Quantum Sphere Music Dance Meditation: Revisiting Fields Medal Math Professor Alain Connes noncommutative music theory math as the secret of nonwestern dance meditation By Drew Hempel, MA EcoEcho Publications, 2020 "This musical property is the counterpart of the principle mathematical characteristic of the Pythagorean diatonic, very Pythagorean indeed, constituted by the fact that each interval of the scale is expressed by the ratios of type 2 to the m divided by 3 to the n OR 3 to the m divided by 2 to the n." Professor Fabio Bellissima,"Epimoric Ratios and Greek Musical Theory," in Language, Quantum, Music edited by Maria Luisa Dalla Chiara, Roberto Giuntini, Federico Laudisa, Springer Science & Business Media, Apr 17, 2013 So because the left hand is odd and the right hand is even therefore the equation is noncommutative. Put more simply, since 2 does not go into 3 then the multiples of 2 and 3 also remain asymmetric in their value. The reason they are asymmetric is because of the octave value changing in relation to the 3. “To put the same thing in another way, we have just identified the frequency ratio 1.5 with the interval of a [perfect] fifth, although our table gave the value as 1.4983. The difference is only small – 1.13 parts in a thousand – but by the time we have taken the twelve steps needed to pass completely around the clock-face, it has been multiplied twelvefold into the difference of 13.6 parts in a thousand, which represents the aforesaid difference in pitch of almost a quarter of a semitone. When this is allowed for, the true clock-face is that shown in fig. 55; it extends to infinity in both directions and all simplicity has disappeared.” Sir James Jeans book Science and Music, (Dover Publications, 1968), p. 166 1.05946309436 So that is the value of the 12th root of 2 for equal-tempered tuning. So then you take that to the 7th as 7 half steps from the tonic and you get = 1.49830707688 So that appears to be close enough to 1.5 for 3/2 as the Pythagorean-Daoist harmonics. But as Sir James Jeans points out: this "error" multiples. So 2 to the 7th is 128 and 3 to the 12th is 531441 And so the assumption is that the logarithms can be added so you get 2 to the 19th=524288 And so the Pythagorean Comma is 531441/524288=1.01364326477 Whereas if you take 3/2 to the 12th instead of assuming that the octave can be divided out of the 3 though "halving" - then you get 129.746337891/128=1.013671875 So then it was recently claimed to me that if there is a Hertz harmonic relation between two frequencies then that same harmonic pitch does not hold for other Hertz values. This covers up that the INVERSION has to occur to the octave in order to achieve the Hertz values. So we can see the above crucial difference is the SAME difference I have pointed out for the Pythagorean Comma in Sir James Jeans calculation versus the typical logarithmic assumption. https://archive.org/details/springer_10.1007-978-3-0348-0672-5 Sir James Jeans, Science and Music, archived. The logarithmic assumption already assumes that the Octave Pitch can simply be reduced to one value! What I did was show the major third 5/4 and minor sixth 8/5 as then the solution to approximating the doubling of the cube through irrational geometry (the cube root = 5/4). "The most frequently used intervals—the octave, perfect 5th and 4th—correspond to those considered the most consonant by culturally diverse listeners (Bowling & Purves, 2015; Burns, 1999), an observation that is all the more impressive given that the frequency resolution of the human auditory system is sufficient to distinguish hundreds of unique intervals (Parncutt, 1989; Roederer, 2008). "   The Nature and Nurture of Musical Consonance (PDF Download Available).  