EPICENTERS OF JUSTICE:

Music theory, sound-current non-dualism and radical ecology

A PROJECT SUBMITTED TO THE FACULTY OF THE GRADUATE

SCHOOL OF THE UNIVERSITY OF MINNESOTA

BY DREW WILLIAM HEMPEL

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE

OF MASTER OF LIBERAL STUDIES

MAY, 2000

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DonnaMae Gustafson, Instructor LS 80002

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Stephen Daniels, Advisor

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INTRODUCTION

Recently a lawsuit, backed by timber corporations, was filed against a citizen group called the
Superior Wilderness Action Network (SWAN). SWAN has been successfully challenging timber
sales by providing scientific data reviewing the threat to fragile ecosystems from corporate
logging practices. The timber companies argue in their lawsuit that, in reality, SWAN represents
a philosophy of deep ecology that is premised on religious beliefs and thus is a violation of
church and state separation. Using religious arguments to make government decisions is
unconstitutional according to the lawsuit that has been dismissed by SWAN as a typical
corporate SLAPP-a strategic lawsuit against public participation. While the argument of SWAN
seems obvious, being a group lead by credible university scientists,(1) the timber companies
raise a point that could just as easily be turned on its head: Historian David F. Noble, a former
M.I.T. professor and curator for the Smithsonian, has presented extensive evidence that in
actuality mainstream science is driven by a technological madness that seeks to recreate God's
dominion over the earth and works to revive mankind's original image-likeness to God.(2)

The origin of the spiritual madness defining modern science is traced to the Benedictine monks
under the Carolingian empire, as directed by court philosopher John Scotus Erigena. For the first
time in western history the mechanical arts were motivated by an elite, materialistic
millenarianism to reconstruct "imago dei" and restore "Adam" from the Fall. " 'It was precisely
[the] power over nature [that] Adam had lost by original sin.'" An urgency of the beckoning
apocalypse ushered in modern science, an expression of the self-fulfilling crisis. Under
modernism Man himself became the universal co-creator with God, thus formally disconnecting
a divine presence from nature itself and insisting on an abstract transcendent perspective
"epitomized by mathematics." A "saintly existence" and a "new race of men" will follow the end-
times via the "redemptive powers of technology." The final secularization of these "spiritual
men" occurred in the development of modern engineering elite institutions through the
freemasons and their offspring of positivism. Karl Marx even became one of the greatest
proponents of the "Edenic respites from labor." Space flight, nuclear weapons production,
computer-based artificial life and genetic engineering are all symptoms of an worldview to
create an Adam II that will redeem mankind through the destruction of the Fall and the dawn of a
new era. The "scientific saints" renounce responsibility for necessarily risking escalation toward
the inevitable end-times.(3)

Several leading philosophers have argued that, while the ecological crisis presents a new
unifying common ground for united action, unless the underlying opposing worldviews are
addressed, resolution will only occur by escalating catastrophes that threaten the future of life
on the planet.(4) The last 500 years of colonialism and its resultant ecological havoc have been
rooted in ideas based on scientific materialism, reductionism, mind/body dualism, and linear
causality-what became fortified as the modern paradigm by classical liberalism and the
Enlightenment.(5) Radical ecology theory is being reconsidered by dominant institutions, in the
context of the New Paradigm-mainly systems theory, the new physics, holistic medicine, post-
modernism.

Although strongly recognized since the mid-1980s, post-modernism became theoretically

definitive after Professor Frederic Jameson's tome, Postmodernism or the Cultural Logic of
Late-Capitalism. Post-Contemporary Interventions. Postmodernism is a zeitgeist driven by
relativism where Universal Truth, as a defining Western goal, is no longer considered possible
and the impact of late capitalism has been the mixing of high and low culture in an alienating
climate. This cultural atmosphere called post-modernism has liberating potential if, as Jameson
states, a new "totality of difference" can be created-what sound-current non-dualism describes.
As explained by theorist Jozef Keulzart, systems theory was formalized by Ludwig von
Bertalanffy during the 1930s by applying the thermodynamics of open systems to ecology,
cybernetics, and information theory. The new physics refers to the primacy of energy over
matter, the limit of reductionism, and the inter-connection of all reality as proven by Bell's
theorem, quantum mechanics, the theory of relativity, and the Heisenberg uncertainty principle.
Holistic medicine applies the above new paradigm concepts to mind/spirit/body dynamics for
healing. The University of Minnesota, for example, offers a minor graduate degree in
Complementary Therapies and Healing Practices.(6) Physicist Nick Herbert makes the following
pertinent new paradigm recommendation: "Religions assure us that we are all brothers and
sisters, children of the same deity; biologists say that we are entwined with all life-forms on this
planet; our fortunes rise or fall with theirs. Now, physicists have discovered that the very atoms
of our bodies are woven out of a common superluminal fabric. Not merely in physics are
humans out of touch with reality; we ignore these connections at our peril."(7)

Many institutional planners though are hesitant to implement ecologically-sound structural

reforms if only for fear of growing irrationalism, extreme relativism, and even a new all-
encompassing big Other of "harmonious Nature."(8) The ecological crisis is universally eroding
the façade of the Western modern paradigm and exposing the spiritual roots of science. What
theory can provide a successful integration that meets the true and legitimate concerns of
rational humanists and that addresses the ecological justice crisis in a more compassionate and
effective manner?

Not only did modern science develop from a profound structural problem but David Bordwell, a
definitive source for film criticism and social theory, argues that, similarly, social theory "has
tended to be deeply traditional in its assumptions." He, like Noble, also traces these limited and
problematic conceptual assumptions to an origin of elite spiritual institutions of the West: "While
not all societies believe that a symbol is inherently meaningful, Christianity has been a strongly
hermeneutical religion, seeking the kerygma, that latent sense waiting to be called forth."(9)
Bordwell is not presenting a broadside attack against spirituality, nor even the practice of
deriving implicit moral meanings, but raising an institutional critique that exposes the
epistemological limitations behind western, including modern and postmodern, theories to date.
The same deep conundrum does not elude music analysis.

Caryl Flinn recently accomplished one of the most comprehensive analyses of the utilization of
music theory for social criticism in contemporary times and she comes to a similar conclusion as
Bordwell: By arguing that music represents a special place within the limited system of symbolic
interpretation, cultural analysts have worked to "nostaligize music as an object of study or have
it stand in for an abandoned ideal."(10) While Flinn does not deny the special role of music for
Western theorists after Pythagoras, she does deconstruct the utopian theories as still mirroring
a one-dimensional bias of meaning that enforces social repression. Yet in the end Flinn positively
encourages utopian projects around music and Bordwell makes, from his broader perspective, a
surprisingly similar promotion. To overcome the long continuous limits of analysis, traced back
to Aristotelian thought, Bordwell argues for a poetics that recovers our senses by utilizing "the
reconstruction of earlier acts of comprehension." He states that, like the subordinate role often
given to music in social analysis, style and form are not emphasized enough in theory and
criticism.(11)

My work is, as Bordwell describes theory, a "systematic propositional explanation of the nature
and functions" for inferring implicit perceptional norms that challenge dominant Western
institutions.(12) This is not a nostalgic project but meets Flinn's goal for music theorists, namely,
"how to talk concretely and specifically about the effects generated by a signifying system that is
so abstract."(13) Utilizing Bordwell's neo-formalist approach that creates "a set of relations of
meaning between conceptual or linguistic units" (i.e. a relation of opposite meaning, diminution
in size, defined by inclusion, etc.), I will be presenting a field of meaning that revolves around
moral categories, as is the norm for interpretive criticism of rational humanism.(14)

While a few recent grand theorists, in my opinion, have each successfully achieved this new
integrative theory, they both have done so in different manners and with the same
epistemological symbolic limitations that Noble and Bordwell describe. The three most
prominent examples are Gilles Deleuze, Ken Wilber, and Slavoj Zizek. The later two qualitatively
move beyond postmodernism by similarly building from systems theory, idealist philosophy
(Hegel and Schelling) and emphasizing psychoanalysis. Wilber recognizes the need for a new
paradigm to address the ecological crisis with the following: "before we can even attempt an
ecological healing, we must first reach a mutual understanding and mutual agreement among
ourselves as to the best way to collectively proceed....Anything short of that, no matter what the
motives, perpetuates the fracture." Zizek relatedly states: "the hitherto underestimated
ideological impact of the coming ecological crisis will be precisely to make the 'collapse of the big
Other' part of our everyday experience.....The way to break out of this viscous cycle is not to
fight the 'irrational' nationalist particularism but to invent forms of political practice that contain a
dimension of universality beyond Capital; the exemplary case today, of course, is the ecological
movement." And "significantly, Deleuze and Guattari express their new vision in terms of 'eco-
philosophy.'" (15)

Fortunately Georgia State University philosopher Mark B. Woodhouse wrote, after building on
these grand theorists, the presentation of what he calls energy monism-a model of reality that
would not be possible, "if we were not of the very essence of music, i.e., rhythmic vibrations of
energy."(16) His work is promoted by Tulane University philosopher Michael E. Zimmerman,
author of Contesting Earth's Future: Radical ecology and postmodernity. (17) Zimmerman
considers Woodhouse's Paradigm Wars: Worldviews for a New Age to be "an indispensable
guide to new conceptual pathways that may lead to the radical and constructive alterations
needed to guide humankind in the 21st century." Ironically at about the same time that
Woodhouse's book came out, I also sent Zimmerman my manuscript, "The Fundamental Force,"
which presents dramatically similar integrative work. Zimmerman also positively reviewed what
I have been recently calling sound-current non-dualism-a label very much like energy monism.
Fortunately, and most significantly, the core concepts of this paradigm can be expressed
through basic and easily accessible music theory-a realization that's been entertained by not
only leading scientists but by the foundation of the Western Academy-Pythagoras.(18)

It's not surprising that energy monism can be easily understood "as a powerful root metaphor
and as a concrete model of explanation," according to Woodhouse. The same resonating
approach to reality is found in cultures across the globe, just as the same basis for the
sophisticated philosophy of Taoism is also found universally.(19) The harmonic and rhythmic
processes of yin and yang forces are rooted in a "deep ecology of the body," according to the
work of Taoist qi gong Master Mantak Chia. Influential physicist and music analyst James Jeans
dismissed the connection between Taoism and Pythagoreanism in 1937 when he wrote, "the
central Pythagorean doctrine that 'all nature consists of harmony arising out of number'
provided of course the simplest of all answers, but only by building on an unproved
metaphysical basis. An answer on equally uncertain foundations was given by the Chinese
philosophers of the time of Confucius, who regarded the small numbers of 1,2,3,4 as the source
of all perfection." Esteemed mind research Dr. Philip Regal gives a more positive connection,
"Taoism had its origins in shamanism, and much like Pythagoreanism it attempted to develop a
systematic 'scientific' aspect." The brilliant philologist and historian Peter Kingsley in his
groundbreaking work Ancient Philosophy, Mystery, and Magic: Empedocles and Pythagorean
Tradition, well summarized the bias that my approach openly confronts: "To suppose that a
magician is someone incapable of devising coherent theories about the structure and working of
the universe is in the last resort sheer prejudice, denied by all the evidence."(20) The
reconstructive science of Taoist qi gong and sound-current non-dualism successfully address the
western crises of self/other dualism and subsequent reactionary irrationalism, thus enabling an
ecological approach to reality to be achieved. Woodhouse theorizes that the new paradigm,
because of its cyclical universal principles, is a foundation for a rising global culture which is
meeting the planetary crisis of survival.(21)

I contend that the theory of sound-current non-dualism demonstrates that true science-based
music theory and Taoist qi gong are formally equivalent. Both originate from indigenous
systems that are based on universal principles of turning fundamental quantity into quality or
natural law modeled by music theory. Music theory formally explains why indigenous societies
are not "pre-cognitive" or "backwards" and formally explains how the western self/other
repressive system derives from closed one-dimensional western epistemology and is reflected
in linear, genocidal western development. Music theory provides the formal foundation for
radical ecology, chaos and complexity and, in so doing, successfully and formally addresses the
three main critiques of radical ecology: a) that it's irrational b) that it's still materialistic and
doesn't explain inner consciousness c) that it's another symbolic hegemony or repressive big
Other deterministic system. Music theory, by modeling the principles of universal energy,
explains how to achieve what qi gong master Dr. Chow calls, "exceptional human functions" of a
multi-dimensional sustainable nature.

