Classical physics posits two things cannot occupy the same space at the same time.  Ask any choreographer and you will obtain the same answer.  Through all the lifts, pas de deux, troupe choreography, you do not see dancers melt into one another (unless you are watching the Black Swan transform psychotically from a dancer into a swan).  But if you question a musician, you will hear something quite different.  Two musicians cannot, but two notes can occupy an identical spacetime continuum.  In this way music appears to be a form of quantum mechanics, specifically string theory postulates. Vibratory fields produce overtones of the dominant tone so all notes that interact have to occupy the same space at the same time.  When notes interact closely they produce beats, enrichen the timbre, producing physical results of their interaction.  Music defines a pointlike omicron of insertion that defies Newtonian physics, clarifies the classical mind, and invades string theory simultaneously.  Just ask any musician—they will say they have musically entered a private space when  they play with any other musician on the same piece.  In all written music, improvised music, folk music, spiritual, profane, rock, and all kinds of interactive music the notes/beats interact as they occupy the same space at the same time.  In turn, research suggests that in ritual, music synchronizes brains of participants too so that a group synergy emergent from the music and ceremony binds people together.

How can two massless objects, thin photons, occupy the same spacetime simultaneously?  If they have zero mass nothing keeps them apart or brings them together if they also have no charge.  But they have effects secondary to energy.  They take the form of a particular form of energy—frequency.  Photons, like other subatomic particles with mass, are emitted when electrons jump from an energized to a less energized quantum level of energy in quantum leaps.  As energy the photon has mass, but because it has no mass it has velocity equal to the speed of light, the speed of photons.  The question is, can two massless particles occupy the same spacetime simultaneously?

The classical Newtonian mind, the mind of Einstein, but not the mind of Bohr states e = mc2.  Bohr and Feynman do not classically define spacetime and famously classical physicists cannot account for events at quantum energies.  Quantum time moves but not specifically in a direction.  Classical spacetime moves forward or backward.  How is it spacetime moves only forward to massive objects?  You and I do not follow the arrow of time backwards.  To move at the speed of light, as in the speed of a photon, is to effectively halt time itself and to relativize spacetime.  Any object with mass has a cone of possibility limited to the speed of light.  Mass moves slower than the speed of light through spacetime.  But entangled subatomic particles are not limited to and do not follow 4 dimensional rules.  There is room for speculation about whether, in a quantum world, two objects of a certain energy that have no mass can indeed occupy the same space at the same time.

Superposition posits potential.

Out of quantum superposition emerges entanglement of particles in a world beyond spacetime.  The word spacetime might also be relativized by reversing the usual order to create the word timespace, that area within which something happens in time.  Time being a dimension, timespace includes everything so entangled particles interact in timespace, even at FTL, faster than light superluminous speed.  Many entangled particles interacting outside of spacetime do not yet exist because of the superposition principle.  They have yet to collapse into spacetime.  Let us refer to entangled, superpositioned particles as occupying timespace.  They are superpositioned and therefore occupy the same space at the same time.  Dropping out of timespace, superpositioned quantum particles collapse into spacetime and cannot then act according to timespace.  So in timespace, superpositioned entangled particles are different from spacetime collapsed wave particles, or wavicles to be precise.  Wavicles are the spacetime rendition of superpositioned quantum particles.  How do they interact besides collapsing?

Vibrations may offer a clue.  Consider two musicians playing with one another.  They might be able to pass through one another—give them enough time.  But the odds are against it.  But the music they play fills timespace.  Playing together entangles vibratory schemae.  A tone is produced which has harmonics—same tone with multiple waves vibrating at various frequencies.  This effect can be heard as if they filled the air with virtual particles occupying timespace.  Good music comes from another place.  It takes us to another place.  That place is called different things so I cannot name it in a specific way.  There are mathematical formulae which describe imaginary numbers which describe superpositioned quantum particles that also could describe good music.


Thoughts imply scales of thoughts.  Chord changes are mindful potential elaborations of thoughts.  In the central vortex emotional thoughts arrange, entangle, and manifest physically and spiritually.  In thinking a thought a thought emerges to which thought converges.

Thoughts, like stars, warp spacetime in Riemanic spacetime curvatures.  Heavy thoughts attract thoughts.  Black thoughts accumulate –white thoughts expand.  Black holes of black thoughts create vortices out of which white thoughts create possibilities—a metaphor of creativity via superposition of thoughts, notes and scales.


Play one note and different scales are implied.  Play a second, and multiple scales are eliminated, inferring different scales which are more likely to emerge.  A third note illuminates the sky of quantum potential.  Chords imply scalar possibilities.  Changes eliminate as well as illuminate as potential emergent interactions precipitate out of rhythm and time.  Forward and backward are relative frames meeting in the middle of the tritonic triangle—the Jewish Tritonic Star, the Star of David, the poet and musician.  In the center all potential particles interact and vortices often emerge:  Coltrane’s pulse-time; time and space implicate one another; notes entangle, vortices entangle, thought subsumes to quantum mind—Timespace.

Tritones in classical music theory are referred to as sus4 chords, where sus is short for suspended, and 4 is representative of the interval between notes, in this case a total of four notes—a 4th.  A tritone consists of three notes, each a 4th apart:  a sus4 chord.  Like any chord, tritones establish a field and this group forms a specific type of group that sounds in a particular way.  A set of tritonic or sus4 chord changes, which I will refer to as changes, formulate multiple triangles that form field interactions within the triangulation.  They are the most unstable chords and transform into more stable chords in a process I call tritonic transformation.  Think of tritonic transformation like you imagine reification, or the collapsing wave of superpositioned subatomic particles suddenly emerging into spacetime from timespace.  They become real, are reified.  Quantum mechanics following Schrödinger and Heisenberg refer to this collapsing wave as the result of observation.  Or, “when you hear music it’s gone in the air—you can never catch it again (Eric Dolphy, Hilversum, Holland, 2 June1964).”