The author discusses a conceptual framework for the organization and performance of music that has its basis in the frequency relationships of the Schumann Resonances and in the principle of binaural beats. He describes the steps he took in conceiving the project, the technical issues involved in realizing the goal of live data transmissions from a remote location and the creation of the three-dimensional overtone series that is the project's theoretical centerpiece. He also lays out his philosophy of improvisation and treads lightly into the curious gray areas where science mutates into leaps of faith.

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