So Alain Connes, et. al., present the tritone pitch ratio as the basis for noncommutative phase logic. The square root of two is from 9/8 as the major 2nd tone that is cubed as the tritone. Of course we don't learn the Pythagorean Theorem this way in school – from music theory - but in fact that is the true origin of the square root of two, from the major 2nd music interval (9/8). So in fact 9/8 is from 3/2 (squared) and then "halved" back into the same "octave." This covers up the fact of the noncommutative phase logic that Alain Connes reveals as the true origin of the Tritone music interval. So in Daoist harmonics that symmetric math "operation" or algorithm DOES NOT TAKE PLACE. So that algorithm already assumes a geometric continuum based on symmetric logic of ratios. For Pythagorean Noncommutative Phase numbers, to quote Fields Medal math professor Alain Connes: "Their spectrum is SO DENSE that it appears continuous but it is not continuous." Math professor Luigi Borzacchini states: "We can suppose that the Quadrivium in its earlier Pythagorean version did not know any discrete/continuous opposition." And to quote math professor Louis Kauffman: "All of this points out how the complex numbers, as we have previously examined them, live naturally in the context of the non-commutative algebras of iterants and matrices….The special synchronization is the algebra of the time shift embodied in ηη = 1 and [a, b]η = η[b, a]" So Professor Kauffman worked with Eddie Oshins at Stanford Linear Accelerator Center where Oshins realized that the Neigong alchemy training of Daoism is directly from noncommutative phase logic. To quote Eddie Oshins: "My claim, and original idea, has been that this is circumnavigating a T'ai Chi (Yin/Yang) symbol! More recently (Oshins, 1993b) I have suggested that this proximate technique can be used to realize Wing Chun kung-fu's "bong sau/tan sau" movement [youtube] out of the Kauffman/Oshins "quaternionic arm" discussed and referenced below in end note 5." and "The "Quaternion Handshake" illustrates the fundamental orientation-entanglement relation that interlocks the structure of the quaternions with the geometry and topology of an object connected to a background in three dimensional space. In this case the objects are human hands, the background is the body and the connection is the arm that links hand to body. ... " Starring: Martial Arts By: Louis Kauffman John Hart Eddie Oshins And "Soon after creating the binary number system (used in modern day computers), Leibniz found out about this ancient symbolism and attributed the origination of the binary numbers to the Chinese. In addition to their usage as oracles or as representations of patterns of Nature, these symbols were precursors to a school of health systems, mind exercises and martial arts known collectively as neigong/noi kung (the "inner" or "internal" school of "shaddow boxing"). The most well known of these esoteric skills are taijiquan/t'ai chi chuan ("grand pinnacle" boxing), hsing-i chuan ("form of mind/will/intent" boxing), and baquazhang/pa kua chang ("8 trigrams palm" [boxing]). "In this talk, Eddie will give a short history of the above concepts and, in light of some work he has been developing in his Quantum Psychology Project®, he will propose a new reinterpretation of these symbols. He will demonstrate mathematical aspects, such as the consequent "orientation-entanglement relation" and the Kauffman-Oshins "quanternionic arm." Eddie will use these concepts to illustrate his notion of "self-referential motion," and relate such understanding to both gongfu (kung-fu) and psychology." a Daoist alchemy scholar Pregadio translating on Neidan: "The twelve-stage sequence also establishes correspondences with other duodenary series: ...the bells and pitch-pipes." Foundations of Internal Alchemy: The Taoist Practice of Neidan  we find, on page 130, Table 6: Sovereign Hexagrams" The twelve "sovereign hexagrams" (biguas) and their relation to other duodenary series: earthly branches, bells and pitch-pipes, months of the year, and "double hours" And this: "The Chinese concept of music as radically different than the West: “This is not simply a case of assigning pitchpipes to the 24 nodes as a system of correspondence; rather the qi [energy] of the nodes themselves were believed to resonate these tones. With the arrival of each seasonal node, in other words, the appropriate pitchpipe was supposed to spontaneously emit its note.” John S. Major, “Celestial Cycles and Mathematical Harmonies in the Huainanzi,” Extreme-Orient, Extreme-Occident, 1994. See also Erica Brindley, Music, Cosmology and the Politics of Harmony in Early China, (SUNY Press, 2012).  