Drew W. Hempel, MA
EcoEcho Cultivation, Minnesota
ecoechocultivation@gmail.com

The image above is from the Chinese government documentary on qigong master Hai Dang demonstrating his "one-finger handstand." Master Hai Dang is the person George Lucas saw when he visited Shaolin and so Hai Dang was the secret basis for Yoda and "the Force." Hai Dang was also a teacher of my own qigong master teacher.

Here's what I am going to tell you in this story...

The creation of modern science covered up an ancient secret of how music was used for spiritual meditation healing energy as "the force." Science can't call it energy since "the force" is before classical amplitude energy. The Fundamental Frequency Force has a secret music theory explanation. In cutting-edge science it's also called the "hypertube" or "hollow tube" of a wave of energy. I'll explain what this means and how to experience it directly through a special meditation practice based on music theory.

Walter Russell, who also trained in music from a young age, may have had a similar music theory breakthrough but this analysis is relying on the most cutting-edge science as I will explain.

The previous two articles of this series talked about the use of dancing musical rhythm for generating spiritual healing energy, found in all cultures around the world but more specifically originating from our oldest human culture. I'm talking about the San Bushmen and Pygmy or Baka cultures from 100,000 years ago.

Jazz musician and former psychology Professor, Dr. Brad Keeney is considered an accepted spiritual healer by the San Bushmen culture and Keeney has written several books on their spiritual healing training - he calls it shaking medicine. His youtube channel even includes interviews with the San Bushmen female spiritual healers as the N/om healing energy is considered to be originally female (most of Nature relies on parthenogenesis as female reproduction).

Other good sources about our original human culture healing energy can be found in the work of Dr. Jerome Lewis, an anthropologist, and the "radical anthropology group" in the U.K. which was inititated by Professor Christopher Knight, author of the tome, Blood Relations. The "radical anthropology" group also has a YouTube channel and Vimeo channel containing their lectures.

These original human cultures are still alive and DNA science shows they are our original culture from 100,000 years ago. Pretty much all of modern science, even "alternative" or "counter-culture" science, ignores the true details of our original human culture, music, meditation and healing training. Archaeology has documented their spiritual N/om meditation training back to 70,000 BCE with the discovery of a snake statue representing N/om energy. Musciology research has documented the Eland Bull dance song to be the oldest spiritual training song that was unchanged from before the oldest human language dialects developed.

The key secret here is that the 3:2 polyrhythm, as dancing and hand clapping in syncopation to female singing all night long, is also the basis for the 2/3 subharmonic undertone of the Perfect Fifth that has to be "doubled" to create the Perfect Fourth in the octave equivalence symmetric music scale. Music theory in Western science relies soley on overtones due to the symmetric geometry lie.

Think of Asian throat singing for example - found in the Cossacks even of West Asian or Caucasian culture - it relies on undertones but also on meditative listening to ultrasound overtones that go into quantum, nonlocality consciousness as this article will explain.

[Image Source: https://www.sacred-geometry.es/sg/sites/default/files/images/M_Octave_Fourth_Fifth.png]

The Perfect Fifth 2/3 undertone has to be doubled because 4/3, as Perfect Fourth, can inherently not be a natural overtone of the "fundamental frequency" or the "one" as per listening to the source of the one. This is because the denominator of 3 is not of the same pitch as a doubling of the one pitch when listening. This listening priority got covered up when the Greek Miracle of geometric symmetric magnitude was introduced via music theory to create Western science.

This "octave equivalence" music scale was the basis for creating commutative symmetric math as the "Greek Miracle" foundation of Western science, what's called the "Power Axiom Set" in logic, from the square root of two. The major 2nd music interval originated as 9/8 and was cubed as the first approximation of the square root of two. The square root of two as irrational or "alogon" magnitude secretly originated from music theory, as I will explain.

Did you agree with the Pythagorean Theorem in school? It's the most accepted proof of science and so, if you agreed, then you got brainwashed. There is something called the noncommutative Pythagorean Theorem that I will go into next.

In Egypt the area of a circle was approximated as 8/9 squared x the diameter. As we can see this is tied to the Egyptian reasoning that 2/3 was a sacred harmonic ratio that could not be simplified. The Perfect Fifth being 8/12 as 2/3 wavelength for 3/2 frequency while the octave has 9/6 or 3/2 wavelength for 2/3 frequency. This is because of the nonlocal time of 2/3 and 3/2 overlapping with the "one" that is not materialistic energy. It is achieved through deep listening and meditation based on time as a 5th dimension is rediscovered as the imaginary number in Western science.

