I read "Out of body experiences" by Robert A. Monroe a long time ago, a time of gullibility and innocence. If I remember correctly he used a technique to induce that effect and I made it mine. Sometimes it worked, here is the recipe: lay on your bed with eyes closed, try to avoid any disturbances. Concentrate you attention to your inner ears and you'll hear a high frequency hiss (similar to tinnitus). Don't sleep and keep focused! After some time (I think as you are falling asleep) the volume hits a dramatic crescendo and, in my case, culminates in a devastating powerful dry explosion without a discernible source. It lasts a moment but can be really scary.
If you can keep calm without awakening, you'll be on the "other side". There is no transition. In my case, the "other side" is just me, in my bed as if I'm awake. I tried some experiments, but I felt too weak to do anything really interesting.
I moved a couple of pillows, for instance, and when I woke up they were in the original position, untouched.
A really bizarre experience, I stopped trying when I finally got close to full-replication-mode on three consecutive nights. I felt very weird as if I was starting to mess with the boundary between dream and reality.
If you know more about this phenomenon let's keep in touch!
It's a truly ugly definition of racism for someone, like me, that grew up with the idea that everyone has, and should have, equal dignity. I know that this is the correct and accepted definition in some circles, but I want you to reflect on what you wrote: is that definition of racism logical?
From the magnetic field. The catch is that, to reload the gun, you have to do work at least equal to the final kinetic energy of the projectile. Realistically you have to account for energy losses like friction and collision inelasticity.
Haha speaking of barriers and Nine Inch Nails: have you heard the cover of "Head like an hole" by an improbable (but good!) Miley Cyrus? It was made for an episode of Black Mirror.
Disclaimer: absolutely not an expert. As I understood it, this is a test for the cosmological principle, which should be valid for every observer at every point of spacetime
I would have asked how he could assert the truth of the proposition "Truth in mathematics is a social construct", since its truthfulness has to be a social construct too.
(I assume that mathematics encompasses formal logic too)
> Key is described as choosing a certain set of notes from all the available ones.
Not exactly, take for example the Cmaj scale. You can write different melodies that "gravitate" around one of the 7 notes and that effect makes up for a particular mode of the scale of C.
Even if the notes are exactly the same you can easily hear the different flavor of each mode.
The easiest way to hear the modes is to play continuously the Cmaj scale against a C drone (a long note), but each time starting from a different grade of the scale of Cmaj. Same notes, different feelings. It's unclear to me (and I think controversial even among musicians) if you should use the mode name as a qualifier for the key and usually people just say that a song is in the key of $note, but you can definitely hear the difference. In particular, it is (was?) common to modulate to the relative minor/major key to highlight a section of a song (e.g.: key changes from Cmaj to Amin, same notes).
> Is there any popular music that belongs to multiple keys because they only use the notes that are shared between them?
It's very common in jazz, a classic example: Giant steps by Coltrane. The song continuously modulates in major thirds and loops around three keys.
> Or, is there anything that doesn't belong to any key because it uses more notes than are allowed by any key?