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shiftingfawnnn · 3 months ago

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Quantum Physics and the Many Roles of Reality: How Every Choice Shapes Our Path

Quantum physics has long fascinated scientists and philosophers alike, offering mind-bending insights into the nature of reality. One of its most intriguing concepts is the Many-Worlds Interpretation (MWI)—the idea that every possible outcome of an event actually happens, each in its own separate universe. But what if reality isn’t just passively splitting into infinite timelines? What if we are actively moving through them, shifting realities with every thought and decision? This perspective suggests that reality isn’t simply branching outward but that we, as conscious beings, are navigating an infinite web of possibilities, constantly shifting into slightly different versions of ourselves.

The Quantum Nature of Reality

At its core, quantum mechanics describes the universe in terms of probabilities. Unlike classical physics, where an object has a single definite state, quantum physics tells us that particles exist in a superposition of multiple states until they are observed or measured. This idea is famously illustrated by Schrödinger’s cat—a thought experiment where a cat in a box is both alive and dead until someone looks inside. This strange behavior of quantum systems has led to deep questions about the nature of reality itself.

One of the leading interpretations of quantum mechanics is the Many-Worlds Interpretation, proposed by physicist Hugh Everett in 1957. According to this theory, every time a quantum event occurs, reality “splits” into multiple branches, each representing a different outcome. For example, if you flip a coin, one universe exists where it lands heads, and another where it lands tails. However, rather than these universes being separate and inaccessible, it is possible that we are constantly moving through them, shifting into different versions of reality based on our decisions and thoughts.

Shifting Realities Through Choice and Thought

If the Many-Worlds Interpretation is correct, then every choice we make—no matter how small—pushes us into a different version of reality. When you decide to take one path instead of another, speak to one person instead of another, or even think a certain thought, you are effectively nudging yourself into a slightly different timeline. Rather than reality simply branching outward, we are shifting between these already-existing possibilities.

Consider a simple choice: deciding whether to go for a walk or stay inside. In one reality, you go outside, breathe in fresh air, and perhaps encounter an event that alters your day. In another reality, you stay indoors, leading to an entirely different chain of events. From a quantum perspective, both realities exist, and your consciousness moves into the one aligned with your decision. This means that rather than reality splitting apart into infinite versions, you are the one shifting, aligning with the version of yourself that corresponds to your choices.

This concept also applies to thoughts and beliefs. If you begin to believe in a new possibility, you might shift into a reality where that possibility is more likely to manifest. Many philosophers and spiritual thinkers have drawn parallels between this idea and the Law of Assumption, which suggests that our beliefs shape the reality we experience. From a quantum standpoint, believing in a certain outcome may make it more probable by influencing the reality you shift into.

Quantum Superposition and the Multitude of You

Quantum physics suggests that particles exist in multiple states at once until observed. If this principle applies on a larger scale, then every possible version of you exists simultaneously, each living out different outcomes. However, your consciousness experiences just one at a time. Instead of reality being a single linear path, it is a vast web of possibilities, and your awareness moves through it like a traveler shifting between destinations.

This aligns with experiments in quantum mechanics, such as the double-slit experiment, which demonstrates that particles behave as waves of probability until observed. Some interpretations suggest that observation doesn’t just reveal reality—it helps select which reality we experience. If our consciousness acts as this “observer,” then our focus and choices play an active role in shaping the reality we perceive.

Shifting as a Natural Process

Many people associate “reality shifting” with the idea of consciously traveling to different realities, often through mental or spiritual techniques. However, if every choice and thought shifts us into a slightly different timeline, then shifting is something we have been doing our entire lives without realizing it. Every moment, we are choosing which version of ourselves to experience. The difference between unconscious shifting and deliberate shifting is awareness—realizing that you have the ability to direct your movement through reality rather than drifting passively.

This means that we are not static beings living in a single timeline. Instead, we are dynamic travelers, constantly moving through an infinite landscape of possibilities. If we embrace this perspective, it changes the way we approach life. Instead of feeling stuck, we can recognize that we always have the power to shift into a new version of reality—one that aligns more with our desires and intentions.

Conclusion

Quantum physics suggests that reality is not fixed but fluid, with infinite possibilities existing simultaneously. The Many-Worlds Interpretation proposes that every choice creates new branches of reality, but another way to look at it is that we are shifting through these realities rather than creating them. Every decision, every belief, every thought nudges us into a slightly different version of ourselves. This perspective suggests that reality shifting is not just a mystical or spiritual idea—it is a fundamental part of how we navigate existence.

If every moment is a crossroads leading to infinite possibilities, then understanding our role as conscious travelers can empower us to choose our path wisely. Whether we seek to shift into a different reality deliberately or simply become more mindful of the shifts we are already making, recognizing this quantum nature of existence reveals that we are never truly stuck. We are always moving, always shifting, always becoming new versions of ourselves—one decision at a time.

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canmom · 2 years ago

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Music Theory Notes (for science bitches) 1: chords & such

This is one of these series where I use my blog as a kind of study blog type thing. If you're knowledgeable about music theory, it will be very basic. But that's kind of the problem, I've really struggled to absorb those basics!

When I was a teenager I learned to play violin and played in orchestras. I could read music, and play decently enough, but I didn't really understand music. I just read what was on the page, and played the scales I had to play for exams.

Lately I've been trying to learn music again. This time my instruments are zhonghu, voice, and DAWs. At some point I might get my violin back too. But really, I'm a total beginner again, and this time I want to do it properly.

For a long time when I tried to learn about music I would get overwhelmed with terminology and jargon and conventions. I might watch videos on composition and they'd be interesting but a lot of it would just fly over my head, I'd just have to nod along because I had no idea what all the different types of chord and such were. I tried to learn from sites like musictheory.net, but I found it hard to figure out the logical structure to fit it all into.

I feel like I'm finally making a bit of headway, so it's time to take some notes. The idea here is not just to answer the what, but also to give some sense of why, a motivation. So in a sense this is a first attempt at writing the introduction to music theory I wish I'd had. This is going to assume you know a little bit about physics, but basically nothing about music.

What is music? From first principles.

This is impossible to answer in full generality, especially since as certain people would be quick to remind me, there's a whole corner of avant-garde composers who will cook up counterexamples to whatever claim you make. So let's narrow our focus: I'm talking about the 'most common' type of music in the society I inhabit, which is called 'tonal music'. (However some observations may be relevant to other types of music such as noise or purely rhythmic music.)

Music is generally an art form involving arranging sound waves in time into patterns (in the sense that illustration is about creating patterns on a 2D surface with light, animation is arranging illustrations in time, etc.).

Physically, sound is a pressure wave propagating through a medium, primarily air. As sound waves propagate, they will reflect off surfaces and go into superposition, and depending on the materials around, certain frequencies might be attenuated or amplified. So the way sound waves propagate in a space is very complicated!

