Tag Archive: entanglement


13

13

thenameofthisband

mossteinmeyer

 

Thirteen: a mathematical representation of the one and the three. The three in one. A trio of musicians playing free jazz. Free jazz is the concept of many as one. The musicians play together as individuals and as a group. On the highest level the individual and the group are entangled and the action of one is the action of all. The idea of the highest level is this concept of one for all and all for one. It is a very common idea and if you look for it you can see it everywhere: the herd, squadrons of birds in flight turning as one, the body in which all organs work as one, minds thinking as one, dancers dancing as one. Mathematically 13 is just as easy and just as hard as leading and following at the same time. 13 is the number of the trio, 14 the number of the quartet, 122 the number of the 22 piece Accidental Orchestra. The reason this concept of simultaneity is so hard to understand is because it represents dimensions that are not obvious to how we appear to live in the three-dimensional world. We feel alone but seek belonging. Belonging in the sense of 13, or 14, or 122 for example represents the number of dimensions. It is a religious concept of belonging in the spiritual sense to a force larger than oneself.

 

13 is the name of our trio. It means three in one. The three of us play as one and music is the result. When we do not play as one, when we are not practicing close listening, it is no longer music but noise. To reach the higher dimensionality of 13 the members of the trio have to lead and to follow, trusting that the others are leading and following at the same time.

 

Free jazz artistically and aesthetically means entanglement of individuality within a dimension that always exists in potentia yet must be attained. This is why it is hard to play freely. Free is not free unless the individuals play as a group–simultaneous and at the same time individual; individual and at the same time simultaneous. The quantum physics mathematical representation of entanglement in which the part and the whole are one thing in itself, Immanuel Kant’s philosophical concept of the ding an sich, on the level of particle physics is the simultaneous participation of entangled subatomic particles interacting at a speed which is faster than light. They are no longer time-like or space-like because the action of one entangled particle or of more than one entangled particles is also the instantaneous action of all the other entangled particles. The action of entanglement is FTL, super luminous, acausal. The action of musical entanglement is that of the one and the many all acting as one.

 

The reason free jazz is so hard to play, to listen to, or to understand is that the individual must lead and follow simultaneously. The ego and the lack of ego must simultaneously exist. There is a dissolution of ego into a larger ego and the music on this level moves and exists as one. Time becomes relativized. Time is not linear but non-linear–free jazz strives to inhabit this experience of non-linearity, where the past is present, the future is present, and notes do not just line up but open up into the higher dimensions. Higher in sense of not our familiar three plus one dimensions in which spacetime exists but higher because these three plus one dimensions of three dimensions plus the dimension of time are enfolded within a higher number. The accomplishment of improvisation in a group is to bring this mathematical dimensionality into our common world. Any performing group does this–orchestras, dance troupes, country music festivals, music festivals. Where you have individuals becoming entangled there is this mystical sense of belonging to a larger group.

 

This is what I mean when I name our trio 13. We are individuals acting as one on the higher dimensionality of the three in the one and are entangled. It is also what I have referred to as faster than thought. I cannot think fast enough to improvise and to make music. I cannot act alone. I have abandoned myself to this higher purpose. It is the army, the navy, the act of war. In the musical sense 13 is the act of peace, understanding, sensitivity to others, respecting others, living with others both as an individual and as a group. As with any mathematical concept of dimensions there is no moral sense and action as one can be as good or as evil as we want or wish it to be. We act consciously to make it so. If our intent is to take this mystical acting as one and to destroy we are Lucifer and His armies. If we are bringing life and spirit into the world we are God and His legions of angels. God in the mathematical sense is not moral. It is our humanity which makes God into an avenging God or a merciful God. It is up to us to act as one to be good or to be evil. The difficult part is acting both consciously to bring something good or evil into the world at the same time we act unconsciously as a group to do so.

 

Once we decide to go in a direction the forces act upon us and we are no longer in control. Which is why it is so hard to maintain the level of musicality on what we instantly recognize as being on the right level. Good music, what I call music, not sound or noise, brings together not only the musicians but all who participate in the listening to this music. We have mirror neurons in our brains to facilitate the coming together of individuals, which fire sympathetically in the presence of others and allow us to speak, to mimic, to feel the feelings of others, and to express our feelings so that others can feel how we feel. We are usually unconscious of the action of mirror neurons so to make them manifest in conscious ways takes an act of courage and sacrifice; courage to take that first step, sacrifice to abandon ourselves to forces that are normally unconscious and out of conscious control.

