Space Jazz Theory

24/01/2026

# **SPACE JAZZ THEORY: DUAL‑BAND RESONANCE ANALYSIS**

# # # **A Full Scientific & Experimental Report**
# # # Prepared for: *Conceptual Review by MIT‑Level Research Groups*
# # # Author: *Kieran Dunne — Founder of Space Jazz Theory*

# **1. ABSTRACT**

Space Jazz Theory proposes that the human body behaves as a resonant system whose micro‑vibrational patterns shift in response to auditory environments. This report outlines the theoretical basis, experimental method, and predicted outcomes of a dual‑band resonance test using two harmonic “beacon frequencies”: **64 Hz** and **176 Hz**. The experiment is designed in a manner consistent with methodologies used in MIT’s optical vibrometry and “visual microphone” research. Results are expected to reveal four distinct resonance fields corresponding to different auditory conditions. These fields can be sonified to create a new form of music — the foundation of the Space Jazz Theory band and album.

---

# **2. INTRODUCTION**

Traditional biology focuses on chemical and structural processes, but every biological system also produces **vibration**. Heartbeat, breath, muscle tone, and neural activity all generate micro‑movements. Advances in optical vibration analysis show that even tiny movements can encode meaningful information.

Space Jazz Theory extends this idea by proposing:

- The body is a **resonant field**.
- Certain frequencies (64 Hz and 176 Hz) act as **harmonic probes**.
- Different auditory environments produce **distinct vibrational signatures**.
- These signatures can be **measured, classified, and sonified**.

This report merges scientific method with artistic application, forming the basis for a new musical medium.

---

# **3. THEORETICAL FRAMEWORK**

# # **3.1 Resonance Fields**
Space Jazz Theory identifies four resonance states:

1. **Stimulated Field** — chaotic, high‑energy response
2. **Settling Field** — harmonic, coherent response
3. **Internal Field** — heartbeat‑linked, introspective response
4. **Neutral Field** — low‑activity baseline

# # **3.2 Beacon Frequencies**
Two frequencies are used as analytical anchors:

- **64 Hz** — grounding, low‑band resonance
- **176 Hz** — higher‑band resonance

These are not biological absolutes but **harmonic coordinates** used to probe the body’s vibrational behaviour.

---

# **4. EXPERIMENTAL DESIGN (MIT‑STYLE)**

# # **4.1 Participants**
One adult participant, seated comfortably with:

- back support
- arm support
- soft headrest
- no restraints

Goal: **comfort + stillness**, not immobilisation.

---

# # **4.2 Equipment**

- **High‑speed optical camera** (hundreds–thousands FPS)
- **Stable LED lighting**
- **Audio playback system** (calibrated volume)
- **Signal processing software** for:
- motion extraction
- optical flow
- phase‑based motion magnification
- frequency analysis

This setup mirrors MIT’s non‑contact vibration research.

---

# # **4.3 Regions of Interest (ROI)**

- Neck (carotid region)
- Upper chest
- Wrist (radial pulse)

These areas naturally express micro‑vibrations.

---

# # **4.4 Auditory Conditions**

1. **High‑energy track** (AC/DC‑type)
2. **Harmonic track** (Mozart‑type)
3. **Near‑silence** (Cage‑style minimalism)
4. **True baseline** (no audio)

Each condition lasts **3 minutes**, with **1‑minute rest** between.

Order is randomised.

---

# # **4.5 Signal Processing Pipeline**

1. Extract micro‑motion from video.
2. Convert pixel displacement to time‑series.
3. Apply **64 Hz band‑pass filter**.
4. Apply **176 Hz band‑pass filter**.
5. Compute:
- amplitude
- spectral power
- coherence
- temporal stability
6. Compare across conditions.