SOUND-CURRENT NON-DUALISM

Music is derived from a very simple yet profound concept. From the definitive book Music and
Science by physicist Sir James Jeans: "The motion of any particle [or pulse] will be a succession
of waves...but in a vibration the restoring force is exactly proportional to the distance the particle
has moved from its position of equilibrium."(22) This is known in physics as the law of
Pythagoras. The implication of this law is that "the motion of every particle will be of the same
kind, whatever the structure to which it belongs." (23) Consider the clock, a defining metaphor
for the western modern paradigm(24): "the period of vibration of a pendulum depends on its
length, and not on the extent of its swing; it is because of this that our pendulum clock keeps
time.... the period is independent of the extent and energy of the swing...Without this property it
may also be said that music, as we know it, would be impossible."(25) The simple motion of
regular waves enables time to be ordered and the plucked string (a.k.a. the first note, the
fundamental, the pulse, or the natural free vibration of the string) when viewed on an
oscilloscope, is seen as an empty circle, like the clock face.(26)

This empty circle, the fundamental, notes music analyst Beaulieu, is also the same symbol of the
Wu Chi, the source for all reality in Taoism.(27) Taoist qi gong Master Mantak Chia states,

Through observing nature and the effects of energy within the human body, the ancient
Taoists were able to trace universal energy back to its point of origin. Having developed
an empirical approach with which to contact this source of observable phenomena, they
established the concept of the primordial void as the point of departure for all creation.
 This void was given the name Wu Chi. It is depicted as an empty circle in traditional Taoist
art because it is beyond human description."(28) Wu Chi is literally the void or nothingness
from which all arises. Although Wu Chi, the source of the way of the Tao, cannot be
directly referred to with words, music, profoundly, does measure the nothingness itself, as
we'll see next.(29)

By the same law of Pythagoras, the free vibrations, or naturally harmonious relations to the
fundamental, are all "multiples of the same number."(30) The next natural multiple or harmonic
is the octave, the ratio 1:2, or as its called in the Greek source, the Diapason, meaning "through
all" or "through the whole."(31) The scientific basis for proving harmony of the Diapason (that
Hemholtz theory built from the law of Pythagoras) is at the next order of information, the ratio of
ratios or the relation of the multiples of the ratios. Each multiple has its own set of multiples in an
infinite pattern of dynamics.(32) But for the Diapason, or the first node (where the string is
touched in the center), the beats, as the physicists call the resultant sound of the second order,
equal zero or nothingness itself. Normally the resulting difference between the multiples of the
ratios creates a pulsating sound or beat. Jeans writes, "on this theory [Helmholtz theory of
beats] the octave becomes the most perfect of all concords, since none of the harmonics can
possibly beat worse than when one note is sounded alone." He adds "the unpleasantness [beats]
remains until the octave of frequency...is reached, at which point [the beats] suddenly
disappears."(33)

Since music theory is not considered a model to describe reality by the corporate-state western
institutions then the great cosmological magnitude of Hemholtz's beat analysis is left
systematically marginalized in dominant society. By approaching rhythmic vibrations of energy
as the new physics does, the implications of the Diapason is that the source of reality can now be
understood easily (i.e. how something comes from nothing). As the most successful music
theorist and sympathetic vibrations physicist, John Keely, put it:

There would be no life, and therefore no action in aggregated matter, had the latent
negative force [the nothingness measured by music theory] been left out...The evolution
of power from the latent condition...proves the 'connection link' between celestial and
terrestrial, the infinite and the finite.(34)

Keely's connecting link refers also to the second important implication of the law of harmony, or
beats, which is that the difference between orders of information can be measured. The problem
of clarifying the difference between classes of information is a perennial quagmire to science
and true music theory provides the answer.(35) In Taoist qi gong these different levels of
information are crucial to the concept of nothingness as the source of creation. The node is the
relative void, where string displacement equals zero, and the zero of the beats, signifying pure
harmony and creation, is the absolute void. The brilliant and profound text Taoist Yoga states:

Seeing the void as not empty is right and seeing the void as empty is wrong [as the West
does], for failure to return to the (tsu ch'iao) centre (which is not empty) prevents the light
of vitality from manifesting...When spirit and vitality return to this cavity, spiritual vitality
will soar up to form a circle (of light) which is not void. Voidness which does not radiate is
relative but voidness which radiates is absolute. Absolute voidness is not empty like
relative voidness.(36)
This concept has been regained in the new paradigm work of new physics. Berendt cites
physicist Charon, noting,

Both the electron and the black hole [i.e. extremely dense matter or zero beats] are
characterized by totally curved space and by curved time. This means that the time of
electrons and of black holes is opposite to our 'material' time, which moves on a straight
line from past to present to future. This, in turn, may imply that if entropy grows in the
'material' world, then in the world of electrons (and black holes) precisely the opposite
force might grow, the force of negentropy.(37)

The Diapason, first overtone, or node, as the halfway spot on the vibrating string, is, Beaulieu
points out, equivalent to the complimentary halves of the Tai Chi symbol from the Wu Chi. Tai
Chi, just as with the Diapason, is the basis for all harmony. Music theorist Berendt comments,
"the octave, the proportion 1:2, which has always been used to signify the polarity of the world:
yang and yin, male and female, heaven and earth, etc."(38)

The source of nothingness from which the totality of difference arises enables further evaluation
of the universal laws of harmony. To reiterate, the node, the place were the string is touched or
first measured, is a relation of the natural free vibrations and, "a touch will kill all the vibrations
except those for which the point of contacts is a node."(39) The points at which the displacement
of the string is zero are the nodes or the free vibration multiples of the fundamental. By
inference the closer the multiple or ratio of string parts is to the beats of zero or the absolute
void (the source of the harmony through all) the more consonant the interval of the scale. Thus,
based on the Hemholtz law of harmony, at the interval of a fourth and a fifth (ratios 4:3 and 3:2)
beats similar to the octave nearly disappear (for the octave again the beats are zero).(40) These
two intervals are the next natural multiples to the fundamental: "the fourth and fifth work
together as yin and yang...The fifth, and the fourth are the basis for the 1-4-5 chordal
progressions found throughout music of all cultures," states Bealieau.(41)

Just to emphasize this point, although music is fiercely defended as an expression of free
association and subjective pluralism (which I completely support), at this fundamental level, true
music theory gives proof to universal cultural values from the harmonic or natural law of energy
based on the law of Pythagoras-in fact, as we'll soon see in detail, it also exposes the repressed
one-dimensional symbolic value judgments (that reflect corporate-state repression and fascism):
Jeans remarks,

vast numbers of tribes [sic.] and peoples...developed music independently and in the most
varied surroundings...the principles which guided them-to choose pleasant noises rather
than unpleasant, consonances rather than dissonances...they were led to much the same
result...with a unanimity which is remarkable...all have at least scales which are built on
the same principle....The octave, the simplest and most perfect consonance of all, must
have been discovered at a very early stage; it is fundamental in the music of all
peoples...(42)
The law of Pythagoras, an example of the inverse-square law so fundamental to science, can
also be approached geometrically through another Pythagorean law, the law of growth-
fundamental to chaos and complexity or open systems science, as we'll also see. It's
represented by the 4:3 or 3:2 proportioned five-pointed star, "thought to have been a sign of the
Pythagorean brotherhood," comments Edward Rothstein, music critic for The New York Times.
(43) The profound simple principle is thus: "As the whole line is to the greater segment, so is the
greater to the lesser." Rothstein notes that the power of the principle is "to contain itself within
itself in the simplest possible fashion." (called the golden mean, the golden section or the Divine
Proportion) Rothstein, also a mathematician, explains that the law of growth can be stated as
"each number being the sum of the two previous numbers."(44) Or as the music analyst Erno
Lendvai puts it: "If every branch of a tree, in one year shoots a new branch, and these new
branches double after two years, the number of the branches shows the following yearly
increase: 2, 3, 5, 8, 21, 34." (also known as the Fibonacci number series).(45) The mathematical
analysis Spirals: From Theodorus to Chaos by Phillip J. Davis (1993) attempts to demystify the
law by giving it further credence at the same time:

It simply grows its stalks or florets in succession around the apex of the stem so that each
fits the gaps of the others. The plant is not in love with the Fibonacci series; it does not
even count its stalks; it just puts out stalks were they will have the most room. All the
beauty and all the mathematics are a natural by-product of a simple system of growth
interacting with its spatial environment.(46)

This law of growth has been so important to human civilization that Egyptian, Mayan, Asian,
Greek, Gothic, Renaissance and modern architecture and art have all been created by its precise
measurements.(47)

The growth pattern can be applied to music analysis in at least three manners. The ratios can be
attributed to the number series (i.e. 1:1, 1:2, 3:2, 5: 3, 8:5, 21:13 equals the intervals of unison,
octave, perfect fifth, major sixth, minor sixth and minor sixth again).(48) Dover publications,
known for their prestigious music texts, published the book The Divine Proportion that
investigates how the ratio of the major sixth and the major third approximate the golden mean
proportion. Lendvai applies the number series to the intervals with each number represented
each step of the scale (i.e. 1=minor second, 2=major second, 3=minor third, 5=perfect fourth and
8=minor sixth).(49)

What are the implications of this further analysis derived from Pythagoras? The spiral of the law
of growth is fundamental to yin/yang transformations and the creation of form itself, through the
principles of music theory, as will be demonstrated. Taoist qi gong Master Mantak Chia states,

From whirlpools, tornadoes, and the spiraling electrons of our cells to the spiraling
formations of galaxies and nebular, nature moves in spirals. Spirals initiate vortex-like
fields of energy that gather, draw in, and condense other energies. Just as nature uses
spirals throughout the universe, we can use them to improve the functions of our bodies
through meditation.(50)
At this point we can use music theory to examine the basic processes of energy that derive from
the harmonics resonance spirals of yin/yang dynamics based in the void.

We've now deduced, from the void itself, the formation of the first fundamental free vibrations,
or natural harmonics, that govern all of reality or rhythmic vibrations of energy. Based on the
law of harmony (the second level of the law of Pythagoras) the major sixth (or inversely the
minor third) is the next overtone in the creation of the musical scale. From this next basic
harmonic we achieve the pentatonic scale and the ability to resolve the first basic structure of
psychological and spiritual completion, as the Gestalt or cognitive laws of psychology applied by
music analyst Leonard Meyer will show. Jeans states, "the pentatonic scale in which a
considerable amount of Chinese and ancient Scottish music is written, as well as much of the
music of the primitive peoples [sic.] in Southern Asia, East Africa and elsewhere."(51) Or as the
New Harvard Dictionary states, "scales of this type [pentatony], of which there are many, are
widely distributed geographically and historically."(52)

Although the specific five notes may change, they can be derived from the infinite complexities
of the fundamental rhythmic processes of energy that resolve the musical scale. The principles
of energy dynamics derived from the basic scale enable a multi-dimensional matrix of reality
(i.e. resonance and opposite phase transformations described in advanced science via
synthesize analysis of the Fourier wave theorem).(53) Or as the equivalent of Taoist qi gong
describes, "each of the Five processes of energy depends on the interactions of Yin and Yang
emanating from the primordial void."(54) These energy processes, through an experiential
science of universal Truth and Harmony, have been correlated by Taoist qi gong Master Mantak
Chia as the following: 1) Energy rising: South, Fire, Heart, virtue of love, joy, happiness,
gratitude, small intestine, Summer, taste: bitter, color: red, negative emotions: impatience,
arrogance, hastiness, cruelty, violence, Mars, mantra of "Hawwwww." 2) Energy sinking: North,
Water, kidney, bladder, virtue of gentleness, generosity, alert stillness, Winter, taste: salty, color:
black or dark blue, negative emotion: fear, Mercury, mantra of "Woooooo." 3) Energy expanding:
East, Wood, liver/gallbladder, virtue of kindness, forgiveness, Spring, taste: sour, color: green,
negative emotions: anger, aggression, Jupiter, mantra of "Shhhhhh." 4) Energy solidifying: West,
Metal, lungs, large intestine, virtue of courage, righteousness, appropriateness, Autumn, taste:
pungent, color: white, negative emotions: sadness. Venus, mantra of "Ssssssss." 5) Energy
stable: Center, Earth, spleen, pancreas, stomach, virtue of openness, fairness, justice, Indian
Summer, taste: neutral, color: yellow, negative emotions: worry, sympathy, pity, Saturn, mantra
of "WHOoooooo."(55)

The most important implication of the five forces, as derived from the completed pentatony of
the basic rhythms of energy, is the connection not only of energy, nature, body and mind but, the
connection between inner (consciousness) and outer reality. This point needs to be further
solidified since the implications of universal laws of thought are again easily dismissed as
repressive hegemonic ideology. Meyer is a neo-formalist and, like film analysts Bordwell and
Thompson, uses psychological laws of gestalt science to emphasize the learned and
conventional norms that need to be contextualized throughout different individuals and cultures.
The crucial point not to be lost is that these infinite varieties stem from basic universal
principles.(56) As the Gestalt analysts state there are "natural modes of expectation" with good
defined as regularity, symmetry, simplicity, and completion, otherwise known as the law of
Prägnamz. Meyer emphasizes that "violation of the law of completion, for example, almost
always involves disturbances in the factor of good continuation...a dissonance which might be
unpleasant when heard in isolation may be beautiful within a piece of music where its
relationships to past events and impending resolutions is understandable."(57)
The processes of Gestalt neo-formalist analysis (Prägnamz--proximity and similarity; law of
Return or the need for cyclic formal structures; law of saturation; law of completion and law of
continuity) reflect the five process of energy described by Chia (i.e. solidifying, expanding,
sinking, rising, stable). But again, crucial to the application of Gestalt analysis in music theory is
that--just like the law of Pythagoras expresses fundamental relations for music, "the most
important pattern-forming parameter [are] pitch and duration." As Meyer clarifies, in a
description of the basic rhythmic vibrations of energy, "relaxation and quiescence...is associated
with the decline in tension which is effected when pitches are lower-when a progression
descends at its close."(58)

From the resolution of the scale or the harmonic relaxation at the fundamental--the void of
infinite potential is accessed--the secret for supreme harmony where the unity of infinite reality
is experienced. This connection of all multidimensional reality has been described by the new
physics (i.e. the superstring theory) in the same manner as Nick Herbert explains the secret of
quantum theory-"using ordinary waves in unusual ways."(59) The means of quantum mechanics
are still based in the linear closed systems of one-dimensional western epistemology.
Subsequently the final message of physicist Margaret Wertheim's Pythagoras' Trousers: God,
Physics and the Gender Wars is to seriously reconsider the mega-astrophysics projects that put
the future of the planet directly at risk, i.e. the superconducting supercollider. Instead she urges
that we ground physics in an ethically balanced framework--reflecting the original foundation of
energy wisdom.(60) Fortunately, with the principles of resonance, the goal of unifying reality can
be accomplished by means of humans without any outside tools.(61) In reflection of the five
processes of energy, physicist K.C. Cole writes, after analyzing the research of Linear
Accelerator Centers, "resonance may provide a good analogy for learning...Resonance, in other
words, determines what we see, and what's reflected; what goes right through, what gets stuck,
and what sinks in....resonance can make things seem to appear out of nowhere."(62)

