Chromatic Symmetry or God's Synathesia (The Music of the Universe)

Chromatic Symmetry or God's Synathesia

(The Music of the Universe)

L. Edgar Otto     22 August, 2012

We either take higher space symmetries and dimensions seriously or we do not, as Lubos understands also here at the frontier of physics beyond the established phenomenology we have underestimated methods like the string theory.

What seems true in our music theory, tempered or not as a possibility reduced to twelve tones and by that we can interpret it as the properties of twelve dimensions in some respects, the bifurcation or division by viriality laws of potential and kinetic or its binary doubling, Rowlands justified in research aimed at the foundations,  the group representations in a relaxed and natural way explain things some still see as mystery like axes of galaxies aligned with the same spin (recall my intuitive impression of flying through the data that seems to support dark matter on the Astronomy Picture of the Day recently and the Science Daily link of yesterday).

In the quasifinite view four discrete points arranged in quasic ordered symmetry in two space is a disc thus such galaxies are aligned in spin when the code is linear in expression.  I take the twelve tones with the realization at the foundations that our interpretation and natures expression (see my poem on the stardust cycle in a near previous posting) that is what occurs in the rainbow at the heart of stars, of the general pattern of such creative quasifinite engines be they black hole like or so called dark matter like, and note that what occurs here is a matter of the insight of adjacent dimensions and neutrino behavior involving changes for stability of a star at its core as a matter of flavor as in the Science Daily news release last week.

In my illustration of the twelve tones I show the simple three and four fold symmetry of the augmented and diminished (and as 3 x 4 = 12, dim7th's and to mention the confusion of naming chords such as the sevenths from a general view) the successive changes of the color scales I label as alpha, beta, gamma, and delta the general symmetry breaks into two sets of 24 for a smooth transition (and for some methods of smooth chord change we can imagine the spectral succession of colors over the finite frets) such that across each set we find three in one set and one in the other distributed transitively over all the 48 chords. In the color notation note the less complicated level which defines wider symmetries of the whole tones.

God's synaethesia I use as a metaphor like the God particle and as a matter of sentience for us at least the mechanism fits closely to the structure of  our minds as well the patterns of the DNA and its breathtaking complexity.  For part of the memory and the decisions that naturally flow and evolve is in a sense an idea of perfection in the structural abstract.

I will post two small videos to try to describe the poetic and scientific moods of contemplations, the one that sees the trees in a certain way is like unto flying through the distribution of galaxies far from the rigidity of the right angles of buildings (that by virtue of the shape and physical structure seems to convey certain senses of being in perspective in a subjective space as if dark matter and the neutrino flavors convey energy in the other parts of the perfect sun. Or in the one I call the rise of technology in such a perspective the intricate communications tower seems to rise from the ATT building roof.

In view of this can Rio Frio or Leo Vuyk not be awakening to greater insights in the new physics?

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