in our body we can see the interplay of four different dimensions.
Cell communication operates by means of a light-field, an electromagnetic field, chemical communication and physical vibration.
We can even see this four dimensional perspective in the molecules that the living cells produce, respectively: pigments, hormones, enzyme, and proteins.
Thus we again see the combination of light (information), electromagnetism (atoms), chemistry (molecules), and physics (matter).

In the domain of light we are dealing with the tetrahedron Photon: with 4 distinct surfaces (and distinct photon spin angles) to the tetrahedron.
In the domain of EM we are dealing with 4 elements: Electricity, Magnetism, Radio and Phase Information.
In the domain of Music we are dealing with 4 elements: Note A, Note B, Note A-B and Note A+B.
In the domain of Cells we are dealing with 4 elements: Cell A, Cell B, the boundary that separates them, and the boundary that integrates them.

We now know that physics (Bound Electrons) is in fact not ‘real’, but a derived concept: it is a very conditional form of Chemistry (determined by electron flow).
Likewise we now know that chemistry (electron flow) is in fact not ‘real’ but a derived concept: a very specific form of Electromagnetism (Electromagnetic Transformations).
Likewise we now ‘know’ that electromagnetism is not ‘real,’ but must also be a derived form: of atomic phase (re)organisation.
It means that ‘reality’ is in fact an integral electromagnetic field, with different modes of coherence, determined by phase change between them.

From findings of physics we can see that we can simplify our considerations.
The relationship between physics, chemistry, electromagnetism and light is operated by only one mechanism.
This is traditionally known as the quintessential element: photon-leap electro-leap  electro-valence electron-bonding
In other words: we use it as transition between information, atoms, molecules, matter.

photon-leap <=> electro-leap <=> electro-valence <=> electron-bonding

Thus every form of matter is a form of information in formation.
Every single system boundary is a filter; for the modulation of phase.
Every system boundary connects to the universe, is inverse, via a system singularity.
Every system singularity is a point for total system in version; “a 4D  Gabor point in phase space”.

• Photon Tetrahedron
• Electricity, Magnetism, Radio and Information
• Tone A, Tone B, Tone A+B, Tone A-B
• Cell A, Cell B, Boundary as separation, Boundary as connector

Music

In listening to music many ideas (and feelings) can come up.
Everybody will interpret music in a different way, depending on your own previous experiences.
If your experience happens to include mathematical models and thinking, you too might come up with something like the following...

First of all I notice the sometimes immense complexities of music.
In my mind it compares to the variety of life forms, tree types, forms of flowers, but also all those many mathematical models.
In my mind I have already reduced the complexity of mathematical models to much more fundamental, and much more simple principles.
To the following I would like to reduce that perceived complexity of music into that much more simple simplicity of mathematics (MetaThematics).

As a starting point I would like to begin with the musical notation for one note.
I would like to show that as the sign for one note, for the note repeated, for a note followed by a different note and for two notes being played together.
I’ll compare them to the mathematical concepts of the Dirac, Fourier, Moiré, and Gabor.
That again I would like to compare to the biological organisation of the zygote, cell division, organ formation and the integrity of our body.

The following presents a series of ‘quartets’.
They are each aspects of the 4D perspective.
All represent the underlying 4D dynamic logic.
Thereby it ties in with everything else in this web site.

4D pattern recognition

1. One note - ♪
2. one note repeated - ♪♪
3. two notes in sequence - _♪♪
4. double note - :

Right from the start we can connect music to our mind.
There is a direct and simple relationship between the combining of notes in music and the connection of information in the sensation.
The above schematic of the relation between one note and two notes is also found in the transmission of information in our sensory system.
In that case, we would need to define this by the next four terms:

1. Sensory cell
2. Neuron
3. Neural plexus
4. Brain

The one note can be compared to the charge discharge in a sensory cell.
The note repetition can be compared to the discharge propagation in a neuron dots
The juxtaposition of different notes is what we see in an neural plexus.
While the concurrence of different notes is what we see in our brain.