Even though fully existing in the void is the ultimate example of the principles of resonance,
Pythagoras could also heal "without touch" just as Taoist qi gong (vital energy work) Masters are
well-documented at doing today.(63) Everyday in China more people then the whole population
of the U.S. practice qi gong. Ironically, because of China's Marxist scientific materialism, there
has been a great research effort to scientifically examine the workings of qi gong-in 1998 the
Chinese Government officially approved eleven different styles of qi gong based on the
immense scientific evidence supporting their validity. China has several institutes that use high
technology to research qi gong and there's even a qi gong university in Beijing which produces
high-level "healers without touch." There are several qi gong masters that either live in the U.S.
or have traveled here to conduct double-blind experiments demonstrating qi gong at prestigious
universities and research institutes. Master Chunyi Lin who teaches Spring Forest Qi Gong in
Minnesota has been documented to heal cancer, AIDS, Parkinson's disease and he has even
changed the structure of bones.(64) Master Dr. Yan Xin, considered China's leading qi gong
practitioner, has conducted several experiments where he's actually slowed down the decay
rate of nuclear particles from a great distance as well-considered an impossibility by western
science.(65) Master Effie P. Chow, based in the U.S., has also been a documented healer of
cancer, cerebal palsy, etc. The same type of multi-dimensional resonance healing is found
around the world. Obviously there are charlatans as well as those who abuse the power of
spiritual energy for manipulation and harm, in the end causing damage to themselves as well,
because of the reciprocal principle (the law of Pythagoras) of universal energy. If Taoist qi gong
is practiced accurately than it can only be used for good. Why is that? Because reality itself is, as
we have shown, inherently structured as harmony and works by resonance as Dr. Yan Xin has
explained-unfortunately the dominant and inaccurate epistemology of the west does not reflect
this fundamental wisdom.(66)

By the principle of the synthesizer theorem, Fourier's wave analysis, all waves can be
transposed from one level of information to the next, because of their inherent harmonic
resonance based in the void, as described by the law of Pythagoras. We've already modeled this
transformation with the difference between ratios and beats (or ratios of ratios). The way this
principle is explained in basic music theory also inversely reflects how deeply and
fundamentally the closed epistemology of the West is an inaccurate portrayal of the multi-
dimensions of information, consciousness and reality. Again music analyst and physicist Jeans
states:

Thus, for perfect concord, each step of one 'hour' on the clock face [the cycle of
harmonics] would increase the frequency by a factor of 1.5 (3:2 or fifth) [the natural free
multiples] and twelve such steps would increase it by a factor of (1.5) to the twelfth, of
which the value is 129.75...the frequency of this last C [the true Diapason] is only 128
times that of our starting-point, so that our twelve steps slightly overshoot the mark.(67)

Because Pythagoras limited his mathematical analysis to ratios, as "the severity of Greek taste
resulted in melodies being restricted to a compass of an octave," the 'comma of Pythagoras,' or
"overshoot" was created. Trying to squeeze the comma of Pythagoras into a one-dimensional
closed symbolic system also created an inaccurate, one-dimensional symbolic portrayal of
reality. The Equal Temperament Scale, the Just Scale, the Mean-Tone Scale are all examples of
trying to compensate for the overshoot that Jeans describe, by maintaining closed systems of
increasing abstraction based on the comma of Pythagoras.(68) In response to this fundamental
problem, the very influential contemporary composer Harry Partch built a new toning system
that reflects music as an accurate model of reality. His system is called the "tonality diamond"
and is identical to the Pythagorean Lambdoma or matrix of harmonic resonance.(69)
Contemporary composer Sun Ra also conveyed an accurate multi-dimensional model of music
with it's logical cultural consequences. As he states,

The music is not part of this planet in a sense that the spirit of it is about happiness. Most
musicians play earth things, about what they know, but I found out that they are mostly
unhappy and frustrated and that creeps over into their music.... I'm dealing with pure
sounds... People have a lot more of the UNKNOWN than the known in their minds....
Prepare for the journey! ...you will step out of the pages of the Blinding Blend of the Book,
and gaze astounded at the ENDLESS SPACE of the COSMO-VOID.(70)

The comma of Pythagoras thus, if not repressed to one symbolic dimension, explains how
resonance works to transform energy from one cycle or level of information, via the spiral, to
another. Jeans states, "the true clock-face extends to infinity in both directions." (71) (my
emphasis) As I stated the implications of this symbolic one-dimensional error are immense
indeed and below I will examine the origins of that western error at greater length. Just as
importantly though, in the face of today's ecological and social crisis, is the inverse implication of
spiral infinite reality being accessible through the use of sound-current or as Taoists call it, vital
energy.
The vowel mantras are the linguistic and psycho-spiritual connection between rhythmic
vibrations of energy and symbolic language. Martin Buber, a strong influence for M.I.T. professor
Noam Chomsky and his brilliant structural analysis of symbols and society, made the following
remarks:

The word is an abyss through which the speaker strides. One should speak words as if the
heavens were opened in them...He who knows the secret melody that bears the inner into
the outer, who knows the holy song that merges the lonely, shy letters into the singing of
the spheres, he is full of the power of God.(72)

Music analyst Berendt comments, "The science of linguistics reveals that the Christian Amen
gradually grew from the primordial mantra OM."(73) Sound therapist Jonathan Goldman
remarks, "We can actually feel different parts of our body vibrate with sound. For those who
have had no experience working with the subtle body [vital energy or chi], this physical
resonance makes it easier for them to accept the possibility of resonating subtle energy as
well...."(74)

In fact vital energy or qi gong can also be translated as "breath work" and by using resonance of
the negative ions and oxygen from air, a spiral of energy is created which resonates with
fundamental frequencies that structure the very nature of matter and time. Biologist Rupert
Sheldrake calls this process of creation through resonance, "morphogenesis" from "morphic"
(form) "fields."(75) The same generative process can be shown in a more basic manner again
with simple music. Dr. Hans Jenny discovered that by placing various mediums on a steel plate
with a crystal sound oscillator attached to the bottom, the complex biological forms on the plate
are examples of sound nodes organizing matter, called cymatics.(76) Taoist qi gong Master
Mantak Chia explains, "By resonance, this spinning ball [of chi], helps stimulate the flow of the
orbit [or the main energy channel of the body]."(77)

The term sound-current non-dualism is inspired by an ancient meditation practice called the
Quan Yin Method literally translated as "sound-current." Although the Quan Yin Method is
practiced freely the main proponent of it is Master Suma Ching Hai. The history of her initiation
may seem unbelievable to westerners but, impressively, she was also the recipient of the 1994
World Spiritual Leadership Award that was presented by the Governors of six States in the
United States (viz., Illinois, Iowa,Wisconsin, Kansas, Missouri and Minnesota). Her principles are
the same as those of Pythagoras and worth quoting at length:

In the Surangama Sutra, Sakyamuni Buddha said that the Quan Yin Method was the
highest of all methods. However none of Her teachers knew it. [Suma Ching Hai] traveled
and searched everywhere and finally, after many years, found a Himalayan Master who
initiated Her into the Quan Yin Method and gave Her the Divine Transmission that She
had sought for so many years....That Master was the great Master Khuda Ji, who lived in
seclusion deep in the Himalayas. Master Khuda Ji was four hundred and fifty years old
when He initiated The Supreme Master Ching Hai into the ancient art of meditation on the
heavenly Sound and divine Light. He had remained patiently in His Himalayan abode
waiting for Her. She would be His first and only disciple. Although, She had practiced this
form of meditation before, Master Khuda Ji was to impart to Her the ultimate spiritual
transmission that is the essence of Initiation. Only the few great Masters, who have
attained the Ultimate, can perform Initiation....After a brief period of Quan Yin practice,
She became fully enlightened and continued practicing and improving Her understanding.
She remained in retreat in the Himalayas for some time, continuing Her daily
 practice....This primal Vibration or Sound is in its nature transcendental and therefore
perceived in silence. Jesus' disciples called it the 'Holy Spirit' or the 'Word' (which is from
the Greek word 'Logos,' meaning sound). 'In the beginning was the Word, and the Word
was with God, and the Word was God.' After Shakyamuni Buddha attained enlightenment,
He spoke of this Sound too, calling it the 'drum of immortality'. Krishna equated Himself
with the 'sound in ether'. Mohammed perceived this Sound in the cave at Gare-Hira when
He had a vision of the archangel Gabriel, and Lao Tzu described the Tao as the 'Great
Tone'.... THERE ARE TWO KINDS of sound: the worldly sound, and the supra-worldly
sound. The worldly sound is very important to our sensual and mental comfort, but the
supra-worldly sound draws us back to God. WITH OUR POOR worldly language, every
time I would like to speak about this great treasure within us, I feel so ashamed of doing
such a poor job. But I have somehow to try to convey a part of this great wisdom so that
you may feel interested, and find it out for yourself, and then you will know it for yourself
without any language.(78)

The holy advaita (or Indian non-dualist) sage Ramana Marashi makes a similar point:

To a question by a visitor which seemed to hint that Realised Souls lived only for
themselves, 'Why does not Bhagavan go about and preach the Truth to the people at
large?' Maharshi replied: 'How do you know I am not doing it? Does preaching consist in
mounting a platform and haranguing the people around? Preaching is simple
communication of Knowledge; it can be really done in Silence only. What do you think of a
man who listens to a sermon for an hour and does away without having been impressed
by it so as to change his life? Compare him with another, who sits in a holy presence and
goes away after some time with his outlook on life totally changed. Which is the better: to
preach loudly without effect or to sit silently sending out Inner Force?

Again, how does speech arise? There is abstract knowledge, whence arises the ego,
which in turn gives rise to thought and the thought to words. So the word is the great-
grandson of the original Source. If the word can produce effect, judge for yourself, how
much more powerful must be preaching through Silence.(79)

Through an extensive process grounded in the infinite void that harmonizes and purifies the
energy of body, soul and spirit, ultimately a person becomes one again with the infinite void via
the great monochord model of Pythagoras and the systematic principles of Taoist qi gong -
harmonic principles that are universal. Being initiated by someone who is already successful at
this is of course very helpful. In the development of enlightenment and immortality, Taoist qi
gong Mantak Chia refers to new paradigm systems theory to describe the conserving, recycling,
and transforming of negative emotions, the main source of energy blockages, into positive
emotions-just like a healthy ecosystem or any healthy open system should operate-including
human societies. Through resonance and harmonization of the rhythmic patterns of energy, the
practitioner, as Chia describes, strives toward "combining all the virtues into the energy of
compassion, the ultimate virtue and a necessary attribute for our spiritual being."(80) Chaos
systems theorist Ilya Prigogine states, "there is a need for new relations between man and
nature and between man and man. We can no longer accept the old a priori distinction between
scientific and ethical values."(81) In order to develop the scientifically accurate open systems
approach to reality we need to first examine the roots of today's western crisis.
MUSIC THEORY-THE LOST LOGOS OF THE WEST

The founder of systems theory for social science Gregory Bateson remarked: "Pythagoras and
Plato knew that pattern was fundamental to all mind and ideation. But this wisdom was thrust
away and lost in the midst of the supposedly indescribable mystery called 'mind.'"(82) As we've
shown above, through gestalt cognitive theory, there is a direct connection by mind and the
basic patterns of rhythmic energy vibrations. This connection though was fuddled and has been
the fundamental root problem of the extreme global crisis induced by western linear
development that mirrors western linear thought. Another facet of this point is that rhythmic
vibrations of energy do not give primacy to material existence over consciousness as has been
a mistaken critique of radical ecology open systems theory. Meyer states, "the ultimate
foundation of rhythm is to be found in mental activity." Even though, "the more order and
regularity the mind is able to impose upon the stimuli presented to it by the senses; the more
likely it is that motor behavior does play an important part in facilitating and enforcing the
musical experience."(83) Taoist qi gong makes the same point at a deeper level: "When
beginning to cultivate (essential) nature [enlightenment] and (eternal) life [immortality] it is
necessary first to develop nature....This is called fixing spirit in its original cavity which should be
where (essential) nature is cultivated and the root from which (eternal) life emerges. "(84)

From this primacy of energy as consciousness and virtue, we can begin to analyze the history of
how the "wisdom was thrust away" in the West as Bateson describes. Starting with the
foundation of music theory for western analysis Bateson comments:

This discovery hit the Pythagoreans squarely between the eyes and became a central
secret (but why secret?), an esoteric tenet of their faith. Their religion had been founded
on the discontinuity of the series of musical harmonics--the demonstration that
discontinuity was indeed real and was firmly founded upon rigorous deduction. And now
they faced an impossibility proof. [The Pythagorean Theorem] Deduction had said no. As I
read the story, from then on it was inevitable to 'believe,' to 'see' and 'know' that a
contradiction among the higher generalizations will always lead to mental chaos. From
this point on, the idea of heresy, the notion that to be wrong in Epistemology could be
lethal, was inevitable. All this sweat and tears-and even blood-was to be shed on quite
abstract propositions whose Truth seemed to lie, in some sense, outside the human
mind.(85)

Rothstein makes the same point, "When they [the Greeks] discovered that numbers exist which
are neither integers nor ratios of integers-numbers which confounded all their notions of
harmony and rationality-they were so horrified that the discovery was kept secret. Alogon- the
unutterable-these numbers were called..."(86)

To begin to understand the direct translation from the hidden secret of repressed one-
dimensional music-math analysis and the development of inaccurate and destructive linear
western logic and epistemology we can examine it's reflection directly in the structure of the
Western language. Music analyst Berendt made this rare connection so it's worth quoting him at
length as well:
 For a long time Western rationalists smiled at the notion that the sound of a single word [a
vowel mantra], a single syllable should have a formative, shaping, creative
power.....Aristotelian logic is based on the law of identity (A equals A), the law of
contradiction (A cannot be equal to non-A) and on the law of the excluded third (A cannot
be equal to A as well as to non-A). Beside it stands (and has stood since ancient times)
what is known as paradoxical logic; which postulates that A and non-A can both be
predicates of X....Our Western concept of logic is strongly conditioned by Western
language. It cannot be an accident that Aristotelian logic came into being in classical
Greece, in whose language the separation of subject and object, common to all Western
languages, found its first clear expression and was immediately realized, in a magnificent
graphic manner that was never duplicated by subsequent systems....The symbol of the
Western way of speaking and of western logic is the straight line...Argument and
discourse in our Western way of speaking and thinking can be symbolized by two
intersecting lines drawn with arrows at their ends, one pointing to the left and the other
one pointing to the right.... I feel that this excursion in to 'logics' is necessary in light of
what we have said about...mantras and their effects.(87)