 

So it all comes down to mathematics as a foundation and humanity as a moral force, dance and music as manifestations of entanglement, and feeling good when we belong to something greater than ourselves.

 

13=1 + 3=4=1

 

13=mossteinmeyer

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LIVING A QUANTUM LIFE

My wife, Judy, and I were having dinner with our friends Billy Stein and his wife Daniella tonight and over a wonderful steamed whole fish Billy asked me to explain to Daniella what I was trying to say when I used the rainbow metaphor which I published in the last two posts. Rainbows, expanding on my understanding, do not and do exist at the same time. They are not three dimensional, you cannot touch one, and are not concrete, plus no rainbow is the same for you as it is for me, I said. Water droplets prismatically reflect back to the viewer photons of varying wavelengths so we see ROYGBIV in one order, and VIBGYOR in the second order of rainbow (Red, Orange, Yellow, Green, Blue, Indigo, Violet). The sun must be directly behind us and the rainbow appears directly in front of us; therefore my head being in a different place from yours, we cannot see the same rainbow, even though we can share it, making believe we are seeing the same one.

I went on to say the metaphor hit me when I was reading The Sun’s Heartbeat (Bob Berman, Little, Brown, 2011) and Berman described rainbows. The rainbow exists in spacetime, yet photons exist in quantum reality. We are connected on the quantum level in more than one way, something I find pleasing and satisfying (see earlier posts in M2-Theory.com). But, while I may be in the same light cone you are in and we converse within that context, or continuum, we cannot be experiencing things in the same way. I think we carry around our own frame, look at things from a slightly different place, in a different spacetime from each other—everything being relative. That I can talk to you depends more than upon sound waves and syntactical structures within our forebrains, Wernicke’s area and Broca’s area. My heretical and unproven hypothesis suggests quantum entanglement accounts for some of our ability to understand one another—again something I develop more fully elsewhere (MIND AND MATTER, MIND AND LOGIC, MIND AND ACAUSAL MEANINGFUL “COINCIDENCE”: IS MIND A QUANTUM PERCEPTION OF A BRAIN SITUATED IN SPACETIME?).

I was starting to reach a wall so I thought it might help if I brought in another wackadoodle idea of mine, that quantum superposition helps artists make artistic decisions faster than thought. Given that we share a light cone—an area of spacetime that is defined as the distance between two objects that light can travel within, and are entangled—an indefinable distance in which subatomic particles that are entangled interact instantly, whether within or without the light cone, and given the concept of quantum superposition in which multiple possible events may occur but have not, e.g., Schrödinger’s cat, I can show how I as a musician can play the next note using a decision process that moves faster than thought. This counts as a big idea.

Any artist faces choices. Poets must choose the next word, artists the next brush stroke, sculptors the next chisel point, musicians the next note, composers the next notes, dancers the next move, and so forth. Not done in a vacuum, preceding notes—for the musician, to stay within a medium with which I am most comfortable but which translates into other mediums and art forms—do not causally predict notes that follow. Yes, there are parameters; there is a structure of a tune, a history of how notes have been used within tonal structures, a history of what other musicians played on those tunes, and even histories of what the musicians you are playing with now have done with you. At any point while improvising, I get to play a range of notes. Think of all of them in potentia, potential notes that are in a state of quantum superposition. The notes up till now allow more than one note of differential duration and power to be played, or as I prefer to think, for the wave to collapse. Collapsing waves are mathematical metaphors which are useful and descriptive. If the music is a wave, then the wave collapses on further notes by all the musicians in the context of where the wave comes from, its propulsivity, direction, depth and energy.

I choose a note. The wave collapses. An entire universe comes into being. An infinity of universes opens up of notes in superposition. It is as if the notes just happen. I cannot think that fast. If I stop to think I become paralyzed—it just has to happen. You’ve got to learn to let it go. Faster than thought, it is.

A brief example may be found in my Youtube video on an earlier post in this blog (Stein/Moss “Riverside After Dark”).

Daniella got it. Billy caught it. Judy was it. That is what it is like when we are in the zone. The highest levels of creativity occur in that zone of faster than thought, superluminal, entangled connectivity. We are individuals connected in, entangled in an elliptically called creative process.

For myself I feel like I am surfing a wave. The wave is complex and alive—can I shape my way through it by becoming the wave and simultaneously finding my individual arc through it, around it, till I come back to shore (the shores of consciousness)? That would be living the quantum life.

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