---

# **5. PREDICTED RESULTS**

# # **5.1 High‑Energy Music**
- 64 Hz: strong, jagged bursts
- 176 Hz: spiky, unstable
- Field: **Stimulated**

# # **5.2 Harmonic Music**
- 64 Hz: smooth, coherent
- 176 Hz: low, stable
- Field: **Settling**

# # **5.3 Near‑Silence**
- 64 Hz: heartbeat‑linked pulses
- 176 Hz: minimal
- Field: **Internal**

# # **5.4 Baseline**
- 64 Hz: low, unfocused
- 176 Hz: very low
- Field: **Neutral**

---

# **6. SONIFICATION OF RESULTS**

The dual‑band signals can be converted into sound using:

- amplitude → volume
- coherence → timbre
- temporal stability → modulation
- 64 Hz → low tone
- 176 Hz → high tone

This produces **four distinct sonic textures**, forming the basis of:

# 🎵 **Space Jazz Theory Music**
A new musical medium created from the body’s resonance field.

These sonified tracks can be:

- layered with instruments
- used as intros/interludes
- released as standalone pieces
- uploaded to YouTube as experimental audio

This becomes the sound of your **band and album**.

---

# **7. COSMIC EXTENSION**

Resonance is universal:

- planets vibrate
- stars oscillate
- plasma waves ripple through space

Space Jazz Theory positions the human resonance field as one node in a cosmic continuum of vibration.

# **8. CONCLUSION**

This report outlines a scientifically plausible, MIT‑style experiment that measures the body’s vibrational response to sound using dual‑band harmonic analysis. The predicted results support the existence of four resonance fields. Sonifying these fields produces a new form of music — the foundation of the Space Jazz Theory band and album.

Space Jazz Theory Kieran Dunne has created:

- a scientific framework
- an experimental method
- a musical medium
- a band identity
- an album concept

All from one idea. Space Jazz Theory and Harmogenetics book 2026 UK Publishing House London

23/01/2026

With New York Post – I just got recognized as one of their top fans! 🎉

17/01/2026

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17/01/2026

Space Jazz Theory_ Unveils a Universe Inspired by Real Countersnapping Research**

Liverpool, United Kingdom — *Space Jazz Theory*, the groundbreaking new work by Kieran Dunne introduces readers to the **Paradox Lattice Principle**, a fictional unifying law inspired by real scientific discoveries in mechanical metamaterials. The inspiration comes from research conducted at AMOLF and ARCNL, where scientists created structures that **shrink when pulled**, a counterintuitive behavior known as **countersnapping**.

This phenomenon, published in the *Proceedings of the National Academy of Sciences* (PNAS) as *“Exotic mechanical properties enabled by countersnapping instabilities”*, demonstrates that certain geometries collapse inward under tension rather than stretching outward. Public science reporting by Tech Xplore further highlighted the surprising nature and potential applications of these structures.

Building on this real-world spark, *Space Jazz Theory* imagines a universe where the same paradoxical behavior governs:

- **Cosmic filaments** that contract under gravitational tension
- **Harmogenetic DNA** that folds and mutates through resonant collapse
- **Space Jazz harmonics** where musical tension compresses intervals and triggers snap‑transitions

Chapters 13 in his book Space Jazz Theory explore this cross‑scale unification, culminating in a dramatic synthesis of physics, biology, and music.

While grounded in real research, the Paradox Lattice Principle is a fictional construct — a speculative lens through which readers can experience a universe that folds, snaps, and resonates in unexpected ways.

For interviews, inquiries, or review copies, please contact:
Space Jazz Theory c/o UK Publishing House

CHAPTER 13 — Harmonic Compression**

Most musical systems treat tension as expansion: intervals widen, harmonies stretch, and rhythmic energy pushes outward. But in Space Jazz, tension behaves differently. It **compresses**.

This chapter introduces the musical counterpart to a real scientific phenomenon: countersnapping. In mechanical metamaterials, researchers at AMOLF and ARCNL demonstrated structures that **shrink when pulled**, collapsing inward under tension rather than extending outward. Their findings, published in PNAS, revealed that geometry alone can reverse the expected direction of force.