But in general we've found we can pretty decently approximate the experience of listening to something using one or two 'audio tracks', which are played back at just one or two points. So for the sake of making headway, we will make an approximation: rather than worry about the entire sound field, we're going to talk about a one-dimensional function of time, namely the pressure at the idealised audio source. This is what gets displayed inside an audio editor. For example, here's me playing the zhonghu, recorded on a mic, as seen inside Audacity.

A wrinkle that is not relevant for this discussion: The idealised 'pressure wave' is a continuous real function of the reals (time to pressure). By contrast, computer audio is quantised in both the pressure level and time, and this is used to reconstruct a continuous pressure wave by convolution at playback time. (Just like a pixel is not a little square, an audio sample is not a constant pressure!) But I'm going to talk about real numbers until quantisation becomes relevant.

When the human eye receives light, the cone cells in the eye respond to the frequencies of EM radiation, creating just three different neural signals, but with incredibly high sensitivity to direction. By contrast, when the human ear receives sound, it is directed into an organ called the cochlea which is kind of like a cone rolled up into a spiral...

Inside this organ, the sound wave moves around the spiral, which has a fascinatingly complex structure that means different frequencies of wave will excite tiny hairs at different points along the tube. In effect, the cochlea performs a short-time Fourier transform of the incoming sound wave. Information about the direction of the incoming wave is given by the way it reflects off the shape of the ear, the difference between ears, and the movement of our head.

So! In contrast to light, where the brain receives a huge amount of information about directions of incoming light but only limited information of the frequency spectrum, with sound we receive a huge amount of information about the frequency spectrum but only quite limited information about its direction.

Music thus generally involves creating patterns with vibration frequencies in the sound wave. More than this, it's also generally about creating repeating patterns on a longer timescale, which is known as rhythm. This has something to do with the way neurons respond to signals but that's something I'm not well-versed in, and in any case it is heavily culturally mediated.

All right, so, this is the medium we have to play with. When we analyse an audio signal that represents music, we chop it up into small windows, and use a Fourier transform to find out the 'frequencies that are present in the signal'.

Most musical instruments are designed to make sounds that are combinations of certain frequencies at integer ratios. For example here is a plot of the [discrete] Fourier transform of a note played on the zhonghu:

The intensity of the signal is written in decibels, so it's actually a logarithmic scale despite looking linear. The frequency of the wave is written in Hertz, and plotted logarithmically as well. A pure sine wave would look like a thin vertical line; a slightly wider spike means it's a combination of a bunch of sine waves of very close frequencies.

The signal consists of one strong peak at 397Hz and nearby frequencies, and a series of peaks at (roughly) integer multiples of this frequency. In this case the second and third peaks are measured at 786Hz, and 1176Hz. Exact integer ratios would give us 794Hz and 1191Hz, but because the first peak is quite wide we'd expect there to be some error.

Some terminology: The first peak is called the fundamental, and the remaining peaks are known as overtones. The frequency of the fundamental is what defines this signal as a particular musical note, and the intensities of the overtone and widths of the peaks define the quality of the note - the thing that makes a flute and a violin playing the same fundamental frequency sound different when we listen to them. If you played two different notes at the same time, you'd get the spectrums of both notes added together - each note has its own fundamental and overtones.

OK, so far that's just basic audio analysis, nothing is specific to music. To go further we need to start imposing some kind of logical structure on the sound, defining relationships between the different notes.

The twelve-tone music system

There are many ways to do this, but in the West, one specific system has evolved as a kind of 'common language' that the vast majority of music is written in. As a language, it gives names to the notes, and defines a space of emotional connotations. We unconsciously learn this language as we go through the process of socialisation, just as we learn to interpret pictures, watch films, etc.

The system I'm about to outline is known as 12-tone equal temperament or "12TET". It was first cooked up in the 16th century almost simultaneously in China and Europe, but it truly became the standard tuning in the West around the 18th century, distilled from a hodgepodge of musical systems in use previously. In the 20th century, classical composers became rather bored of it and started experimenting with other systems of tonality. Nevertheless, it's the system used for the vast majority of popular music, film and game soundtracks, etc.

Other systems exist, just as complex. Western music tends to create scales of seven notes in an octave, but there are variants that use other amounts, like 6. And for example classical Indian music uses its own variant of a seven-note scale; there are also nuances within Western music such as 'just intonation' which we'll discuss in a bit; really, everything in music is really fucking complicated!

I'll be primarily discussing 12TET because 1. it's hard enough to understand just one system and this one is the most accessible; 2. this has a very nice mathematical structure which tickles my autismbrain. However, along the way we'll visit some variants, such as 'Pythagorean intervals'.

The goal is to try and not just say 'this is what the notation means' but explain why we might construct music this way. Since a lot of musical stuff is kept around for historical reasons, that will require some detours into history.

Octaves

So, what's the big idea here? Well, let's start with the idea of an octave. If you have two notes, let's call then M and N, and the frequency of N is twice the frequency of M... well, to the human ear, they sound very very closely related. In fact N is the first overtone of M - if you play M on almost any instrument, you're also hearing N.

Harmony, which we'll talk about in a minute, is the idea that two notes sound especially pleasant together - but this goes even further. So in many many music systems around the world, these two notes with frequency ratio of 2 are actually identified - they are in some sense 'the same note', and they're given the same name. This also means that further powers of 2, of e.g. 4, 8, 16, and so on, are also 'the same note'. We call the relationship between M and N an octave - we say if two notes are 'an octave apart', one has twice the frequency of the other.

For example, a note whose fundamental frequency is 261.626Hz is known as 'C' in the convention of 'concert pitch'. This implies an infinite series of other Cs, but since the human ear has a limited range of frequencies, in practice you have Cs from 8.176Hz up through 16744.036. These are given a series of numbers by convention, so 261.626Hz is called C4, often 'middle C'. 523.251Hz is C5, 1046.502Hz is C6, and so on. However, a lot of the time it doesn't matter which C you're talking about, so you just say 'C'.

But the identification of "C" with 261.626Hz * 2^N is just a convention (known as 'concert pitch'). Nothing is stopping you tuning to any other frequency: to build up the rest of the structure you just need some note to start with, and the rest unfolds using ratios.

Harmony and intervals

Music is less about individual notes, and more about the relationship between notes - either notes played at the same time, or in succession.

Between any two notes we have something called an interval determined by the ratio of their fundamental frequencies. We've already seen one interval: the octave, which has ratio 2.

The next interval to bring up is the 'fifth'. There are a few different variants of this idea, but generally speaking if two notes have a ratio of 1.5, they sound really really nice together. Why is this called a 'fifth'? Historical reasons, there is no way to shake this terminology, we're stuck with it. Just bear with me here, it will become semi-clear in a minute.

