(How) Can we model the dynamic process of health, in our living body?
We know that health is based on cell communication; if that stops, we ‘die’.
Cell Communication involves feedforward and feedback cycles; and their attunement.
For that reason here we will seek to describe the dynamics of life in terms of music.

Mathemusics opens the discussion on the Science of Involvement.
It combines the experience of music with our understanding of phase space.
Mathematics is our best tool to be able to address the abstraction of phase space.
We will focus on the concept of the hologram, in relationship to music (and beyond).

Phase space is the domain of organisation of information in formation without matter.
We cannot imagine this realm because it is invisible; not can we describe it because words fail to describe it.
We however experience in the manifestation and transformations in/of/as our living body.
We can indirectly represent and understand its phase organisation/coherence via music.

We experience psycho-physio-logical changes in relating to music.
The major and minor keys of music can evoke emotional responses.
They evoke a sensation of elation or depression in susceptible people.
This shows that there is a direct relationship between music and our body.

Often this relationship is sought in frequencies ‘linking’ music and our body.
In some cases thus concept is extended to include all frequency- (sub)harmonics.
In rare cases this is interpreted in terms of Fourier frequency spectrum of signals.
In this series of essays it is regarded in terms of a hologram (phase construct).

The shift in musical major and minor scales can be considered to be a phase shift.
Technically it is equivalent to a Doppler shift on a coherent wave field.
In this case, the wave field is compared to the health/coherence of our body.
This again means that we can regard our body itself as a hologram phase wave.

MatheMusics is the terms for the hologram mathematics of involvement.
MuseMatics is the term for the technology of body phase wave cybernetics.

Mathemusics thus is comparable to the system theory of spatial wave fields.
Musematics can be compared to the cybernetics of/for instrument for bio-monitoring and healing.

The origin of the idea

People are influenced by music, the Mayor and Major tone settings.
Such tonal shifts are similar to the Doppler Effect, on e.g. car sirens.
The Doppler effect is a phase shift on a note, or on a wave field.
When depressed, shoulders sag; when elated, the head goes up...

• Are cell cycles the same as frequencies and musical notes?
• Are cacophony and disease in essence the same?
• Are the quint cycles in music the same as the 5-Element cycles in traditional health care?
• Can the concept of the Doppler effect be used to describe psychological depression/elation due to minor/mayor notes in music?...

The hypothesis is that yes, mathematics can describe how music affects us, and can thus be used to define and describe (y)our involvement

The following series of essays explores and expounds this idea.

The first text is a reminder that we use the word phase with multiple meaning: as phase of matter, phase of a wave, phase angle in a cycle; here we specifically address phase space- the dimensional domain underlying matter, time and energy.

Phase space refers to a logical domain of coherence, in different forms. One of the many forms is Music. Our culture has a profound understanding of music; which is considered to be an art, not a science. In relationship to the CETS-vector (Consciousness-Energy_Time-Space) music is the empirical science of orientation in space by phase (phase angle, stereo, ...).

Many people know that stereo music gives the sensation of the presence of a virtual orchestra, in a space where none is present. Also, stereo makes it possible to make any room sound any size that it is not - by modulating the echo by the technique of sound suppression. This technique is also used for noise reduction, as e.g. for car exhausts.

Phase modulation is the general term for altering the “acoustic qualities”; in fact, the change of the organisation of phase in space, for sound. When regarded in time, this can be seen to pertain to modifications of the time base; and can thereby be compare to what is known as Sculpture; in Time.

Stereo, sound suppression, time sculpting, Doppler Distorsion, ... It is evident that we can create and ‘edit’ the coherence of wave fields. Although not physical, sound can be regarded as a (mass-less)  phasical object; a form of dynamic coherence in Time Space: a time array, with its own architecture defined only in Time.

The existence of coherent mass-less waves is long known; the common term for this is Orgone. These are particular clusters of coherent waves - thus mass-less carriers of information.

Isolate clusters of wave coherence interact with their context; sompare it toa person listening to music. The integrity of wave clusters in context is based on the logic of phase space organisation; of which Symphony and Cacophony are (limited) examples.

Our body operates on the principle of dynamic integral phase coherence; a.k.a. “Health”. All atoms and ring-molecules resonate; all (rod)molecules relay, and all cells and organs as well as the body as a whole operates by an internal frequency interplay of material, chemical, electromagnetic and photonic vibrations.

Orientation and equilibrium are our best examples of the wave we use sound (phase) to position ourselves in our context. In our body we can see how equilibrium, stance, balance and propriocepsis are all interrelated: the neurones of sight, hearing, equilibrium and legs form one integral system.

Elation & Depression are the basic directions of growth; from embryology onward our body unfolds and extends; upon death it folds in again and contracts. The primal spinal curvation relate to the elation and depression of the major & monir modes of music; this associates the meridian system with the doppler effect of a phase field of music.

