentum. That is, like particles vs. waves, position and momentum can only be measured separately—if one measures a particle’s position one can no longer measure it’s momentum–but are really identical.   Vice versa if one measures its position and knows where it is, how fast it is going can no longer be measured. This article states that they are relative—two sides of the same coin.  To put it bluntly, momentum and position are relative, just as space and time are relative and particle and wave are relative.

The equivalence principle founds much of Einstein’s later work and led to the generalization of the Special Theory of Relativity. It took from 1905 until 1916 to attain this goal in the Theory of General Relativity, which forced physics to relativize space and time. Now the principle of equivalence leads to a further relativisation—particle and wave are now relative not only to each other but to position and momentum. It took a century but Einstein was proven right again. What interests me is the implication that there might be a bridge here between quantum theory and relativity theory.

The implications of equivalence can immediately be applied to cryptology. What simple mathematical formula describes this four-part harmony between matter, energy, where that matter is, and how fast it is moving? With so many variables, we should be able to avoid anyone hacking into and stealing records of our credit cards because they are encrypted on so many levels. For me—leaving cryptologists to the Turing test—I ask the question: what simple mathematical formula describes this four-part harmony?            I sense we are approaching unity—the nexus of Einstein’s model of a macro universe and the Copenhagen school quantum theory of Bohr, Heisenberg, Pauli, and Schrödinger. This nexus fascinates me because I do not believe Einstein would have predicted it and neither would Heisenberg. This may throw light on whether or not Schrödinger’s cat is alive or dead.

Einstein’s quest for a unified theory extends: Kaluza-Klein theory adds a 5th dimension, string theory adds six more to that, and still there is no experimental proof that there is a 5th or an 11th dimension. The first—Kaluza-Klein— disappointed Einstein secondary to lack of data, and the second—string theory/M theory—disappoints a couple of generations of string theorists. What if the results of the classical double-slit experiment—the essential paradigm of particle-wave interaction—represent Einstein’s idea that both wave-particle and uncertainty theory are relative to one another? Well, they are, but only if measuring momentum or position are flip sides of the coin of the principle of uncertainty and there is an equivalence between this and wave-particle theory.

I visualize a multidimensional propagating wave whose particle manifestation can be measured either as velocity or position. It’s like one of the Star Trek movies came to life and you can beam up Captain Kirk. Add to this the relativity of space and time and I see the Tardis ripping through the fabric of the elegant universe.

Too bad the article I read skims the finding because, even though I AM NO MATHEMATICIAN, I’D LIKE TO SEE SOME FORMULAE. THE NEXT STEP IS THE FORMALIZATION OF THESE EQUIVALENCIES SO AS TO MAKE PREDICTIONS. THAT’S when the pedal hits the metal!

What if nonlinear mathematical equations known as chaos theory may be applied to neuronal development, behavior, and the mind? I am not talking about religious chaos, Jungian chaos, good and evil chaos. I do not like the descriptor “chaos” because nonlinear equations produce what appear to be chaotic flutter, arrhythmia, turbulence, lightening, and other phenomena which are less organized than so-called order would predict stability to be. Yet there is stability in nonlinearity. If I call personality determinants such as ego “attractors,” then other nonlinear psychological organizations are also attractors. Chaos theory defines strange attractors as stable and deterministic patterns that cost a system less energy and do not repeat themselves. Can psychological strange attractors be described by the nonlinear mathematical formulae which chaos theory utilizes to create strange attractors and Mandelbrot fractals?
I want to study this problem and if anyone can make a scientific contribution to this issue I will pay extreme attention to their comments.

There I was, stopped for speeding on the West Side Highway for doing what I have always done—keeping up with traffic. Two days later, stopped for speeding on Rte 28 for passing by going faster than the speed limit. As I explained to the cop, it’s only logical to get in and out of the passing lane decisively to avoid hitting him.  One more stop in the next 18 months and I’m busted–license pulled for 6 months.

After the anger, or rather as a result of it, my behavior was re-assessed, and my mind made up. No tickets for a year (and a half). But how?

I soon realized there was a connection between the two events. In both casesI was doing what I had developed over the million miles and accepted as common practice and suddenly all that I had developed was called into question. So, under the gun, my mind was made up. Drive exactly at the speed limit. Ignore other drivers who buzzed by me, flashed their lights at me for driving to slowly, and never modify my behavior except to avoid an accident. Stay street legal.