Juzhong Zhang, Xinghua Xiao, and Yun Kuen Lee, “The early development of music. An analysis of the Jiahu bone flutes,” Antiquity Journal, July, 2005 documents a 12 tone Pythagorean yin-yang scale in China from the sixth millennium BCE. "After 9,000 Years, Oldest Playable Flute Is Heard Again" And so: As arising from the Diapason or Tai Ch'i of the Wu Chi (the void), sound healer John Bealieau comments, "the fourth and fifth work together as yin and yang...The fifth and the fourth are the basis for the 1-4-5 chordal progressions found throughout music of all cultures." Dr. John Bealieau, Music and Sound in the Healing Arts, p. 47 And to quote: “But the fifth is a given of the Chinese pentatonic scale (possibly symbolized by five dots in the center) and is omnipresent in Daoist cosmology as the first female (2) and first male (3) number, as cited previously in verse 42 of the Daodejing.”  Qigong master Michael Winn And to quote: "The Greek Pythagoras (C5 BC) plagiarized these African fundamental 10 oppositions: (1) Limited/Unlimited; (2) Odd/Even; (3) One/Many; (4) Masculine/Feminine; (5) Right/Left; (6) Straight/Crooked; (7) Rest/Motion; (8) Light/Darkness; (9) Square/Oblong; and (10) Good/Evil." Professor Wim van Binsbergen on geomantic divination - the I Ching link to African philosophy. So to get back to the noncommutative music math: To quote Professor Patrick Edward Moran: "The Chinese rule is very simple: Take 2/3 of the length of the open string, and put down a fret there. Then take 4/3 of that second length and put down a fret there. The third step is to take 2/3 of the last length, then 4/3, and so forth. Let's see how that works." http://users.wfu.edu/moran/Cathay_Cafe/G_tar.html And this: “Before the idea of frequency existed, however, the same relation was expressed simply in terms of length, the length of a resonating agent multiplied by 2/3 being equivalent to the frequency multiplied by 3/2. The length of a zither string, then, multiplied by 2/3 gives a note which when struck is a perfect fifth higher than its fundamental. This is the first step (or lü) in a process which evolves an unending spiral of notes. The length of the resonating agent which sounds the perfect fifth is then multiplied by 4/3, the resulting note being a fourth below the perfect fifth . . .” Joseph Needham, Science and Civilization in China, Volume 4, Part I, pp. 172–173. So again from Sir James Jeans: This ratio, 129.75632 : 128 is the Pythagorean comma. 12 perfect fifths do not equal up to 7 perfect octaves: (3/2)^12 ≠ (2/1)^7 or you could say (3/2)^12 / (2/1)^7 ≠ 1. Whereas the FIRST logarithmic equation maintains a 3/2 fraction for the Perfect Fifth (pdf link) (since based on noncommutative phase the 3/2 is a different frequency pitch than 2/3 in relation to the root tonic or octave). https://www.whitman.edu/Documents/Academics/Mathematics/bartha.pdf So by explaining that the Perfect Fourth as 4/3 is allowed by using the INVERSE of "rule two" (the Perfect Fifth multiplication as 3/2) - this is what I call the "Bait and Switch" - which is NOT mentioned is that going DOWN a Perfect Fifth is a different PITCH to the root tonic as the Perfect Fourth and so it can't be simply "doubled." In other words a Perfect Fifth is NOT a Perfect Fourth - our ear hears the different in relation to the root tonic due to the difference in frequency overtones and undertones. So that means a different "octave" has to be used. So the "rule 1" (the octave multiplication as doubling) is now applied to G instead of C so that G is the new octave. In the way Philolaus set it up by flipping his Lyre around then F is the new octave instead of C. So it's 0 to 8 for 3/4 as 6/8. So either way the root tonic has to be changed which then changes the pitches of the Fifths to the octaves, in order to achieve the 9/8 as irrational magnitude for geometric magnitude pitch (not frequency/time pitch). Normally it is taught in Western science that human hearing can't hear the phase shift – but this assumes that we ignore the relation of the root tonic as the basis for the de Broglie-Einstein relativistic Doppler Effect or Law of Phase Harmony – the "blue beat box" of light. "However, because the human ear is not sensitive to the phase of a sound, only its amplitude or intensity, only the magnitude of the envelope is heard. Therefore, subjectively, the frequency of the envelope seems to have twice the frequency." This ignores the noncommutative phase to the doubling of the frequency! The Perfect Fifth remains the same but in one direction it is 2/3 as C to F and in the other direction it is 3/2 as C to G. So then the Perfect Fourth is yin as 4/3 but in alchemy this yin has to be converted back into 2/3 as the Perfect Fifth to the root tonic as infinity. In fact human hearing is FASTER than the Fourier time-frequency uncertainty relation of phase shifts. So therefore our human hearing is based on quantum coherence of the noncommutative phase, denser than the discrete/continuum dichotomy. http://elixirfield.blogspot.com/2019/11/reviewing-secret-noncommutative.html https://elixirfield.blogspot.com/2019/05/a-chaos-scientist-freaks-out-about-what.html So, for example, 66 Hertz is F to 100 Hertz as C – a Perfect Fifth subharmonic. 