"Everybody's got a mother." Professor Ian Douglas; Manchester University. "All life aspires to the condition of music". Walter Pater actually said "all art" - what is argued below suggests "all life" . . .

It is also to love, understand & bear witness to
the fundamental laws of Nature, especially the derivation of 'Phi' & the proportionality of space-time, as first articulated by Pythagoras.
All life aspires to the condition of music, and this is dedicated to all musicians always & everywhere, for whom as he said, "all is number."

The Guarnerius del Jesu - 'Il Cannone' - played by Paganini.

In a nutshell, when we are willing to investigate this 'deeply', it really isn't relevant whether we 'believe' in God or not.
It isn't necessarily the Higgs Field with a Mexican Hat-shaped-distribution described at 'Phi' where 'Phi' results from 'Symmetry Binding' either.

If 'symmetry got broken', what unbroken symmetry preceded that broken symmetry at the 'Mexican Hat'?
What is needed is the derivation of 'Phi', i.e. from what unbroken symmetry does 'Phi' of the broken symmetry come?

Is simply citing 'chaos' = 1.6180339 (the Golden Ratio) a good enough answer?

Is the 'deus ex machina' of a disembodied quadratic equation (1 + √5 )/2 = 1.6180339 ('Phi', the Golden Ratio) a good enough answer?

Is physic's first law - 'Stringularity'- leading inexorably through 'Phi' 1.6180339 (as the Golden Rate) a good enough answer?

Music - not just a theory of 'gravity', but a theory for the origin & derivation of 'gravity' . . . . the 'Higgs Phi-eld'.
Does order come from chaos or does chaos come from order? By putting the question as either/or, is there a danger of unhelpfully sustaining a false dichotomy?
'They' are not 'this' versus 'that' or 'in' versus 'out' or 'sacred' versus 'secular'. As concord precedes discord, does not 'singularity' precede all this as a unifying 'simplicity'?

Albert Einstein once said, "God does not play dice with the universe." He later clarified the comment by adding, "I do not believe in a personal God and I have never denied this
but have expressed it clearly.
If something is in me which can be called religious then it is the unbounded admiration for the structure of the world so far as our science can reveal it."

Stephen Hawking says Einstein was wrong; "Consideration of Black Holessuggestsnot only that God does play dice,
he sometimes confuses us by throwing them where they can't be seen."
Is this just the false sacred/secular dichotomy. Isn't it more a question of being 'heard'. If 'dice' have a design then 'listen', as 'god' is just a 'pun' meaning 'sounds like' (i.e. like a Hz rate).

Whatever the discussion; the fundamental question remains: - "what is the 'source' of this 'design structure'?"

While, ultimately the "consideration of black holes" tends to look at effects more than causes, theories of loop quantum gravity, the densities of 'chaos' don't explain derivation of 'Phi'?
To answer they do, suggests that chaos always precedes, symmetry was always broken & therefore always pre-empts order. So, 'why & how did order & especially gravity come from chaos'?

One could say without a separate 'subject' and 'object', the question doesn't even exist let alone get asked and 'answered'.
However, one can also see that, "Sensitive Dependence on Initial Conditions"
(SDIC) is not just extremely sensitive, but that 'initial conditions' though a 'singularity' are still in some way 'plural', so the question is within that 'singularity' what is the structure of that plurality. . .

. . . & (once again) where did 'it' come from?

Dice and Design

Simply saying endless chaos (where the dice-throws can't be seen), doesn't take the argument anywhere. In the analogy,
it doesn't tell us anything about the dice design.
So is there is a
better way of
considering this core question where 'the answer is that simplest is best?
This is, where oneness (singularity) is not deleted or depleted by what goes into it or what comes out of it.

If its a ' dice' it is s a six-side cube numbered 1 - 6, we have 2 groups of three and/or three groups of two: -

2 groups of 3: - 1,2,3, and 4,5,6 or any variant where each number is used only once and

3 groups of 2: - 1-6, 2-5, 3-4, inverted as 4-3, 5-2, 6-1

i.e. in the Einstein/Hawking analogy, 'God obviously plays dice and at any scale, as God designed them.'
We don't need to, but even better, one could say, 'God is the Design'. Is this why Tetraktys was so important to the classical Greeks?