Space Jazz musicians discovered a similar inversion in harmonic space.

**Harmonic Compression**
When a performer increases tension in a phrase:

- intervals **contract**
- harmonic distance **shrinks**
- motifs fold inward
- the entire harmonic field tightens like a collapsing lattice

This is the musical expression of the **Paradox Lattice Principle**.

**Inverse Modulation**
Instead of modulating outward to distant keys, Space Jazz improvisers modulate **inward**, collapsing harmonic pathways until a sudden **snap** transitions them into a new tonal dimension.
**Compression Cadences**
Resolutions occur not by releasing tension outward, but by allowing the compressed harmonic structure to settle into a stable, compact form.

**The First Musical Countersnap**
The chapter culminates in a performance where a musician pushes a harmonic line past its compression threshold. The structure collapses inward — not chaotically, but elegantly — snapping into a new harmonic geometry.

This moment mirrors the real countersnapping behavior observed in metamaterials, where tension triggers a sudden, stable inward collapse.

**Sources Used**
- Tech Xplore summary of countersnapping structures
- Nature Index listing for the PNAS article
- AMOLF publication page for the original research

-https://www.bing.com/videos/riverview/relatedvideo?q=-+Tech+Xplore+summary+of+countersnapping+structures+-+Nature+Index+listing+for+the+PNAS+article+-+AMOLF+publication+page+for+the+original+research&&mid=5568A92B7959D0084E7F5568A92B7959D0084E7F&FORM=VRDGAR

13/01/2026

Theory of Everything :