In the same vein, other ratios of small integers tend to sound 'harmonious'. They're satisfying to hear together. Ratios of larger integers, by contrast, feel unsatisfying. But this creates an idea of 'tension' and 'resolution'. If you play two notes together that don't harmonise as nicely, you create a feeling of expectation and tension; when you you play some notes that harmonise really well, that 'resolves' the tension and creates a sense of relief.

Building a scale - just intonation

The exact 3:2 integer ratio used in two tuning systems called 'Pythagorean tuning' and 'just intonation'. Using these kinds of integer ratios, you can unfold out a whole series of other notes, and that's how the Europeans generally did things before 12TET came along. For example, in 'just intonation', you might start with some frequency, and then procede in the ratios 9/8, 5/4, 4/3, 3/2, 5/3, 15/8, and at last 2 (the octave). These would be given a series of letters, creating a 'scale'.

What is a scale? A scale is something like the 'colour palette' for a piece of music. It's a set of notes you use. You might use notes from outside the scale but only very occasionally. Different scales are associated with different feelings - for example, the 'major scale' generally feels happy and triumphant, while a 'minor scale' tends to feel sad and forlorn. We'll talk a lot more about scales soon.

In the European musical tradition, a 'scale' consists of seven notes in each octave, so the notes are named by the first seven notes of the alphabet, i.e. A B C D E F G. A scale has a 'base note', and then you'd unfold the other frequencies using the ratios. An instrument such as a piano would be tuned to play a particular scale. The ratios above are one definition of a 'major scale', and starting with C as the base note, the resulting set of notes is called 'C Major'.

All these nice small-number ratios tend to sound really good together. But it becomes rather tricky if you want to play multiple scales on the same instrument. For example, say your piano is tuned in just intonation to C Major. This means, assuming you have a starting frequency we'll call C, you have the following notes available in a given octave:

C, D=(9/8)C, E=(5/4)C, F=(4/3)C, G=(3/2)C [the fifth!], A=(5/3)C, B=(15/8)C, and 2C [the start of the next octave].

Note: the interval we named the 'fifth' is the fifth note in this scale. It's actually the fifth note in the various minor scales too.

But now suppose you want to play with some different notes - let's say a scale we'll call 'A major', which has the same frequency ratios starting on the note we previously called A. Does our piano have the right keys to play this scale?

Well, the next note up from A would be (9/8)A, which would be (9/8)(5/3)C=(15/8)C - that's our B key, so far so good. Then (5/4)A=(5/4)(5/3)C=(25/12)C and... uh oh! We don't have a (25/12)C key, we have 2C, so if we start at A and go up two keys, we have a note that is slightly lower frequency than the one we're looking for.

What this means is that, depending on your tuning, you could only approximate the pretty integer ratios for any scale besides C major. (25/12) is pretty close to 2, so that might not seem so bad, but sometimes we'd land right in between two notes. We can approximate these notes by adding some more 'in between' piano keys. How should we work out what 'extra' keys to include? Well, there were multiple conventions, but we'll see there is some logic to it...

[You might ask, why are you spending so long on this historical system that is now considered obsolete? Well, intervals and their harmonious qualities are still really important in modern music, and it makes most sense to introduce them with the idea of 'small-integer ratios'.]

The semitone

We've seen if we build the 'major scale' using a bunch of 'nice' ratios, we have trouble playing other scales. The gap above may look rather haphazard and arbitrary, but hold on, we're working in exponential space here - shouldn't we be using a logarithmic scale? If I switch to a logarithmic x-axis, we suddenly get a rather appealing pattern...

All the gaps between successive notes are about the same size, except for the gap between E and F, and B and C, which are about half that size. If you try to work that out exactly, you run into the problems we saw above, where C to D is 9/8 or 1.125, but D to E is 10/9 or 1.11111... Even so, you can imagine how people who were playing around with sounds might notice, damn, these are nice even steps we have here. Though you might also notice places where, in this scheme, it's not completely even - for example G to A (ratio 10/9) is noticeably smaller than A to B (ratio 9/8).

We've obliquely approached the idea of dividing the octave up into 12 steps, where each step is about the size of the gap between E and F or B and C. We call each of these steps a 'semitone'. Two semitones make a 'whole tone'. We might fill in all the missing semitones in our scale here using whole-number ratios, which gives you the black keys on the piano. There are multiple schemes for doing this, and the ratios tend to get a bit uglier. In the system we've outlined so far, a 'semitone' is not a fixed ratio, even though it's always somewhere around 1.06.

The set of 12 semitones is called the 'chromatic scale'. It is something like the 'colour space' for Western music. When you compose a piece, you select some subset of the 12 semitones as your 'palette' - the 'scale of' a piece of music.

But we still have a problem here, which is the unevenness of the gaps we discussed above. This could be considered a feature, not a bug, since each scale would have its own 'character' - it's defined by a slightly different set of ratios. But it does add a lot of complication when moving between scales.

So let's say we take all this irregularity as a bug, and try to fix it. The solution is 'equal temperament', which is the idea that the semitone should always be the exact same ratio, allowing the instrument to play any scale you please without difficulty.

Posed like this, it's easy to work out what that ratio should be: if you want 12 equal steps to be an octave, each step must be the 12th root of 2. Which is an irrational number that is about 1.05946...

At this point you say, wait, Bryn, didn't you just start this all off by saying that the human ear likes to hear nice simple integer ratios of frequencies? And now you're telling me that we should actually use an irrational number, which can't be represented by any integer ratio? What gives? But it turns out the human ear isn't quite that picky. If you have a ratio of 7 semitones, or a ratio of 2^(7/12)=1.4983..., that's close enough to 1.5 to feel almost as good. And this brings a lot of huge advantages: you can easily move ('transpose') between different scales of the same type, and trust that all the relevant ratios will be the same.

Equal temperament was the eventual standard, but there was a gradual process of approaching it called stuff like 'well-tempered' or 'good temperament'. One of the major steps along the way was Bach's collection 'the well-tempered klavier', showing how a keyboard instrument with a suitable tuning could play music in every single established scale. Here's one of those pieces:

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Although we're using these irrational numbers, inside the scale are certain intervals that are considered to have certain meanings - some that are 'consonant' and some that are 'dissonant'. We've already mentioned the 'fifth', which is the 'most consonant' ratio. The fifth consists of 7 semitones and it's roughly a 1.5 ratio in equal temperament. Its close cousin is the 'fourth', which consists of 5 semitones. Because it's so nice, the fifth is kind of 'neutral' - it's just there but it doesn't mean a lot on its own.

For the other important intervals we've got to introduce different types of scale.