1. Dirac    (pulse)
2. Fourier (rhythm)
3. Moiré   (matrix)
4. Gabor  (hologram)

The mathematical description for a single note is a Dirac pulse.
The mathematical concept for a repeated note is the Fourier frequency.
The mathematical notion for juxtaposed different notes is the Moiré array.
The mathematical notion for concurrent different notes is a Gabor hologram.

1. Out of conscious
2. unconscious
3. subconscious
4. conscious

These different forms of note all charge discharge transformation determines are different levels/states of consciousness.
In the transition from the cell to the neuron to the plexus to the brain, four  different forms of (mathematical) code for signal compression are used dots
In fact, each of these different code/compression operate in a different dimensions.
They are respectively and that of the sensory cell, neuron, neural network plexus and brain.

1. Point
2. line
3. plain
4. volume

The different stages of signal propagation from the body service to the body core, the brain, transit through different dimensions.
The point is in 0 dimensions, the line is 1-dimensional, the plane is 2-dimensional and volume is 3-dimensional.
In that same manner we can both regard and note as 0 dimensional, a note repetition as 1-dimensional, and note variation as 2 dimensional and note coincidence as 3-dimensional.

1. 0D
2. 1D
3. 2D
4. 3D

At this point of the discussion it is relevant to correlate the above to the dynamic of cell division: the one note can be compared to 1 cell, the first cell, the zygote.
The note repetition can then be compared to the dynamic of cell division.
The note variation can be correlated to the development of the system of different organs.
The simultaneous different notes can be compared to the bio-hologram complex of our living body.

1. Light
2. laser
3. holographic plate
4. hologram

This is where we can see that, and why, we can compare the coherence of our living body to sound field.
We can regard the feedforward and feedback cycle between any two cells as a frequency, thus and note.

1. Zygote
2. cell division
3. organ system
4. living body

But we can also compare our body, as a whole, or to a bio-hologram (as has been separately described).
Evidently, a hologram and a sound field are aspects of this same concept: an Electromagnetic field.

1. Electricity
2. magnetism
3. radio
4. information

An electromagnetic field is the basis of all materials in existence.
Electricity is the dynamic in association with the matter; magnetism surrounding it.
Radio waves if the dynamic associated between matter; information is the pattern coherence (phase organisation) associated with it.
Changes in the electromagnetic pattering occur via the following “zipper of manifestation”:

1. Photon leap
2. electron leap
3. electron oscillation
4. electron bonding

This “zipper of manifestation” makes use of the degrees of freedom in the electromagnetic radio information field to change the degree of materialisation.
It does this by changing the relationship between the wave nodes that compose the electromagnetic field.
For all practical purposes you can compare the wave nodes with the musical notes in our present discussion.
What we are dealing with here is the change of phase coherence in the formation of a soliton wave.

1. Wave
2. wave train
3. wave envelope
4. soliton wave

A soliton is a coherent self-contained wave form, which can propagate through space and maintain its coherence.
The same can be said for a musical note, which can propagate through space and maintain its phase coherence.
Again, we see why, and how, we can describe the vibrational nature of cosmic coherence in terms of music.
The relationship between vibrational states, music, soliton and wave phase coherence can now be explored further.

1. Soliton
2. Fractal
3. Matrix
4. Holon

The soliton is the coupling between waves in a wave train within a wave envelope.
This means that this soliton is the result of four kinds of couplings IN wave nodes.
What we thus need to describe is the phase relationship between those wave nodes.
This is the complexity occasion of patterns of connection forming structural coherence.

1. Bindu
2. fractal
3. harmonic
4. Om

Science has the habit of looking at structural coherence in terms of physics.
Biology has the ability to show that we must instead look at phase coherence.
MatheMusics is based on the realisation that in fact we are dealing with patterns in vibrational coherence.
which still means that we need to understand the development of a musical composition from the Bhindu (seed crystal) or the first note,the musical development in terms of the fractal, the emergence of harmonic coherence, leading to a final integral part in integration with its environment (“Om”).