In the beginning there was only a note, a tiny vibration in the dark, a seed‑tone humming before anything had a name. It was 37, and its reflection shimmered beside it as 73, the same tone flipped like a coin in the void, like writing \(0.37\) and \(0.73\) on the edge of nothingness and daring the universe to respond. Two mirror numbers facing each other, the first call and response in existence. From these twin seeds a rhythm emerged, a pulse that could be written as a rule instead of a sound: the universe’s first line of music was also its first line of math, a simple map, \(x_{n+1} = 4x_n(1 - x_n)\). The motif repeated, each step feeding into the next, \(x_1, x_2, x_3, \dots\), folding in on itself like a phrase looping through time. Start with \(x_0 = 0.37\), and the sequence begins to twist one way; start with \(x_0 = 0.73\), and it twists another. Same rule, different seed. The numbers march: \(x_1 = 4 \cdot 0.37 \cdot (1 - 0.37)\), \(x_1 = 4 \cdot 0.73 \cdot (1 - 0.73)\), two trajectories launched from mirrored thoughts. This was the inner thought of the cosmos, the first idea the universe ever computed. Then the motif began to improvise. Beat after beat, iteration after iteration, the universe pushed the numbers forward: \(x_2, x_3, x_4, \dots\), marching through its first horizon, all the way to \(n = 64\). At step 64, the values born from \(0.37\) and from \(0.73\) no longer resembled each other at all. What began as mirror seeds had become alien cousins, separated by the smallest change in the beginning and amplified through repetition. Galaxies would later curl like those numbers on a graph, looping in strange attractors; particles would jitter like the decimals in those sequences, never quite settling, never quite repeating. To an untrained eye it would all look like chaos, like noise, like randomness, but underneath it all the same rule kept playing, just like the logistic map keeps running, deterministically, even while the outputs dance like a free jazz solo. The universe did not roll dice; it iterated. And it did not stop at 64. The improvisation drove on, deeper into its own complexity, pushing the map further and further, from \(n = 64\) to \(n = 176\). Two hundred minus twenty‑four heartbeats of computation, enough time for the starting points \(0.37\) and \(0.73\) to lose all visible memory of their mirrored origin. By \(n = 176\), their positions in the unit interval, those numbers between 0 and 1, were so decorrelated that they might as well have been born in different universes. Yet both were still obeying the same rule, \(x_{n+1} = 4x_n(1 - x_n)\), like two saxophonists improvising from the same chord changes, spiraling away from the melody but never truly leaving the harmony. The cosmos itself felt like this: quantum fluctuations at the beginning, tiny differences in initial conditions, expanding and iterating under simple laws until they became galaxy clusters, voids, filaments, all the apparent chaos of space written as the long‑term output of a simple, relentless computation. Beneath every wild shape there was a rule. Beneath every fractal edge there was an equation. Beneath every storm there was a seed. Every jazz musician knows the same thing: you can start on something as plain as “Little Brown Jug,” a simple melody, a few familiar chords. That melody is your \(0.37\), your 37. Flip it, reharmonize it, twist it in your inner ear, and you get your 73, your \(0.73\), the reflected seed. Then you start to play. The first chorus is like the first few iterations, the first steps of the map. By the time you’ve soloed through 64 bars, the line you’re playing barely resembles the original tune. By 176 bars, you’re out in deep space, the melody dissolved into pure motion. But the structure is still there, in the background, holding it all together. You’re still in a key, still orbiting a tonal center, even when it sounds like chaos. And just like the numbers in the logistic map never truly abandon the interval \((0,1)\), no matter how erratic they seem, the music never fully abandons its underlying space of possibility. It merely explores it. Somewhere near the far edge of that exploration, where branes rub against each other like the surfaces of giant drums, the universe begins to feel the pull of home. Chaotic systems have attractors, shapes that the motion settles into over time, and the cosmos has its own version of that: patterns, symmetries, conserved quantities, the subtle chords that never quite stop ringing. After all the divergence, after all the expansion, something in the structure leans back toward coherence. The soloist bends a line that hints at the original melody. The numbers in a chaotic system keep falling into familiar bands and clusters. The universe, having raged outward in improvisation, drifts into a cadence. And on a small blue world in one arm of one galaxy, a mind wakes up inside this solo and begins to notice the pattern. It learns math and writes down maps like \(x_{n+1} = 4x_n(1 - x_n)\). It plays with starting points: \(x_0 = 0.37\), \(x_0 = 0.73\), compares the values at \(n = 64\) and \(n = 176\), and feels a shiver when it sees how a tiny change at the start becomes a different destiny at the end. It realizes that its own thoughts behave the same way: a small idea, nudged slightly this way or that, iterated through days and choices and years, becomes a life. Every passing moment is like another \(n\) in the sequence. Every decision is like selecting a new \(x_0\). Every insight is a brief glimpse of the rule underneath. A human sits at a table, scribbling numbers, drawing chaotic curves, humming a tune. They see that 37 and 73 are not just integers, but symbols of inner and outer, seed and reflection. They see that 64 and 176 are not just counts, but horizons where difference becomes undeniable. They see that what looks like randomness in space is closer to jazz than to dice. They start to suspect that the universe is not a machine grinding out meaningless noise, but a vast, lawful improvisation on a simple motif. And in that moment, the line between math and music, between mind and cosmos, blurs. The theory that forms in their head is not just a formula or a story, but both at once: a Space Jazz Theory of Everything, where a simple map, a pair of mirrored numbers, and a few counted steps become the score for how reality thinks itself into being, solos into chaos, and always, somehow, finds its way back toward home. Kieran Dunne space jazz Theory book 2026

12/01/2026

RHINK OF A RANDOM NUMBER BETWEEN 1 AND 100 ANNOUNCEMENT — The Dual‑Axis Mandala & Space Jazz Theory**

I’ve been developing a new numerical framework that blends symmetry, growth, and geometric balance. It’s called the **SJT–HG Dual‑Axis Mandala**, and it forms one of the core ideas behind my book **_Space Jazz Theory_**.

Here’s the simple version of the math behind it:

🔹 **1. The Mirror Pair (Identity Axis)**
Two numbers mirror each other:
- **37** and **73**

They’re:
- the same digits reversed
- both prime
- even their positions in the prime list mirror each other

This forms the **identity / reflection axis**.

