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The important issue is that these observations are interpreted within the framework originally laid down by Einstein. If this framework is the correct description of the universe, then we cannot do without the dark sectors. These range from straight-forward extensions, to well tested ideas right through to outright speculation and guesswork. Frustratingly, the difference between these theories is rarely discussed in the mainstream media. This is important because any alternative theories are competing with the exceedingly well tested laws of Newton and Einstein.
Cosmologists such as myself are likely to continue to use the established laws to explain our observations, even though they contain the unsatisfying concepts of dark matter and dark energy. Of course, the search for the dark matter particle is now the key goal for a range of experiments including work being done at the Centre of Excellence for All-Sky Astrophysics involving many researchers from around the world. While we may favour our current framework in explaining the universe, virtually all scientists involved must have a niggling doubt that those closer to the fringe may be right.
But this should be the normal state of science, with no theory conclusively proved. Any good scientist should be aware that the rug could be pulled out at any time, with cherished ideas assigned to the rubbish-bin.
So, is dark matter a currently undiscovered particle rather than a modification of the laws of physics? My gut tells me that this would be a good bet. Adjust slider to filter visible comments by rank. Contrary to this line of thinking, classical music has already achieved a harmony, if you will, between music and science. But the link is the biophysics of the human singing voice and well tempered tuning. The registers of the voice are the basis for the musical scales and keys for classical composition.
The epitome of this relationship appears in the works of J. Musical instrumentation extends and enhances this lawful interrelationship. This was furthered by the compositions of Mozart, Beethoven and Brahms and their epigones. In the mid to late nineteenth and twentieth centuries arbitrary melodic chromaticism and defiance of this lawfulness began to hold sway with such anti-well tempored inventions as the twelve tone row. However, this does not negate the true science of well tempering. In what sense does an orchestra parallele the masses, geologies, plasmas, liquids and ethers, orbits and reactions present in the universe?
Music uses psychologically relevant patterns, it is sonic art. Nothing in the universe uses 12 tone selectively matched wavelengths to create a highly ordered chord system with octaves. It would be cool to search for a relationship between birdsong and cosmology.
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