1. Cymatics
2. Sound shapes
3. phase coherence
4. system integrity

Hans Jenny has shown the relationship between sounds and patterns in the wave the fields.
By his experiments he discovered that the sound of the own form the symbol of the Sri Yantra on the surface of the resonant medium of the experiment.
Therein he demonstrated the traditional representation in India of their understanding of phase relationships.
in its way this reckoned with recapitulates the same fining as was presented by the alchemists of all cultures that the same principles of coherence of phase operate at all levels of material phase.

1. Vibration
2. Tantra
3. Mantra
4. Yantra

The concept of alchemy addresses the relationship between changes in state at the physical level as a result of changes of phase in the transformational level due to it change in the phase coherence at the vibrational level due to phase change at the level of the singularity is that define the system.
when the information of face change, at the level of information, activate changes at the energy level of the electromagnetic radio information field that forms the universe, then the expression of this -in India- is called Tantra.
The corresponding or equivalent acoustic expression of the same is called an Mantra.
the associated and equivalent visual expression of the same is called Yantra.

1. Monaural
2. Stereophonic
3. Quadrophonic
4. Octo-phonic

In a more simplified alternative exemplar for the same understanding we can look at the relationship between vibration and space in terms of soundscapes.
We see this in the phase relationship in the transition from monaural to stereophonic sound.
Especially when an enhanced into Quadrophonic and Octaphonic, it is possible to enter into the structure of the soundscape contains between the loudspeaker system.
four example, it displays possible to walk in that in between space and to identify their location of the instruments as it was recorded for a musical performance; even the size and shape of the space can be deduced or inferred from the spatial organisation of the quadraphonic or octaphonic sound field.

1. score
2. metronome
3. heartbeat
4. cell cycle

In a rather more complex example of the same principle we can see how the musical score of an orchestral performance is a highly compressed notation of the corresponding resulting sound field.
The purpose of that musical performance is not connected directly to the space in which the performance takes place; it is merely an amplifier our resonator for containment of that sound field to optimise its interaction with the audience in that space.
In a similar manner the metronome tacitly implied in a musical performance merely serves to integrate the rhythm of the individual instrument players, but actual purpose of the rhythmic and training is intended for its effect of the body of the audience, more specifically the modulation of this set of bodily vibrations related to the heart.
As many people have discovered, there is a possibility for entrainment between rhythm, children, melody and movements in the music with psychological and physiological sensations in the audience for the performance.

1. Visual
2. Auditory
3. Kinaesthetic
4. Telepathic

In our body we can see that our auditory sensation represents only part of our sensory capacity.
Our so-called five senses (in fact we have more) are all instances of frequency sampling of/for the cells of our living body.
Each of our senses is sensitive for a part of the integral spectrum of vibrations to which our body is responsive.
Rather than identifying with the separate sensory organs and their specific sensation, we should regard the whole spectrum of vibrations with the which our body interacts, and then we can come to understand that we are in fact interacting with many more forms and patterns of vibrations then covered by the so-called sensory system, and then we can also understand how (complementing the complementarity of the organs in our body) are sensory system likewise links the inside and the outside of our body (as propriocepsis  and sensorycepsis) which helps understand that telepathy is part of the cell, negation by radio waves as it also is effective between people.

1. Musical score
2. Arabesque
3. Perth planning
4. Soul-hologram

By understanding that cell communication makes use of vibrations and patterns of vibrations at all levels of the electromagnetic radio information field we can also understand that the traditional notation for vibration (music, musical scores) is insufficient to address the complexity and importance of wave phase coherence in the intra- and inter-cellular dynamic.
ideally we would have a timebased notation of musical development, based on patterns of own unfoldment/coherence of musical notes (single note, repeated note, note sequence, double note), analogous to the fractal of cell divisions from which our body is formed; we can imagine that the arabesques of the Moors might perform the function of such musical development timelines .
The sequence of development of a musical composition however always is intended to have an effect on the audience, the us it does it is not have a time line which stands on its own, but is always coupled to processes in the environment and must therefore have links to crucial moments of environment interaction; such as mapped, in engineering, as the Pert planning decision tree timeline.
in that sense we must understand a musical composition as a whole, just as we must understand our own living body as a whole, while we must regard both (as is implied in quantum theory) as a vibratory electromagnetic radio information field; in interaction with each other, and with our environment: the Cosmos.