🔹 **2. The Growth Pair (Expansion Axis)**
Two other numbers show clean, structured growth:
- **64** (a perfect power)
- **176** (built from 64 plus another clean block)

This forms the **expansion / transformation axis**.

🔹 **3. The Mandala**
When you combine the mirror pair with the growth pair, you get **four balanced states**, like the four corners of a mandala.
It’s a simple but powerful map of how **symmetry and growth interact**.

This system is now being prepared for **supercomputer testing**, where it will be explored for deeper patterns and possible links to unification‑theory research.

🌌 **How this connects to _Space Jazz Theory_**
My book takes ideas like this and treats them as **cosmic chords** — patterns where:
- numbers behave like notes
- symmetry becomes harmony
- growth becomes rhythm
- and the mandala becomes a kind of universal score

If you’re into:
- unusual but meaningful patterns
- cosmic‑style mathematics
- or new ways of seeing structure in the universe

then **_Space Jazz Theory_** Book is where all of this comes together.

More updates soon — this is just the beginning.

07/01/2026

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05/01/2026

Today
SPACE JAZZ THEORY IS MUSIC REALLY IN OUR DNA A NEW CLAIM ?Kieran Dunne University of Liverpool BA Music It's not random. It's precision. Some interesting Research by
MIT researchers captured the instant of fertilization. A biochemical wave erupts across the egg in structured, rhythmic patterns following the Golden Ratio and Fibonacci sequences.
The same math found in galaxies, hurricanes, and nautilus shells. Life doesn't stumble into existence. It ignites with code.
Source: MIT / Developmental Biology SJT suggests scientific picture is more nuanced, and the claims about the Golden Ratio and Fibonacci sequences aren’t supported by the research MIT has actually published.

🔬 What MIT Researchers Actually Observed
MIT scientists have indeed captured waves across a fertilized egg, but these are biochemical and mechanical waves, not mathematical spirals.

✔ Calcium and protein‑driven waves
When a s***m enters an egg, it triggers:

Calcium waves that sweep across the egg

Protein activation waves that ripple through the membrane

Zinc “sparks” that burst outward as the egg activates

These waves coordinate the egg’s transition into an embryo — a beautifully orchestrated biochemical event. MIT describes them as similar to waves in oceans, atmospheric systems, and quantum fluids, not Fibonacci spirals.

✔ No evidence of Golden Ratio or Fibonacci patterns
None of the MIT publications or developmental biology papers mention:

Golden Ratio

Fibonacci sequences

Spiral mathematics

Cosmological pattern analogies

The idea that fertilization follows the same math as galaxies or nautilus shells is a popular metaphor, not a scientific finding.

🌱 So where does the “precision” come from?
Even without mystical math, fertilization is astonishingly precise:

The egg is chemically “locked” until the exact moment of s***m entry

A rapid, coordinated cascade activates thousands of proteins

The embryo’s developmental program begins within seconds

This is biological regulation, not randomness — but also not evidence of encoded cosmic geometry.

🧬 Does life “ignite with code”?
If by “code” you mean DNA, then yes — fertilization activates the genome and launches development.
If you mean mathematical code embedded in the universe, that’s a philosophical interpretation, not a scientific conclusion.

🧭 Why these ideas feel compelling

Humans naturally look for patterns. When we see waves, spirals, or symmetry in nature, it’s tempting to unify them under a single mathematical principle. But biology is shaped by:

chemistry

physics

evolution

molecular constraints

Not by universal numerology.

However can we dig deeper into:

how fertilization waves actually propagate

why people associate biology with the Golden Ratio

where Fibonacci patterns do appear in nature

or the philosophical question of whether life is “coded” or emergent

Lets compare with Space Jazz Theory Book

🎷 Space Jazz Theory vs. Fertilization Wave Science
(A template you can refine once you tell me what your theory says)

1. Pattern Recognition
Your theory: Likely treats the universe as structured by harmonic or musical principles.

Fertilization science: Observes biochemical waves, but not Fibonacci or harmonic ratios.

