The Music Parametric of the Spheres

The Music Parametric of the Spheres

The Music Parametric(Chromatic)of the Spheres

Philosopher's Walk L. Edgar Otto April 29, 2010

Sleep, my lesser soul
few have ridden the whirlwind
let alone commanded it

Encounters on the endless plane
of space and time a random walk of shame
stranger far from anywhere

Resting on the steps, night's empty cathedral
borrows and trees unseen eyes of nestlings
cats crying echoes in the distance

To risk, belong and submit, chase forever the dream
look under the bricks and hood, life in action
not enough, nor freedom, expected guarantees

You stumbled on some force of fire and the
world took note, praised your myths and mystery
now, divined the architecture of His soul

You got God's attention.

* * *

The composing of music changes or evolves in depth over the twenty first century, that clinging to the just ratios, the chiral central and personal tonal center, then the noise or the impressionism of Debussy the harps shifting gently tones- and then the 12-tone music and its parametric matrix, reverse, crabwise and that with inversion the arrangement of sounds, four from the 40 of twelve by twelve- the musician-composer doing the calculations of Dirac- space time and spinning notes.

* * *

Sometimes if we just see and not yet understand the symbols, formulas, they incubate and relate to the spirit of thinking in the world, and we understand.

Reading Leibniz and Einstein at the same impressionable age along with wonder what is the binding force takes awhile to sort out. What could old Einstein mean the ten places of rest among the sixteen? Did he mean the six were electromagnetic? Or in the holon form of four things, by arithmetic or numerology deeper than the algebra there are six and six things left- a quasic local inversion to mirror the initiators and terminators outside the diagonal in the vital quadrants.

The idea of a Creator, or of a center outside and above the endless plane infinite and infinitesimal in all directions needs not be forbidden our nesting worlds that cling to the hierarchy of the unity of aleatory nil-potent tori as parochial gods.

Near the time of the Bicentennial in the constellation Lyrae, the music danced with the nodes of the moon in notebooks of philosophers dropped out of Harvard with their Phd's, dusty dried cat droppings and an old trunk of thoughts I among the few to watch awhile for him, and to read his musings on hypernumbers and consciousness. The new age inside or outside the black hole of new music was upon us.

Now, in depth the Y-C compressed dimension topologies of a wider conception of space and the fuzzy presence of the generation of particles and physics, I must ask other than the generalization what idea is original there? Why would even in this complexity would these chiral snail shells with holes and Wedgwood porcelain bagpipes not be as unstable as Einstein's finite but boundless eratz Diety universe? Maybe these where not averaged over the span and depth of the music, as if some beginning, meet some heat death or experience some superdecoherence? What makes them stable even over that which we think Machean concrete?

Let us hide then at night like the creatures in their trees and houses around some central star safe in sleep, outside or inside or mocking bird that sings timelessly the hologram and wall against the night and the analogy of sleep to final vanishing.

What tori when we imagine the volume of the hypersphere, it too imagined as the evidence of the cosmos now, as flat in its tones and half tones- in its second and sixth dimensions of its microtones- is it but half the volume and full of states of binary structures of quasic motion as impressionism in loops and isolated points of duality?



Imagine then the lampions in motion in the quasic grid in different dimensions and the addition of them or decay of them in the change of coordinates or the passing through some orthogon, a cube, a square, a line; imagine too the nil potency of such quasic motions that stay the same or double null act as if conserved the idea of additions unto infinity. Even the motion functions eightfold to the fourfold behave as a metalanguage of the design of holons with algebraic quadrants.



Even the linear things, Fibonacci numbered prime and that a prime number save the two (and yes the six in structure) of all others- but one sided the direction that one sequence is concrete and one the metalanguage. Thus the question of if there is a largest Fibonacci prime becomes some concrete limitation and a cosmic question in the iterations, pertubations, elegant recursions of some idea of uniqueness and the ultimate.

The quasic sequence code is also quasized as an overcode and our faiths invert so is explained the core and enmity of even those learned to their fellow man. For quasics is also a dynamics of ghostly interacting particles in virtual spaces as if virtual influences on all levels organically a morphogenesis field. Within life then we expect models of sustained maximum-minimum action with minimal-maximal evolution.