150 Hertz is the Perfect Fifth as C to G. The same C and so it's non-commutative (2/3 as F to C and 3/2 as C to G). Now the question is asked: Is there a doubling of octaves or not with frequency? O.K. so for Hertz again on the Harmonic Series – it is 3/2 since the “root” frequency is 100 Hertz and it is the “root” frequency that is doubled as the octave; So then G to C as 4/3 can’t be used as the Perfect Fourth; It is inconsistent with the “root” frequency as 1 or 100 hertz. The 3 is not the “double” of 1 or 2. In other words in the same scale if G to C is 4/3 then why is G to C as 4/3 in the harmonic series not allowed for defining the Perfect Fourth?  So instead the subharmonic of 1 as the Harmonic Series or 100 Hertz is used as 2/3x or C to F in the opposite direction – a longer wavelength. So we can just ignore that it is C to F as the Perfect Fifth in one direction while it's C to G as the perfect Fifth in the other direction? Harmonics are perceived as pitch intervals and not just Hertz frequency. So it’s been stated then that using “F” as the new root frequency for doubling the octave you still get – close to, but not quite the doubling of the octave of 100 hertz as C. Let’s check the Hertz: 132 plus 66 = 198 Hertz. Yep it's almost the same as 200 Hertz. It’s two Hertz off – exactly the same difference as the error of time-frequency uncertainty with the truth of the “infinite spiral of fifths.” Physicist Iori Fujita: “But even Δt is 1.000 sec, the bandwidth remains about 2 Hz… In other words, theoretically we cannot get the perfect fifth tone with a frequency f ( that is ν ) from a root tone with a frequency f0 by calculating f = f0 × 3/2.”   So the point that Alain Connes is making - and the same point that I realized intuitively - is that this difference is due to noncommutative phase as a mathematical structure, not based on any specific numbers but rather on the pitch ratios being noncommutative to infinity. "When Δν is 0.1Hz, Δt should be more than 1 /(4π *0.1)" So we can see that Hertz inherently means symmetric phase of  4π  And this standard explication: "Since the radian is a dimensionless unit, the radian per second is dimensionally equivalent to the hertz—both are defined as s−1. This may lead to confusion between the quantities angular frequency ω and frequency ν. " "FIGURE 1. Amplitude (y axis) against time (x axis) for (A) Mistuned unison, a case of first-order beating (the interval ratio is 400/403 Hz, 𝜀 = 3, 3 beats). (B) Mistuned octave at 803/400 Hz (𝜀 = 3, 3 beats), a case of second-order beating. (C) Mistuned fifth at 603/400 Hz (𝜀 = 3, the beats are 2𝜀), also a case of second-order beating." https://www.frontiersin.org/files/Articles/306274/fpsyg-09-00381-HTML/image_m/fpsyg-09-00381-g001.jpg So that is why Connes describes the Quantum Sphere as 2, 3, infinity. We listen FASTER than Fourier Uncertainty - so we can hear the exact frequency of 2/3 even though it can't be precisely calculated. This is because listening as perception is quantum coherence - at the sub-angstrom wavelength. So the 1/2 spin of the fermion electron is inherent at "zero time" but science only measures the total angular momentum at a zero time of geometry - which then "after the fact" verifies the non-local connection of the 1/2 spin particles. So the key secret is that Yuan Shen in Neidan alchemy is based on light having a zero rest mass and therefore an inherent relativistic mass from virtual photon energy of the future. This 1/2 spin is then the 720 degrees of the radians that has to be converted from time-frequency uncertainty in terms of statistics - just as Planck was inspired by equal-tempered music tuning (logarithms) to derive his Planck's Constant. So the "average" energy of light then HIDES this second time from the future. But as others have revealed (Dr. Juliana