1. Source
2. Resistor
3. Coil
4. Capacitor

The most simple and at the same time most encompassing formulation for this dynamic of wave field interactions is found in system theory.
In its rudimentary form this is most commonly known as the so-called radio circuit comprising one a source, 2) a resistor, 3) a coil and 4) a capacitor.
These are in essence the equivalent of information, energy, time and space.
Thus we are dealing again with the relationship between a photon leap, an electron leap, electron oscillation and electron bonding.

1. Phase wave
2. Shock wave
3. Travelling waves
4. Standing wave

From the formulation of system theory we can see that each of the component in the radio circuit is, in its formulation, do all to its complementing component.
From this we can see that, likewise, space-time and energy-consciousness are also dual with respect to each other.
this is equally valid to their dynamic relationships, and the transitions between them, by which we can infer that information, energy, time and space are (respectively) equivalent to the phase wave, shockwave, travelling wave and the standing wave.
It is this fundamental of the dynamic organisation of change/coherence of phase (the 4D dynamic logic)which makes it possible to conclude that we must be able to describe all entire-and inter-cellular interactions in living beings in terms of vibrational fields (and the exchanges between them) for we for which we have no other experiential form of notation than that known as “music”.

1. Drum
2. Strings
3. Wind
4. Voice

For the purpose of connecting the vibrational notation of music with the vibrational phase dynamic of the living cells in our body (MatheMusics) we need to extend our understanding beyond that which is commonly used in music, to encompass the musical instruments also.
For example: we can see that drums, strings, wind and voice are all different application of the same principle of amplification of vibration.
Just as each of our sensory organs is but an incomplete segment of our scope of sensory vibrations, likewise is each orchestral instrument but a specific incomplete fragment of the orchestra as a whole, as integral instrument for music reproduction.
What we seek is a notation of involvement, by which we can categorise the location of the vibration in the instruments, as a counterpart or complement of the different degrees of involvement in the sensation of vibration by our body:  light is perceived as molecular change in the rhodopsin molecule of the eye, sound is detected as vibration of the hairs in the snail house of the inner ear, heat and pressure are detected as vibrations in the sensory cells on the surface of our body, while taste and smell are detected as molecular dissociation and molecular reactivity on the mucous service of (respectively) the tongue and the nose.

1. manipulating
2. touching
3. inspiring
4. being

At this level of consideration we must also make a fundamental change to music notation.
We must include the principle of dance notation such as created by Laban; which means that we must unify the languaging for choreography and musical composition (just as “mathematics as is score for the choreography of the dance in the mind of the mathematician(s)”).
Because in essence instruments like the drum involve ‘hammering away from the body’, instruments like the strings are based on ‘holding and stroking’ using the arm instruments like the flute are based on ‘breathing and holding’, while in using the voice it is about ‘being and feeling’.
That means that we are dealing with the same kind of inverse and rotation as we see in the development of science from the outsider-observer in classical science, the relatively-reflective view in relativistic theory, the probabilistic-involvement in quantum theory (by the collapse of the vector of state), and the creative-participative response-ability in unified field theory.

1. Solo
2. Band
3. Choir/orchestra
4. Choir + orchestra

We must also account for the complexity of the wave (phase) field.
For the musical performance, we can see this in the relation between a solo performer, a small band, in orchestra or choir, or orchestra and a choir.
We then see the same relationship as we find in the signal transmission for sensory sensation in the relationship between a sensory cell, a neuron, a neural plexus and the brain.
Which means that we must (also in our music notation) account for the different levels of complexity, which are at the same time different modes of data compression, which we however experience as different levels of consciousness; which we need to correlate to the different levels of music appreciation.

