Symmetry-binding 'quantra' of 'stringularity' create the 'numeraire' of survival

Reconciling the derivation of 'transcendental-Pi' & 'irrational-Phi' reveals the fundamental certainty of the rational wave patterns that create the harmonic series.
This
precedes & moderates the cognitive dissonance or uncertainties arising from the assumptions of infinite growth that underlie the anthropocentric world-view.

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The C&C logo above refers to 'Contraction & Convergence' or 'The Well Tempered Climate Accord'
and the need since 1992 for An Alliance for UNFCCC Compliance based on C&C Principles.

 



Admiral Nimitz's musician & Code Breaker Roger Hare said


"Musicians are marvelous puzzle solvers for one reason:
they not only must know their part, they have to know how it
fits into the composition as a whole.


This means knowing the rates and the ratios

A way of living with this is to ask, what is the signal in the noise that we
hear and then investigating the noise to that signal ratio when it is found.

In music the signal is knowing and playing the rates & the ratios in time and in tune;
noise includes feedback that often tells you to try less and practice more . . .

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The Musical Agenda - the brighter side of the Death of the American Dream

The C&C logo above refers to 'Contraction & Convergence' or 'The Well Tempered Climate Accord'
and the need since 1992 for An Alliance for UNFCCC Compliance based on C&C Principles.

'Force Majeure' is 'Source Majeure'.

This is literally true; (factuality). The fundamental & overtones 1-4 create a major Chord.
With no assumptions, 'it' (the rate:ratio sequence:structure) is as true today as ever it was.

Overtones are not just notes (frequencies) they are naturally occurring harmonics and are force-majeure
('acts-of-god' if you will) & incontestably demonstrate an underlying order that precedes any chaos arising.

The ultimate statements of John Archibald and Richard Feynman reflect this.
In a nutshell the arguments underlying what is said on this page summarize like this: -

The rational rates:ratios of the musical phenomenon known as the harmonic-series, create irrational Phi.
The combinations from these two fundamental cosmological 'constants' produce 'Pi' & everything else thereafter.

This is visible & audible as the harmonics of 'Cosmic Consonance' embedding the neg-entropy curve to 'Phi' . . .
This is corroborated also in the more detailed derivation of Phi from the harmonic series & the Pythagorean Comma.

Seeing & hearing the overtone series

The precision of Phi-Derivation at the Phi-point between steps 12 & 13 of the Pythagorean Comma is remarkable.
However, the most direct expression of this curve arises directly from the first thirteen steps of the harmonic series: -

What is shown in the chart just below is this fundamental structure:sequence in the simplest form possible.
Here a detailed integration of irrational Phi from the Pythagorean Comma and transcendental Pi is shown.




‘Natural Law’

This is . . .

1. not a probability distribution;
2. not a confidence interval;
3. not a measure of uncertainty.

These rates & ratios of the harmonic series are universally constant.
As observed thousands of years ago, with a string of constant length & at constant tension,
this universally constant ‘Natural Law’ indicates that when the string length is:

100.0%, the Hz is 100% (fundamental)
50.00%, the Hz is 200% (1st overtone; octave a Hz doubling)
33.33%, the Hz is 300% (2nd overtone; octave & a 5th a Hz trebling)
25.00%, the Hz is 400% (3rd overtone; 2 octaves a Hz quadrupling)
20.00%, the Hz is 500% (4th overtone; 2 octaves & a major 3rd Hz quintupling)

Length

Herz

Name

Description

1 * 100.00%

100.00

Fundamental 1 Perfect Octave

2 * 50.00%

200.00

1st Harmonic 2 Perfect Octaves

3 * 33.33%

300.00

2nd Harmonic 2 Octaves + a Perfect 5th

4 * 25.00%

400.00

3rd Harmonic 3 Perfect Octaves

5 * 20.00%

500.00

4th Harmonic 3 Perfect Octaves + Major 3rd

6 * 16.66%

600.00

5th Harmonic 3 Octaves + a Perfect 5th

7 * 14.29%

720.00

6th Harmonic 3 Octaves + a Minor 7th

8 * 12.50%

800.00

7th Harmonic 4 Perfect Octaves

9 * 11.11%

900.00%

8th Harmonic 4 Octaves + a Major 2nd

10 * 10.00%

1000.00%

9th Harmonic 4 Octaves + a Major Third

11 * 9.09%

1100.00%

10th Harmonic 4 Octaves + an Augmented 4th

12 * 8.33%

1200.00%

11th Harmonic 4 Octaves + a Perfect 5th

13 * 7.69%

1300.00%

12th Harmonic 4 Octaves + a Major 6th

This harmonic series is not an act-of-man, it is the 'given' force-majeure (of a ‘major chord’).
The sequence structure Force Majeure comes providentially as a ‘given’ & as such has ‘authority’.