Mortenson), Planck's Constant by using Joules has then hidden this 2nd time factor of light in relation to seconds, thereby just creating an invariant frequency term, as was done by Hertz and Planck was directly inspired by equal-tempered music tuning to create his Planck's constant!! Juliana Mortenson (formerly Brooks): "The mean energy of a single oscillation or wave of light [energy/number of oscillations) is numerically equal to the value of Planck's proportionality constant "h"....The photon, as historically defined, is a time dependent packet of energy, based on the arbitrary measurement time of one second....An arbitrary one second energy increment cannot be a truly indivisible and elementary particle of nature....The variable for measurement time was relegated to an invisible existence as a hidden variable, with an implicit and fixed value of "one second." ...Planck thereafter adopted the methods of Wilhelm Wien to convert the experimental black-body data, from time dependent energy measurements to energy density measurements seemingly "independent" of time....The wave and the particle of light are not simply dual, they are identical....Planck described resonant electromagnetic waves as orderly "homogenous vibrations"..."the energy would have to be completely free to be converted into work." This was Planck's insightful Resonance Hypothesis." pdf link 2010 - Double your Kinetic Energy Juliana Mortenson and this: "The same Planck's constant, the quantum of action, is not simply energy per second but an energy per cycle per second - the cycle is generally missing. And, naturally, it can be said the same for the Heisenberg's uncertainty limit, that it is not more than a technical limit of the spectral analysis. This way the frequency, the most purely temporal phenomenon, is emptied of any content and becomes a mere integrant part of the formulas." The Left Hand of Chaos by physicist Miguel Martinez Iradier Professor Patrick Edwin Moran again: "the mistaken idea that the Plank constant is the smallest possible unit of energy…. If h were the smallest possible amount of energy, then the basic equation showing the energy contained in photons of various frequency would not balance. It would be wrong." So then as I quote Connes - he REVERSES the order of the 2 and 3 values for 3/2 or 2/3. Connes: "the ear is only sensitive to the ratio, not to the additivity...multiplication by 2 of the frequency and transposition, normally the simplest way is multiplication by 3...2 to the power of 19 is almost 3 to the power of 12....time emerges from noncommutativity....What about the relation with music? One finds quickly that music is best based on the scale (spectrum) which consists of all positive integer powers qn for the real number q=2 to the 12th∼3 to the 19th. Due to the exponential growth of this spectrum, it cannot correspond to a familiar shape but to an object of dimension less than any strictly positive number." So my academia upload gives more details. https://www.academia.edu/41186978/Two_Three_infinity_How_music_is_the_formal_language_of_the_unified_field_theory_The_Noncommutative_Nondualist_and_Nonlocal_Positive_Pressure_Zero_Mass_math_music_model_of_Fields_Medal_math_professor_Alain_Connes 2 to the power of 19 [524288] is almost 3 to the power of 12 [531441]... "time emerges from noncommutativity....What about the relation with music? One finds quickly that music is best based on the scale (spectrum) which consists of all positive integer powers q (to the n) for the real number q=2 to the 1/12th∼3 to the 1/19th. [the 19th root of 3 = 1.05953 and 12th root of 2=1.05946] Due to the exponential growth of this spectrum, it cannot correspond to a familiar shape but to an object of dimension less than any strictly positive number....This means it is a zero dimensional object! But it has a positive volume! As explained in the talk, there is a beautiful space which has the correct spectrum: the quantum sphere" http://noncommutativegeometry.blogspot.com/2012/10/the-music-of-spheres.html So again: "This musical property is the counterpart of the principle mathematical characteristic of the Pythagorean diatonic, very Pythagorean indeed, constituted by the fact that each interval of the scale is expressed by the ratios of type 2 to the m divided by 3 to the n OR 3 to the m divided by 2 to the n." So when we invert the geometric symbols