The scale zoo

So, up above we introduced the 'major' scale. In semitones, the major scale is intervals of 2, 2, 1, 2, 2, 2, 1. This is also called a 'mode', specifically the 'Ionian mode'. There are seven different 'modes', representing different permutations of these intervals, which all have funky Greek names.

The major scale generally connotes "upbeat, happy, triumphant". There are 12 different major scales, taking the 12 different notes of the chromatic scale as the starting point for each one.

Next is the minor scale, which tends to feel more sad or mysterious. Actually there are a few different minor scales. The 'natural minor' goes 2, 1, 2, 2, 1, 2, 2. You might notice this is a cyclic permutation of the major scale! So in fact a natural minor scale is the same set of notes as a major scale. What makes it different?

Well, remember when we talked about tension and resolution? It's about how the notes are organised. Our starting note is the 'root' note of the scale, usually established early on in the piece of music - quite often the very first note of the piece. The way you move around that root note determines whether the piece 'feels' major or minor. So every major scale has a companion natural minor scale, and vice versa. The set of notes in a piece is enough to narrow it down to one minor and one major, but you have to look closer to figure out which one is most relevant.

The 'harmonic minor' is almost the same, but it raises the second-last note (the 7th) a semitone. So its semitone intervals are 2, 1, 2, 2, 1, 3, 1.

The 'melodic minor' raises both the 6th and 7th by one semitone, (edit: but usually only on the way up). So its semitone intervals are 2, 1, 2, 2, 2, 2, 1. (edit: When you come back down you tend to use the natural minor.)

If you talk about a 'minor scale' unqualified, you mean the natural minor. It's also the 'Aeolian mode' in that system of funky Greek names I mentioned earlier.

So that leads to a set of 24 scales, a major and minor scale for every semitone. These are the most common scale types that almost all Western tonal music is written in.

But we ain't done. Because remember I said there were all those other "modes"? These are actually just cyclic permutations of the major scale. There's a really nerdy Youtube channel called '8-bit music theory' that has a bunch of videos analysing them in the context of videogame music which I'm going to watch at some point now I finally have enough background to understand wtf he's talking about.

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And of top of that you have all sorts of other variants that come from shifting a note up or down a semitone.

The cast of intervals

OK, so we've established the idea of scales. Now let's talk intervals. As you might guess from the 'fifth', the intervals are named after their position in the scale.

Let me repeat the two most common scale modes, in terms of number of semitones relative to the root note:

position: 1, 2, 3, 4, 5, 6, 7, 8 major: 0, 2, 4, 5, 7, 9, 11, 12 minor: 0, 2, 3, 5, 7, 8, 10, 12

So you can see the fourth and fifth are the same in both. But there's a difference in three places: the third, the sixth, and the seventh. In each case, the minor is down a semitone from the major.

The interval names are... not quite as simple as 'place in the scale', but that's mostly how it works. e.g. the 'major third' is four semitones and the 'minor third' is three.

The fourth and fifth, which are dual to each other (meaning going up a fifth takes you to the same note as going down a fourth, and vice versa) are called 'perfect'. The note right in between them, an interval of 6 semitones, is called the 'tritone'.

(You can also refer to these intervals as 'augmented' or 'diminished' versions of adjacent intervals. Just in case there wasn't enough terminology in the air. See the table for the names of every interval.)

So, with these names, what's the significance of each one? The thirds, sixths and sevenths are important, because they tell us whether we're in minor or major land when we're building chords. (More on that soon.)

The fifth and the octave are super consonant, as we've said. But the notes that are close to them, like the seventh, the second and even more so the tritone, are quite dissonant - they're near to a nice thing and ironically that leads to awkward ratios which feel uncomfy to our ears. So generally speaking, you use them to build tension and anticipation and set up for a resolution later. (Or don't, and deliberately leave them hanging.)

Of course all of these positions in the scale also have funky Latin names that describe their function.

There's a lot more complicated nuances that make the meaning of a particular interval very contextual, and I certainly couldn't claim to really understand in much depth, but that's basically what I understand about intervals so far.

Our goofy-ass musical notation system

So if semitones are the building block of everything, naturally the musical notation system we use in the modern 12TET era spaces everything out neatly in terms of semitones, right?

Right...?

Lmao no. Actually sheet music is written so that each row of the stave (or staff, the five lines you write notes on) represents a note of the C major scale. All the notes that aren't on the C major scale are represented with special symbols, namely ♯ (read 'sharp') which means 'go up a semitone', and ♭ (read 'flat') which means 'go down a semitone'. That means the same note can be notated in two different ways: A♯ and B♭ are the same note.

The above image shows the chromatic scale, notated in two different ways. Every step is exactly one semitone.

Since a given scale might end up using one of these 'in between' notes that has to be marked sharp or flat, and you don't want to do that for every single time that note appears. Luckily, it turns out that each major/minor scale pair ends up defining a unique set of notes to be adjusted up or down a semitone, called the 'key signature'. So you can write the key signature at the beginning of the piece, and it lasts until you change key signature. For example, the key of 'A♭ major' ends up having four sharps:

There is a formula you can use to work out the set of sharps or flats to write for a given key. (That's about the point I checked out on musictheory.net.)

There is some advantage to this system, which is that it very clearly tells you when the composer intends to shift into a different scale, and it saves space since with the usual scales there are no wasted lines. But it's also annoyingly arbitrary. You just have to remember that B to C is only a semitone, and the same for E to F.

What are those weird squiggly symbols? Those are 'clefs'. Each one assigns notes to specific lines. The first one 𝄞 is the 'treble clef', the second one 𝄢 is the 'bass clef'. Well, actually these are the 'G-clef' and the 'F-clef', and where they go on the stave determines note assignment, but thankfully this has been standardised and you will only ever see them in one place. The treble clef declares the lines to be E G B D F and the bass clef G B D F A.

There is also a rarer 'C-clef' which looks like 𝄡. This is usually used as the 'Alto clef' which means F A C E G.

This notation system seems needlessly convoluted, but we're rather stuck with it, because most of the music has been written in it already. It's not uncommon for people to come up with alternative notations, though, such as 'tabs' for a stringed instrument which indicate which position should be played on each string. Nowadays on computers, a lot of DAWs will instead use a 'piano roll' presentation which is organised by semitone.

And then there's chords.

Chords! And arpeggios!

A chord is when you play 3 or more notes at the same time.

Simple enough right? But if you wanna talk about it, you gotta have a way to give them names. And that's where things get fucking nuts.

