Category: Physics, Psychology, and Creativity


I am initiating a new section about my small Renaissance Jazz Orchestra, the Accidental Orchestra.  Please follow our progress.  Today I am posting the first of three segments prepared for a NewMusicUSA grant application.  They feature some of the musicians and some of the compositions entitled See Sharp or Be Flat/C# or Bb and The Old One. Enjoy.

It is not easy to form your own orchestra from scratch. I have a sense of urgency to complete this complex project. I assembled the best improvisers in New York and Philadelphia to play two extended through-composed suites that involve extensive individual and group soloing. We prepared scores and parts, rehearsed and recorded the two pieces at Systems 2, then mixed and mastered the recording with sound engineer Jon Rosenberg.

 

The credits of each of these musicians are long and profound. I selected people who worked together in past configurations and structured solo sections to combine previously existing groups so as to reveal what long years of creative collaboration can produce. Graphic artist and FIT Professor Karen Santry will use photographer/video editor Bernard Feinsod’s visual documentation (photography and video) to create graphics for the CD. I will work with a writer to develop liner notes and employ publicist Jim Eigo to get reviews and press for this amazing project.

 

I was able to keep costs low by asking for in-kind contributions from all collaborators. Musicians who typically work for upwards of $1000 apiece to rehearse and record, agreed to a $200 “downpayment” to be subsidized by future grants. I am exploring grants to help support performances and further recordings of this very large group. I wish to supplement their “base pay” to pay them an amount closer to what they are worth and ensure they will work with me in the future.

 

I intend to compose more for the AO but it will be difficult to record or perform without financial support. Future musical projects include adapting a poem by violinist Louisa Bieler, Can We Forget Remembering Being Born?, for SATB chorus and the Accidental Orchestra. I also wish to re-record and perform my qaballistic piece Ain Soph (Fourth Stream Records, 1978): https://soundcloud.com/michael-a-moss/03-ain-soph-cross-current-erg. Strings and reeds of the Accidental Orchestra will play previously overdubbed parts.

This work sample represents soloists from the string section, brass section, and the reed section. I excerpted solos from C# or Bb, a 20’ 38” piece recorded Oct. 10, 2016. The soloists in order are Jason Hwang and Rosi Hertlein (violins), Stephanie Griffin (viola), Lenny Mims (cello), Steve Swell (trombone), Ras Moshe (tenor sax), Waldron Ricks (trumpet), all New York based. Between most solos are full orchestral interludes. Soloists represent the sunny side of the street while interludes suggest dark, complex emotion, the essence of C# or Bb.

https://soundcloud.com/michael-a-moss/see-sharp-or-be-flat-c-or-bb-nmusa-2017-grant-segment-1

ENJOY!

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.

WAVE/PARTICLE :: UNCERTAINTY=POSITION/MOMENTUM

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 (http://www.huffingtonpost.com/2014/12/24/quantum-physics-easier-to-understand_n_6370570.html) 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!

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.

Nspacetime = 0

Nspacetime = 1

0 = 1

0 = spirit

1 = spirit

N0 spacetime = N1 spacetime

N0 spacetime = light matter

N1 spacetime = dark matter

Each N–N0 and N1–have unique laws of physics and interact according to them.  Notes, words, expressions of vibratory nature and relative levels of acceleration constitute N, 0 and 1.

Every part is of the whole and is entangled.

Parts are words, letters, narrative, poetry.

Notes are vibratory and interact on all levels, just as do words.

Matter and energy inform words, notes.

Dark and light inhabit dark universes and light universes and are organized into dark and light centers of energy/matter/spirit and interact and can be formed into structures, maps, essences of greater transparency or lesser transparency.  Quality is defined by transparency and dischord (discord) shapes transparency. Dischord and transparency coexist to bring about chiarascuro, depth, flatness, and limit.

We participate in this in real and in projected form.

If physics is the king of the sciences, then psychology is the monad of the sciences encompassing all sciences, spirit, chaos, order, elemental and civilization without end:  DISCUSS.