But what is 'oneness'?
Is it the 'predicate' unifying the
'subject' and the 'object'?
Does the '3-in-1' Hindu idea of Satchitananda or "truth, consciousness, bliss", the ultimate reality, answer this?

Music, Core Questions & the key point. In sutra '42', Lao Tse expressed all this sequentially as, 'from one comes two, from two come three, from three come the ten thousand things'. (The 'ten thousand things' are fundamentally and repeatedly referenced in the Tao Te Ching).

That sounds as though its just getting bigger in 3 dimensional ratios. But that is not the whole truth.
We need at least the 4 dimensions of space-time to express the a truth that, if not whole, then is at least less incomplete.

So this embraces rates and ratios, e.g. bigger/slower, smaller/faster - this is the cosmos of 'space-time'.
No-one knew this better than Einstein who loved music and was an accomplished violinist.

Yet from the venerated Pythagoras to these venerable latter-day cosmologists, all seem to have missed the key point . . . .

Pythagoras

Around the same time as Lao Tse and Buddha (530 BCE), Pythagoras conducted his famous 'string experiment'.
In Crotone Southern Italy saying, "all is number", Pythagoras introduced the idea of the 'the Music of the Spheres'.

Einstein
Einstein was a violinist and once said, “Life without playing music is inconceivable for me.
I live my daydreams in music. I see my life in terms of music. I get most joy in life out of music.”

Hawking

Stephen Hawking loved music and as his favourite, wanted to take a disc of Mozart's Requiem to his 'desert island'.
He
called the Pythagoras string-experiment the first instance of theoretical physics - simply 'a tuned violin string'.

The 3-2-1 aphorism of Lao Tse
easily
fits with this 'first instance'. It is where the 3-in-2-in-1 'trinity' commutes
'perfectly' or
rationally in what in music is called a 'hemiola' - this is simply beating 3 in the time of 2 in the time of 1.

"Non credo, ma lo so!"

This is not the speculation of 'I believe' - 'credo'; it is the fact 'I know' - 'scio' (Latin from which our word 'science' comes).
I am just 70, but as a life-long violinist and like all other musicians through the ages . . . (and there's nothing theoretical about this) . . .

. . . we know this to be true;
with a string of constant length & tension, halve the length, double the frequency;
third the length, treble the frequency & so on - music wouldn't exist without this structure being 'perfectly true' . . .

Its called 'the harmonic series' . . . . . if it sounds 'abstract', ask any musician if they could play without it being 'real'.

'Stringularity' is true at all scales

Music is only possible bcause the 'fundamental' & and its 'harmonics' as demonstrated by Pythagoras are 'true'.
Let us call this 'stringularity'. This is 'science' ('scio') not a 'belief' ('credo') and it remains true at all and any scales.

From the outset, it is crucial to recognize
this is not an 'icon' in search of an iconoclast.
There is certainly nothing
'theoretical' about it as its just a violin string and we couldn't play if we didn't know and rely on this being 'true'.

Certainly in music, 'stringularity' is the 'Initial Conditions' on which subsequent conditions are so sensitively dependent.

This 'stringularity law' gives rise to the 3-2-1 HEMIOLA, a Trinity of Wholeness
Pythagoras’ famous ‘string experiment’ - (sounds like) . . . .