Generative theory suggests that commonly used rhythmic cells, in particular the 3:2 pattern, form the structural basis of many Pygmy/Bushmen timelines as well as many other timelines featured in African and African-derived musics. Timelines are also multi-purpose musical devices used in various different social contexts and their structure appears to be resilient to radical change. Phylogenetic analysis of timelines provides no clear Pygmy/Bushmen ancestral timeline, although it is possible that foundational rhythms such as the 3:2 pattern may have featured in the music of a common ancestral group. (Poole, 2017)

A musical scale in modern science assumes an octave equivalence that is symmetric in geometric wavelength. Yet therein lies a great secret force waiting to be harnessed - not just for healing but also for the guiding energy of the future.

[Image Source: Roger N. Shephard, Figure 5, The Double Helix Wound around a Torus, "Geometrical Approximations to the Structure of Musical Pitch," in Psychology of Music, 1982, http://psych.colorado.edu/~lharvey/P5665%20Prosem/P5665_2016/
Class%20Material/Weekly_Readings/11%20(1982)%20Shepard%20PsychologicalReview.pdf]

If someone knows this asymmetric time-frequency music secret, then they can see the lie hiding out in the open. For example, the difference between the Harmonic Series and Overtone Series is rarely examined. Gurdjieff made this the secret core of his music spiritual teaching with the "Law of Three." This was based on the Perfect Fourth or Fa creating a "lateral octave" as an undertone energy that powers organic life on Earth, originating from the "unmanifest sun."

If the extra force that enters at this point is the process of harmonic generation, it may be that this is the very action that we have observed to occur at Fa, which then generates the structure itself of the octave. Further, the 4th degree of the scale on Fa is Si; and it is precisely at this point that the second "interval" in the cosmic octave occurs, the one which was shortened. (Hodges, 2009)

This all sounds too mystical yet the cutting-edge of advanced science (i.e. negentropy as the "hollow wave" or "hypertube" of light), as this article will explain, now confirms Gurdjieff's claim.

It turns out that the "Fundamental Frequency" as defined in science hides the secret music origins of Western math based on the wrong music tuning.

[Image Source: https://pages.mtu.edu/~suits/overtone.html]

So, if you look closely, you'll notice that a wavelength of 2 is used for the "Fundamental Frequency" of the One or root tonic, whereas we musicians listen to the source of the One, in time-frequency force. Physics assumes that frequency is actually a "mode" of a symmetric "alogon" or irrational geometry magnitude wavelength, so that the "fundamental frequency" is already defined as an amplitude displacement, assuming an irrational magnitude symmetric measurement of time.

This article exposes this music math as a lie.

This lie was rediscovered when Planck's Constant was created for quantum physics. As Peter Pesic (2014) details, Planck was directly inspired to equate his "average energy of light" via the equal-tempered music scale. In other words, Planck converted time-frequency energy of light into a symmetric radians as seconds unit measurement by using density of joules for energy. This conversion cancelled out the seconds as time of light inverse to the frequency while covering up the asymmetric time inherent to frequency.

[Image Source: https://www.physicsclassroom.com/class/sound/Lesson-4/Fundamental-Frequency-and-Harmonics]

In science it is claimed that a half sinewave is the basis for integers as the number of waves: "In this pattern, there is only one-half of a wave within the length of the string. This is the case for the first harmonic or fundamental frequency of a guitar string."

This is a logical error since a wavelength of 2 is the double octave with one half as the frequency as its inverse due to the principle of Pythagoras. There is no need to define time as a symmetric geometry magnitude and, in fact, that is not accurate. What quantum physics discovered is that the half sinewave was actually a 1/2 integer for the 1/2 spin that is superluminal nonlocality as "the force." So, for example, the electron with 1/2 spin requires a 720 radians geometry for it to complete its cycle in time-frequency as a particle existing in a zero point of space. This is called and demonstrated as the "Dirac Dance" - and is the basis for quantum nonlocality from the 5th dimension. Before the 1/2 spin is converted to amplitude as geometric symmetric magnitude it exists as the imaginary time-frequency that is asymmetric.

The symmetric lie is justified by claiming that if a person "plucks" the 1 wavelength in the anti-node then it's not actually a double octave wavelength of two with an inverse one-half frequency. Instead we are told the wavelength of 2 refers to the "mode" of a symmetric circle: meaning by mode that the amplitude value at time zero and time 1 is zero. What this article argues is that, at time zero, there already is a future and past overlapping due to an inherent asymmetry to time that can not be seen as a visual measurement. I discussed this directly with quantum physics professor Basil J. Hiley who collaborated with David Bohm and Roger Penrose. Hiley will be quoted at length on music.