we are also inverting the fractions so that it's 2 to the 19th divided by 3 to the 12th OR 2 to the 1/12th divided by 3 to the 1/19th. Professor Fabio Bellissima,"Epimoric Ratios and Greek Musical Theory," in Language, Quantum, Music edited by Maria Luisa Dalla Chiara, Roberto Giuntini, Federico Laudisa, Springer Science & Business Media, Apr 17, 2013 By the way - this is the SAME argument I made to the math teachers authoring their book on the Pythagorean Theorem - that you can't just invert a geometric symbol without realizing that it is noncommutative: Hidden Harmonies: The Lives and Times of the Pythagorean Theorem - by Ellen Kaplan, Robert Kaplan.  So in this talk he [Sir Roger Penrose] demonstrates why mathematical induction logic is limited. I had sent a letter making this same claim to the Kaplans married couple that crank out "popular" math books. haha. [my blog post in August 2017] https://ecoechoinvasives.blogspot.com/2017/12/hypatia-reincarnated-finally-good.html It’s tangent is CA/BC = m/1 = m. Therefore, the slope is the tangent of the angle of slope.  And so we can see what just happened - the Y value got reduced, as a function of time, to a limit of zero as a pure geometric magnitude "point" of no dimension! Aka "m."  as long as it is a "fixed point" (in time).  And that, my friends, is the bait and switch. There is no "fixed point in time." There is eternal motion. The only way we can experience a true "fixed point" is if there is no space at all - when light is turned around back on to itself - but this creates reverse time energy as noncommutative phase - the superluminal pilot wave from the future! In quantum physics this is how the noncommutative phase logic is covered up: To quote Math professor Louis Kauffman again: "The time of the nexus is at once flowing, beyond motion, an eigenform, a geometric operator, and a discrete dynamics counting below were counting cannot go….  "Time and the square root of one are inseparable in the temporal nexus....only [square root of one x change in time] represents a true interval of time....Once this substitution is made, once the correct imaginary value is placed in the temporal circuit, the patterns of quantum mechanics appear." Notice how no indeterminate randomness is mentioned! haha.  " discrete measurement leads to commutators and how discrete derivatives are naturally represented by commutators in a non-commutative extension of the calculus in which they originally occurred. We show how the square root of minus one (i) arises naturally as a time-sensitive observable for an elementary oscillator. In this sense the square root of minus one is a clock and/or a clock/observer."  Kauffman 2011 And this from Sina Khorasani: "It has been argued that the commutation stated in the fourth postulate is a consequence of the operators associated with the corresponding observables, and thus a consequence of the experiments....a connection between discrete Fourier transform and uncertainty relations used in signal processing applications has been noticed in the past… "imaginary number x Planck's Constant as h-bar [ h divided by 2π,]....a comparable commutator between energy [frequency] and time... [change in]energy x [change in]time = 1/2 h-bar [half of the quantum phase space is quantum spin, which cannot be put in a Poisson bracket]." A Proof for Poisson Bracket in Non-commutative Algebra of Quantum Mechanics by Sina Khorasani, University of Vienna, 2014 pdf Dirac realized that the noncommutative math could not be visualized - and that the Poisson Bracket actually was first used by Whittaker.  page 299 of A Treatise on the Analytical Dynamics of Particles and Rigid Bodies by Edmund Whittaker - "...as Dirac had surmised, the Poisson bracket, which first appeared over a century before in the writings of French mathematician Simeon-Denis Poisson..." And this: "Next, an exact self-adjoint 4 × 4 relativistic time operator for spin-1/2 particles is found and the time eigenstates for the non-relativistic case are obtained and discussed. Results confirm the quantum mechanical speculation that particles can indeed occupy negative energy levels with vanishingly small but non-zero probablity, contrary to the general expectation from classical physics. Hence, Wolfgang Pauli's objection regarding the existence of a self-adjoint time operator is fully resolved."  