Social systems theory analyst Bateson makes the same point, "logic cannot model causal
systems-paradox is generated when time is ignored....apart from language, there are no named
classes and no-subject-predicate relations."(88) Berendt points out the difference in Asian
languages from western language and the cultural analyst Noël Burch has examined the
subsequent different cultural interpretations of reality.(89) Similarly the translator of ancient
Greek, philosopher and mathematician Robert Schimdt, has shown that western logos was
derived out of a broader language system of phasis--which is the means by which objects spoke
to the Greeks. Phasis is a multiple variant language system, just as the Plato dialogues are--and
they have not been correctly translated. Schimdt contends that logos is an incorrect
simplification of phasis and that the western worldview has structural errors due to its
dependency on logos.(90)

Schimdt's position mirrors the lucid analysis of Peter Kingsley in Ancient Philosophy, Mystery,
and Magic: Empedocles and Pythagorean Tradition, worth quoting at length:

...from the point of view of the history of philosophy we are presented with a very
different picture of prePlatonic Pythagoreans from the usual stereotype of them as
impractical dreamers, their minds fogged and obsessed with number mysticism, who had
no 'clear idea of the value of empirical research' because all that interested them was
discovering metaphysical principles....Pythagoreans could be far more practical than is
usually supposed, sometimes deadly practical. For Plato this emphasis on practicality
remained a powerful ideal; and yet, ideals apart, practically speaking it went against the
grain of his temperament, his abilities, and against the conditions of the times in which he
lived. With him and Aristotle the philosophical life as an integrated combination of practice
and perception fell apart at the seams, and another ideal came to predominate instead: 'a
new type of man, the unworldly and withdrawn student and scholar'. Certainly there had
been partial precedents in the ancient Greek world for this new ideal. But it was only with
Plato and Aristotle that it received its most decisive turn, so as to become the defining
characteristic of what was to prove the most enduring Athenian contribution to intellectual
history: instead of the love of wisdom, philosophy turned into the love of talking and
arguing about the love of wisdom.(91)
Like Berendt and Bateson, Rothstein has recognized that both math and music follow the ancient
dialectical reasoning that he traces to the Pythagorean-based work of Plato. He quotes Socrates,
"argument itself grasps with the power of dialectic" and then follows, "the inner life of the arts is
in the world of Forms, in the processes of dialectic and its argument by metaphor."(92) Bateson
built his social systems analysis, like the phasis of ancient Greek, around the dialectical syllogism
of metaphor-- "Grass dies; Men die; Men are grass" in response to the western logical paradox
"Epimenides was a Cretan who said, 'Cretans always lie'". Bateson states in Mind and Nature: A
Necessary Unity that "syllogisms in grass must be dominant mode of communicating
interconnection of ideas...." (93)

In response to the deep epistemological error in the West, like Bateson's Pythagorean social
systems theory, the foundation of radical ecology chaos and complexity, or open systems
theory, is also based from true music theory. As Capra describes in The Web of Life

In the 1950s scientists began to actually build models of such binary networks, including
some with little lamps flickering on and off at the nodes. To their great amazement they
discovered that after a short time of random flickering, some ordered patterns would
energy in most networks. They would see waves of flickering pass through the network,
or they would observe repeated cycles. Even though the initial state of the network was
chosen at random, after a while those ordered patterns would emerge spontaneously,
and it was that spontaneous emergence of order that became known as 'self-
organization.'(94)

From the seemingly random network of nodes, ordered patterns create harmonic structures of
self-organization (i.e. negentropy or cymatics). The infamous "butterfly effect" of chaos and
complexity, where small changes have wide-spread systemic build-up, is simply a change in the
fundamental node of the multi-dimensional pattern of harmonic oscillations. The Cartesian
phase-space dimensions of the musically and linguistically inaccurate closed clock-pendulum are
now, Capra states, represented by, "a curve spiraling inward toward the center" (i.e. an
"attractor"-the Pythagorean law of growth) or a more complex multi-dimensional system where
the fundamental is thus called a "strange attractor." The predictions of chaos theory are no
longer reductionist. Capra remarks, "The new mathematics thus represents a shift from quantity
to quality that is characteristic of systems thinking in general....All trajectories starting within a
certain region of phase space will lead sooner or later to the same attractor...The result is a
dynamical picture of the entire system, called the 'phase portrait.'"(95) Complex structures of
nature are modeled by chaos and complexity with fractals being a prominent chaotic and
complex example. Martin Gardner describes the Pythagorean foundation behind fractals with
"scaling noise" in Fractal music, Hypercards and More: "If you play a recording of such a sound
at a different speed, you have only to adjust the volume to make it sound exactly as before. By
adjusting the spectral density we obtain an auto correlation of zero-in other words the same
ratio that expands."(96)

Even with new paradigm science revealing this ancient simple foundation, the western religion
of linear technology and its inaccurate one-dimensional symbolic reification, is just as strong in
the community of public intellectuals or academics focused on structural change and exposing
dominant ideologies. For instance, while grand theorist Slavoj Zizek has done a brilliant job
clarifying dialectic thinking and crucially applying it to cultural analysis via Lacan's
psychoanalysis, he devoted a large part of a recent book to attacking rhythmic vibrations of
energy. It's not that Zizek's theory is incorrect but only that he refuses to systematically take into
account dialectic analysis beyond that of Hegel and Lacan-or beyond the limits of language as
represented by the Freudian "primordially repressed."(97) (see below for further description of
primordially repressed) Zizek writes, "Hegel's point is not a new version of the yin/yang balance,
but its exact opposite: 'truth' resides in the excess of exaggeration as such."(98) What is missing
from Zizek's understanding of Taoist qi gong is that the disease is considered the teacher for the
cure, just as Zizek states, "the wound is healed by the spear that smote it." In other words, the
dialectical process, as expressed through music theory and Taoist qi gong, uses resonance-the
exaggerated 'comma of Pythagoras'--to achieve a new synthesis or a new form.

Zizek does recognize the meaning of music as "the pre-ontological texture of relations" when he
refers to Plato's "chora" (i.e. chorus) from the Pythagorean dialogue Timaeus--calling it "a kind of
matrix-receptacle of all determinate forms, governed by its own contingent rules."(99) Zizek also
impressively traces the history of the ego or the Subject as corresponded with the development
of opera. The end of opera coincides with the beginning of modernism and the hysterical subject
as the object of psychoanalysis.(100) In a chapter on music Zizek writes:

What is music at its most elementary? An act of supplication: a call to a figure of the big
Other (beloved Lady, King, God...) to respond, not as the symbolic big Other, but in the real
of his or her being (breaking his own rules by showing mercy; conferring her contingent
love on us...). Music is thus an attempt to provoke the 'answer of the Real': to give rise in
the Other to the 'miracle' of which Lacan speaks apropos of love, the miracle of the Other
stretching his or her hand out to me. The historical changes in the status of 'big Other'
(grosso modo, in what Hegel referred to as 'objective Spirit') thus directly concern music -
perhaps, musical modernity designates the moment when music renounces the
endeavour to provoke the answer of the Other.(101)

One of the main cultural criticisms of Zizek is that the dialectical process of Hegel has been
misunderstood as a new Absolute Subject thus, as Berendt also points out, causing materialistic
Marxism to be a distorted example of dialectical thought. Currently Zizek has pinpointed new
age thinking as also being representative of a new misguided Absolute Subject through the goal
of a new balanced order of harmonious nature or "New Age Consciousness: the balanced circuit
of Nature."(102) A prominent analysis of qi gong provides an interpretation of Hegel very similar
to Zizek and ironically distinguishes the interpretation from the common incorrect understanding
of Hegel that Zizek has worked so hard to clarify:

The term synthesis in this context does not refer to polar opposites merging into a higher
unity so as to be separately indistinguishable. (This form of synthesis was one of the goals
of the dialectical process identified by the philosopher G.W. Hegel in his development of
the Absolute). The method may be simply described as positing something as a thesis,
then realizing that it can only be truly defined by taking other aspects or its opposite into
account (antithesis), and finally arriving at the explicit recognition that the thesis and
antithesis are related on a higher level of objective truth: synthesis). To understand
ongoing process, which Chinese philosophy favors in the spirit of synthesis, we might
consider the psychological concept of integration.(103)
The true dialectical process, for which Zizek expends considerable energy to describe through
philosophy, can also be approached through music theory in a manner that very specifically and
simply clarifies the correct interpretation that has been the focus of his very serious
investigation. As Zizek states, in dialectics first there is a thesis then an antithesis and as each is
taken to their extreme logical conclusions, like Socrates would do, both points negate each other
by their mutual absurdity (called the dialectical reversal after the unity of opposites). Then that
negation is affirmed as a new common ground that both points now hold in common. This last
formal step is like naming or recognizing the first negation and is called double negation or
determinate reflection. The point not recognized in the dominant one-dimensional interpretation
of dialectics is that it's "the very lack [void] they have in common" which enables a new
synthesis. As Zizek writes, "Being reveals itself as Nothing at the very moment we try to grasp it
in its pureness," and in reference to Hegel, "the subject is precisely that which is not substance."
Zizek then states that the dialectic process is the same "nodal" problem again and again. (104)

Taking Zizek quite literally is more appropriate then he may ever realize for it is exactly the
nodes of music theory, by modeling different orders of information, that so precisely describe
the dialectical process. The ratios of the fourth and the fifth are inverse opposites of the octave
overtone, in other words, both ratios cause a pull to resolve at the fundamental (and octave).
When the ratios are explored at depth, the relation of their overtones are in dissonance. As
Rothstein describes, "These two consonant tones (fifth and fundamental) have strongly
dissonant overtones...[and] are the poles of tonal musical drama."(105) It's this paradox of the
poles that defines the description of thesis and antithesis in the dialectics of music theory. Erno
Lendvai states,

By taking a V-I cadence the essential notes in the five chord bear an equal tritonic
relationship according to their overtones. These essential notes are what cause the strong
feeling to I. By inverting these notes the same tritone relationship is formed...The tritones'
overtones act as subdominants [fourths] and as dominants [fifths] at the same time. These
two positions neutralize and again, the tritone's relationship to the tonic [fundamental] is
found, the two are acoustically interchangeable.(106)

Jeans provides the following on the topic: "In the case of wider intervals such as C and F# [the
tritone] there are no beats to be heard, either pleasant or unpleasant, but Helmholtz asserted
that C and F# sound badly together because certain of their harmonics (e.g. g' and f'#) make
unpleasant beats."(107)

The dialectical process is demonstrated through true music theory by the splitting of nothing (the
root of the fundamental) into two parts, the fundamental and the octave, that freely resonate
into the next multiple of the fifth, forming a complimentary opposites to the fundamental: the
fifth splits the octave and fundamental in half but also pulls to the octave and fundamental. Then,
as described by Lendvai, the free vibration of the fifth and its overtone become extreme
opposites to the fundamental, via the overtone, forming tritonic relations to the tonic (the tritone
is known as "the unutterable" or "diabulus in musica".)(108) But the tritone has no beats (zero)
with the fundamental-thus forming the first negation. The tritone overtones then act as the
original consonant fifth to the fundamental (with no beats), as described by Lendvai, thus
completing the double negation or determinate reflection for the new synthesis. This final
synthesis is on-going, represented by the spiral of fifths (not the incorrect circle of fifths taught in
the west) that's basic to true music theory--or again, the same beautiful "nodal problem" again
and again.
While Zizek, like Bateson, does not stray from the limit of the primordially repressed, he does
describe that limit as being magical pre-verbal sound. The primordially repressed are myths that
"have no 'original' in the language of intersubjective communication.'" He gives a very
significant example,

at the very moment when the reign of (symbolic) Law was being instituted (in what Moses
was able to discern as the articulated Commandments), the crowd waiting below Mount
Sinai apprehended only the continuous, non-articulated sound of the shofar [a trumpet-
type horn]: the voice of the shofar is an irreducible supplement of the (written) Law.

Zizek defines the shofar as "a kind of 'vanishing mediator' between the mythical direct vocal
expression of the pre-symbolic life-substance and articulated speech...this strange sound...is
strictly analogous to the unconscious act of establishing the difference between the unconscious
vortex of drives and the field of Logos in Schelling."(109)

The primordial supplement mentioned by Zizek is also the same Lacanian surplus of desire or
the "excess of exaggeration" that is crucial to the dialectical process. Those two key components
of Zizek's analysis are analogous to the comma of Pythagoras-the inherent resonance patterns
of fundamental vibrations are what create the jouissance (or the sublime enjoyment) that is
central to psychological desire and to ideological fanaticism as analyzed by Zizek (the heresy
that Bateson mentions). Rothstein states, "The music 'in itself' is the abstract model whose
essence defies even a purely formal analysis."(110) Ironically both the symbol for jouissance
and for the Pythagorean law of growth are the Greek character phi.(111)

Like Zizek's mythic source, George Frazer's classic cultural analysis, The Golden Bough, that was
a major influence on Freud, systematically documents the spiritual process of the "killing of the
king" (sacrifice) that in the West became transferred to symbolic structures and reified into a
closed linear, one order system. The neuropsychologist Karl Pribram, who did pioneering brain
and consciousness research and presented a open systems resonance interpretation of the
mind, made a similar case: "...when, because of linguistic and cultural affluence, the means-ends
reversal occurs, these languages begin to live lives of their own. Thus complexity is
compounded and the original organization can easily be lost sight of."(112)

Zizek's dismissal of social theories that critique western science as a repressive social institution
no longer holds because of the presentation of sound-current non-dualism. He refers to
Heidegger, pointing out that,

...modern science at its most fundamental cannot be reduced to some limited ontic,
'socially conditioned' option (expressing the interests of a certain social group, etc.), but is
rather, the [Lacanian] real of our historical moment, that which 'remains the same' in all
possible ('progressive' and 'reactionary', 'technocratic' and 'ecological', 'patriarchal' and
'feminist') symbolic universes.(113)

This is the same theoretical limit of one-dimensional language that was emphasized by Bordwell
and Flinn and to which sound-current non-dualism gives a formal answer. Zizek states,
 When typical modernist artist speak about the Spiritual in painting (Kandinsky) or in music
(Schoenberg), the 'spiritual' dimension they evoke points towards the 'spiritualization' (or,
rather, 'spectralization') of Matter (colour and shape, sound) as such, outside its reference
to Meaning...it dwells in a kind of intermediate spectral domain of what Schelling called
geistige Körperlichkeit. From the Lacanian perspective, it is easy to identify this "spiritual
corporeality' as materialized jouissance....(114)