The question remains - wavelength of what since it's physically longer than the actual string! Notice the bait and switch. The first image states that the wave is twice the length of the string, and then the explanation states that the wave is one-half within the length of the string (implying the string continues on for the 2 but it does not).

Of course, the commutative irrational math here is supposedly taking precedence over the listening process to the music harmony. This is what Alain Connes, who has the top science award, the Fields Medal, will be exposing along with my own music theory analysis. I realize that classical physics as "frequency mode" is relying on a Fourier analysis, as a time displacment of amplitude, to define the "fundamental frequency." But this is assuming Fourier Uncertainty or time-frequency uncertainy as a linear operator. I will explain why this is a lie.

This plucking in the antinode claim covers up what in ancient Greece was called the Greater Perfect System or "double octave" of tuning the one. The Greater Perfect System of the double octave was the origin of the modern science math based on zero, using symmetric commutative logic of A x B = B x A for the square root of two - what was called the "Devil's Interval" or tritone. I'll go into the music tuning details later in the section discussing Philolaus, who didn't just pluck his lyre, but he flipped his lyre around! That's what I call the "Liar of the Lyre" bait and switch cover up. We need to realize, as Adam Neely, the famous youtube music theorist emphasizes, the "Devil's Interval" never really was banned. As Peter Pesic (2010), the academic on music theory science, points out, the square root of two in Western science did develop out of music theory (the major 2nd interval as 9/8 cubed).

This music-math connection hides a deeper truth that almost all scientists know nothing about: It's called "noncommutativity" or the fact that A x B does not equal B x A in time-frequency force in quantum algebra of music theory (contrary to the fundamental frequency in classical and modern science defined by the symmetric geometric magnitude).

I realize you are thinking, "what is noncommutativity, I've never heard of this word?" You can skip ahead to my final "Liar of the Lyre" section for the music-math details, or you can steep yourself in the mystery for now, like a murder scene in the opening of a movie. I will begin presenting clues. This noncommutativity can also be called in science "asymmetry" or "antisymmetry" or "spontaneous symmetry breaking." I used to call it "complementary opposites" before I knew the fancy science terminology. Sometimes this noncommutativity is also called "torsion" or "scalar" force but that is due to lacking the proper noncommutativity analysis.

[Above: Triangulation of Torus, Connes, et al., Geometry and the Quantum: Basics, https://arxiv.org/abs/1411.0977 ]

So, this is the same noncommutative torus of the music theory torus as the image above. Consider that for each zero point there is a 5th dimensional noncommutative overlap of the future and the past (2/3 and 3/2), due to the quantum sphere, as Connes explains below. Notice that the white triangles are sometimes on the other side of the black and white sphere and vice versa. So the noncommutativity simply refers to the change of order in time.

[Image Source: https://ignoretheerrors.files.wordpress.com/2015/02/may-it-be-mapping.png]

For example if you put your boots on and then try to put your socks on over your boots, there's going to be a problem! (Unless of course you need some extra traction on the ice!) Same thing here: Standard symmetric based science is very "precise" - we all learned that A x B = B x A in basic math, but it's not accurate! Hence the deep problems on the planet today.

How some certain symmetries in your physics, when you break the symmetries, you create a resource, for example [quantum nonlocal] entanglement. So that is something super new that we want to do and is very interesting. If you move along a time-like, ... observer that is inertial or uniformly accelerated, you don't change the entanglement. Entanglement changes when you break that symmetry, ... symmetry of your spacetime. So, when you break that symmetry, you create a resource. And I think this is a completely new idea... there is curvature of space at a few centimeters. (Fuentes, 2013)

So, what this means is that there is a "negative frequency" and "reverse time" guiding principle of the Universe that is also the Fundamental Frequency Force guiding all the cells and molecules and atoms of our body, mind. It's even guiding each zero point of spacetime, as signals from before the Big Bang. I kid you not - this is precisely what Nobel Physicist Roger Penrose argues and Ivette Fuentes, quoted above, is testing out Penrose's argument. We can train to listen to this Fundamental Frequency Force as the Natural Tuning of the Universe so that we can even create a new zero point in spacetime. "This spacetime structure emerges, through the transactional process, from an underlying reality of possibilities: 'Quantumland'"(Kastner, 2015). This is what Sir Roger Penrose, the recent Nobel Prize winner in physics, called "Fundamental Time" from noncommutativity of the imaginary number. I'll quote him about music soon.