Time Operator in Relativistic Quantum Mechanics, Sina Khorasani, 2017 I challenged the Kaplans about the very same problem of assuming a commutative value of a geometric point with a one to one conversion to number. In other words is infinity a symmetric inversion to zero? No.  So you can have 3/1 = the same OCTAVE by using "G" = C for creating irrational geometric magnitude for 9/4 (from D to C from the G octave value of 6 to 1 or 9/6 for D to G). But as music theorists point out you can NOT have 4/3 as the Perfect Fourth because 3 can't be in the denominator as the octave multiple of the 1 in geometry! In other words the C octave to G harmonic used for the 9/4 (D to C) ratio is by claiming the WRONG harmonic resonance value of 3 for the 1 to infinity. So instead of a 3/1 value it is a 9/6 value with the 6 as a harmonic of the 3 (G to G' new octave). Then the 9 is the "bait and switch" to 9/4 and halved back into the same octave of the C as 9/8 for irrational geometric magnitude - thereby covering up the noncommutative phase truth of reality. So then when Connes states in regards to music theory - that it is Noncommutative - this is what he is referring to!! "It is precisely the irrationality of log(3)/ log(2) which is responsible for the noncommutative [complementary opposites as yin/yang] nature of the quotient corresponding to the three places {2, 3,∞}. The formula is in sub-space...." And this: "That is the reason why when people are doing quantum physics, if you only use quantum mechanics, they do not see the difference. Only if you go into relativistic theory, you have not only one, but an infinite number of them, disappearing as matter and occurring at interactions. So we are in a way mislead by Schroedinger who said, "Why do we need the Matrix mechanics of Heisenberg, when with only the algebra I make the Schrodinger equation that is in space and time. And that is the way, to my mind, the reason why we are on the wrong track. If the biologists try to get an understanding of biology is a complicated [interrupted] of the old physics. They make it so complicated...if you have dead matter and glue it together....it will never get alive." Prof. Dr. Hans-Peter Dürr, former head of the Max Planck Institute for Physics in Munich So Heisenberg Uncertainty of position and momentum is transferred into a symmetric mass measurement of particles - but what is covered up is that the position-momentum uncertainty started out, as de Broglie first discovered, with frequency as directly proportional to momentum! So that "negative frequency" is reverse time as supermomentum or virtual photon energy-information from the future. As we recall from de Broglie: frequency is to time as momentum is to wavelength. Quantum physicist Dr. Guenter Nimtz sends superluminal sound signals through the 5th dimension: "the superluminal acoustic effect we have described is likely a ubiquitous but imperceptible phenomenon in the everyday world." https://www.nature.com/articles/nphoton.2011.17 "on the [BLUE] beat of the light clock! So we have two effects: the clock frequency [red] decreases the light frequency [green] increases One frequency [RED] is related to the cavity, the resonator The other frequency [GREEN] is related to the wave, the vibrating thing. Physics Professor Manfred Euler: "Binaural hearing is the acoustic analog of the interferometer or double-slit experiments. The two ears can be regarded as an acoustic interferometer, which recovers the phase difference of signals between the two ears by binaural correlation….matter waves are locally in phase with the superluminal particle clocks (de Broglie’s Law of Phase Harmony). The clock runs forever so it’s self-sustaining (consciousness-energy). It resonates with the quantum vacuum....Yet an acoustical answer can be given! Play the above mentioned infinitely rising tune and listen to a parable of scientific progress: The progress goes on but the central epistemological questions remain invariant." So by relying on the wave function as amplitude squared from the wavelength then we are losing the de Broglie supermomentum as reverse time or negative frequency. As we look into a black hole, due to relativity, as the particle approaches the speed of light then the wavelength increases and time slows down. But the internal frequency, as de Broglie realized, based on quantum energy ALSO increases since the mass