It is not a ‘conjecture’ or a ‘conviction’ or an ‘opinion’. Any legislature in any human institution
can recognize that it is so, but no legislature is required to make it so. It is simply 'true'.

Moreover, there is no law-of-man or act-of-man that can change it. There are: -

* perceptions of it, but there is no perception of it that can change it.
* conjectures around it, but there is no conjecture around it that can change it.
* opinions about it, but there is no opinion about it that can change it.

From the wave matrix created, these correspondences are observable/audible in the: -

* rationality of the harmonic-series, integrated with
* irrationality of the Phi-Derivation curve, integrated with
* transcendentality of Pi-Derivation and how this is perfectly
* triangulated with the above by the Golden Angle (137.5 °)
* into the unification of space-time at 'Phi'

It is corroborated by for example the enduring success of the: -

* musical model since the earliest human cultures
* evolutionary unity in diversity of phyllotaxis & natural law
* design of Domes in all faiths over the Centuries
* Trinity and the first A-Bomb blast
* Benford Law
* LIGO observed gravitational wave detection

* Art reflects that music is at the heart all creation
* The Divine Ratio at Khufu
* The Pyramid at Gizeh
* Another way of linking Pi to Phi at Khufu

Phi is not so much ‘a number’ as ‘a ratio’ & its called
the Divine Ratio’ as it is the ratio (not the number)
that remains constant on the curve it generates.

QUANTRA

This cosmological consonance is feedback to and from 'intelligent source and design'. It is not a 'decision'.
Self-referentially, it is a function of the numbers. Over 13.7 billion years since the Big Bang, it is 'quantric'.

It is 'quantric-certainty' with a high degree of accuracy for Phi derivation w
hich precedes and informs the uncertainties of the Standard Model
and the cognitive dissonance in the uncertainties before & beyond atoms, molecules, evolution and the American Dream,

Phi-derivation
is demonstrated again in the slide sequence and images below . . .



In 'Until the End of Time - Brian Greene Asks the Key Question . . .

"Despite centuries of scientific progress, we are no closer to answering the question raised by Gottfried Leibniz than we
were when he first made this lean distillation of the mystery of existence
,
“Why is there something rather than nothing?”

In asking a question of ultimate origin, we’re seeking an answer that requires no antecedent, an answer that does not shift the
question one step further back, an answer that’s immune to the follow-on questions, “Why were things this way instead of that?
Why these laws instead of those?”
No explanation yet proposed has achieved this or even come close."


Gottfried Leibniz said


"The pleasure we obtain from music comes from counting, but counting unconsciously.
Music is nothing but unconscious arithmetic."


Admiral Nimitz's musician & Code Breaker Roger Hare said

"Musicians are marvelous puzzle solvers for one reason: they not only must know their part, they have to know how it
fits into the composition as a whole."


Albert Einstein said . . .

"The basic laws of the universe are simple, but because our senses are limited, we can’t grasp them. There is a pattern in creation.
If I were not a physicist, I would probably be a musician. I often think in music. I live my daydreams in music."

David Bohm said

“It is thus implied that measure is a form of insight into the essence of everything, and that man’s perception, following
on ways indicated by such insight, will be clear and will thus bring about generally orderly action and harmonious living.

In this connection, it is useful to call to mind Ancient Greek notions of measure in music and in the visual arts.
These notions emphasized that a grasp of measure was a key to the understanding of harmony in music
(e.g., measure as rhythm, right proportion in intensity of sound, right proportion in tonality, etc.).

Likewise, in the visual arts, right measure was seen as essential to overall harmony and beauty (e.g., consider the ‘Golden Mean’;
(often referred to as ‘Phi’). All of this indicates how far the notion of measure went beyond that of comparison with an external standard,
to point to a universal sort of inner ratio or proportion, perceived both through the senses and through the mind.

Of course, as time went on, this notion of measure gradually began to change, to lose its subtlety and to become relatively gross and mechanical.
Probably this was because man’s notion of measure became more and more routinized and habitual, both with regard to its outward display in
measurements relative to an external unit and to its inner significance as universal ratio relevant to physical health, social order, and mental harmony.

Men began to learn such notions of measure mechanically, by fragmentation and wholeness conforming to the teachings of their elders or their
masters, and not creatively through an inner feeling and understanding of the deeper meaning of the ratio or proportion which they were learning.