Touch the image to see and hear how this demonstrated in Pythagoras’ famous ‘string experiment’ (~ 530 BCE)
in three dimensions, with the fourth showing time-dependency (Hz) where: -

if a string of constant length and at constant tension vibrates at 1/1 it gives
One Fundamental at for example 100 Hertz

if the same string of constant length and at constant tension is divided into two 1/2 lengths, the rate at which each 1/2 vibrates doubles & gives
Two Perfect Octaves (with the fundamental at 100 Hz, this is the 'Tonic') at 200 Hertz

if the same string of constant length and at constant tension is divided into three 1/3 lengths, the rate at which each 1/3 vibrates trebles & gives
Three Perfect Fifths (with the Octave as 'tonic', the Octave and the 5th are called the 'Dominant) @ 300 Hertz

THREE, vibrating in the time of TWO, vibrating in the time of ONE, is called in music a ‘HEMIOLA’.
Taken together as the proportionality of Ratios & Rates, this is the immutable foundation of the stringularity law

This is a precise and simple measured structure of 'relativity', where longer/slower has the inverse of shorter/faster . . . This may sound very 'abstract, but at a human scale, this is just beating one against two against three.
This
3-2-1 HEMIOLA is much more musically: -

But the Key Question is 'derivation' &the Key Point missed is . . . ?

John Archibald Wheeler & Richard Feynman both seemed to recognize that the direction of answering this
goes to a unifying 'simplicity' that, whatever we call it, is some non-complex functional
& useful reference standard. In other words, something that is less evasive than the density of 'chaos', underlies, generates & at core helps explain providence & the complexities arising.

Bear in mind, the Hemiola or 'Stringularity' is still at the root of this entire structure.
In common with many other physicists who routinely cite Pythagoras, Hawking's reference draws well short of acknowledging the profound resonancestructure of this first real (not 'theoretical') instance of physics.

Stringularity gives rise to the 'Perfect Octaves' and the 'Perfect 5ths', revealing also the 'Well Tempered 5ths' and the subtle
'dominance' of the circle of 'Dominant 7ths', but it also gives rise to the 'organic' or neg-entropic 'feminine principle' of 'Phi'.

The 'resonance of the Hemiola' is providence giving both the Perfect 'logia' of harmonic structure but also the organic 'alogia' of 'Phi' that transforms it.
This indicates that the reality of diversity and chaos that confront us, is derived from and constantly informed by the latent unitary source-order that precedes
it.

This derivation of 'Phi'
from the 'Hemiola' is constant, working literally at any scale.
Here are: -

As deceptively simple as the violin - with Peripeteia dawning on one only very slowly (revelation precedes revolition) - derived from the Initial Conditions of Stringularity
comes the ineffable creative beauty of 'Phi' (0.618) without the dynamic organising power of which, the Cosmos could not and would not exist.

It becomes apparent with 'well tempered tuning' (WTT), making modulation in all keys and any register possible as 'equally in tune'. WTT 'normalizes' the
growing gap
between a sequence of 12 Perfect 5ths (1.5^12) and 12 Well Tempered 5ths (1.4983070768^12) so the latter commute with 7 Perfect Octaves.

However, the issue here is not how far does the irrational number of 'Phi' extend (this goes on for ever and ever), the issue is do any
deviations above and/or below
that derivation curve, degrade the 'hemiola' to a chaos incapable of generating anything, let alone 'Phi'.

As deviation cancels it, no deviation confirms the derivation. Of course, this can be attacked for being a self-referential argument (which it is).
But this criticism needs to prove that the 'hemiola' doesn't exist, which as the first law of theoretical physics it can't and at any scale it is self-evident.

The irrational 'Phi' comes from the structural resonance of 'Stringularity'

So (the conjecture is) as volume increases & velocity decreases during inflation just
after the big bang, from latent to patent this derivation of 'Phi'
or 'gravity' is revealed as inherent in and emergent from the '3-in-1' fundamental of the 'hemiola' embedded in fundamental axiom of 'Stringularity'.

Perhaps its understandable that Stephen Hawking missed this structural resonance.

So the origin of 'Phi' as a rate-value in 'space-time', is derived from 'Stringularity'
& the
Pythagorean Comma recombining'Symmetry Broken' with 'Symmetry Bound'.

'Phi' is not just a disembodied ratio in 'space' resulting - deus ex machina - from a disembodied quadratic equation ((1 + √5 )/2 = 1.6180339).
This derivation of 'Phi' shows it as a rate-value in 'spacetime' as a function of recombining 'Symmetry Broken' with 'Symmetry Bound'

Why is this derivation of 'Phi' so important

It is: -

'Axiomatic' - a constant that is also 'irrational';

'Emergent' - a simple consequence of 'Stringularity'

'Catalystic' - an irrational and unchanging value that at the same time causes and profoundly shapes rate-change;

A formative precursor to the audible & visible (observable/measurable) universe for the 13.8 billion years since the so-called 'Big Bang'.