The body is composed of concatenated, nested and embedded process cycles. Health is defined by the integrity between these cycles, and those from our context. Healing is the art of restoring integrity at that level: in part as form of time coherence.

The principle of healing gets its understanding from the integral phase wave connectedness in the uniVerse as a whole. This takes place in the ongoing interplay between the 4 dimensions (consciousness, transformation, process, state): the holographic nature of the CETS-vector.

With all those ideas in place, it is possible to define Mathemusics, and specify how it can be used to specify how we relate to our context. In essence, we are dealing with a hologram-within-a-hologram (thich extends the Schrödinger model). Music can thus be used to formulate a science of involvement.

Musematics is the term for the application of this understanding. With the understanding that this is not a mechanical application such as seen in cybernetics and automatic devices. Instead it is the craft of the art of relating; by applying the principles of sensing and feeling to those of communicating and interacting.

Development of the Idea (2013.12.24)

Since the first exploration of the idea of MatheMusics (2011.02.08) much became clear.
It is clear that we can compare the cell cycle (‘frequency’) with a musical note.
The cell division decision we can compare to a musician producing a note.
The feedforward-feedback-cycle between the parts of the cell that divided, are also a ‘note’.

Moreover, we can see that the original cell cycle relates to the external cell cycle.
In cell division, the ‘internal’ cell cycle becomes an ‘external’ fedforward-feedback cycle.
The internal “symmetry” cycle is linked to the external “broken-symmetry” cycle.
The cell division decision is the link between “symmetry” and  “symmetry-break”.

Cells regulate their attunement, in the interplay of their internel and external cycles.
This attunement takes place in the Pause Phase of the cell cycle; synchronising replication.
When the synchronisation signal ‘pulse’ is drowned out in the information ‘noise’, synchronisation fails.
The resulting a-synchronous cell (survival) mode is known as ‘cancer’.

The description of MatheMusics applies to the level of cell communication.
This is the level of chemical molecular variation; known as our body physiology.
Hans Selye described how cells can regulate the system boundary (molecular dynamics) at that level.
Bert Verveen described how maintained cell cycle synchonisation is the definition of health.

MatheMusics gives the possibility to correlate all these levels of vibrations.
It applies to the Feed-Forward-Feedback closure described bz Bert Verveen.
It applies to the Cell Cycle, and its preservation within every cell.
And it applies to the rephasing of the inner-outer communication cycles, described by Hans Selye.

What we see at the level of the cell thus also applies to the level of the organs.
The feedforward-feedback cycles between divided cell parts have many layers.
These layers can be interpreted as ‘harmonics’ of the original (Zygote) cell dynamic.
This becomes explicit in accounting for the lower and higher musical harmonics.

Compare the single cell, with its cell cycle, to a musical note.
The divided cell is then equivalent to a note, and a note repeated.
The combination of two notes is, in music, the basis of rhythm, or melody.
In the simultaneous playing of two musical notes however something fundamental happens.

Out of the combination of two (different) notes, an undertone and overtone are formed.
The undertone is described, in Mathematics, as the average mean: (A+B)/2.
The overtone is described, in Mathematics, as their mean difference: (B-A)/2.
These can be compared to the persistent presence of the now virtual previous (undivided) cell.

This has fundamental implications, for biology and musicology.
In Biology, it means the harmonics form the basis for coherent continuity.
In Music, it means that we must always account for the musical harmonics.
In other words, music in which the harmonics are neglected, is ‘meaningless’.

That leads us to the realisation that we must regard the music AND the implied harmonics.
But that also means that we need to account for the intzeraction with the environment.
On the one hand music must be attuned to the physiology (cell communication) of the musician.
On the other hand music must be attuned to the resonance characteristics of the environment within which the music is played.

That is why we need to address Silent Sound; known as the “Dirac Ocean” in mathematical physics.
It is the phase space of phase change potential.
Depending on its own organisation, this will be experienced as 1) information, 2) energy, 3) time or 4) space.
It is the difference between 1) a Phase Wave, 2) shock wave, 3) travelling wave and 4) standing wave.

MatheMusics combines all of these considerations.
It unifies them in the concept of a Soliton.
A Soliton is a 1) wave in a 2) wave train with a 3) wave envelope forming a 4) soliton.
A Soliton is defined by the specific nature of the (“Quintessential”) wave nodes which by their 4D organisation create the self stable singularity, the Soliton.

Thereby MatheMusic can address Freedom of Choice, at the core of cell division decisions.
MatheMusics can also address the attunement of the internal cell cycle dynamic coherence.
MatheMusics can also address the stability of the feedforward-feedback dynamic, this health.
MatheMusics can not only describe the dynamic coherence of divided cells, at all levels, but also (via the overtones/undertones) in their relationship to previous states: cell/body memory.