By claiming spiritualization is outside the "reference to Meaning" Zizek falls into the same
epistemological trap and misses the crucial open systems connection between quantity and
quality that the law of Pythagoras models. As music analyst Rudolf Haase puts it, "in nature an
important role is played by those quantities which in man can be transformed into
qualities."(115) Or as Zizek himself admits when analyzing Mozart's Don Giovanni, "the very
external form of the Count's melody, its discord with its own content (the words sung),
articulates the unconscious truth as yet inaccessible to him, to his psychological
experience."(116)

Professor Richard Leppert also, like Zizek, examines the subsequent effects of Plato's conceptual
error. He connects music, nature and politics through a historical poetics of western art,
analyzing how socially the role of music, used for control, has also paradoxically undermined
rationalism of the West. Leppert states,

If Barthes is right, the radical political act of making music for oneself--in Victorian culture,
this means especially women-involves a temporary reinscription of human 'totality' (mind
with body at art) in the lived experience of 'humanities' second sex. This reinscription
marks a refusal to abide by the terms of Cartesian dualism, the very foundation of the
politics of gender, class, and racial difference-according to which certain men think and all
women merely feel.(117)

Like Fraser, Pribram, Zizek and others, symbolic transference of spiritual power to linear thought
and language is the problem traced by David F. Noble that has created the modern "religion of
technology" which that we are now tracing back to its ancient western origins. The inherent
western killing of heretics and "primitive peoples," by considering them "pre-cognitive," is
explained from by a purely formal analysis of repressed epistemological error. Unfortunately
even the successful grand theorist Ken Wilber falls into the trap of advocating linear western
evolution based on a deterministic brain model that does not fully process the findings of
Pribram's resonance analysis.(118) Wilber subsequently incorrectly portrays indigenous
cultures as inferior and backward-i.e. claiming that their sustainable indigenous knowledge
systems are merely accidents reflecting their lack Western technology. Ironically the central text
of Tibetan Buddhism, a philosophy from which Wilber draws heavily, commonly called "The
Book of the Dead," has its origins in the indigenous Bon culture and is literally translated as
"Liberation by Hearing in the Intermediate State."(119) Wilber criticizes social theorists for
"eulogizing" tribal cultures, when in fact currently 4 to 5,000 of the 6,000 human cultures are
indigenous, still existing with distinct languages, but extremely threatened by corporate state
elite policies. There is extensive evidence of indigenous cultures commonly interacting in a
reciprocal relationship with the environment as a conscious value system. The outstanding
examples of unbalanced indigenous development patterns that Wilber incorrectly suggests are
the norm, are due to particular breaks in those cultures from extreme influences (like dramatic
climate change and colonialism). Wilber does not recognize the fact that there has been a strong
backlash against indigenous research, precisely because of its psychological threat to the linear
western worldview. His use of Hawaii to explain his theory of holons is an inaccurate portrayal
of genocidal U.S. imperialism-in fact he claims the contrary occurred.(120)

Certainly neither Pribram, nor the global green movement that Wilber supports, are advocating
a "regressive" return to pre-industrial society as the immediate dominant fear arises, but instead
the societal model of an open spiral process that continually reaffirms the universal common
ground of the void. From systems theory music analysis, Leonard Meyer calls this societal
model "fluctuating stasis" based on "steady-state" systems theory, a prediction of the same
recommendation from radical ecologist open systems theorist Fritoj Capra.(121) In Noise: The
Political Economy of Music, Jacques Attali presents a similar societal vision-predicted by and
achieved through profound music practices that challenge the hegemony of one-dimensional
repressed symbolic abstraction of the western worldview.(122) John E. Peck, worth quoting at
length, documents how in fact indigenous cultures already enact concepts of sophisticated open
systems theory:

Given its sensitivity to time and place, indigenous knowledge would seem to be better
situated to successfully adopt and apply a nonequilibrium perspective to ecosystem
management than conventional scientific thinking, particularly in settings unfamiliar to
western policy makers. Ecosystemic trajectories are so contextually contingent that an
observer can hardly afford to entertain a theoretical framework built upon universal
"objectivity" and reductionist "rationality." In fact, the development and implementation of
such programs as intensive rotational grazing, biocultural restoration, preventative
medicine, and early disaster warning-to name but a few-in western and nonwestern
settings alike have relied heavily upon the indigenous knowledge of local people most
directly affected.(123)

The great contribution of Wilber is that he also models an understanding of the void and clarifies
many of the same western epistemological errors--but the crucial qualitative difference of
modeling the void with music theory is that the long-established immoral, genocidal bias against
indigenous cultures need not apply. The music analyst John Chernoff in his brilliant work with
the Dagomba, African Sensibility: Aesthetics and Social Action in African Musical Idioms, notes
that "The power and dynamic potential of the music is in the silence, and the gaps between the
notes, [the absolute void] and it is into this openness that a creative participant will place his
contribution, trying to open up the music further." Chernoff realized that music serves as a
conscious cultural practice to access the void and obtain transformative powers in these
cultures. He points out that "both [the dialectical Marcuse and Lacan] are suggestive of ways in
which Western philosophical literature on alienation is addressed in the aesthetics of African
music."(124) It should be emphasized, of course, that Wilber also draws heavily from the
Pythagorean tradition, as well as Rupert Sheldrake's theory of morphic resonance. Parmenides,
who plays a significant role in Wilber's work, was taught by "the Pythagorean Ameinias," he
notes. Wilber's main analysis, Sex, Ecology, Spirituality, is, as he comments, the first part of a
trilogy called "Kosmos," a Pythagorean term meaning "the patterned nature or process of all
domains of existence, from matter to math to theos, and not merely the physical universe, which
is usually what both 'cosmos' and 'universe' mean today."(125)

One of the main arguments that Wilber uses to present the civilized worldviews over indigenous
sustainable models is the concept of depth via holons-it is holons (or whole/parts grounded in
nothingness, just as music models) that fill the Pythagorean Kosmos. Music theory also ironically
proves, by modeling "depth" as well in a more direct manner, how the dominant post-
Pythagorean western worldview is not as sophisticated or accurate as the majority of human
cultures (i.e. sustainable indigenous cultures) that it's corporate-state policies are
destroying.(126) In the application of the law of Pythagoras and its derivative principles (of
harmony and growth) music analyst Berendt notes that "Each spin [of all particles] contains all
prior whole-number spins....this is the process of differentiation and development...the higher the
spin, the higher the state of consciousness."(127) Thus the vortex or spirals express the same
concept of Wilber's depth, and are a combination of the hierarchy (vertical) and heterarchy
(horizontal) perspectives that have riddle radical ecology theorists-a topic Wilber gives great
attention to. But demonstrating this concept through music theory has another profound
implication, as Berendt quotes musicologist Gerhard Nestler:

One-line music with an indefinite pitch and with its wide range of intermediate tones and
overtones has a wider base of expression than polyphonic music with its definite pitch and
its interval structure, than Conventional Western music, that is. In the final analysis, such
music is unhearable. What we hear is its symbol. The symbol is the tones that man
chooses from the wealth of tones provided by the universe. Such music grows out of the
polar tensions between the audible and the inaudible.(128)

Nestler's point explains that the reification of the symbols of the first order of information (the
ratios of the scale and one-dimensional logos), by post-Pythagorean Greek epistemology, lead to
the loss of the open system spiritual music analysis originally derived from the one-note scales
typically found in indigenous cultures. Modal music, the true "classical" music found around the
world, has a "certain mental, spiritual attitude" because it is consciously reflecting the values of
those sustainable cultures. As Berendt documents, "Many of the world's cultures have passed
down sagas and myths, legends and tales in which the world has its origin in sound, from the
Aztecs to the Eskimos, from the Persians to the Indians and the Malayans."(129)

To reiterate, this universal primacy of open system harmonic analysis was reflected by the
ancient Greek language of phasis of which logos was just one variant. Complexity and chaos
theorists Marturana and Varela have argued, similarly to Pibram, that language itself is a
development of rhythmic vibrations of energy: Capra reports that they come to the same
cultural implications:

due to resonance phenomenon...cognitive experiential states are created by the

synchronization of fast oscillations in the gamma and beta range that tend to arise and
subside quickly... Varela's hypothesis establishes a neurological basis for the distinction
between conscious and unconscious cognition...since language results in a very
sophisticated and effective coordination of behavior, the evolution of language allowed
the early human beings to greatly increase their cooperative activities and to develop
families, communities, and tribes that gave them tremendous evolutionary advantages.
The crucial role of language in human evolution was not the ability to exchange ideas, but
the increased ability to cooperate. As the diversity and richness of our human
relationships increased, our humanity-our language, art, thought, and culture-unfolded
accordingly. At the same time, we also developed the ability of abstract thinking, of
bringing forth an inner world of concepts, objects, and images of ourselves. Gradually, as
this inner world became ever more diverse and complex, we began to lose touch with
 nature and became ever more fragmented personalities. Thus arose the tension between
wholeness and fragmentation, between body and soul....(130)

The argument presented by the open systems theorists is backed by the historical analysis of
Kingsley who also further confirms that Plato and Aristotle specifically instituted denigration of a
more complex Pythagorean language of meaning. As Kingsley puts it, "By the time of Plato and
Aristotle, the doors of understanding were closed;" "argument is more important than
appreciation, reinterpretation an easy substitute for understanding;" "[the denigration]
destroyed the mythical dialectic." The Pythagoreans orally conveyed a language and lifestyle
built on "see-saw oscillations and balancing forces" that create an accurate and sophisticated
system of meaning which integrates and explains in detail eschatology, cosmology, geology,
mathematics and energy systems practice.(131) Included in this system was the "incantatory
use of poetry for harmonizing emotions." Kingsley documents that the Pythagoreans were the
source for Plato's Phaedo, Gorgia and Orphic allegories-even the accurate heliocentric system of
astronomy. Plato was "indebted to the Pythagorean oral tradition" and Plato "himself was only
too aware of the limitation of the written text as a medium of genuine communication."(132)

The degeneration of complexity is well established, as is its intentionality:

...since the publication of Cherniss's work on Aristotle and the Presocratics in 1935 there
has been a deeper awareness not only of the fact that Aristotle and his school were
frequently capable of misunderstanding the Presocratics at a very fundamental level, but
also of the fact that he and his followers systematically used deliberate misunderstanding
and 'shameless' misrepresentation as a way of silencing their predecessors.(133)

The formal reversal of the secret 'irrational' open-spiral of music analysis and its mirrored
inaccurate closed symbolic one-dimensional circle variant and linear written system can be
traced historically:

We have already seen evidence of the role played by Archytas' school in reinterpreting-
often quite radically-Pythagorean mythological ideas which were current in the
generation of Philolaus;...it is quite possible that the idea of the centre of a circle , or
sphere, as its most 'honourable' place [in the reinterpretation] is related to Archytas'
exaltation of the geometric properties of the circle and sphere.(134)

Ironically the influence of Pythagoras has been so profound for Western culture that it is the
exact original spiritual source for the western elite degeneration to one-dimensional materialism
that also goes back to Aristotle. Kingsley writes, "Dieterich devoted a book to showing the extent
to which the Christian Apocalyspse-found only in fragmentary form at Akmin in Upper Egypt and
in a version in Ethiopic-is dependent on Orphic and Pythagorean traditions."(135) Pythagoreans
were also highly adept at creating sophisticated technologies. And like the self-fulfilling elite
enactment of the apocalypse described by Noble, for the Pythagoreans,
 it is not difficult to detect an underlying schema of descent into the underworld as prelude
to a celestial ascent. This apparent illogic is the logic of myth. One dies to be reborn; one
descends into the depths in order to ascend....This fundamental idea was so strong that it
managed to survive intact in spite of the cruder Christian dramatizations of hell-fire,
suffering, and punishment,....(136)

The crucial difference between the Pythagoreans and the later Christians is that for the
Pythagoreans being reborn is a spiritual journey not dependant on a one-dimensional
restoration of the Fall of Adam through a repressive controlling power over the Other (nature,
gender, non-whites, the poor). The Pythagoreans, believing in God as immanent in nature, were
focused on preserving and utilizing nature in its multi-dimensional spiraled harmony. Like the
power of Pythagoreanism, Taoist qi gong has also been recognized by the elite-for instance
when Dr. Yan Xin first visited the U.S. President George Bush requested that Master Xin visit the
White House eight separate times! Similarly the military elite of Burma, home of the world's
worst regime, regularly look to the local spiritual masters as a hopes of maintaining power.(137)

The symbolic dialectics of Pythagoreans and the dialectics of Hegel (both modeled by a spiral or
a systems theory mobius strip for Zizek) are also directly connected to the dialectics of Taoist qi
gong. Kingsley notes, "In terms not only of formal and structural analogies but also of historical
contacts, there can be no separating the Thracian Orpheus [of Pythagorean equivalence] from
central-Asiatic shamanic tradition." Just as the Taoist qi gong masters, the Pythagorean masters
strove for immortality and were documented to work paranormal acts. This connection with
Taoism is also made explicit by the motif of the Pythagorean Master Empedocles who, "dies a
miraculous death by vanishing into thin air but who leaves a tell-tale item...A more classic Taoist
concept is that of achieving the divine state either by fashioning a spirit-body...thoughtfully
leaving a pile of discarded garments...."(138) According to qi gong Master Dr. Yan Xin, qi gong is
actually older than Taoism and its shamanic roots are verified and clarified today by the use of
scientific dialectical thought. The global qi gong upheaval will, according to Dr. Yan Xin, achieve
a new global scientific and moral revolution-or energy monism. As Kingsley points out, "On
these principles...the notion of sympathies and antipathies [the law of Pythagoras] in Greek
magic and alchemy and the analogies to both in China, see Needham [Science and Civilization in
China]."(139)