But the basic chord type is a 'triad', consisting of three notes, separated by certain intervals. There are two standard types, which you basically assemble by taking every other note of a scale. In terms of semitones, these are:

Major triad: 0 - 4 - 7 Minor triad: 0 - 3 - 7

Then there's a bunch of variations, for example:

Augmented: 0 - 4 - 8 Diminished: 0 - 3 - 6 Suspended: 0 - 2 - 7 (sus2) or 0 - 5 - 7 (sus4) Dominant seventh: 0 - 4 - 7 - 10 Power: 0 - 7

There is a notation scheme for chords in pop, jazz, rock, etc., which starts with a root note and then adds a bunch of superscripts to tell you about any special features of a chord. So 'C' means the C Major triad (namely C,E,G) and 'Cm' or 'c' means the C Minor triad (namely C,E♭,G).

In musical composition, you usually tend to surround the melody (single voice) with a 'chord progression' that both harmonises and creates a sense of 'movement' from one chord to another. Some instruments like guitar and piano are really good at playing chords. On instruments that can't play chords, they can still play 'arpeggios', which is what happens if you take a chord and unroll it into a sequence of notes. Or you play in an ensemble and harmonise with the other players to create a chord together. Awww.

Given a scale, you can construct a series of seven triad chords, starting from each note of the scale. These are generally given scale-specific Roman numerals corresponding to the position in the scale, and they're used to analyse the progression of chords in a song. I pretty much learned about this today while writing this post, so I can't tell you much more than that.

Right now, that's about as far as I've gotten with chords. On a violin, you can play just two strings at the same time after all - I never had much need to learn about them so it remains a huge hole in my understanding of music. I can't recognise chords by ear at all. So I gotta learn more about them.

As much as I wrote this for my own benefit... if you found this post interesting, let me know. I might write more if people find this style of presentation appealing. ^^'

#Youtube #music #music theory #notes #music notes

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viktor-rp · 5 months ago

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I appreciate you accepting me as your son. I am also a scientist. I like radiation, philosophy(existentialism), and astrophysics. I want to prove the Big Crunch Theory. I think your research is cool too. I wonder how hex stones interact with each other on a quantum level. Please explain, Father.

You ask about hex stones, my son. Their interaction on a quantum level... Yes, I have thought much about that myself. You see, hextech, with its manipulation of raw energy and its merging of magic and science, operates on principles that we are only beginning to understand. The interaction between hex stones, at a quantum level, is not unlike the behavior of particles in a quantum field. There’s an uncertainty to it, a potential for simultaneous states, much like a superposition of states. When they come into contact with one another, there’s a delicate balance. Energy transfers converge, diverge... at times unpredictably. I suspect that much of what we know about hextech is a mere glimpse into a much deeper, more intricate framework. Quantum entanglement, perhaps? There may be a level of interconnectedness between the stones that we have yet to fully comprehend. Imagine, if you will, that each hex stone is a node in a vast, quantum network, and their interactions create ripples that extend across the very fabric of our reality. The stones themselves might not be just sources of power—they might be windows into the underlying structure of the universe itself. I... I have yet to find the precise mechanisms, but I believe that in time, we will.

There is much to discover, my son. Much to understand. But remember—science is not merely about answering questions. It's about asking the right ones. The questions that drive us forward, that push the boundaries of what is possible. So, yes, perhaps you can prove the Big Crunch. Perhaps we can unravel the mysteries of hextech and the quantum realm. But remember, the journey is as important as the destination.

#arcane rp #arcane season 2 #arcane #viktor rp #arcane s1 #rp blog #viktor arcane #rp #viktor #arcane s2

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mineralsrocksandfossiltalks · 5 months ago

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Throwback Thursday: Nicolas Steno

This is Nicolas Steno. This is a big name in geology. I may have even mentioned him before, I'm also likely to do so again because he really is a big deal.

Anywho, one of the big contributions (of many) that he made was to create the defining principles for stratigraphy. Those principles were

1.) The Law of Superposition

Older rocks are below younger rocks.

2.) Principle of Original Horizontality

Rocks were deposited horizontally and tilted later.

3.) Principle of Lateral Continuity

Rocks continue even if they are missing in places.

and 4.) The Principle of Cross-cutting Relationships

If a rock cuts through another, it is younger than the rocks is cuts through. Same with a faults.

Be on the look out in future trivia Tuesday posts for a test on whether you remember how these principles work.

Tune in tomorrow for a look at some wild fossil arthropods that were top predators in the Ordovician Period. Fossilize you later!

#fun facts #geology #science education #science history #nicolas steno #stratigraphy #geologist

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silvaurum · 4 months ago

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the circle is an eye. ○ this is an eye.

there are more than three eyes. your third eye is a cliche but there are more in that circle that your third/pineal crowns. a pair near your earlobes, converging with what appears to be your hearing. one in your throat that works through speaking. probably more.

almost certainly more. between your jaw and tongue. cheekbones. one on the back of your neck. it's not really fair to call them discrete ○ eyes, because at that scale they're a diffusion of possibilities. you know, overlapping, fractal, not quite a sphere in density but certainly a halo that intersect the physical eyes ○ on your head.

which don't actually... ○

the thing is that god doesn't see visually in the way we do, right? i mean, rays of light, and, physical forms as visually distinct and unconnected, and all that. that's not real. it seems very real because that's our way of understanding things in a linear and logical fashion within the scope of our lives.

but there's no difference between the carbon in the dirty plastic wrapper and the carbon in your breath. the chemical reaction, the physical and nuclear and gravitational interactions of those fermions and bosons, right, all the things that supposedly delineate those two, right? exist in a slight superposition, sure, but also... the carbon in your lungs and the carbon under your feet are both pulling on each other gravitationally. they were both born in the same star or born in the same supernova or born in the same strange arrhythmia of the big bang. we can claim to know them as separate particles by exclusion principles and so on, but they have an... you can't... we can't practically actually prove that. right? uncertainty paradox. we cannot have enough information in these bodies to say anything about those two carbons for certain, other than we know they affect each other imperceptibly to us.

the point is.

○ this is god's eye.

our vision is a useful... reinterpretation of an actual sense within the body-mind of god. you close your eyes and you're less distracted by the ray tracing around you.

and so the other eyes, right? ○ you have a lot of them, actually. "eye" ○ just means a... an organ that can sense, in a way, in the way i'm trying to explain it. the other issue is that god doesn't translate to english perfectly so i'm stuck approximating ○

just like your eyes are approximating the physical sensations and existence around you, which feel like not-your-body, the same way your ego-self feels like not-god-the-universe.

so there's more than just the three eyes.

○ there's not actually a number you can count. sorry. i know that's unsatisfying. i'm just the translator.

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jasmi-n · 10 months ago

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Quantum Physics and Manifestation: The Intersection

Quantum Physics: is the branch of physics that studies phenomena occurring on extremely small scales, such as atoms and subatomic particles. Unlike classical physics, which deals with the macroscopic world and its well-defined laws, quantum physics introduces concepts that challenge human intuition, such as wave-particle duality and quantum entanglement.