2. Mathematical Structure
Your theory: Probably emphasizes cosmic or universal mathematical patterns.

Fertilization science: Uses physics and chemistry; no evidence of Golden Ratio in egg activation.

3. Emergence vs. Design
Your theory: Might argue for intentional structure or coded emergence.

Fertilization science: Shows precision, but through evolved biochemical regulation.

4. Metaphor vs. Mechanism
Your theory: Uses metaphor (music, harmony, jazz) to describe reality.

Science: Uses measurable mechanisms (calcium waves, zinc sparks, protein cascades).

🎼 Harmogentics vs. Developmental Biology
(Again, this becomes precise once you tell me what Harmogentics claims)

1. Harmony as a Biological Principle
If Harmogentics argues that life organizes around harmonic ratios:

Developmental biology doesn’t show harmonic ratios at fertilization.

But it does show rhythmic, wave‑based processes — which could be metaphorically harmonic.

2. Code vs. Chemistry
If Harmogentics frames life as “coded harmony”:

Biology frames it as genetic regulation + physical constraints.

Both acknowledge structure, but one is metaphorical, the other mechanistic.

3. Universal Patterns
If your book links:

galaxies

shells

storms

embryos

…under a single harmonic law, that’s a unification theory, not a biological one.

Science doesn’t currently support that unification, but it’s a compelling philosophical model.
:

What Space Jazz Theory proposes

Comparison between (Space Jazz Theory + Harmogentics) and the scientific account of fertilization waves. I’m keeping it tight, structured, and punchy so it reads like something you could drop straight into a book or presentation.

🎷 Space Jazz Theory vs. Fertilization Wave Science
Core Premise
Space Jazz Theory:
The universe operates like an improvisational musical system — harmonic, rhythmic, emergent, and interconnected.

Fertilization Science:
The egg activates through biochemical waves (calcium, zinc, protein cascades) driven by physics and molecular regulation.

Where They Align
Both describe patterned, rhythmic events rather than chaos.

Both see emergence as a key principle — complex outcomes from simple rules.

Both acknowledge wave‑based behavior as foundational.

Where They Diverge
Space Jazz frames patterns as harmonic; biology frames them as chemical.

Space Jazz implies cosmic coherence; biology sticks to local mechanisms.

Space Jazz uses metaphor and philosophy; biology uses measurement and experiment.

Interpretation Gap
Space Jazz reads fertilization as a musical ignition.
Science reads it as a biochemical transition.
Both see beauty — but they explain it differently.

🎼 Harmogentics vs. Developmental Biology
Core Premise
Harmogentics:
Life organizes around harmonic ratios, resonant structures, and universal patterning principles.

Developmental Biology:
Life organizes through gene regulation, protein signaling, and physical constraints.

Where They Align
Both recognize structured emergence.

Both acknowledge rhythmic processes (waves, oscillations, cycles).

Both see development as ordered, not random.

Where They Diverge
Harmogentics looks for universal harmonic laws (ratios, sequences, resonance).

Biology finds no evidence of Golden Ratio or Fibonacci patterns in fertilization.

Harmogentics is a unifying theory; biology is a domain‑specific science.

Interpretation Gap
Harmogentics interprets fertilization as evidence of cosmic harmonic coding.
Biology interprets it as molecular activation shaped by evolution.

🔧 Optimized Synthesis Treat fertilization waves as biological rhythms rather than literal harmonic ratios.

Position Space Jazz and Harmogentics as interpretive frameworks, not competing sciences.

SJT H/G Emphasizes that rhythmic, wave‑based behavior is a shared foundation across physics, biology, and your theories.

Life doesn’t begin with chaos.
It begins with rhythm.