1. Stick
2. Bow
3. Tube
4. Baton

Fortunately, we will experience that the same logic by which our cells function, also governs the way by which we interact with/in our body, how we interact with each other, and likewise how we interact with our environment.
That means that the instruments that we create,  and the ways in which we use them, are likewise based on the same 4D dynamic interaction and the underlying logic of phase reorganisation.
We can illustrate that by pointing out that the stick of the drum, the bowl of the string instrument, the tune of the wind instrument and the baton of the orchestra director are all representations of the same principle, operating at a different level of involvement, thus essentially in a different dimension.
This is the essence of the mathematics of involvement, by which (for example) we can also see that classical science represents the experience of the outsider, relativity theory correlates to the experience of somebody who is reactive in the system, probability theory corresponds with somebody who is interactive with the system, and field theory reflects the experience of somebody who is system/creative.

1. Presentation
2. Repetition/refrain
3. Composition
4. Performance

Life is the art of learning how to use freedom of choice in our mind in our body.
Within us the expression of freedom of choice is known as magic: we use freedom of choice to make decisions which we can then operate as beliefs which will then condition reflexes; which will then determine our experience in life.
Our reflexes activate our body, which changes our environment, which changes our experience, which changes our realisation/reality.
We experienced a compliment of this (as “entrainment”) in a musical performance were the presentation of the acoustic holon makes use of patterning of notes (repetitions and refrain) resulting in an composition (of interrelated movements) which is an experienced as a performance (as music appreciation).

1. Point
2. Development
3. Continuation
4. Integration

What we need to determine is a way to  describe the relationship between the single notes, their sequence or simultaneity, the movements between their transitions, and the entirety of the musical performance.
We need to correlate this with the way our sensory system works, by way of the Dirac Pulse in the sensory cell, the Fourier code in the neuron, the Moiré array in a neural plexus, and the Gabor hologram in the brain.
That means that we need to be able to assess the relationship between the point/note/sensation/0D and the hologram/composition/brain/3D; in terms of the four dimensional dynamic logic.
In other words: how can we understand the written score of a musical composition in terms of the mathematical formulations of variables related by vectors in arrays determining the field of realisations/outcomes/interpretations/appreciation?

1. Local
2. Boundary
3. Field
4. Universal

We need to provide that description at the most fundamental level.
We have already seen that we can compare a musical note to a wave node in a soliton.
Freedom of choice operates in the wave node, as a singularity, by inverting the phase.
By this wave inversion (in the singularity) the wave node opens or closes; this activates the transition between a closed system and the open system, which is the operation of a wave phase rotation, which can contain the possibility of phase inversion; this is the only discriminator between a boundary and a field (a “boundary” is indicated by wave reflection and thus phase inversion; a “field” is indicated by the absence of wave reflection and thus the absence of phase inversion).

1. Verse
2. Per-verse (per-variable)
3. Trans-verse (trans-variable)
4. Inverse

The universe, in that sense, is literally a verse; a holon, or integral verse.
In it, materialisation takes place by the principle of the quote zipper of manifestation”.
The only principle that operating at that level is that of the photon leap <=> electron leap <=> electron oscillation <=> electron bonding.
Cosmic manifestation is thus based on phase rotation leading to changes in phase organisation in the electromagnetic radio information field.

1. Open system
2. closed open system
3. open closed system
4. closed system

In essence the musical note is the equivalence of the operation of Dirac pulse on our body sensation, which is then relayed from the 0D sensory cells to the 1D neuron through the 2D neural plexus to the 3D brain.
As the whole body is composed of living cells, they do not require the energy that is conveyed, but they respond to the change of phase which is the essence of the signal.
That means that our sensation operates in phase space, beyond the speed of light, and is based on the evaluation/calibration of the ongoing dynamics of phase coherence change, that already exists between the living body cells.
That is why we can describe Realisation in terms of phase (re-) orientation/organisation, of the system boundary, at each of its levels; as determined by the relationship between the singularity is that regulate the integrity of the system boundary with/in its environment (see the description of the system singularity stability set, and the body regulation of opening/closing of the system boundary for present fit for preservation of its integrity