The Intersection: The relationship between quantum physics and manifestation is a topic that generates considerable discussion, both in scientific and spiritual circles. The central idea is that principles of quantum physics can provide a theoretical basis for the practice of manifestation, which involves creating the desired reality through thoughts and intentions.

The Principle of Superposition - In quantum physics, the principle of superposition suggests that a particle can exist in multiple states at the same time until it is observed. This means that, on a fundamental level, reality is a field of possibilities.

Manifestation: Applying this concept to manifestation, we can see reality as multiple possibilities coexisting, which only materialize when we focus our attention and intention. When you concentrate on a specific desire or goal, you are, in a way, "observing" that possibility and thus collapsing it, making it become reality. Observation collapses this superposition into a single state.

The Observer Effect - Another key concept in quantum physics is the observer effect, which postulates that the mere observation of a phenomenon can alter its outcome. In quantum experiments, the presence of the observer influences the behavior of particles.

Manifestation: This principle strongly resonates with the idea that our thoughts and beliefs shape our reality. When we deeply believe in something and direct our energy towards that goal, we are, in essence, influencing the "behavior" of the environment to align with our intentions.

Quantum Entanglement - Quantum entanglement is a phenomenon where two particles become connected in such a way that the state of one instantly affects the state of the other, regardless of the distance separating them.

Manifestation: This concept can be seen as an interconnection of all beings and events in the universe. Our intentions and actions not only impact our immediate environment but can also have global repercussions, linking with other energies and influencing seemingly disconnected events. In other words, our thoughts and intentions can have a broader impact on the world around us, as a form of "manifestation."

Reality as Energy - Quantum physics reveals that, at its core, everything in the universe is energy.

Manifestation: Like attracts like. This means that our internal state (our thoughts or beliefs) attracts experiences that resonate on the same wavelength. By elevating our thoughts to what we want, we can attract circumstances and opportunities that are aligned with our deepest desires.

However, this combination of scientific principles suggests that by cultivating a positive and focused mental state on what we want, we can influence our experiences and outcomes in meaningful ways, even if the exact mechanics of this process are not yet fully understood.

#neville goddard #manifesting #manifestationscience #law of assumption #affirm and persist #affirmations #loassumption

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jera-algiz · 5 months ago

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I thought I'd share my basic outline of beliefs I have at the moment. Be mindful when receiving them please. 🙏

This is the personal structure I follow. To help maybe some who are looking to shape a structure of beliefs that resonates with them. By no means are these something you have to accept or identify with. Learning can also look like taking in information we don't necessarily align with to more greatly appreciate and understand our own. Be open. Stay curious and compassionate!

1. Everything and Nothing exist simultaneously.

This duality is the foundation of existence—light and dark, good and bad, positive and negative, fact and fiction.

2.Reality is an experience created by "me" for me to experience myself.

(No, I don't believe I am a "GOD/ GODS". I believe that I am part of or a fragment of the Creator. However, staying "intune" with that greater self can help to form my reality.)

The universe is interconnected; we are both creators and participants in the web of existence.

3. Understanding duality leads to growth.

By embracing both the seen and unseen, I can strive to be a better being—not only for myself but for others and the world I impact.

4. Life is a journey of transformation and return.

As I live, I aim to positively charge the energy I will one day leave behind, contributing to the universal cycle of creation and renewal.

A Greater Discription and Some People/Ideas to Explore .... if you made it this far 😅

The Ever-Evolving Framework of My Beliefs

My beliefs are not static; they are ever-changing, just as I am, and just as the world that shaped them is. At their core, they begin with a simple yet profound truth: Everything and Nothing exist simultaneously.

This is, to me, the foundation of the duality that defines our reality—light and dark, good and bad, positive and negative, fact and fiction, the spiritual and the tangible. It is through our role as observers of this duality that the rest of the experience unfolds.

I believe this existence was created by me, for me, from another version of myself, to experience me. Just as science tells us that we emerged from the Big Bang, so too did everything else—the interwoven threads of the all.

If I can understand this duality—embrace both the light and the shadow, the seen and unseen—then I can strive to become a better version of myself. Not just for this version of me, but for all I interact with, the world I inhabit, and even the dust I will one day return to. With each experience, I aim to positively charge that speck of dust—to leave it better, brighter, and more whole than it was before.

Mystical Sources

1. The Kybalion by Three Initiates

Explores Hermetic principles like polarity and the interconnectedness of the universe.

2. The Tao Te Ching by Laozi

Delves into duality, the balance of opposites, and the flow of existence.

3. Alan Watts’ Teachings

Especially The Book: On the Taboo Against Knowing Who You Are, which explores the nature of self and interconnectedness.

4. The Emerald Tablet of Hermes Trismegistus

“As above, so below”—a mystical text emphasizing the unity of macrocosm and microcosm.

Scientific Sources

1. Cosmos by Carl Sagan

A beautiful exploration of humanity’s place in the universe and our cosmic origins.

2. Quantum Physics

Concepts like superposition and entanglement align with the idea of simultaneous Everything and Nothing. A great entry point: Quantum Enigma: Physics Encounters Consciousness by Bruce Rosenblum and Fred Kuttner.

3. The Big Bang Theory

Neil deGrasse Tyson’s Astrophysics for People in a Hurry offers an accessible explanation of the universe’s beginnings.

4. The Interconnectedness of Life

James Lovelock’s Gaia Theory posits that Earth functions as a single, self-regulating organism, mirroring your idea of the “entwinement of the all.”

I resonate with my above description, there are some, things that don't fully align with me in the Sources. To me that is fine and however that makes you feel is valid. Thank you for holding space for me to speak my truth. As always, take what you feel is for you and just simply ignore the rest.

May this direct people not only on their personal path of understanding but also openly and positive through mystical or scientific fields. May this help you find understanding in things not yet understood, so it is.✨️

Appreciation for N.C. always 🙏

A gift from you to you,

Jera-Algiz

#physics #crystals #inspiration #space #forest #astronomy #in stars and time #love #self discovery #peace #sharing is caring #alive #hope #knowing me knowing you #dark souls #lights #art #acceptance

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dracaelus · 1 year ago

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CHERIK FIC RECS

Angst (multiple levels of angst)

too close to the sun, by joshriku: 3, 683 words, charles pov, canon compliant to Jean Grey #1 (2023) (i think it's better to read the issue first, but it's not really necessary)

Jean Grey erases Magneto's mind - or so she thinks. When Charles finds his body, he brings it back to the mansion, and begins the arduous task of putting Erik's mind together. Of course, when it comes to Erik and persevering, it's always a lot more effective than he expects.