Normally time for position in science, the geometric position based on magnitude relies on the classical science idea of time as an external, objective, linear arrow. Yet in our original or traditional orthodox Pythagorean music theory, and now in quantum physics, we realize that every time a measurement is taken there is a velocity inherent in the measurement also as a discrete integer of time that is secretly synchronizing the phase from the future. This is what the imaginary number is describing in quantum physics as the relativistic phase of "reverse time" due to "negative frequency." (more details later).

[Image Source: http://www.sciencedirect.com/science/article/pii/S0959438816302525 ]

Our ancient human cultures knew this truth of "reverse time" and "negative frequency" from the experience of deep musical training relying on full body-mind and spirit transformation via meditative visualization while dancing for hours - all night long during the Full Moon energy that synchronizes our pineal gland (see image) with our neurohormone energy.

Just realize that our primate origins stem from millions of years in the equatorial rainforest where listening is the primary perception, not three-dimensional depth vision. Eventually through deep training this enables five dimensional vision - seeing in all directions out of the brain with the third eye fully open. This also enables long distance healing and precognition and on a deep level - even levitation and antigravity.

By deep musical listening we can naturally ionize the neurohormones of our lower body. By way of our right-side vagus nerve we can then increase our neurotransmitters to activate the tryptophan in our neuron tubulin as a quantum "meta-material" or relativistic antigravity negative frequency, and reverse time's natural tuning force. This secret has been recently corroborated by the research group of Roger Penrose and Stuart Hameroff via research physicist Dr. Anirban Bandyopadhyay.

[Image Source: http://orcid.org/0000-0001-6711-4844, Amrit Srecko Sorli and Davide Fiscaletti, et. al.]

When a person achieves this natural tuning of the Universe they then have a strong force of electromagnetic energy not just filling up their body and mind but literally creating a spacetime pulsation. How can we create a new zero point of spacetime itself? Because this natural tuning of the Universe is from a "primordial" or "primitive" time-frequency force that is before the modern scientific definition of energy from the symmetric geometry of magnitude. Try to remember that the concept of zero as negative infinity, which Aristotle was against, originated from the concept of a symmetric geometric magnitude ratio as the continuum line of music tuning. This concept covered up the deeper truth of music tuning that this article will reveal - by referencing Philolaus himself who lied when he flipped his lyre around for his new Western "Greek Miracle" tuning claim.

We were lied to at the origins of Western science so that even the concept of Hertz wrongly assumes a "linear operator" of time and frequency, called "time-frequency uncertainty" or Fourier Uncertainty, that is the basis of the quantum physics "measurement problem." Basically this means that for a more precise frequency it takes a longer time to tune it and therefore the precise frequency of 3/2 from the One is considered literally impossible in standard science! We show this to be a lie.

Roger Penrose is arguing that it is precisely the collapse of spacetime, from a quantum nonlocal or superluminal superposition force, that creates what we perceive to be modern scientific consciousness or left-brain dominant thinking. Yet Penrose realizes that in deep music training it is possible to listen to the Natural Tuning of the Universe and to resonate with the Fundamental Frequency Force. As Penrose emphasizes, mass of spacetime originates from frequency due to the Louis de Broglie discovery of a standing wavelength or inverse frequency directly proportional to the quantum momentum energy. In science this is called the de Broglie-Einstein Relation but only Roger Penrose takes it to its logical conclusion and emphasizes this is due to noncommutativity at the origin of time-frequency force.

When one experimenter, Raymond Chiao, said that it didn't matter if it was superluminal because you could never send a signal this way, only random photons, he was wrong. To demonstrate this graphically, another physicist, Günter Nimtz sent a recording of Mozart's 40th symphony over four times light speed. And for your entertainment you can listen to that superluminal Mozart here. There's a lot of hiss, but it's hard to deny there's a signal. (Clegg, 2014)

Again, this is a very simple yet very radical exposé of science because Roger Penrose is relying on Alain Connes, as is Penrose's colleague, quantum physics Professor Basil J. Hiley (with whom I've corresponded). Hiley was the collaborator with both Penrose and David Bohm who built on Louis de Broglie's concept of a "pilot wave" guiding us from the future. As a group of researchers proved, "the superluminal acoustic effect we have described is likely a ubiquitous but imperceptible phenomenon in the everyday world" (Zyga, 2007).