Ok, this idea sounds meshugah to one of the physicists I spoke with at the end of a salon entitled “Refining Einstein.” It was part of the World Science Festival, 2013. I volunteer every year and get to hear smart people talk about Einstein and quantum physics. This year the salon participants decided to avoid the quantum physics part and devoted their attention to defining and refining the geometry of time. Which is ok if you didn’t know that they were supposed to relate time to both the macro and micro, to Einsteinian spacetime and to quantum mechanics.
One of the questions from the audience wondered whether or not the absolute zero of time wouldn’t be the big bang at its inception when time did not yet exist. In other words, time originated with space. That makes sense since time and space are so intimately related that the geometer of space absolutely defines time and time cannot be separated from space. Gravity is the great force here as mass and energy warp spacetime, slowing and accelerating time itself. In fact, gravity became the 800 pound gorilla in the room of the salon and time and space were inseparably linked with the effect mass and energy have on spacetime.
But what happens to gravity in the quantum world where mass/energy does not have much effect on subatomic particles? Gravity is comparatively weak in spacetime; in quantum levels there is no valid theory of gravity. Quantum loop gravity theory is one effort to define gravity on the quantum level but is as yet less than authoritative. The distances are so short and the energy so high that compared to the weak force, the strong force, and random events gravity is still enigmatic.
Time and gravity are structural elements but neither have clear roles when the issues of singularity or entanglement come up. The numbers in the mathematical equations reach for infinity at the center of a black hole—a singularity—relative to time, space, and are thus undefined. If your equation results in infinity, the result is invalid. This is not the way to go about working this out.
My insight: entanglement, defined as two particles so involved with each other that action or measurement of one changes the other instantaneously no matter how far apart they are states that no time is spent communicating through spacetime. This “spooky action at a distance” (Einstein) has a real claim on reality. Just don’t ask me what reality is. Entanglement reflects a state of no-time. The absolute zero of time which I choose to ascribe to the state at the period of origin, named by Fred Hoyle as the big bang, is also timeless. My question: at both the singularity, and in entanglement, time n’existe pas. Therefore is there not some relationship?
The physicist I spoke with adamantly denied a relationship between singularity no-time and entanglement no-time. He did not want to go into it. Nonetheless, I can’t stop thinking about it.
My thinking spread out, like an electron wave. What if photons and other massless particles that travel at light-speed and therefore do not “experience” time are aspects of this phenomenon of entanglement and singularity? Really, the way I understand it, gravity slows down time, and at the singularity time stops. There might be a connection. Some would say that all particles are entangled because all energy and mass emerged from the singularity of the big bang. I am not about to say we are all one, though that would explain a lot, such as the existence of the mind and our ability to communicate with others instantaneously, experiences anecdotally verified but not yet experimentally validated. We could branch out into the concept of synchronicity, a bildung co-created by analyst Carl G. Jung and physicist Wolfgang Pauli. No, I want to correlate the science of quantum mechanics with the science of spacetime. I do not believe my question is without meaning, order, or even relativity.
Time for me is special. I love time. As a musician I consider time to be the skeleton upon which the flesh of music is hung. I know that the brain sets up sympathetic vibrations of action potential among a group of listeners to music that captures and unites a crowd. Time for me is the essence of music, and even when musicians say they are ignoring time when they play freely, without time, I think time is implied. You can hear time in the energy. Time slows down at lower energy levels of expression and speeds up at higher levels of energy. Playing sometimes feels like I’m riding a wave that moves faster than the speed of thought. I surf the wave of time as notes pop out of the quantum foam of superposition of notes. I am very familiar with time as both a construct of creativity and as a value in physics. I am fascinated with time. And no time.
The physicist asked me why I asked the absurd question: is there a correlation between the absolute zero of time and quantum entanglement? I could not believe I had to explain: there must be an overarching construct relating the non-existence of time with both the singularity and with entanglement. Isn’t it obvious?
Now that I think about it, might there not be some form of equivalence between the speed of light and no-time? Time n’existe pas at the speed of light. Photons do not age. And photons, once emitted from quantum interactions, do not accelerate. They are always going at the maximum speed allowed. I have always been fascinated by that fact. A photon is emitted, and no time exists, and it travels at 386K miles per hour. It is as miraculous and ridiculous as quantum entanglement. The double slit experiment with its interference waves of particles is just as mysterious. How can there not be some kind of equivalence?
Now, you might think that I am just blowing smoke because I do not refer to mathematical constructs. You are correct. Smoke is ineffable, exhibits a chaotic lack of form, and appears at the higher end of entropy. That is, smoke has no form because it is the end product of other interactions. It has high entropy. It has low meaning content. And I am out there blowing smoke, making meaningless statements born of pure intuition. I do not wish to resort to the obvious—tell me why it can’t be true?—argument. Who cares? It’s just that I trust my intuition. This question comes from a deep understanding of time and what you can do in space with time. All I need is Einstein’s brain to construct a true gedankenexperiment. Yes, I know I am Einstein’s distant cousin, but I don’t have his mind. I do, however, have a small bit if his attitude and focus, though at an exponentially dimmer wattage. “What if?” the absolute zero of time and entanglement mean something bigger? I’d like to know.

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.

SCALAR THOUGHTS

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.

TRITONIC TRANSFORMATION

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).”

TEMPORAL PHASE TRANSITIONS

Gödel/Einstein narratives are interrupted at critical times.  There is a phase transition at these points and the time-like narrative begins again, goes off in a new direction from a previous point, goes backwards, reversing entropy.  Time is relative to Einstein and space-time is also relative.  Time can go forward or backward.  But Gödel asserts that time does not exist.  Perhaps time exists but it can be interrupted.

Tonight I was listening to my bowels move in a glacially slow process that was the result of a very recent hernia repair.  It was as if time slowed down.  I was deeply in tune with my body.  I even heard different personalities within my psyche speaking to me, a very unusual occurrence for me.  One was a male, another a female who might have been in her 40s.  I got the distinct impression they were selves of mine that simultaneously exist but not in this space-time.