1. uninvolved
2. reactive
3. interactive
4. creative

We actively experience, and operate, that system boundary reset, in changing our involvement, which we do by operating freedom of choice.
As a result we apply the principle of phase inversion in shifting from an outsider to a superficial involvement to an interactive participation to a creative interest.
Any change of involvement is ‘computed’ as a phase inversion in the singularity of the system boundary.
Therein we see a same kind of complexity as we also experience in music: that sometimes this involves a single switch in a single singularity (a note), but it can also be a sequence of state changes of connected switches (a chord or melody) functioning as a fractal; but it can also be a cluster of interconnected states changes (a movement or a partiture), while occasionally it can be a full-scale state change in all evolving all levels of the system boundary and the body as a whole (concerto).

1. Choice
2. decision
3. belief
4. reflex

The essence of this exploration of MatheMusics is that we aim to correlate a musical note to a wave node, to freedom of choice, in our mind and body.
Separately described, in www.scienceoflife.nl, is the realisation that we form our reality, and reflexes, and our believes, in the same way as our body forms our bones.
Therein it is evident that by our choices we create our decisions which determine our believes which create our reflexes; this is the mechanism for the creation of our realisation.
In the same way we can see that the choice of notes, melodies, movements and compositions in music parallel the dynamic in creating our realisation; and that (the other way around) music is a representation of the way we make use of freedom of choice, in the same way as the descriptions of reality of science are in fact formulations of the realisation of scientists.

1. State
2. process
3. transformation
4. integration

It means that we can apply everything that we know of science, and turn it around to understand the basis of (creation of) science: the conscious use of freedom of choice of the scientists.
Freedom of choice is based on the change of phase in the singularities that form the boundary of the system, by which is connected in/to its context.
In the phase rotation in the singularity in the system of the boundary we see the effect of the “zipper of manifestation” (photon leap, electron leap, electron oscillation, electron bonding) by which the materialisation of the electromagnetic field is changed (from photon phase information, to atomic electromagnetism, to molecular electo-valence, to material electron bonding).
This is the same as the alchemist already described in their text on the transmutation of matter, which involves the change of phase in the singularities which determine the coherence of the system (electromagnetic phase array, with different complexities of coherence); which we describe nowadays in terms of system theory, with respect to the relationship between state, process, transformation and integration of the system.

1. Earth
2. water
3. Air
4. Fire

What the alchemist described as Earth, Water, Air and Fire, we nowadays described in terms as Matter, Molecules, Atoms and Information.
Contrary to popular scientific belief, the alchemists were very well aware that they were not addressing material properties, but the characteristics of living body cells.
The so-called “Philosophers Stone” is the insight that dead matter (rock) has no freedom of choice, and the so-called “elixir of life” is the understanding that freedom of choice is the essence of life.
By understanding that freedom of choice (which the alchemists called “the quintessence”) is in fact the phase rotation within the singularity (the degree of freedom), it is possible to see that every so-called ‘particle’ in physics is in fact a wave node in metaphysics (phasics); with the above realisation that we can correlate a note of music with a wave node, we can now compare musical compositions with compositions of sequences of choices by which we create a coherence in our mind and body from which we can derive a coherence in our reflexes and interaction within our environment by which we compose the quality of our life: our life as a composition, and music as a metaphor/model for the possible qualities in our life.