Because only Alain Connes and Basil J. Hiley understand this secret of music, hiding the Fundamental Frequency Force as the Natural Tuning of the Universe, I have therefore relied on extensive quotes from both Connes and Hiley. But I assure you readers that I had this same logical insight since I was a teenager when I noticed this logical error in music theory class. Then I realized that Pythagoras must have been correct as he taught that "All is Number and Harmony". Then I took quantum mechanics in my first year of college and realized this secret of nonlocality from quantum entanglement was also based on the same secret of the music tuning.

That quantum entanglement music realization was in 1989-90 aided by my quantum mechanics teacher, Professor Herbert J. Bernstein. In 1999-2000 I did the intensive meditation training from a nonwestern (Daoist) spiritual healing master. For Pythagoreans the training required five years of silent cave meditation while deeply listening to the guiding of the source of sound as the musical "natural tuning" of the Universe.

My qigong teacher did similar training with 49 days of nonstop full lotus or padmasana yoga meditation in a cave at Mt. Qingcheng - with no sleep and no food the whole 49 days.

[Image Source: https://64.media.tumblr.com/f33ce932341021085228bf3c2e17d3fc/tumblr_inline_oov9vkgaMQ1tuek78_540.jpg]

Dr. Peter Kingsley, who did his Ph.D. on Pythagorean philosophy, reveals that the "counter-Earth" or alchemical Hearth was in the lower body and was the required descent into Hell to harmonize Earth with Heaven via this natural tuning process. This is where Yang as the Perfect Fifth undertone harmonizes as the unutterable deep listening music secret of the Fire under the Water of yin (the Perfect Fourth). Then to create the reverse time and negative frequency "fundamental force" of the Universe. Osiris was the energy of the Full Moon, but after the third day past the Full Moon, what the Egyptians called the number 17 as the "abomination" of Pythagorean energy, the natural tuning was lost and the descent into Hell occurs. This was explained by the fact that 17 could not equally split the 9/8 or Major 2nd music interval derived from the sacred fraction of Egypt that could not be simplified: 2/3 as the Unutterable Phantom Tonic, as this article explains in detail.

Now let us take a "descent" into the music-math details to expose this secret of antigravity energy healing meditation training.

[Image Source: https://3.bp.blogspot.com/_TX-WkAZZ6-s/RfBNkyrtX3I/AAAAAAAAAMU/f9AfjQOpKSQ/s400/yinyangSolsticeEquinox.JPG ]

INTRODUCTION

Having played free jazz piano with street flutist Roland Botelho for an intensive couple of years (1994-5), I can relate to the peer-reviewed article on paranormal music by Emeritus Professor Stephen E. Braude:

Often enough to be really interesting, jazz players will suddenly and simultaneously hit upon the same unusual or unexpected musical idea ... as if they had experienced something telepathic ... an unusually successful joint improvisation ... might feel as though their time 'in the zone' was a brush with the paranormal. (Braude, 2020, pp. 281-3)

Nobel Physicist Sir Roger Penrose recently, as with Braude, also claims that a pianist is accessing the paranormal:

If you think about a pianist playing a very complicated piece of music and the little finger has to decide which key to hit. ... Is there any control of the sort of mood that is going to be put into the playing, ... I think there would be some conscious control and that conscious control could be making a decision between [quantum nonlocal] superpositions which have not yet resolved themselves into one or the other. And that can happen in this retroactive way. (Penrose, 2021)

Like the synchronicity between Braude and Penrose, I had a similar parallel connection about music with Fields Medal Math Professor Alain Connes whose work is the foundation for Penrose and Hameroff's noncommutative music model of protoconsciousness (Marcolli & Penrose, 2021; Hameroff & Laron, 2015).

[noncommutativity] is inscribed in a time that would no longer be sequential, because a score is a multitude of chords, a tangle projected onto physical time of course, but that manifestly evolves in a higher dimensional space, giving rise to a variability much more pertinent to the description of individual time. ... reading a page of polyphony, as does a conductor, is much more difficult. ... And [noncommutativity] could be formalized by music. ... I think we might succeed in this way to educate the human mind to deal with polyphonic situations in which several voices coexist, whereas our ordinary logic only allows room for one. (Connes et al., 2001, pp. 169-171)

Immediately I could relate to the concept Connes was conveying as I had studied orchestration when I was a teenager - taking private music training from a former University of Minnesota music professor. So then in my The Secret of Psychic Music Healing article I wrote,