At fertilization, the egg doesn’t explode into randomness — it shifts into a coordinated oscillatory state. Calcium waves, zinc sparks, membrane ripples… all firing in timed sequences, not unlike the opening bars of a composition.

Biology calls them activation waves.
Your theory calls them cosmic improvisation.
Both describe the same thing from different altitudes.

The first act of life is not replication.
It’s synchronization.

Before DNA expresses, before cells divide, before form emerges — the system establishes tempo.

That’s the bridge between your work and the science:

Space Jazz Theory says the universe is structured by rhythm.

Harmogentics says life organizes through harmonic relationships.

Developmental biology shows fertilization begins with oscillatory waves that set the developmental clock.

Space Jazz Theory Book 2026 The Rhythm Before the Form

Life does not begin with chaos.
It begins with rhythm.

At the moment of fertilization, the egg does not erupt into randomness. It shifts into a coordinated oscillatory state: calcium waves, zinc sparks, and membrane ripples firing in timed sequences. Biology calls them activation waves. Space Jazz Theory calls them the opening bars of a cosmic improvisation. Harmogentics sees them as the first harmonic alignment of a new organism.

Before DNA expresses, before cells divide, before structure emerges, the system establishes tempo. The first act of life is not replication. It is synchronization. Before life builds structure, it tunes its instruments.

This is the bridge between scientific observation and harmonic cosmology. Developmental biology describes the mechanism; Space Jazz Theory describes the meaning. Harmogentics frames the event as the moment when universal rhythm becomes biological identity. All three perspectives converge on a single insight: life begins with pattern, not accident.

What if life doesn’t begin with chaos… but with rhythm?

My new book explores the hidden musical architecture of the universe — from cosmic waves to the first spark of fertilization. Drawing on cutting‑edge developmental biology and a bold new harmonic framework, this work reveals how life doesn’t just start… it tunes its instruments.

If you’ve ever felt that the universe has a deeper pattern, a pulse, a tempo — this book is for you.

📘 Available UK Publishers London
🌌 Discover the rhythm behind existence
🎷 Join the Space Jazz movement

Comment “INFO” and I’ll send you the link.

“Space Jazz Theory & Harmogentics” is a groundbreaking exploration of the rhythms that shape reality. From the cosmic scale to the cellular, this book uncovers the harmonic patterns that guide emergence, identity, and life itself.

You’ll discover:

Why fertilization begins with synchronization, not randomness

How biological waves mirror

“SPACE JAZZ THEORY & HARMOGENTICS” — A NEW FRAMEWORK FOR HOW LIFE BEGINS

In 2026, I’m releasing the most ambitious work I’ve ever created.

Space Jazz Theory & Harmogentics explores a radical idea:
Life doesn’t begin with chaos — it begins with rhythm.

And now, for the first time, we have scientific observations that echo this concept.

🔬 Basic Evidence Supporting the Core Idea
Here’s what modern developmental biology has already shown:

Fertilization triggers rhythmic calcium waves across the egg — not random noise, but timed oscillations documented in peer‑reviewed research.

Zinc “sparks” erupt in pulses, showing that activation happens in discrete, coordinated bursts.

Embryonic development relies on oscillatory gene expression, meaning early life literally runs on biological rhythms.

Wave‑based patterning appears across biology — from heartbeats to neural firing to circadian cycles.

None of this claims cosmic numerology.
But all of it supports one powerful truth:

Before life builds structure, it tunes its instruments.

This book connects the dots between these biological rhythms and a broader harmonic framework — a way of seeing the universe not as a machine, but as a composition.

🎷 What the Book Delivers
A new lens for understanding emergence

A bridge between science and harmonic philosophy

A model where rhythm, not randomness, is the first principle of life

A narrative that makes biology feel alive, musical, and meaningful

🚀 Coming 2026 The Book Space Jazz Theory Liverpool UK Publishing House

If you’ve ever felt that the universe has a pulse — a tempo — a hidden order beneath the surface, this book is for you.

Comment INFO if you want early updates.