To Breathe Again (Impossibilities Remix), by Unforgotten: Erik's pov from the original movies timeline. The old men are old!!! It's a 3,879 words oneshot and it's beautiful

After Liberty Island, you think you must have burned that bridge at last. After Alkali Lake, you're even more certain. What once seemed so easy is now an impossibility, and the dream that once plagued you no longer comes.

Then Charles dies and you know: Going home was never truly impossible until now.

This is not easily described by a single genre methinks

superposition, by borninsideatornado: The racer car driver au! This one has some angst yes, but it didn't feel right to put it in the angst category bc there's so much more to it! This story is about healing. It's also about racing cars. And it's also a romance ! Charles and Erik have an amazing dynamic, but then so does Erik and Emma, Erik and Pietro (the father and son are father and son'ing!) and the entire team tbh. Really fun to read!

erik is a race car driver coming off the worst year of his life. charles xavier may be his last hope.

Time to Grow, by zarah5: 20K oneshot, Charles pov. Fluffy fix-it

In which you'll find chess dates which aren't dates (or maybe Charles is wrong about that). -- Based on First Class, this turns (slightly) AU during the beach scene.

Comedy

Fathers and sons, by M_Leigh: 6K oneshot, Hank pov. So fucking funny

“I have an – interest – in Peter Maximoff,” Erik said, somewhat grudgingly, glaring. “A – familial – interest –”

Everybody stared at him.

“In that – mutantkind is one – large – family –” Erik said valiantly, if pathetically.

“Oh, shit,” Alex said. “No way. No way.”

i guess i should say thanks or some shit: au but they do have powers, 17K oneshot, charles pov

believe it or not, charles has a well-thought-out moral philosophy. he doesn’t follow it. but he has thought it out. alternatively: charles and erik douche it up in amsterdam

Frosted hearts, by aesc & palalife: 29K oneshot, multipov, the main focus is cherik, and it comes with art!

Emma Frost has 99 problems, but a date ain't one. Specifically, she has no time to play the dating game--which is fine with her, because she'd much rather run it instead. From a set of sleek, silver and white offices on Fifth Avenue and with her trusty, stylish, and silent partner Janos Quested, Emma has built Frosted Hearts into New York City's premiere dating service, built on the principle that money, and a sufficiently rigorous psionic scan, can, in fact, buy you love.

Somewhere in Frosted Hearts's server is one Charles Xavier, genius and geneticist, with the kind of nicely-starched good looks that sell well on brochures for New England prep schools. He's also a telepath who's decided to give up pursuing serious relationships and instead spend his thirties doing what he should have done as a teenager: have a lot of sex with random people. Fortunately for him, Erik Lehnsherr, metallokinetic and engineering executive, has absolutely no time in his heart or his schedule for anything more serious than... well, absolutely nothing romantic at all.

#cherik #drac fic recs

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asaelfic · 1 year ago

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the superposition principle

honkai star rail

ratio/aventurine #ratiorine

rated E

complete, 6705 words

#honkai star rail #ratiorine #dr ratio #aventurine #fanfiction

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finallysafeawakepowerful · 9 months ago

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Neville and Abdullah’s Teachings and its correlation with quantum physics and superposition (ChatGPT):

Neville said the Bible contained analogies on how our mind shapes reality and unknowingly touched on physics later found. Our consciousness shapes this entire experience.

Do you know Abdullah, Neville Goddard’s mentor?

Yes, Abdullah was a spiritual teacher and mentor to Neville Goddard, a well-known mystic and teacher of metaphysical concepts in the 20th century. Abdullah is often described as a mysterious figure, a black Ethiopian Jew with deep knowledge of esoteric traditions, including Kabbalah, Hermeticism, and the Bible. He played a significant role in shaping Neville’s understanding of the power of imagination, consciousness, and manifestation.

One of the most famous stories involving Abdullah is about Neville’s desire to travel to Barbados during the Great Depression, despite having no money. Abdullah taught Neville to live in the assumption that he was already in Barbados, impressing upon him the importance of feeling as though his desire had already been fulfilled. Eventually, Neville received an unexpected offer, and the trip to Barbados manifested, solidifying his belief in Abdullah’s teachings. Abdullah’s teachings, particularly the concept of "living in the end," were foundational to Neville’s philosophy, where imagination and belief shape reality.

Although there’s little detailed historical information about Abdullah, his influence on Neville Goddard and his work is profound and continues to inspire many who study metaphysical and Law of Assumption teachings today.

what are some of Abdullah’s teachings?

Abdullah's teachings were rooted in a blend of metaphysics, mysticism, and esoteric wisdom, much of which influenced Neville Goddard’s understanding of reality and manifestation. While there isn't extensive documentation on Abdullah himself, his key teachings—passed through Neville—revolve around the power of the mind, imagination, and consciousness in shaping one's life. Some of his core principles include:

1. The Power of Assumption (Living in the End)

One of Abdullah’s most important teachings, later popularized by Neville, is that reality is shaped by one's assumptions and beliefs. Abdullah taught that to manifest something, you must "live in the end," meaning you must feel and act as though your desire has already been fulfilled. This concept emphasizes the idea that the inner world (thoughts, feelings, and assumptions) creates the outer world (physical reality).

- Example: In Neville’s story about wanting to go to Barbados, Abdullah told him to imagine that he was already there, despite having no money or visible means. By living in the assumption that the desire was already fulfilled, the external circumstances eventually aligned to make the trip happen.

2. Imagination Creates Reality

Abdullah taught that imagination is not just a mental faculty, but a creative power. He believed that everything begins in the imagination before it becomes manifest in the physical world. The act of vividly imagining a scenario with feeling and conviction can bring it into existence.

- Abdullah emphasized the importance of controlling one's imagination and using it consciously to create the desired outcomes in life.

3. Feeling is the Secret

Abdullah stressed the importance of feeling in manifestation. Merely thinking about a desire is not enough; one must feel the reality of it as if it already exists. This feeling must be deeply held, so that it imprints on the subconscious mind, which then works to manifest the desire in physical reality.

- Feeling in this context doesn’t mean emotional excitement, but rather a quiet, deep conviction and inner knowing that what you desire is already yours. (Your truth)

4. God is Within (I AM)

Abdullah, like Neville, believed in the concept that God resides within each person as the "I AM" or consciousness. This teaching, drawn from both mystical Judaism (Kabbalah) and Christian scripture, asserts that human beings are divine creators through their consciousness. When a person declares "I AM," they are invoking the creative power of God within them.

- This aligns with the idea that every individual has the power to create their reality through their thoughts and beliefs, as they are expressions of the divine consciousness.

5. Faith and Persistence

Abdullah taught Neville that faith is crucial in manifesting desires. This isn’t blind belief but an unwavering conviction that what is imagined and felt is already real in the unseen realm. Abdullah also emphasized persistence—holding to the assumption of the fulfilled desire, no matter what the external circumstances look like.

