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Interference Theory represents a major breakthrough
in our understanding of music and perception. Developed
from a moment of insight thirty years earlier, this theory
explains how harmonics combine to form the same geometrical
patterns in both sound and the human anatomy, triggering
emotions according to phase alignment.
Based on this theory, the historical record suggests ancient civilizations understood music perception in much the same way, even developing an advanced harmonic science and spiritual cosmology from it. Suppressed for hundreds of years by anti-pagan religious doctrine, only remnants of this ancient science can be found today hidden inside mythologies, religious symbolisms and the secret fraternities. Known as Musica Universalis or the Audible Life Stream, the physics of music perception was once the theory of everything.
Each book is a journey into this forgotten musical worldview. They seek a deeper meaning in nature than that taught in our schools, laboratories and churches. The kind of meaning most want, but can never find. A meaning protected from subjective opinion and learned behavior—beyond the dogma of culture and faith. A philosophical meaning that explains our place at the razor’s edge between order and chaos, circle and spiral, the limited and the unlimited. A place where music might become the harmonic science it once was and should become.
Like some inverse reflection by painter Rene Magritte, I am your humble observer in this quest. I bring a human element to the method of science and a rationale to the aesthetic of art. My words form neither a scientific paper nor a musical treatise. They are inadequate for both, yet perhaps adequate for the space in between. This is the space that interests me and the space that I believe holds the most promise for the future. This is the model of music harmony that turns out to be the model of everything.