The tension between intuitive time and objective time commands attention. Gödel posits the need to exclude time or the universe, and since the universe exists, time does not.  From what I understand this holds true in a non-expanding universe.  I have to clarify this.  We do not live in a non-expanding universe so there might be a limiting factor and time does exist. Gödel expanded upon Einstein’s theory of general relativity which was originally founded in a static, flat universe.  The cosmological constant does not seem to be a part of Gödel’s reasoning.

There is the experience of cutting through the tangle, the web, the Feynmanian potential for all things to evolve in all possible ways, that Gödel’s logic wields like the sharpest knife.  Previously, my logic was dull so it cut poorly.  Now it is sharper–so sharp I can see an individual living in his or her own timeline.  Their time-like lives might be seen as narratives.  This is similar to but different from time-like determinism.  It is not defined as causative and thereby deterministic, but rather as narrative which includes deterministic as well as acausal events.  Illogical things happen to people. Chaos, while it does not always rule, intrudes in at-times mysterious ways.  Can we impute a religious motiv here, that things happen for a reason?  If you wish to impose order and meaning.  A religious motiv is valid here and does not need to be excluded.  If spiritual, out of space-time-like experiences occur, they might be for a reason.  They could be fractures in the continuum.  And fractures are described as abrupt.  The concept of a temporal phase transition is an attempt to describe them in a more inclusive manner.

I see phase transitions as boundary conditions that apply commonly when gasses transition to liquids, or to solids, and when solids transition to liquids or directly to gases.  A magazine, Phase Transitions, publishes papers on phase transitions that include

  • structural (ferroelectric, ferroelastic, high-pressure, order-disorder, Jahn-Teller, martensitic etc.) phase transitions
  • geophysical phase transitions
  • metal-insulator phase transitions
  • superconducting and superfluid transitions
  • magnetic phase transitions
  • critical phenomena and physical properties at phase transitions
  • liquid crystals
  • technological applications of phase transitions
  • multiferroics
  • quantum phase transitions

Transitions occur on the macro levels and on the quantum levels.  Super string theory does not exclude the potential for multiverses.  Temporal phase transitions are permitted within super string theory.  At each fracture point where time makes a transition to a different status time breaks off into a new space-time-like pathway.  I assert that this does not happen except in extreme circumstances such as when there is a singularity.  When mathematical equations approach infinity, temporal phase transitions can potentially occur.  Otherwise time-like experience cannot alter, and new time-like universes do not form.  This limiting condition introduces both consistency and clarity.

An individual is an individual due to temporal “narratives.”  Your narrative differs from mine even though you are standing right next to me.  You do not need to be moving at the speed of light for this to occur.  Any experience of an individual or monad is relative to the experience of any other individual or monad.  Please let me refer to a description of Gottfried Leibniz’s definition of monad in the Internet Encyclopedia of Philosophy.  Time to Leibniz is an illusion.  Time is immanent to a monad and it is within time that monads transform into what they are.  Monads become what they potentially are in time.  Time does not exist outside an object or a monad.  I as a monad differ from you or anyone else in my transformative capacity.

My intuitive understanding of time as transmutative property agrees with Leibniz–different people (monads) might live in precisely similar universal lawfully grounded conditions and still be different because individuals do not occupy the same exact space-time position.  Since that would not be possible, we live relatively, and we see things and experienced things differently from each other.  Living relatively means something—all experience is valid.  This profound truth relativizes Truth, and, vice versa, large and small truths are valid for each of us because our experience is relative to every other being.  What is valid for me may not be valid for you, though we may have shared experiences and can communicate them through whatever medium we can.  Monads communicate, I believe, on a quantum level that permits us to relate to one another.  The relativized individual is connected, is entangled with, the other individual so we can understand one another.  I find this to be true concretely and abstractly, on the level of existence and on the level of abstract reasoning.

In extreme conditions our time-like relativization breaks down.  That is why Gödel states time does not exist.  Time obviously does exist intuitively, but mathematically and objectively it does not.  How this can be so is the subject of my meanderings.  I believe the complex world within which we live can be understood better if temporal phase transitions become part of the lexicon that includes relativistic time-like experience.

A better question to ask might be what are the phases?  Is time different at different times?  I don’t want to stumble into a time loop here, or into what philosophy refers as a tautology.  I think we would all agree that time can speed up, slow down, stop, is excited in the moment, or is eternal.  To an existentialist, time exists only in the moment and the point is to excite the moment, to intensify the moment.  To Moses on the mountaintop bringing down the 10 Commandments time is eternal and every Jew who was ever born, who exists at that moment, and who will ever exist is present.  Thus a phase that is transitioned into and out of has many temporal properties, not just a different time-like line.

When I play music I often play in time.  But even as I measure out the music in beats, I am in an eternal space of no-time.  Time stops for me and music subsumes everything.  I cannot believe this is not true for any poet in the moment of inspiration, every artist engaged in whatever medium, or every dancer, musician, or performing artist expressing someone’s poem, performance piece, choreographed piece, or composition.  Going back Leibniz, each monad realizes him/herself in the moment.  That moment exists in different phases.  Passing into and out of such moments I refer to as a temporal phase transition.  Gödel and Einstein would agree.

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