is due to noncommutative time-frequency (momentum). So this means there is a secret 5th dimension black hole/white hole of light - a negative frequency or superluminal phase aka negative refraction index to the vacuum of spacetime. So the wavelength expands and gets bigger as the frequency of the particle as velocity increases towards the speed of light - due to relativity. But due to the music harmonics of frequency as inverse to time then since the frequency as momentum is increasing (from de Broglie) therefore if the time as wavelength is also increasing from relativity then there HAS to be a negative frequency from the future that has a reverse time. That way the quantum frequency as negative energy (virtual photons) is inverse to the negative time as EMPTINESS from the future. It is William Tiller (working indirectly with qigong master Chunyi Lin via Dr. Nisha Manek) that emphasizes the power of  Yuan Qi is not from the frequency being negative as virtual photons but from the Negative TIME as negative mass! What both Alain Connes and Basil J. Hiley are emphasizing is that at each "zero point" of space there already is a 5th dimension of noncommutative time-frequency energy with the past and future overlapping. Nobel physicist Gerard 't Hooft agrees: The energy of light is due to it having a "negative refractive index" of spacetime at each zero point of space. So even though light has a zero rest mass the light is CREATING a positive mass as particles due to our own brain physical matter creating a positive refractive index that slows down the speed of light in our measurement perceptions. As Astro-physicist Paul S. Wesson realized - reality is a 5th dimension black hole such that everything is happening at the SAME time at the speed of light. So there is a definite energy to the Universe that is from the future - negentropy - and thus creates the illusion of matter due to light self-annihilating at the zero point of space. This is why H.W.L. Poonjaji and the nondualists of Advaita insist that NOTHING ever HAPPENS and that the SELF is NOT the light but rather the Shakti energy that creates the light - the OM of the light. When we listen though we can HEAR the source of sound based on what is the perceived "root tonic" as the One of the sound - thereby creating both overtone frequencies going up (as sound coming towards us in phase shift) and frequencies going down as undertones. So we can HEAR the phase shift in relation to the root tonic or fundamental pitch of the overtone and undertone series. So for example in meditation for Throat Singing - it is by LISTEN to the overtones that we create a phase shift as a significant amplification of sound via the undertone harmonics! So therefore as the frequency goes up there is a phase shift that gets smaller but there is also a subharmonic "beat" or difference between the root tonic and the frequency going up as overtone to create a REVERSE TIME from the future - that increases in amplitude as NEGATIVE TIME from the increase in the frequency. So the external perception of the person or scientist is a slowing down of spacetime but the INTERNAL perception of the particle (or in meditation) is a negative time from the FUTURE - or infinite time (the overlap of the future and the past). See also: "The electrical scalar potential satisfies the Helmholtz equation for time-harmonic waves and Aharonov-Bohm showed that the electromagnetic potentials have physical reality. For these reasons, the scalar potential represents scalar wave propagation in space." Radiation of scalar waves by the discontinuities in the antenna geometries | Request PDF. Available from: https://www.researchgate.net/publication/233702033_Radiation_of_scalar_waves_by_the_discontinuities_in_the_antenna_geometries Emission of matter waves by photons full free pdf Article in Optik - International Journal for Light and Electron Optics 123(17):1588 · September 2012 with 43 Reads DOI: 10.1016/j.ijleo.2011.08.03 Yusuf Ziya Um Internal frequency during meditation is increased (blue light) while external time slows down as an OM subharmonic sound of the Universe; External time speeds up in relation to others while their frequencies are decreased in relation to meditation https://upload.wikimedia.org/wikipedia/commons/thumb/b/be/Transverse_Doppler_effect_scenarios_5.svg/600px-Transverse_Doppler_effect_scenarios_5.svg.png