Another way to understand this concept is that C-G is 2:3 but G-C is 3:4. In other words nonwestern music violates the equipartition principle that is the foundation of Western science and nonwestern music creates an infinite "spiral of fifths" resonating from the tetrad: 1:2:3:4. ... top scientists like Alain Connes argue that music theory provides the formal language to understand quantum logic. (Hempel, 2006)

The publisher asked me for a follow up article to clarify the concept and so in 2007 I wrote:

So for the Tetrad A:B is 2:3 and B:A is 3:4 against the commutative property, A x B = B x A. In music theory this complimentary [sic] opposite inversion of the perfect fifth and perfect fourth is taught as 2:3 is C to G while 3:4 is G to C. This process of complimentary opposites is listened to, as the perfect fifth, perfect fourth harmonics, which create all the notes. Most importantly the complimentary opposite harmonics transduces sound throughout the whole energy spectrum, as I've described in previous articles. (Hempel, 2007)

It was with a sense of great relief to find my noncommutative music model argument corroborated when I discovered Alain Connes lecture, "The Music of Shapes, Le point de vue spectral en mathématiques et en physique, la musique des forms," that he gave first in 2011 and recently again in 2021. Math Professor Connes explains noncommutativity as a "universal scaling system" of "discrete scaling that manifests itself in acoustic systems ... where the two scalings correspond, respectively, to the passing to the octave (frequency ratio of 2) and transposition (the perfect fifth is the frequency ratio 3/2"; "It is precisely ... [this discrete double quotient process] which is responsible for the noncommutative nature of the quotient corresponding to the three places {2, 3, ∞}" (Connes & Marcolli, 2004). How does Connes relate this back to quantum physics? He's making a logical argument about the same mathematical structure: "It is precisely this lack of commutativity between the [symmetric geometry] line element and the [discrete noncommutative inverse frequency] coordinates on a space that will provide the measurement of distance" (Connes, 2000).

In Connes' later published book version, there is crucial clarification: "The fact that the ratio log 3/log 2 is only approximated by the rational number 19/12 is responsible for the difference between the 'circulating temperament' of Baroque music (e.g. the Well-Tempered Clavier) and the 'equal temperament' of XIX century music" (Connes & Marcolli, 2007, p. 388). The music-math details will be explained later. What this discrete noncommutative "spectral invariant" means is that the rational inverse ratios have an organizing information that is quantum nonlocality as the process of time. Connes: "A fascinating aspect of music ... is that it allows one to develop further one's perception of the passing of time. This needs to be understood much better. Why is time passing?" (Connes, 2010).

Noncommutative music is "not a value of a number but a mathematical structure" that is "behind the scenes all the time" and this means "musical shape has geometric dimension of zero" (Connes, 2012). Earlier Connes explained that:

The real musical scale, the one that is sensitive to the ear, well, there is no simple shape to which it corresponds. ... there is a really interesting object that seems to answer the question ... the quantum sphere ... the algebra which is going to intervene is not necessarily commutative. (Connes, 2011)

More recently Connes states noncommutativity is a "topos which should be very natural to a musician" (Connes, 2021). Connes delivers the stunning implication: "If you want the algebra that is used by the Universe it is of the same type - it is something that is very simple ... but it can not be commutative because the commutative creates a collapse" (Connes, 2021). Logically, since gravity uses commutative geometry, therefore gravity emerges from noncommutative quantum nonlocality as explained in detail below.

Everything in the 'normal' world is noncommutative, so why is the paranormal noncommutative?

"Perhaps it is not a coincidence that these authors (founders of symbolic algebra) also made important contributions to the music mathematical theory" (Borzacchini, 2011).  Now retired math Professor Luigi Borzacchini (pronounced BorzaKini) continues:

In my opinion, instead, commutativity is paranormal ... The need of an axiom to establish commutativity became necessary because in symbolic algebra it means that a b = b a, something absolutely not normal! (Borzacchini, personal correspondence, January 7, 2022)

What are the implications for the paranormal? Connes on the empirical truth of noncommutativity: "Something Heisenberg discovered, which is absolutely amazing, is that when you repeat certain microscopic experiments, the results will never be the same" (Jackson & Connes, 2021). The paranormal yogi Yogananda promoted the phrases, "ever-changing, ever-new, ever-fresh" and we can start to see the true meaning of it. Professor Jack Tuszynski features the teacher of Yogananda, Lahiri Mahasaya, in his power point talk on quantum biology protoconsciousness (Tuszynski, 2016).

--STORY CONTINUES HERE--