1. point
2. line
3. plane
4. volume

What we seek to understand is how we can correlate and concatenate the choices that we make in our live, in a coherent and consistent manner.
We know that we need to understand and do this in the same manner as we see in the information transmission from the sensory cell to the brain: via the 0D to 1D to 2D to 3D cascade (which is the equivalent of a vortex rotation connecting a point, a line, a plane and a volume).
That means that this is the instrument by which we operate phase inversion in the singularity which forms the system boundary of our body (as human and as humanity) and that we need to understand the concatenation of these decisions in the same manner as we see that our living body unfolded out of the cell division decisions starting with the zygote; the first cell of our body.
For this purpose it is necessary to come to understand music and musical compositions as the concatenation of decisions (a musical note is a wave node) and see how we can correlate that with the composition of the quality of our life by our choice in involvement (by (dis)connecting), thereby determining our own (dis)integrity and our own (dis)integration (which would be sensed as harmony or cacophony in a music representation).

1. Vertex         [0D
2. Rib              [1D]
3. Triangle       [2D]
4. tetrahedron  [3D]

The fundamental dynamic of the phase inversion rotation in a singularity is that of a vortex, connecting a point, a line, a plane and the volume.
An alternative, equally valid, representation of the vortex is in the form of a tetrahedron.
That too is a form in which point, line, plane and volume are directly linked.
Which means that there must be a way by which we can represent musical development and composition in terms of the geometry of tetrahedrons

1. Phase
2. energy
3. time
4. space

Such descriptions do actually exist, and an integrative model for this can be found on www.HyperMandala.com.
This presents the work of Roberto Renout, an astromancer, who realised that we need to be able to understand phase changes as perceived in space on basis of their origination from their creative processes in time.
It is also evident that it time-space processes are interconnected with each other via juncture points (energy transitions) which means that the underlying coherence (change) must be included in the considerations: energy-consciousness.
This fundamental phase organisation dynamic was called the HyperMandala by Roberto Renout, and represented by a shape which we he called the HyperBoule (the hyper ball) in which all Platonic solids (harmonics of the tetrahedron) are integrated that thus interconnected.

1. 0th order
2. 1st order
3. 2nd order
4. 3rd order

The HyperBoule (hyper ball) thereby provides a metric, geometric metric, for the comprehension of dynamic complexity.
It integrates points, lines, planes and volumes;
thus 1st order, 2nd order, 3rd order and 4th order systems;
thus state, process, transformation and integration;
thus space, time, engine energy and phase information integration.
the hyper ball was designed to be able to understand the coherence of complexity of astrological, astronomical and cosmic cycles in their relationship to our life (and thus the bio-chronology of cell, division/decision/communication) but can thereby also be used to analyse the complexities of different forms of music.

1. Individual
2. relationship
3. group
4. humanity

Everything that we see (and experience) in cell communication, in our body, we also experience, between our bodies, in the communication between humans.
In our body we see how one cell, by cell division, created organs, our body and our oneness with humanity.
Of our body we see how one individual, by relationships, creates groups, and thereby our involvement in humanity.
As indicated right at the start, we can represent our experience of our relationship with each other in terms of combinations of musical notes  (simultaneous our sequential), with the implied possibility of cacophony or symphony depending on art choice of attunement in interfacing with our environment and each other.

1. Id
2. Ego
3. super Ego
4. trans-Ego

in this way every human can be considered to be an note in the musical composition which we know as humanity-if we apply the metaphor of matter musics not only to humans but also to humanities all.
We there in all have freedom of choice, thus must respect the freedom of choice of every living being, while we also must be response able in our use of freedom of choice in our context, but likewise we must be reliable in our use of freedom of choice in our social context.
It means that we must be able to a certain our own identity and integrity in our most basic essential exist and being the end; while we must also be able to assess and access the integrity of our being in relationship to others (which operates via our reflex reactions known as the ego); while we must at the same time be able to uphold and present are unique being  in our participation is in groups (which operates via our unconscious reflex reactions known as the superego); but we ultimately must be able to uphold and maintain the integrity of our being as humanity (which operates via out of consciousness reflex actions known as art transcendental being or God nature).
It is well-known that music can help people to come to this deepest level of self realisation, in the transcendental experience of being human and humanity (also called being human and godly); which means that there must be a possibility to not only describe health and peace in terms of MatheMusics,  but also that quality of trans-human being associated with our oneness inhumanity known as our transcendental being, or our godliness or god-nature.