Even still, as Berendt, Zizek have pointed out, the Hegelian dialectical process, just like dialectical
music theory and Taoist qi gong, has been misinterpreted by the West as a goal of the closed
Absolute Subject. Similarly the dialectical theory of radical ecology where the limits of
rationalism are marked by "wildness" (akin to Kant's antinomies) have also been misinterpreted,
by Zizek, and by Keulartz's "cosmic nature characterized by perfect harmony."140 Systems
theorist Gregory Bateson states,

To see myself as part of a system which includes me and the chaparral frames a reason
for my action-to preserve the ongoing cycling of us (me and the chaparral) by actively
burning the chaparral. I think synchronic action-framed like that-is Taoist-it's a sort of
passivity. There is no diachronic action in the Eternal Present. But to rush to preserve the
human species against a galactic threat or to get ready for a biblical apocalypse, that
would be diachronic.141
Unfortunately, as Morris Berman has documented, precisely because of the psycho-spiritual
repression under a reified one-dimensional closed symbolic system, when the undercurrent of
non-dualism is tapped, it is assimilated by the dominant reactionary forces.142 Corporate-state
fascism has already promoted the guise of being nature-loving under the label of Nazism and
now eco-fascism, a term Berman uses, is the threat of a genetically-engineered micro-chipped
social cleansing lead by the "life sciences" of Cargill, the Rockefeller Foundation, Monsanto and
their interlocking elite associates.143 Systems theory, ever since it was co-opted by the Rand
Corporation for the promotion of military jingoism and the corporate-state-has been applied in
an inaccurate and thus immoral manner.144

Unlike the unified authoritarian structure of the corporate-state, radical ecology based in music
theory, does not call for an all-encompassing master plan but only basic principles--the most
important of which is that all energy derives from the common void that connects us. We are
forced to literally accept nothing and its infinitely cycling potential. Or as Kelartz states, "Power is
in the hands of the people, to be sure but it 'belongs' to no one; it retains its transcendent position
in an sense, but this position is necessarily vacant."145 Music theory and its resultant infinitely
complex universal steady-state, uniquely emphasizes this fundamental priority, thus
counteracting the social Darwinism of other so-called "holistic" models based in positivism-thus
affirming Keulartz's critique of Murray Bookchin's social ecology. Bookchin has also been
discredited by radical ecology itself, as David Watson's Beyond Bookchin: Preface for a future
social ecology demonstrates.146

To further address Keulartz's insightful criticisms in The Struggle for Nature: A critique of radical
ecology, unlike Foucault's concept of bio-power that arose during the Victorian age, death is not
discredited in radical ecology, as Bateson's above "burning" example shows. Also, unlike
Keulartz' description of bio-power, the institutions of society are considered creations of people's
sovereignty and inalienable rights in radical ecology, as expressed by the Earth First! movement
consistent call for the legal right to revoke corporate charters. Open systems anarchism and
radical ecology do not discredit the role of people's sovereignty, as Keulartz incorrectly claims,
but affirm the fundamental right of citizens to a form of free association that respects
sovereignty-this same revolutionary right is maintained in the constitutional framework.147
Master Mantak Chia points out that people, as the most complex receptors of universal energy,
play a special role in manifesting universal harmony (structurally our heart-brain is the direction
recipient of refined energy whereas for most animals their tail channels the energy to the body
first).148

Ecofeminist Dr. Vandana Shiva clarifies the connections between systems theory, sovereignty
and radical ecology:

One of the rights is local sovereignty. Local resources have to be managed on the
principle of local sovereignty, wherein the natural resources of the village belong to that
village....Self-healing and repair is another characteristic of living systems that derives
from complexity and self-organization...External control reduces the degrees of freedom a
system has, thereby reducing its capacity to organize and renew itself...A system is
autopoietic when its function is primarily geared toward self-renewal. An autopoietic
system refers to itself [sovereignty]. In contrast, an allopoietic system, such as a machine,
refers to a function given from outside, such as the production of a specific output...Self-
organizing systems form from within, shaping themselves outwards. Externally organized
mechanical systems do not grow; they are made, put together from the outside....Self-
organization is the essence of health and ecological stability for living systems....Ecological
 problems arise from applying the engineering paradigm to life. This paradigm is being
deepened through genetic engineering, which will have major ecological and ethical
implications [i.e. extinction]...life is seen as having instrumental rather than intrinsic value.
Thus, there is a self-directed capacity for restoration. The faculty of repair is, in turn,
related to resilience. When organisms are treated as machines, and manipulated without
recognition of the ability to self-organize, their capacity to heal and repair breaks down,
and they need increasing inputs and controls to be maintained. 149

In fact, Keulartz's promotion of Hannah Arendt's theory on inter-subjective power, mirrors the
difference between Keulartz's fear of "submission to a higher force" and the role of resonance in
music theory. As he describes, "Power appears as soon as and as long as people act and speak
together. Unlike violence, power can never be appropriated and in fact is increased by sharing.
[i.e. resonance or harmony]" 150 The concept of submission draining energy is emphasized by
Mantak Chia and both Taoist qi gong and music theory are premised on the indigenous concept
of natural law or reciprocity, as the proportional law of Pythagoras demonstrates. Keulartz goes
on to refer to Habermas' assertion that "The more language succeeds in freeing itself from
sacral bonds...the better able we are to arrive at a shared understanding by ourselves."151 It is
precisely this affirmation of the true roots of language via music theory that enables a
psychological cure to the repressed "sacral bonds."

With this overview of the relationship to logos in mind, multidimensional rhythmic patterns of
energy are an accurate premise for the matrix of the Deleuze's "life-forces" mentioned in the
promotion of his "eco-philosophy" by Rosi Braidotti in the recent Sustainability and the Social
Sciences. 152

Keulartz's final point is that evolutionary ecology has eclipsed systems ecology but evolutionary
ecology is based on the same teleological systems theory worldview that he dismisses, namely
the principle, easily modeled by music, of absolute void negentropy or self-organization. The
principle of self-organization reflects the natural law from which radical ecology is derived but it
is not the same "natural law" to which Keulart refers to: Kingsley documents that natural law is
not accurately reflected by the "divine logos" of the post-Pythagorean stoics as Keulartz
assumes. Also there is a fundamental qualitative difference between dissipative structures of
chaos and complexity occurring through natural evolution and the planet's fastest mass
extinction that is enacted by corporate-state eco-cide.153 I agree with Green Party Presidential
candidate Ralph Nader's recommendation--let us all be epicenters or resonating nodes of justice.

Pythagoreans very much represented an integrated culture that was cooperative, multi-
dimensional and reflected a love of wisdom, ecology, and compassion. Pythagoreans practiced a
culture of equality of sexes, integrity of justice, sophisticated herbology and strict
vegetarianism.154 Pythagoras focused on social change and creating a cosmopolitan ecological
society of transcendence founded in the void. C.A. Bowers in The Culture of Denial bases a
radical ecological model of society from the Pythagorean-inspired open systems theory of
Gregory Bateson-those ideas are also conveyed by New Paradigm theorist Fritoj Capra who
makes the appeal:

...we need to think systemically, shifting our conceptual focus from objects to
relationships. Only then can we realize that identity, individuality, and autonomy do not
imply separateness and independence....This reconnecting, religio in Latin, is the very
 essence of the spiritual grounding of deep ecology....A major clash between economics
and ecology derives from the fact that nature is cyclical, where as our industrial systems
are linear...The so-called free market does not provide consumers with proper
information, because the social and environmental costs of production [as well as intrinsic
value] are not part of current economic models.155

References:

(1) See the Superior Wilderness Action Network web-page for an overview of the lawsuit, with
accompanying newspaper articles-- http://www.superiorwild.com/

(2) David F. Noble, The Religion of Technology: The Divinity of Man and the Spirit of Invention
(NY: Penguin Books, 1999). See also Lynn White, 'The Historical Roots of Our Ecological Crisis,"
Science 155 (1967), pp. 1203-7 and L.W. Boncrief, 'The Cultural Basis for our Environmental
Crisis," Science 170 (1970) pp. 508-12.

(3) Ibid., p. 36; pp. 64-65; p. 87; pp. 111-112.

(4) A good presentation of this spiritual-ecology-worldview connection is Michael A. Cremo and

Goswami, Mükunda. Divine Nature: A Spiritual Perspective on the Environmental Crisis. (New
York: The Bhaktivedanta Book Trust, 1995). See also David Ray Griffin, ed. Spirituality and
Society: Postmodern Visions (Albany: SUNY Press, 1988). For the escalating crises, Chris Bright,
"Anticipating Environment 'Surprise'" in State of the World 2000: A Worldwatch Institute Report
on Progress Toward a Sustainable Society (NY: W.W. Norton, 2000).

(5) For a sound scientific critic of the institutions of modernism see biology professor Mary E.
Clark's Ariadne's Thread: The Search for New Modes of Thinking (NY: St. Martin's Press, 1989).
The founding statement of the Union of Concerned Scientists, as well as their "World Scientists
Warning to Humanity" gives credence to the current crisis resulting from the institutions of
modernism: "Misuse of scientific and technical knowledge presents a major threat to the
existence of mankind. Through its actions in Vietnam our government has shaken our confidence
in its ability to make wise and humane decisions. There is also disquieting evidence of an
intention to enlarge further our immense destructive capability." (1968 MIT Faculty Statement
resulted in the founding of the Union of Concerned Scientists in early 1969) From the World
Scientists' Warning to Humanity: "Some 1,700 of the world's leading scientists, including the
majority of Nobel laureates in the sciences, issued this appeal in November 1992. [Introduction]
'Human beings and the natural world are on a collision course...Fundamental changes are urgent
if we are to avoid the collision our present course will bring about.'"

(6) Frederic Jameson. Postmodernism or the Cultural Logic of Late-Capitalism. Post-

Contemporary Interventions (Durham, NC: Duke University Press, 1991). For U of M minor
graduate degree in Complementary Therapies and Healing Practices see
http://www.csh.umn.edu/programs/brochure.htm

(7) Nick Herbert. Quantum Reality: Beyond the New Physics, an excursion into metaphysics and
the meaning of reality. (NY: Anchor, 1985), p. 250.

(8) One of the noted fears regarding radical ecology is its assumed status as the latest
manifestation of Foucault's bio-power-a negative repressive force of modernism. The
Foucauldian argument is discussed in Jozef Keulartz. The Struggle for Nature: A critique of
radical ecology (London: Routeldge, 1998)--a sophisticated analysis that raises these issues in a
mature, albeit misguided, framework--to which I'll be returning.

(9) David Bordwell, Making Meaning: Inference and Rhetoric in the Interpretation of Cinema
(Cambridge: Harvard University Press, 1989), p. 259.

(10) Caryl Flinn, Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music (NJ: Princeton
University Press, 1992), p. 7.

(11) Bordwell, Making Meaning, p. 266.

(12) Ibid. pp. 105-107.

(13) Flynn, Strains of Utopia, p. 7.

(14) Bordwell, Making Meaning, p. 105. On neoformalism see also Kristin Thompson, Eisenstein's
"Ivan the Terrible": A Neoformalist Analysis (N.J.: Princeton University Press, 1981). In support
of rational humanism, Bordwell assumes the cognitive logic of problem solving by "rational
agents" what my colleague Chet Kite calls "the detective aesthetic." An approach which
ironically, through psychoanalysis, social theory, and new paradigm analysis, has proved the
inherent limits of rationalism as an epistemology of modern Western elite institutions while also
showing that all matter acts as "rational agents"! (i.e. for the limits of rationalism see the general
science theory texts The End of Science: Facing the limits of knowledge in the twilight of the
scientific age by John Horgan; Beyond Science by John Polkinghorne, and The End of the World:
The Science and Ethics of Human Extinction by John Leslie). In an attempt to get to the root of
the same out-of-balance genocidal assumptions of Western institutions, as they were
manifested during Nazism, the film director Syberberg uses the term "music of the future" for his
approach to utopian meaning. I'm indebted to my colleague James Hong for the reference. To
get beyond the horror of corporate-state modern regimes, my "music of the future" or sound-
current non-dualism maps what film director and social theorist Raul Ruiz describes in his
discussion regarding utopias as, "events that could move from one dimension to another, and
that could be broken down into images cooccupying different dimensions, all with the sole aim of
being able to add, multiply, or divide them and reconstitute them at will." Poetics of Cinema
(Paris: Editions Dis Voir, 1995), p. 22.

(15) The term "grand theorist" comes from The Return of Grand Theory in the Human Sciences,
Quentin Skinner, ed., Cambridge University Press, 1988. Ken Wilber. Sex, Ecology and
Spirituality : The Spirit of Evolution. (Boston, Massachusetts: Shambhala Publications, 1995), p.
148. Slavoj Zizek. Tarrying With The Negative: Kant, Hegel And The Critique Of Ideology
(Durham: Duke University Press, 1993), pp. 237, 220. Deleuze ref. from Braidotti, see footnote
11. Discussion of their work will follow below.

(16) The emphasis here is on rhythmic, harmonic vibrations or resonance not just vibrations.-as
physicist K.C. Cole discovered, " 'resonance' was behind the very nature of matter."--the
fundamental basis for transposing quantities to qualities. Sympathetic Vibrations: Reflections on
physics as a way of life (NY: Bantam, 1985). Mark B. Woodhouse. Paradigm Wars: Worldviews
for a New Age (Berkeley, CA: North Atlantic Press), p. 178. According to
http://www.markwoodhouse.com/ "Mark Woodhouse, Ph.D., is Associate Professor of Philosophy
at Georgia State University, [and]...is the author of a widely used text, A Preface to Philosophy,
adopted by universities in all fifty states and abroad. He is also a consulting editor for the
Journal of Near-Death Studies."

(17) Michael Zimmerman, Contesting Earth's Future: Radical ecology and postmodernity
(Berkeley: University of California Press, 1994). Zimmerman is considered a leading critical
expert on Heidegger and has recently wrote on why modernism is, overall, outright dismissing
and ignoring obvious anomalies like the alien abduction phenomenon.

(18) Two other recent "grand theorists" that also cite leading scientists--similar to Woodhouse
and myself--are Joachim-Ernst Berendt's The World is Sound, Nada Brahma: Music and the
Landscape of Consciousness, forward by Fritjof Capra and promotion by Stanislav Grof
(Rochester, VT: Destiny Books, 1991) and Ross Wiseman. Universe Of Waves (New Zealand:
Discovery Press, 1999). See also the directly related work of George Ivanovich Gurdjieff --his
law of the octave, law of three, etc.