So measure gradually came to be taught as a sort of rule that was to be imposed from outside on the human being, who in turn imposed the corresponding
measure physically, socially and mentally, in every context in which he was working. As a result, the prevailing notions of measure were no longer seen as forms of insight.

Rather, they appeared to be ‘absolute truths about reality as it is’, which men seemed always to have known, and whose origin was often explained
mythologically as binding injunctions of the Gods, which it would be both dangerous and wicked to question.

Thought about measure thus tended to fall mainly into the domain of unconscious habit and, as a result, the forms induced in perception by this thought were
now seen as directly observed objective realities, which were essentially independent of how they were thought about. Even by the time of the Ancient Greeks,
this process had gone a long way and, as men realized this, they began to question the notion of measure. ~

Thus Protagoras said: ‘Man is the measure of all things’, thus emphasizing that measure is not a reality external to man, existing independently of him.
But many who were in the habit of looking at everything externally also applied this way of looking to what Protagoras said. Thus, they concluded
that measure was something arbitrary, and subject to the capricious choice or taste of each individual.

In this way they of course overlooked the fact that measure is a form of insight that has to fit the overall reality in which man lives,
as demonstrated by the clarity of perception and harmony of action to which it leads.

Such insight can arise properly only when a man works with seriousness and honesty,
putting truth and factuality first, rather than his own whims or desires.”


In "A Beautiful Question" Frank Wilcek says . . .

The classical science of Newton and Maxwell brought new themes into our meditation that seem to conflict with the earlier visions and intuitions of Pythagoras and Plato,
from which we began. But in the quantum world of atoms, a strange world that also happens to be our own, a miracle occurs.

Old ideas come back to life, wearing splendid new forms. In their resurrected forms those ideas attain new levels of precision, truth, and, surprisingly, musicality.

Here is how the new embraces the old: From the heart of matter, music: There is no logical reason to expect that the mathematics
developed to understand music
should have anything to do with atomic physics. Yet the same concepts and equations turn out to govern both domains.

Atoms are musical instruments, and the light they emit makes their tones visible.

In "Something Deeply Hidden", Sean Carroll says . . .

"Consider a string with its ends held fixed, such as on a guitar or violin.

Even though any one point can move up or down as it likes, the overall behavior of the string is constrained by being tied down at either end.
As a result, the string only vibrates at certain special wavelengths, or combinations thereof; that’s why the strings on musical instruments emit
clear notes rather than an indistinct noise. These special vibrations are called the modes of the string.

The essentially “quantum” nature of the subatomic world, in this picture, comes about not because reality is actually subdivided into
distinct chunks but because there are natural vibrational modes for the waves out of which physical systems are made.


The word 'quantum' referring to some definite amount of stuff, can give the impression that quantum mechanics
describes a world that is fundamentally discrete and pixelated, like when you zoom in closely on a computer monitor or TV screen.

It’s actually the opposite; quantum mechanics describes the world as a smooth wave function. But in the right circumstances, where
individual parts of the wave function are tied down in a certain way, the wave takes the form of a combination of distinct vibrational modes.

When we observe such a system, we see those discrete possibilities.

That’s true for orbits of electrons, and it will also explain why quantum fields look like sets of individual particles. In quantum mechanics,
the world is fundamentally wavy; its apparent quantum discreteness comes from the particular way those waves are able to vibrate.
"

In "The God Equation" Michio Kaku, says

"If we had a microscope powerful enough, we could see that electrons, quarks, neutrinos, etc. are nothing but vibrations on minuscule loops
resembling rubber bands. If we pluck the rubber band enough times and in different ways, we eventually create all the known
subatomic particles in the universe.

This means that all the laws of physics can be reduced to the harmonies of these strings. Chemistry is the melodies one can play on them.
The universe is a symphony. And the mind of God, which Einstein eloquently wrote about, is cosmic music resonating throughout space-time.
"

In "The Character of Physical Law" Richard Feynman says

“So I have often made the hypothesis that ultimately physics will not require a mathematical statement, that in the end the machinery
will be revealed, and the laws will turn out to be simple, like the chequer board with all its apparent complexities.”


John Archibald Wheeler says


”It is my opinion that everything must be based on a simple idea and it is my opinion that this idea, once we have finally discovered it,
will be so compelling, so beautiful, that we will say to one another, yes, how could it have been any different.”


Prediction . . . .

All this leads to and in my opinion confirms the cosmological source-consonance of stringularity.

The prediction of stringularity is simply that any sub-atomic particles searched for through
hadron-collision, are positioned and are or will yet be discovered within Pi:Phi field shown here
.

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