As such this simple derivation of 'Phi' and its ineffable significance comes much nearer to answering the points about being "simple, compelling and beautiful" made by John Wheeler and Richard Feynman quoted above, as 'Phi' gives . . .
and as Stephen Hawking recognised in the Grand Design . . .

The 'Golden Spiral'

where 'Phi' is the defining value of deflection in the Golden Spiral, Nature's 'vortex spin' (or 'torque') which decreases by 0.618 for every 90° rotation;

revealed as 'creatrix' - the feminine principle - 'that which binds-back' (re-ligare, the real meaning of 'religion') on which all of creation depends

In other words, this derivation of 'Phi' gives a 'neg-entropic' curvature that fundamentally informs the Universe that we find ourselves within;

It is a transparent, compelling and beautiful derivation of the irrational value of 'Phi' as a rate/ratio and 'we' wouldn't be here without it.

The compilation of these images was inspired by the Grand Design.

'Phi' - at exactly step 12.618 of the Pythagorean Comma - also seems to be: -

closely related to the Fine Structure Constant, which appears on this curve near PC step 13 (just after PC step 12.618);

functionally entangled in the Higgs-Boson/Higgs-Field (the gravitational influence that slows much of everything from travelling at the speed of light).

The simplicity of 'Well Tempering' from this derivation of 'Phi' is at the heart of 'C&C' methodology &
is precisely what music has to do with a rationally risk-averse global-climate policy-response.

This is why it is better to understand any UNFCCC-Compliant response to climate change as a 'framework-based market' rather than a 'market-based framework'.
It is not a credo where, 'I believe'. This irreducibly simple 'order' is axiomatic and it precedes & constantly informs & shapes the 'chaos' within the given order of scio, where 'I know'.

Like music, life is evol-'u'-tionary. This now needs to be 'evol-'i'-tionary'
or 'goal-focused' as 'organic growth' within limits - this is 'neg-entropic'.

The 'functionality' of cause & effect that emerges from these simple numbers gives rise to an evolutionary process that embraces chance, change & what we think of as 'choice'.
But, governed by 'Phi' & so within this very functionality, an organically goal-focused tendency to integrate, self-limit, self-structure, & resolve is also embraced.

Like the rates of music, life itself is also evolitionary. This countervails the 'randomness' of infinite growth, but also the fully interlocking geometric ratios of 'rigidity'.
It is this potency of the neg-entropic rates of 'evolition' that reshapes the merely entropic tendency to expand, dissipate and disintegrate, with what is alive, supple, nested and resilient.

Thus the goal-focused neg-entropic potency of 'Phi' is embedded at the heart of creation and fundamental to why the universe, its diversity
(including 'us') exists in the first place. Embedded in
the 'Well Tempered Climate Accord' music is therefore fundamentally relevant to UNFCCC-Compliance.

All from the 'Hemiola' - and the truly awe-inspiring 'So-Phi-a' - Though it can be said that, "all life aspires to the condition of music" . . . .
all we ever really have is the tension between freedom and the first law of physics . . .

This curvature of
the 'Phi-Code' is the evolitionary 'matrix', recognized since time immemorial as the named 'Golden Womb' (Hiranya Garbha), or simply the 'feminine principle'.

What all this is really saying is that the 'dichotomy', whether between

the sacred & the secular and/or

the left & the right

chaos versus order

etc

ultimately offers a choice that is false.

Enquiring to this level may help better to reveal why: -

after 30 years of a disastrous climate-strategy,

of chaotically picking numbers out of a hat,

in the face of a growing existential threat

where we continue to cause this problem faster than we respond to avoid it

the rate of climate loss and damages is rising and

we are now worse placed for UNFCCC-Compliance than we were 30 years ago