Music is at the same time metaphor for Freedom of Choice, and Coherence.
Any musician is free in the choice of instrument, note and rhythms.
The notes and rhythms together form a melody; a fabric of vibrations.
Instruments and melody form orchestra and symphony or cacophony.
We must look deeper than the cell, to understand universal coherence of vibrations.
The cells are composed of molecules composed of atoms, which are forms of vibrations.
We need to understand this vibrational coherence across all levels of organisation.
Phase vibrations form atoms, forming molecules, forming matter; all are forms of vibration.
- photon jump = note
- atom = chord
- molecule = melody
- matter = music record (gramophone/CD)
In making music, the musician discovers that choice is fully free.
Yet, at the same time, there is a discernment about Musicality versus noise.
Music offers meaning to a level of sensation which is not understood yet felt.
The sensation of cacophony illustrates that the universe is a Verse also.
That has been described, in Quantum Theory, as the Collapse of the Vector of State.
Every atom is a Form of Vibration; it is at the same time information in formation.
Every atom has its own ‘song’, which physicists call its “Electromagnetic Spectrum”.
Every molecule, including DNA, likewise has its own frequency spectrum/coherence/song.
Sanskrit descriptions of the universe, like that of the Dogon, describe these vibrations.
The Dogon tradition offers the same understanding as Super String Theory proposes.
It addresses the primordial characteristics and qualities of interplay of vibrations.
The Dogon texts describe it as the basis for the forming of the universe, matter, our body and societies.
The series of Essays of MatheMusics explores the implications of that realisation.
On the one hand, we all have freedom of choice; and function as creators in creation.
On the other hand, the universe is already in creation; we interplay with ongoing creation.
The interplay of vibrations within vibrations, a.k.a. the Collapse of the vector of State, can be regarded as a feat of Music.
MatheMusics looks for the patterns for orchestration, for musical types and for instrumentation.
It is evident that our primary instrument is our own body; in all we do.
Likewise it is clear that our mind is akin to a melody of music within our body.
And it is as evident that our Freedom of Choice operates from the subatomic level upwards: in atoms, molecules and the materials of our body.
All body materials are responsive to information, and all are secreted by living cells.
All living cells have the same origin – in the Zygote – and in the ancestors we all share.
We can trace back the living being of humans through animals and plants to microbes.
The microbes we can trace back to Earth, the Stars, Cosmic Gas to universal creation.
MatheMusics therefore addresses the dynamic of coherence of creation.
At the same time it addresses our participation in creation, as creators.
The patterns of coherence go beyond what we can see and feel.
Thence the need to extend this exploration by abstraction, by using Mathematics.
The essence is (so to say) the Freedom of Choice of the musician.
The understanding is that the universe in itself is a field of vibration.
We sense that field of vibration within our body, as our Mind.
We can infer from the body’s ‘orchestration’ how our mind ‘works’.
- Sensor Cell = Drum Beat = Dirac Pulse
- Neuron Relay = Drum Roll = Fourier Code
- Neural Plexus = Drum Band = Moiré Array
- Brain Information = “Om” = Gabor Hologram
Cell Song, is to be taken quite literally, and metaphorically.
Cells are alive: they manager own energy and produce their own molecules.
Cells are not objects, as regarded by classical deterministic materialistic reductionistic science.
Cells are conscious, sentient, conscientious beings in their own right, and in their own might.
Cell song is thus literally the melodious scope of cell all communication.
This ranges from material motion to chemical exchanges to electromagnetic interactions and photonic coordination.
In this sense would must look at the cells as in fact we must look at ourselves also: there is more to reality than the limited spectrum of vibrations that we are aware of.
We must not inflict our own limitations in perception on the cells that we study; the cells that form our body.
Cell song must be understood in a much more encompassing way than biologist usually look at cells dots
Often biologists regard itself as objects in a petri dish, instead of members of colony with the social and cultural life.
We cannot afford to look at our body cells (the basis of our own being) in such a limited manner.
We must bear in mind that cells communicate with each other in a broad variety of frequencies, and therein interact with each other.
In that sense, cell song is actually a symphonic choir of cell communication, involving all the cells in our body.
They therein make use of physical, chemical, electrical and photonic vibrations for their information communication.
Even though we regard the domains of physics, chemistry, electromagnetism and Informatics as separate from each other, for our body cells they are one integral field for communication.
Remember that our sensory organs each sample a limited part of the spectrum of vibrations of our environment, and there in all complemented each other; what matters is that we are sampling the integral vibrational field that we form part of.
This is precisely the problem, and the solution, that we have in MatheMusics.
This is also why we need to look at music notation in and much more encompassing manner.
It needs to be, at the same time a formulation of the choreography of the cells, their involvement in their combined operation, and the foundation for our own involvement in realisation (as for example formulated in mathematics).
Whatever we will describe in terms of music, in this series of essays, will need to be understood as a formulation for cell communication at every level of their existence.
Yes, we will need to understand cell song as the expression, via attuned vibrations, of the cells’ intent.
Yes, we will need to understand cell song as the communication, via many frequency bands, of all cells forming our body.
Yes, we will need to understand cell song as the orchestration of production of all body materials secreted by the cells in forming our body.
Yes, we will need to understand cell song as the basis of our own thinking, and our own communication with other people and other living beings (telepathically and otherwise).
Associated with this project, MatheMusics, is a series of interviews with Henk Kooij; voice trainer and music researcher.
In the interviews he shares his insights in the way our voice deepens our experience of ourselves and each other.
In his work he addresses shortcomings and limitations in the use of one's own voice.
All that he explains about the need to have integrity, and integral axis to your own ability to fully express yourself a fire you are own voice, applies equally here to what we now describe for our body cells.
Cell song is an excellent starting point for her exploration.
Because we must make very clear that sells act from their own being, as we do in singing.
The cells together, form organs, each of which has a different quality for a different function, but all of them into the really work together informing the body.
It is on the basis of ourselves communication, as organs, forming our body, that we can communicate with each other as humans in humanity.
For our more formal exploration, however, we need more than the musical formulation and notation as it is used for singing quires.
We must add the understanding of orchestral compositions and music notations in order to be able to address the different modes of involvement by which cells communicate.
As was described in music in 4D, we must include a description of the different degrees of direct involvement (by understanding that musical instruments in an orchestra require different modalities of involvement by the players, but we must also account for the different degrees of relational involvement (as represented by a dance notation such as developed by Leban).
Plus, we must also account for that subjective formulation of our use of freedom of choice in operating our mind (as experienced for example by mathematicians in their use of scientific equations), as described in the mathematics of involvement.
Cell song that on the one hand addresses the subjective experience of creating, expressing and experiencing music (performance).
It also addresses the need to understand the symphonic/cacophonic singsong of all cells (performers) exchanging/sharing information.
Plus it addresses the orchestral organic organisation of all cells working together in the form of very different/complimentary organs (instruments).
But what we try to achieve as an understanding of the way in which this determines our own experience/health in our body/being (audience).
Cell song is the starting point for our exploration of matter musics.
We need to understand what kind of music (vibrations) the cells use for their communication.
We need to understand in which way the cells respond/reverberate/resonate to their own self generated vibrations, but also to which extent they respond to the vibrations of other cells.
It means that we must be able to understand how each cell response to vibrations as 1) the voice box of a singer, 2) the Helmholtz resonance of, for example, the holes of a flute (chackras), 3) the selective frequency modulation/filtration of, for example a violin, and 4) the director repercussions of the frequencies/feedforward-feedback/cycles/notes of other cells, as compared to for example a drum.