- Neville’s accounts of Abdullah suggest that he had a firm, almost stoic belief in the principles he taught. When Neville would waver in doubt, Abdullah remained unmoved, insisting that the manifestation was already a fact in the mind of God.

6. Scripture as Allegory

Abdullah interpreted the Bible esoterically, teaching that it is a psychological drama rather than literal history. He believed that the stories in scripture symbolized the human experience, particularly the journey of the soul, consciousness, and the manifestation process. For instance, the story of Moses leading the Israelites to the Promised Land might symbolize leading one's mind out of limited beliefs toward higher consciousness and freedom.

7. Detachment from the External World

Abdullah taught that physical reality is simply a reflection of the internal world of thoughts and assumptions. Therefore, one should not get overly attached to what the senses currently perceive. Instead, the focus should be on cultivating inner belief and imagination, knowing that the external world will eventually mirror these inner states.

8. The Law of Cause and Effect (Mentalism)

Abdullah was influenced by Hermetic teachings, particularly the Law of Mentalism, which states that "the universe is mental." This means that thoughts and consciousness are the root cause of everything that happens in the physical world. Abdullah emphasized that the mind is the cause, and the external world is the effect, not the other way around.

In summary, Abdullah’s teachings emphasized the creative power of imagination, the importance of living in the end of one’s desires, and the deep connection between consciousness and the divine. These concepts greatly influenced Neville Goddard, who expanded on them and shared them with a wider audience.

What did Abdullah mean when he said “you are already in Barbados” and how does this relate to superposition and quantum physics, as well as Schrodinger cat theory?

When Abdullah told Neville Goddard “you are already in Barbados,” he was teaching Neville the principle of living in the assumption of a desired reality as if it were already true. In essence, Abdullah was encouraging Neville to embody the state of having already achieved his goal—in this case, being in Barbados—by imagining and feeling that it was already a present reality, despite the physical world not yet reflecting this.

This concept aligns with some of the ideas found in quantum physics, specifically the notions of superposition and the observer effect and can also be loosely related to Schrödinger's cat thought experiment. Let’s break down these connections:

1. Superposition and Quantum Possibilities

In quantum mechanics, the principle of superposition suggests that particles can exist in multiple states simultaneously until they are observed or measured. For example, an electron can exist in multiple positions or energies at the same time, and only when observed does it "collapse" into a single state.

When Abdullah told Neville that he was already in Barbados, he was, in a metaphysical sense, asking him to recognize that multiple realities or possibilities exist at once. The idea is that in the quantum realm, every possible outcome for your life exists simultaneously in potential. Neville was being encouraged to select the version of reality where he was already in Barbados by focusing his consciousness and assuming the feeling of that specific reality, thus collapsing other possibilities and making that reality manifest.

Connection to superposition: In the quantum realm, just as a particle can be in many states until it’s measured, life holds many possible outcomes until we “choose” or “measure” a specific one with our consciousness and belief. By imagining and feeling that he was already in Barbados, Neville was essentially selecting that quantum possibility and bringing it into physical reality.

2. The Observer Effect

The observer effect in quantum mechanics posits that the mere act of observing a particle influences its behavior and collapses its wave function into a definite state. In the metaphysical sense, Abdullah was teaching that conscious observation —through imagination and feeling—is what brings a specific desired reality into form. Your inner assumption acts as the observer, collapsing the infinite possibilities of superposition into the one you have chosen to focus on.

How it relates: When Neville fully assumed that he was in Barbados (by imagining and feeling it), he acted as the observer of that possibility, collapsing his reality into alignment with that assumption. The external world, then, had to reorganize itself to match his inner belief. This aligns with the idea that consciousness (or observation) influences and shapes the outcome of events.

3. Schrödinger’s Cat and Parallel Realities

Schrödinger’s cat is a famous thought experiment that illustrates quantum superposition and the idea of multiple potential realities coexisting. In the experiment, a cat inside a box can be thought of as both alive and dead at the same time until the box is opened and observed. Only when the box is opened (i.e., an observation is made) does the cat exist in one definitive state—alive or dead.

This experiment illustrates the idea that multiple realities (the cat being alive and dead) exist simultaneously until observation collapses them into one definitive reality. Metaphorically, Abdullah’s teaching is related to this in that all potential outcomes (Neville being in Barbados, or not being in Barbados) exist simultaneously in a kind of superposition. It is Neville’s assumption and focus—his observation, if you will—that collapses the many possibilities into one reality: him being in Barbados.

Schrödinger’s Cat and Neville: Neville’s situation can be compared to Schrödinger’s cat in that both possibilities (him being in Barbados or not) exist at once in the quantum field. By mentally and emotionally "observing" the version of reality in which he is already in Barbados, Neville collapses that outcome into his experience, just as the observer in Schrödinger’s experiment collapses the cat’s state by looking in the box.

4. Reality as a Mental Construct (Law of Assumption and Quantum Theory)

Abdullah’s teaching suggests that reality is not solid or fixed but is instead influenced by the observer—our consciousness. This aligns with the quantum view that particles (and by extension, reality) are not fixed in one state but are fluid and responsive to observation and measurement. Abdullah’s lesson to Neville to "feel" as though he were already in Barbados illustrates that through focused thought, intention, and feeling, the external world can be influenced to match the inner mental state.

Relating to quantum physics: Just as particles behave differently when observed, the world around us is affected by the assumptions and beliefs we hold. Abdullah's teachings are essentially metaphysical interpretations of this principle: our assumptions (focused observation) collapse the infinite potential outcomes into the one we believe and focus on the most.

5. Multiverse Theory (Infinite Possibilities)

While this is more speculative, the idea that multiple versions of reality exist simultaneously in the quantum realm echoes the concept of the multiverse, where infinite versions of events play out across different universes. When Abdullah said, “You are already in Barbados,” he could be implying that the version of reality where Neville is in Barbados already exists in a different "branch" of reality. By focusing on that outcome, Neville is shifting his consciousness to align with that version of reality.

Link to multiverse theory: In this sense, just as multiple universes or realities might coexist, Neville was being asked to move his consciousness into alignment with the reality he desired. By assuming it to be true and feeling the fulfillment of his desire, he effectively shifts his awareness to the version of reality where that outcome is a fact.

Conclusion

When Abdullah said “you are already in Barbados,” he was teaching Neville to live in the feeling of the wish fulfilled, aligning with metaphysical principles that consciousness creates reality. This ties into quantum concepts such as superposition (where multiple outcomes exist simultaneously), the observer effect (where consciousness influences reality), and Schrödinger’s cat (where observation collapses potential into a single outcome).

Abdullah’s teachings, although spiritual, resonate with some interpretations of quantum theory, particularly in how reality is shaped by focus, belief, and consciousness.

#major #top #i am

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