The result of this change was profound. By ignoring all my well-learned instincts I avoided multiple traffic stops (the cops were out there like flies laying eggs on rotten meat, drivers infested with flashing lights, embarrassment, angry wives or husbands, and big fines). One person in a Mercedes thought that my being in the passing lane driving the speed limit was just TOO MUCH and kept flashing his headlights until I pulled over after ten minutes of matching the speed of a tractor-trailer who also was driving the speed limit but one lane over on the two lane interstate. And by driving in the far-right lane, not one but two cars pulled out in front of me, I being in this unused-to lane since I was now the slowest car on the road. BUT, I twice slammed on my brakes and arrived home safely—totally fried.

After sleeping ten hours I am still stewing. My life has changed. Now I am following the rules, different rules from those I developed over a million miles analyzing traffic-generated pressure waves, intuiting what will be the faster lane, and taking the occasional risk to save a minute — systems that seem to me adaptive and efficient but get me into trouble with the law.  Exceeding the speed limit to make a safe pass?  No brainer.  Staying with the flow of cars?  They’d have to stop everyone so there is no danger of being stopped.  I have a litany of reasons which in the harsh light are nothing but excuses for doing exactly what I want to–get there as fast as possible.

NO MORE TICKETS. Or as Burton Greene once told me wisely, the the mind of the pilot goes faster than the rocket ship.  The time”wasted” spent driving legally frees me to intuit unimaginable things faster than the speed of thought–a dutiful rebellion. Improvising faster than the speed of thought. Spiritual life without the spirit. When the Captain says “engage” my superluminous mind, not my spaceship, will approach warp 11.


Twenty-first century science, and physics in particular, might have walls around itself.  Only when the old farts die off will science be able to accept what is apparent to the younger farts, that determinism is relative.  It is seductive to think that theory can control everything, and that there may be a theory of everything and all that.  I believe we are seduced by what I consider to be a bubble of determinism.  I can look into the immediate past and see what caused this or that to occur, and I speculate as a futurist into what stretches out in front of us based upon the principle that the past predicts the future.  Can I say the past is illimitable insofar as I can link causally everything that made this moment in time be what it is for me in my relativistic frame?  I think not.  And the same argument appears to hold for the futurists among us.  Therefore, if causality and determinism have a place in logic we cannot assume direct links connect everything into the past and into the future; we live  in a bubble of causality.

What lies outside the bubble?  Or, for that matter, what permeates our bubble universe of causality?  Is random “behavior” the rule and no potential for certainty exists?  Well—yes and no.  If the scale is large enough the probabilities mount up and random transmutes into certainty.  It looks like we are going to have to get ready for surprises in the middle area.  Things from our lives may “happen for a reason” but the extent of the reasonableness escapes us.  I cannot conform to the teleological force of the “reason” because there is not enough data to prove or to disprove that behavior—the rule of the hypothetical-deductive foundation of science suggested by Karl Popper.

Just know we are related and on some sixth level connected.  It is neither the totality of the hologram nor the linearity of Euclid but some “third” (or fourth, or fifth) thing which I can “see” if I do not focus my eyes too closely on the nearest object.

Tonight’s concert cancelled

Sorry to say, tonight’s concert at Piano Magic had to be cancelled due to a structural problem with the floor and will have to be rescheduled.  So: CHARLES DOWNS (RASHID BAKR) 4TET
Michael Moss (tenor sax), Mark Hennen (keyboard), Emma Alabaster (bass), Charles Downs (Rashid Bakr) (drums)
Part of a SIX GROUP new music extravaganza, the Charles Downs 4tet will offer a Coltrane inflected set


Consider a black hole similarly to the way one considers a star, except you can’t see it.  Black holes have prominences, ejects large bodies of matter and energy along gravitational warps, and matter and energy explode along the poles of their revolving bodies.  No one can directly observe black holes but for the effects they have on their environment.  So, if they are stars, similar to a neutron star, revolving at a speed close to that of light, they will attract to them matter and energy which this extreme gravity well weaves into long strings at the most basic—Planck length—level of existence and spin out long bursts of gamma radiation which are composed of strings at the higher levels of energy.  At some high level of energy the string may become transparent to the gravity well of the hole.  In a way the well is spinning and that which enters the hole’s accretion disk goes down in a vortex of increasingly energetic particles like water being drained from a sink.