(19) Mantak Chia. Awaken Healing: Energy through the Tao. (Santa Fe, NM: Aurora Press, 1983).
See also http://www.breath.org/internet.htm According to Chia, Dr. Johan Mann and Larry Short,
authors of "The Body of Light," count 49 cultures around the world "that articulate the concept of
Chi [or vital energy] in one form or another." (p. 34) James Jeans Science and Music (NY: Dover,
1968), p. 154. Philip Regal The Anatomy of Judgment (Mpls. MN: University of Minnesota Press,
1990), p. 260. We'll elaborate on the same Taoist-Pythagorean connection examined by
Kingsley.

(20) Peter Kingsley Ancient Philosophy, Mystery, and Magic: Empedocles and Pythagorean
Tradition, (Oxford: Oxford University Press), p. 232.

(21) This global culture, represented by over 1200 civil society organizations, gathered at the
1992 Earth Summit and at the Shutdown of the WTO in Seattle, 1999. As David Korten states in
The Post-Corporate World, there is a "new integral culture" based on the sage Sri Aurobindo's
vision of divine anarchy. According to surveys done by Paul Ray, the U.S. is 47% modernist, 29%
"heartlanders" (pre-modern western values) and 24% "cultural creatives" or of the new integral
culture. "Now they are a major and growing cultural response to the accelerating failures of
modernism." David C. Korten, The Post-Corporate World: Life After Capitalism. (West Hartford,
CA: Kumarian Press, 1999), p. 215.

(22) James Jeans, Science and Music (NY: Dover Press, 1968), p. 29, p. 64.

(23) Ibid., p. 29. In an open system analysis, music analyst Berendt quotes the research Hans
Kayser, "As the spatial aspect, the string length, diminishes, the temporal aspect, the number of
variations, increases, and vice versa." Hans Kayser. Arkóasis: The Theory of World Harmonies
(Boston: Plowshare Press, 1970). For further Kayser references see also Joscelyn Godwin, ed.
Cosmic Music: Musical Keys to the Interpretation of Reality: Essays by Marius Schneider, Rudolf
Haase, Hans Erhard Lauer (Rochester, Vermont: Inner Traditions, 1989).

(24) Mary E. Clark notes, "Curiously enough, it was not workers, but monks in the monasteries
and cathedrals of Medieval Europe who first kept track of the hours...This all-pervasive
consciousness of the passing of time is an absolute prerequisite for the building of an 'efficient'
society. It is a fundamental part of the Western worldview." Ariadne's Thread, p. 275. In further
verification of Noble's analysis, the first famous clock was from 966 of the imperial monk origins,
as music analyst Berendt notes. He comments, "The only thing we know for sure is the fact that
it was the clergy who saw to it that the mechanical clock became a functioning timepiece."
Berendt, The World is Sound, p. 98.

(25) Jeans, Science and Music, pp. 29-32.

(26) John Beaulieu. Music and Sound in the Healing Arts. (Barrytown, NY: Station Hill Press),
1987, p. 25. Music analyst Berendt calls this, "whole-number quanta...relatively easily
demonstrated on the monochord." The World Is Sound, p. 62.

(27) Ibid., p. 25.

(28) Chia, Awakening Healing, p. 14.

(29) Ibid., p. 45.

(30) Jeans, Science and Music, p. 67. Or again as music analyst Berendt cites physicist Jean E.
Charon, "Each particle...has its own spin, and all these spins vibrate together in the whole-
number proportions of the overtone scale. This then is the prime model of mind and spirit." The
World Is Sound, p. 125 citing Jean E. Charon: L'Esprit, cet inconnu (Paris: n.p., 1977).

(31) Bealieau, Music and Sound in the Healing Arts, p. 45.

(32) Pythagoras, for reasons (and with profound cultural implications) to be discussed below,
limited his overt analysis to the logical type or order of information of ratios from which the
notes of the scale are determined. I.e. space-time constructs, as the new physics has shown, are
relative to the void. An example follows from physicist Nick Herbert in his chapter Wave
Motions: The Sound of Music: "Just as sine waves are the natural vibrations of a stretched
string, so spherical harmonics are the natural vibrations of an elastic sphere...Whenever a
sphere vibrates, certain nodal circles appear where the sphere stands still." The
multidimensional implications for quantum theory are derived from Fourier's Theorem that
determines the fundamental wave of complex wave-forms by analyzing spatial frequencies,
amplitudes and phase relations. Herbert, Quantum Reality, pp. 25-30.

(33) Jeans, Science and Music, p. 157, p. 153. A follower of George Ivanovich Gurdjieff states
what happens when the natural free threshold or limit is reached (when the octave accesses the
nothingness): "To increase the rate of vibrations of a material, we need to apply energy to it. Eg,
to raise the temperature, you need to apply heat to a substance. In popular physics not much
attention is given to the fact that the increase in the rate of vibrations is not always directly
related to the rate of application of energy, i.e. applying energy at a constant rate does not
always give a constant increase in the rate of vibrations. A very simple example is in heating
water from ice to steam - there are two points, the point when the ice is at 0 degrees C, but not
yet melted, and the point when the water is at 100 degrees C, but not yet steam. At these two
points, one has to keep applying heat for a longer period of time for the temperature to
rise....Now, the theory is that this pattern will occur for vibrations in any kind of material, and
here we are talking about a wider category of material than physics usually deals with, for
instance, one's own psychology." See http://www.geocities.com/Tokyo/1080/7law.html. This
musical interval leap or whole-number multiple was the direct inspiration for Max Planck's
"quantum leap" where the particle of energy mysteriously "jumps" from one atom to the next.
Theorist and author Bruce Cathie has applied the interval leap to explore energy nodes on the
planet and nodal links to other dimensions.
(34) John Keely. Universal Laws Never Before Revealed: Keely's Secrets - Understanding and
Using the Science of Sympathetic Vibration. Peyton, Colorado: Delta Spectrum Research,
Vibration Research Institute & Laboratories,1996-1999. p. 117. See http://www.svpvril.com/

(35) As Bateson discovers, "the Pythagoras theorem [developed from music theory] is all there
in the axioms...no 'self evident' propositions but self-evident links. The essential requirement of
tautology is that links between the propositions shall be empty - i.e. shall contain no information
about the subject of discourse." Angels Fear: Toward an Epistemology of the Sacred (NY:
Bantam, 1988), p. 60.

(36) Lu K'Uan Yü, Taoist Yoga: Alchemy and Immortality (NY: Samuel Weiser, Inc.), p. 3.

(37) Berendt, The World is Sound, p. 123 citing Jean E. Charon: L'Esprit cet inconnu (Paris: n.p.,
1977). Berendt also cites music analyst Wilfried Krüger who remarks, "By establishing that time
stands still, that 'place' is nowhere and everywhere, and that the mass of a particle moving at
the speed of light (such as a photon) is equal to zero, nuclear physics approaches a threshold
that mystics have approached, and still approach, from the other direction." Wilfried Krüger: Das
Universum Singt (Trier: Editions Tréves, 1983).

(38) Bealieau, Music and Sound in the Healing Arts, p. 47; Berendt, The World Is Sound, p. 61.

(39) Jeans, Science and Music, p. 76. This is already an allusion to the development of bio-
energy from the resonance of natural harmonious free vibrations.

(40) Ibid., pp. 153-154.

(41) Bealieau, Music and Sound in the Healing Arts, p. 47. Even the highly renowned music
analyst Leonard Meyer of the University of Chicago, noted for emphasizing pluralism, states "the
octave, fifth and fourth are basic, normative intervals in the music of almost all cultures."
Leonard Meyer, Music, the Arts and Ideas: Patterns and Predictions in Twentieth-Century
Culture (Chicago: University of Chicago Press), p. 289.

(42) Jeans, Science and Music, p. 161.

(43) According to Graham Hancock, "This proportion [golden section], which had been proven
particularly harmonious and agreeable to the eye, had supposedly been first discovered by the
Pythagorean Greeks." Graham Hancock. Fingerprints of the Gods: The Evidence of Earth's Lost
Civilization (NY: Crown Publishing, 1996), p. 336.

(44) Edward Rothstein, Emblems of Mind: The Inner Life of Music and Mathematics. New York:
Avon Books, 1995. p. 156, p. 159.

(45) Erno Lendvai, Bela Bartok: An Analysis of his music (NY: Stanmore Press, 1971), p. 29.

(46) (Wellesley: A K Peters, 1993).

(47) See Hancock, Fingerprints of the Gods.

(48) Keely, Universal Laws Never Before Revealed, p. 230.

(49) H.E. Huntley, The Divine Proportion (NY: Dover, 1970) p. 18.

(50) Chia, Awaken Healing, p. 119.

(51) Jeans, Science and Music, p. 164.

(52) Don Randel, ed. The New Harvard Dictionary of Music (Cambridge, MA: Harvard University
Press, 1986), p. 618.

(53) Herbert, Quantum Reality: Beyond the New Physics, an excursion into metaphysics and the
meaning of reality, p. 250.

(54) Chia, Awaken Healing, p. 17.

(55) Ibid. pp. 17, 173, 105, 337. Mantak Chia, Taoist Ways to Transform Stress into Vitality: The
Inner Smile, Six Healing Sounds (Huntington, NY: Healing Tao Books, 1985).

(56) Meyer states: "The psychology of human mental processes: Those musical events,
whatever their particular stylistic-syntactic premises, which are so structured that they conform
to the Gestalt laws of pattern perception (the principles of good continuation, closure, return, and
the like)-laws which are themselves perhaps a reflection of the neurophysiological organization
of the central nervous system (CNS)-will be more redundant [not in a pejorative sense] than
events which are incongruous with the natural modes of cognitive ordering." Meyer, Music, the
Arts, and Ideas, p. 277. Similarly Bordwell states, "Chomsky has suggested that knowledge of
language consists not of rules, but of 'principles.'" Making Meaning, citing Knowledge of
Language: Its Nature, origin, and use (NY: Praeger, 1986)

(57) Leonard Meyer, Emotion and Meaning in Music (Chicago: University of Chicago Press,
1961), p. 92

(58) Meyer, Music, the Arts and Ideas, p. 284.

(59) Herbert, Quantum Reality, p. 71.

(60) Margaret Wertheim, Pythagoras' Trousers : God, Physics, and the Gender Wars (NY: W W
Norton & Co, 1997).

(61) Technology can be created from the sound-current principles. Woodhouse in Paradigm
Wars examines the potential of many examples that use sound-current non-dualism to create
paranormal realities, like radionics, radioscopy, photo-acoustic spectroscopy, holography, and
scalar electromagnetics. For instance Pythagoras, Ptolemy and Kepler were right about the
harmony of the spheres: "the fact that from an unlimited wealth of possible orbits [the planets]
have chosen precisely those which oscillate and sound in the proportions of undivided numbers
prevalent in our 'earthbound' music." (derived from the angular velocity constants relative to the
sun). Berendt, The World Is Sound, pp. 60-64. For the principles of resonance used to make
nuclear waste non-radioactive, see Robert A. Nelson, "Transmutations of Nuclear Waste" in
Nexus: New Times Magazine, Feb-March, 2000, p. 47. For a sound-current model of genetics
that's an alternative to the corporate-state reductionist model see Derald G. Langham, "Genesa:
An attempt to develop a conceptual model to synthesize, synchronize, and vitalize man's
interpretation of universal phenomena," US International University: Ph.D., 1969. The same
model from a Taoist perspective is Martin Schönberger, The I Ching and the Genetic Code: The
Hidden Key to Life (Santa Fe, NM: Aurora Press, 1992).

(62) K.C. Cole, Sympathetic Vibrations, p.264, 275.

(63) Effie Poy Yew Chow and Charles T. Mcgee. Qi Gong: Miracle Healing from China. (San
Francisco: MediPress, 1994). Paul Dong and Aristide H. Esser. Chi Gong: The Ancient Chinese
Way to Health. (New York: Marlowe and Co., 1990). Dr. David Eisenberg. Encounters with Qi:
Exploring Chinese Medicine. (New York: Penguin, 1987).

(64) Monica Isley, "Eastern healing method getting results for Two Harbors' Tom Gow," Lake
County News-Chronicle, 2-3-2000.

(65) Yan, Xin, Lu Zuyin, Zhng Tianbao, Wang Haidong, Zhu Runsheng, "The Influence of External
qi on the Radioactive Decay Rate of 241 Am. Proceeding of the First Tianjin Human Body
Science Conference, Tianjin, China, Sept. 1989. Cited in Yan Xin, Hui Link, Hongmei Li, Alexis
Traynor-Kaplan, Zhen-Qin Xia, Fen Lu Qi Fang, Ming Dao, "Structure and property changes in
certain materials influenced by the external qi of qigong," Mat Res Innovat (1999) 2:349-359,
Springer-Verlag.

(66) Dinghai Zu, et. al. "A Study of the Recuperation Function of Qi Gong on Hypertension Target
organ Impairment," Journal of Clinical Cardiology, 1992; 8(2); Dr. Kenneth M. Sancier, Binkun Hu,
"Medical Applications of Qi Gong and Emitted Qi on Humans, animals, cell cultures, and plants:
Review of Selected Scientific Research," American Journal of Acupuncture 1991; 19(4): 367-377.

(67) Jeans, Science and Music, p. 165.

(68) Ibid., p. 166.

(69) For Partch's musical system see http://www.deandrummond.com/zoomprimer.htm#just

intonation. For the Pythagorean Lambdoma see Joscelyn Godwin. Harmonies of Heaven and
Earth: Mysticism in Music from antiquity to the avant-garde (Rochester, Vermont: Inner
Traditions, 1995). Bela Bartok also created a Pythagorean system derived from the intuitive
pentatony of the Magyar people-see Lendvai.

(70) For Sun Ra quote see http://www.holeworld.com/stellar.html

(71) Jeans, Science and Music, p. 168.

(72) Joscelyn Godwin, Harmonies of Heaven and Earth, p. 56.

(73) Berendt, The World Is Sound, p. 131.

(74) Jonathan Goldman. Healing Sounds: The Power of Harmonics. (Boston, MA: Element, 1996),
p. 116.

(75) Rupert Sheldrake, A New Science of Life (London: Blond and Briggs, 1981). Or as Joseph F.
Goodavage describes it, "...[On] the energy fields discovered by Drs. Harold S. Burr and Leonard
Ravitz at Yale University's School of Medicine. Like polygraph expert Cleve Backster, who in
1966 discovered something he calls "primary perception" in plants, these medical men published
numerous reports describing the existence of a complex field of energy surrounding every man,
woman and child and every living thing on Earth. They call it the L-field or Field of Life - a refined
form of energy which could be a kind of "higher octave" force existing beyond the familiar
electromagnetic spectrum. These fields surround every cell and seed. Apparently in existence
everywhere in the universe, they coalesce prior to the formation of the physical organism (and
may survive its dissolution)." from Magic: Science of the Future (London: Signet, 1976), pp. 72-
73.

(76) Beaulieau, Music and Sound in the Healing Arts, pp. 37-41.

(77) Chia, Awaken Healing, p. 261.

(78) Hai, Suma Ching. The Key of Immediate Enlightenment. Formosa, Republic of China: Suma
Ching Hai International Association, 1996.. http://www.GodsDirectContact.org/

(79) Sri Vaishnavi Shrine, (Madras, India: The Sanmarge Sangam, 1967) pp. 76-77.

(80) Chia, Awaken Healing, p. 261, p. 62.

(81) Ilya Prigogine, Order Out of Chaos: Man's New Dialogue with Nature (NY: Bantam Books,
1984).

(82) Bateson, Angels Fear, p. 60.

83 Meyer, Music, the Arts and Ideas, p. 81.

(84) Lu K'Uan Yü, Taoist Yoga, p. 5.

(85) Bateson, Angels Fear, p. 24.

(86) Rothstein, Emblems of Mind, p. 29.

(87) Berendt also gives the broader context: "Chuang-tzu, the ancient Chinese sage, wrote 'What
is one, is one. What is not-one, also is one.' And Erich Fromm notes: 'Paradoxical logic was
predominant in Chinese and Indian thinking, in Heraclitus' philosophy, and then again under the
name of dialectics in the thought of Hegel and Marx....Our Western concept of logic is strongly
conditioned by Western language....Weizsacker points out that 'the philosophies are closely
related to the grammatical structures of the language. The subject-predicate scheme of
Aristotelian logic corresponds to the grammatical structure of the Greek declarative
sentence...In his tome, Nietzsche noted that the 'astounding family likeness' seen in Western
philosophies could be explained 'simple enough,' namely by their 'unconscious domination by
the same grammatical functions'....By way of contrast, the thinking behind the Chinese and
Japanese languages do not move in a straight line from the subject to the object with no aid of
the verb. It circles around its object and envelops it until it is specified as precisely as the objects
in our Western languages (which presupposes an inner predicate); in fact, specialists feel that
these Asian languages are even more precise since they do not simply 'objectivate' but rather
let subject and object 'become one' so that the active and the passive mode fall together...."
Berendt, The World Is Sound, pp. 44-49.

(88) Bateson, Angels Fear, p. 117; p. 27.

(89) See To The Distant Observer: Form and Meaning in the Japanese Cinema (Berkeley:
University of California Press, 1979).

(90) Robert Schmidt, "Phasis and Logos," presentation at FortFest Fall 1997 of the International
Fortean Organization, MSS available at 532 Washington St., Cumberland MD 21502 or
http://www.chironline.com/

(91) Peter Kingsley. Ancient Philosophy, Mystery, and Magic: Empedocles and Pythagorean
Tradition (Oxford: Oxford University Press, 1995), p. 158

(92) Rothstein, Emblems of Mind, p. 238.

(93) Gregory Bateson, Mind and Nature: A Necessary Unity (Toronto: E. P. Dutton, 1979), p. 116.

(94) Capra, The Web of Life, pp. 83-84.

(95) Ibid., pp. 129-130, pp. 135-136.

(96) Martin Gardner, Fractal Music, Hypercards and More: Mathematical Recreations from
Scientific American Magazine (NY: W.H. Freeman and Co., 1992), p.,3.

(97) Bateson had the same limit as Zizek. Fortunately Ken Wilber has also made the same point
as myself regarding the limit of the primordial repressed.

(98) Slavoj Zizek, The Plague of Fantasies (New York: Verso, 1997). p. 92.

(99) Ibid., p. 208.

(100) Slavoj Zizek, Tarrying with the Negative, p. 165.

(101) Ibid., p. 192.

(102) Zizek, Tarrying with the Negative, p. 237.

(103) Dong and Esser, Chi Gong, p. 199.

(104) Zizek, Tarrying with the Negative, pp. 122-123.

(105) Rothstein, Emblems of Mind, p. 28.

(106) Lendvai, Bela Bartok, p. 24.

(107) Jeans, Science and Music, p. 157.

(108) Rothstein, Emblems of Mind, p. 29.

(109) Slavoj Zizek, The Indivisible Remainder : An Essay on Schelling and Related Matters (NY:
Verso, 1996), p. 104.
(110) Rothstein, Emblems of Mind, p. 212.

(111) For jouissance as phi see Slavoj Zizek, The Sublime Object of Subjectivity, (London: Verso,
1989). For Pythagorean law of growth, divine proportion as phi see Hancock, Fingerprints of the
Gods, p. 336 and Rothstein, Emblems of Mind.

(112) Pribram, Languages of the Brain: experimental paradoxes and principles in

neuropsychology (Englewood Cliffs, NJ: Prentice Hill, Inc., 1971). See also Michael Talbot, The
Holographic Universe (NY: HarperCollins Publishers, 1991).

(113) Zizek, The Plague of Fantasies, p. 32.

(114) Ibid.

(115) Haase cited by Berendt, The World Is Sound, p. 80.

(116) Slavoj Zizek, The Sublime Object of Ideology, p. 189. Or as Rothstein states, "The music 'in
itself' is the abstract model whose essence defies even a purely formal analysis," Emblems of
Mind, p. 212.

(117) Richard Leppert, The Sight of Sound: Music, Representation and the History of the Body
(Berkeley: University of California Press, 1993), pp. 213-215.

(118) This is even after Wilber edited The Holographic Paradigm and other paradoxes: exploring
the leading edge of science (Boston: Shambhala, 1982).

(119) Berendt, The World Is Sound, p. 145.

(120) See Wilber, Sex, Ecology, Spirituality for several references on "tribal consciousness" p. 52
and p. 166 and throughout the book. The conscious sustainable ecological practices of the
world's indigenous practices are reviewed in Alan Thein Durning, "Supporting Indigenous
Peoples," State of the World 1993: A Worldwatch Institute Report on Progress Toward a
Sustainable Society (NY: W.W. Norton, 1993). For a review of the backlash against indigenous
research see David Watson. Beyond Bookchin: preface for a future social ecology (NY:
Autonomedia, 1996) and Jack Weatherford, Indian Givers: How the Indians of the Americas
Transformed the World (NY: Fawcett Columbine, 1988). On the repressed history of the
destructive U.S. take-over of Hawaii see Noam Chomsky, Year 501: The Conquest Continues
(Boston: South End Press, 1993). See also Annette M. Jaimes. The State of Native America:
Genocide, Colonialization and Resistance (Boston, MA: South End Press, 1992). Bruce E.
Johansen. Ecocide of Native America: Environmental Destruction of Indian Lands and Peoples.
Santa Fe, NM: Clear Light Publishers, 1995.

(121) Meyer, Music, the Arts, and Ideas, p. 172.

(122) Jacques Attali, Noise: The Political Economy of Music (Theory and History of Literature, Vol
16) (Mpls, MN: University of Minnesota Press, 1985).

(123) John E. Peck, "Nonequilibrium Perspectives and Indigenous Knowledge for Community
Management of Natural Resources in Zimbabwe," (MS, Geography 920, University of Wisconsin-
Madison, 1996).

(124) John Chernoff, African Sensibility: Aesthetics and Social Action in African Musical Idioms
(Illinois: University of Chicago Press, 1979). There's a large literature proving the same
regarding indigenous cultures and their sophisticated understanding of spiritual-philosophical
concepts: Frances Densmore, Chippewa Customs (St. Paul, MN: MHS Press, 1929, reprint
edition, 1979); Frances Densmore, Chippewa Music. Bureau of American Ethnology Bulletins.
MHS Press, January 1910, reprint edition); Charles Boiles, Man, Magic and Musical Occasions
(Montreal, Quebec, Canada: University of Montreal Press, 1978); Marina Roseman, Healing
Sounds from the Malaysian Rainforest : Temiar Music and Medicine. Comparative Studies of
Health Systems and Medical Care, Vol 28. (Berkeley: University of California Press, 1993);
William K. Powers. Sacred Language: The Nature of Supernatural Discourse in Lakota (London:
University of Oklahoma Press, 1986).

(125) Wilber, Sex, Ecology, Spirituality, p. 38.

(126) See Al Gedicks, The New Resource Wars: Native and Environmental Struggles Against
Multinational Corporations (Boston: South End Press, 1993). Joshua Karliner, The Corporate
Planet: Ecology and Politics in the Age of Globalization (San Francisco: Sierra Club Books, 1997).

(127) Berendt, The World is Sound, p. 126.

(128) Ibid., p. 154 from Gerhard Nestler: Die Form in der Musik (Freiburg and Zurich: Atlants
Verlag, 1954).

(129) Berendt, The World Is Sound, p. 174.

(130) Capra, The Web of Life, 292-294.

(131) Kingsley, Ancient Philosophy, p. 203, p. 198, p. 256. The same Pythagorean ancient wisdom
of basic Universal Truth is communicated through myth, math, cosmology and architecture
worldwide as documented by the following works: Graham Hancock's Fingerprints of the Gods.
M.I.T. professor Giorgio de Santiallana, with Hertha von Dechend. Hamlet's Mill: An essay on
myth and the frame of time (Boston: Gambit Inc., 1969). Thomas Worthen. The Myth of
Replacement: Stars, Gods and Order in the Universe (Tucson: University of Arizona Press, 1991).

(132) Ibid., p. 108, p. 110.

(133) Ibid., p. 3.

(134) Ibid., p. 203.

(135) Ibid., p. 119.

(136) Ibid., p. 252.

(137) Personal communication, Aung Koe, co-director of Minnesota Free Burma Coalition,
March, 2000.

(138) Kingsley, Ancient Philosophy, p. 236.

(139) Ibid., p. 298.

(140) Keulartz, p. 110.

(141) Bateson, Angels Fear, p. 108.

(142) For this well-researched important history see Morris Berman. The Reenchantment of the
World. (New York: Bantam, 1989) and Coming to Our Senses: Body and Spirit in the Hidden
History of the West. (New York: Bantam, 1990).

(143) For the misguided spiritual motivations of Monsanto and Cargill see Brewster Kneen.
Farmageddon: Food and the Culture of Biotechnology. (New York: New Society Publishers),
1999.

(144) On cybernetics used to promoted genocidal social Darwinism see Jeremy Rifkin, in
collaboration with Nicanor Perlas, Algeny (NY: Penguin Books, 1984). Zizek makes the same
argument--a section called "Cyberspace, or The Unbearable Closure of Being" in The Plague of
Fantasies. Peter Drucker is a leading proponent of this deterministic inaccurate use of systems
theory. The same co-optation is expressed by E.O. Wilson, Consilience: The Unity of Knowledge.
(New York: Knopf, 1998).

(145) Keulartz, The Struggle for Nature, p. 140.

(146) David Watson, Beyond Bookchin: Preface for a future social ecology (NY: Autonomedia,
1996).

(147) Noam Chomsky, the most-well known proponent of anarchism, bases his theory in the
arguments of freedom found in classical liberalism. For the two most lucid explanations of
anarchism see Rudolf Rocker, preface by Noam Chomsky, Anarcho-Syndicalism (London: Pluto
Press, 1989) and Daniel Guérin, introduction by Noam Chomsky, Anarchism: From Theory to
Practice (NY: Monthly Review Press, 1970).

(148) Chia, Awaken Healing, p. 24.

(149) Vandana Shiva, Biopiracy: the Plunder of Nature and Knowledge (Boston: South End Press,
1997), p. 111, pp. 31-33. For further connections between sovereignty and spirituality see
Staughton Lynd, Intellectual Origins of American Radicalism (NY: Vintage, 1969).

(150) This phenomenon of social harmony arising from the void has been proven scientifically to
exist cross-culturally by Paul Byers of Columbia University as well as Boston scientist William
Condon. Berendt, The World Is Sound, p. 116.

(151) Keulartz, The Struggle for Nature, p. 41; pp. 107-108.

(152) Rosi Braidotti, "Towards Sustainable Subjectivity: A View from Feminist Philosophy," in
Egon Becker and Thomas Jahn, eds., Sustainability and the Social Sciences: A Cross-Disciplinary
Approach to Integrating Environmental Considerations into Theoretical Reorientation (London:
Zed Books, 1999), p. 86.
(153) Dissipative structures are explained by the resonance principles modeled by the comma of
Pythagoras. Corporate-state policies have instituted a faster rate of extinction than any time in
planetary history according to a recent survey of professional biologists-see Earth Island Journal
at http://www.earthisland.org/ and Rainforest Action Network at www.ran.org For a scientific
overview of the extinction crisis from conservation biologists see Reed F. Noss and Allen Y.
Cooperrider, Saving Nature's Legacy: Protecting and Restoring Biodiversity (D.C.: Island Press,
1994).

(154) Kingsley., p. 162.

(155) Capra, The Web of Life, pp. 296, 299, 300. For the best overview of how to address this
clash see Paul Hawken, Amory B. Lovins, L. Hunter Lovins. Natural Capitalism: Creating the Next
Industrial Revolution (NY: Little Brown and Co., 1999). C.A. Bowers, The Culture of Denial: Why
the Environmental Movement Needs a Strategy for Reforming Universities and Public Schools.
(New York: SUNY Press, 1997).