At the higher energies I posit an increase in dimensional unfolding unseen at the lower energies of the observable universe such that, at some point or threshold, the string forms, but it is transparent to the laws of gravity.  That string weaves itself around and vibrates at a high pitch which in effect bends space and time to the breaking point, the point reached at the earliest point of origin—the big bang.  That is to say its transparency to the laws of Einsteinian physics permits it to inflate faster than the speed of light because of the energy levels attained in the maw of the spinning, waving, sucking vortex—and the string escapes.  That it is observable at all is the resultant of the string—a long line of ejectant observable in quasars—returning to a level of energy at a distance from the source subjecting it once again to the laws of physics operant in the macro universe where gravity applies and the speed of light is a constant.

In a way, you can picture it as a gravity well.  Matter spins around it as it descends the well.  Matter passes through the event horizon and its energy increases as it spins ever faster the closer it approaches the center  of the well.  When it goes through the bottom of the well it has reached the Planck length of 10-33.  It drains through to the “other side,” transparent to gravity, faster than the speed of light—superluminal—along a straight line, kind of like going through a worm hole which warps space-time so that it reappears outside the event horizon where it once again can be observed.  The stuff of our universe is going down the drain and is spun into an ejectant and thrown off much like a spider composes its web of highly gelatinous silk that is extremely sticky and which has extraordinary tensile strength.

Energy at such metaphysical levels does not obey the laws of the physical universe.  But, that energy condenses matter and energy along its path so that it is observable in the form of cosmic radiation emitted from a quasar.  Young stars are born from the coalescence of energy around these vibrating strings.  The black hole births the stars by destroying the old shape and form of the matter/energy.

Once information is destroyed by the swallowing of the energy after it enters the accretion disk, it comes out the other end and the information is restored.  The process of evolution is initiated once that occurs.  Time has  been suspended once the energy reaches the 11th power.  When the 11th dimension unfolds, all hell breaks loose!  The inflaton is unleashed.  Nothing happens.  The nothing referred to in the Tao seems to me to relate to what cannot be observed “because” on that “plane of reality” a universe which follows its own laws exists within which these forces operate out of our space-time continuum.

I suppose, since I am speaking metaphorically throughout this thought piece or gedankenstücke, we are then in a kind of exalted state in which space-time does not exist, where eternity replaces space-time.  Nothing is no longer the negation of thing, but is in itself a plane of existence that occurs only at the Planck length at the Planck energy, attainable in black holes.

The hole becomes a spider, spinning out its web of power.  In effect, the web creates space-time.  In a way this could be a theory of continuous creation.  Space-time comes from somewhere, so why not postulate a higher level of unfolded 11th dimensional “reality” out of which space-time emerges?  In space-time, as opposed to eternity, the 7 dimensions fold up into unexpressed Calabi-Yau manifolds, multi-dimensional curlicues, leaving the 4 dimensions of our observable universe according to M Theory, the meta-string theory now referred to as Superstring Theory.  In a way I’m stating that if M Theory is correct, and at the levels of energy in black holes potent enough to light up into a quasar, the dimensions unfold—out of nothing comes something, out of metaphysics comes physics.

I could go on to make a connection between metaphysics and Metaphysics.  But here I am on shakier ground (if that is possible considering the thesis I am proposing is contrary to the laws of physics as we know them), so I will only suggest a correspondence.  If “true,” the black hole might become a metaphor for God the creator.  The creator would be the Creator.  I don’t think this is a stretch since religion appears to have prefigured not only physics but psychology and chemistry.  Religious thinking seems to me to be an intuitive grasp of our world.  Creation myths emanate from intuitive apprehension of worlds beyond our own.  Artist create pieces describing these worlds.  Now we have computer-generated graphics of galaxies colliding; then we had Jacob’s Ladder, a heaven and a hell, incarnation and reincarnation, levels of consciousness both previous to and following death, a spirit realm.  The major theses of western and non-western religions speak of realms beyond our own in strong terms.  All I am saying is they resonate with some of the ideas I am presenting above, but in a pre-scientific manner of thinking.

I am using words to describe a compositional device I utilized when composing my piece in seven movements, Black Hole.  In it, I place in the middle a movement that is conceived as the movement of energy from the heart of the black hole and is described in the literature as a jet.  However, I do not see jets coming from black holes like normal astrophysicists do (surprise).  I see them as 11-dimensional jets defying the laws of physics—M Theory—which I extend as a form of artistic license.  If you want to hear this piece it is recorded by PRO VISO and is out of print.  On special request I can make it available.  Please correspond to me through this post if you want me to burn a copy for you.

The strength of my speculations, axioms, and theses ultimately rests on observation.  Hopefully, mathematical models can be developed or have already been developed describing these interactions.  Nothing becomes everything and every thing becomes nothing.

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