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1484 lines (1374 loc) · 68.5 KB
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<!DOCTYPE html>
<html lang="es">
<head>
<meta charset="UTF-8">
<meta name="viewport" content="width=device-width, initial-scale=1.0">
<title>HIT — Explorador interactivo de la Teoría de la Información Armónica</title>
<meta name="description" content="Explorador interactivo de las seis hipótesis de la Teoría de la Información Armónica (HIT): núcleo, hipótesis, activación, sondas, epistemología y tecnología. Por AlterMundi.">
<meta name="author" content="Mariano Fernández Méndez, Nicolás Echaniz">
<meta name="robots" content="index, follow">
<link rel="canonical" href="https://hit.altermundi.net/app.html">
<link rel="icon" type="image/jpeg" href="/tapa2.jpg">
<link rel="apple-touch-icon" href="/tapa2.jpg">
<meta property="og:type" content="website">
<meta property="og:site_name" content="Harmonic Information Theory">
<meta property="og:title" content="HIT — Explorador interactivo">
<meta property="og:description" content="Explorá de forma interactiva las seis hipótesis de la Teoría de la Información Armónica.">
<meta property="og:url" content="https://hit.altermundi.net/app.html">
<meta property="og:image" content="https://hit.altermundi.net/tapa2.jpg">
<meta property="og:image:alt" content="Harmonic Information Theory Foundations — book cover">
<meta property="og:locale" content="es_ES">
<meta property="og:locale:alternate" content="en_US">
<meta name="twitter:card" content="summary_large_image">
<meta name="twitter:title" content="HIT — Explorador interactivo">
<meta name="twitter:description" content="Explorá las seis hipótesis de la Teoría de la Información Armónica.">
<meta name="twitter:image" content="https://hit.altermundi.net/tapa2.jpg">
<link rel="preconnect" href="https://fonts.googleapis.com">
<link href="https://fonts.googleapis.com/css2?family=Space+Grotesk:wght@300;400;500;600;700&display=swap" rel="stylesheet">
<script src="https://d3js.org/d3.v7.min.js"></script>
<style>
*, *::before, *::after { box-sizing: border-box; margin: 0; padding: 0; }
:root {
--bg: #030303;
--bg2: #060606;
--text: #dedede;
--mid: #888;
--dim: #484848;
--cyan: #00e5c8;
--cglow: rgba(0,229,200,0.45);
--font: 'Space Grotesk', sans-serif;
--mono: 'Space Grotesk', sans-serif;
--nucleo: #00e5c8;
--hipotesis: #fbbf24;
--activacion:#f87171;
--sonda: #22d3ee;
--epistemo: #fb923c;
--tech: #34d399;
--sidebar-w: 264px;
--detail-w: 430px;
}
body {
font-family: var(--font);
background: var(--bg);
color: var(--text);
height: 100vh;
display: flex;
flex-direction: column;
overflow: hidden;
font-weight: 300;
}
/* ── HEADER ─────────────────────────────────────── */
header {
height: 56px;
display: flex;
align-items: center;
gap: 14px;
padding: 0 2rem;
background: rgba(3,3,3,0.92);
backdrop-filter: blur(20px);
box-shadow: 0 1px 40px rgba(0,0,0,0.7);
flex-shrink: 0;
z-index: 200;
}
.logo {
font-family: var(--mono);
font-size: .7rem;
font-weight: 600;
color: var(--cyan);
letter-spacing: .2em;
text-transform: uppercase;
white-space: nowrap;
}
.logo em {
font-style: normal;
font-weight: 300;
font-size: .7rem;
color: var(--dim);
margin-left: 1rem;
letter-spacing: .05em;
}
.back-link {
font-family: var(--mono);
font-size: .65rem;
letter-spacing: .1em;
color: var(--dim);
text-decoration: none;
text-transform: uppercase;
transition: color .2s;
flex-shrink: 0;
}
.back-link:hover { color: var(--cyan); }
.search-wrap {
flex: 1;
max-width: 340px;
position: relative;
}
.search-wrap svg {
position: absolute;
left: 10px;
top: 50%;
transform: translateY(-50%);
width: 14px;
height: 14px;
fill: none;
stroke: var(--dim);
stroke-width: 2;
pointer-events: none;
}
.search-wrap input {
width: 100%;
padding: 7px 10px 7px 32px;
background: rgba(255,255,255,0.03);
border: 1px solid rgba(0,229,200,0.1);
border-radius: 40px;
color: var(--text);
font-size: .72rem;
font-family: var(--mono);
letter-spacing: .03em;
outline: none;
transition: border-color 0.2s;
}
.search-wrap input::placeholder { color: var(--dim); }
.search-wrap input:focus { border-color: var(--cyan); }
.tabs {
display: flex;
gap: 2px;
margin-left: auto;
}
.tab-btn {
padding: 0 1rem;
height: 56px;
border: none;
border-bottom: 2px solid transparent;
background: transparent;
color: var(--dim);
font-size: .7rem;
font-family: var(--mono);
letter-spacing: .1em;
text-transform: uppercase;
cursor: pointer;
transition: color .25s, border-color .25s;
}
.tab-btn:hover { color: var(--text); }
.tab-btn.active { color: var(--cyan); border-bottom-color: var(--cyan); }
/* ── LAYOUT ──────────────────────────────────────── */
.layout {
display: flex;
flex: 1;
overflow: hidden;
}
/* ── SIDEBAR ─────────────────────────────────────── */
.sidebar {
width: var(--sidebar-w);
flex-shrink: 0;
background: var(--bg2);
border-right: 1px solid rgba(0,229,200,0.06);
overflow-y: auto;
padding: 14px 0 24px;
}
.sidebar::-webkit-scrollbar { width: 3px; }
.sidebar::-webkit-scrollbar-thumb { background: rgba(0,229,200,0.1); border-radius: 2px; }
.s-title {
font-size: .6rem;
font-weight: 600;
letter-spacing: .3em;
text-transform: uppercase;
color: var(--dim);
padding: 0 16px;
margin-bottom: 5px;
font-family: var(--mono);
}
.s-section { margin-bottom: 18px; }
.cat-row {
display: flex;
align-items: center;
gap: 9px;
padding: 5px 16px;
cursor: pointer;
font-size: .78rem;
color: var(--mid);
transition: all 0.15s;
user-select: none;
}
.cat-row:hover { background: rgba(0,229,200,0.04); color: var(--text); }
.cat-row.active { background: rgba(0,229,200,0.06); color: var(--text); }
.cat-dot {
width: 7px; height: 7px;
border-radius: 50%;
flex-shrink: 0;
}
.cat-count { margin-left: auto; font-size: .6rem; color: var(--dim); font-family: var(--mono); }
.s-divider {
height: 1px;
background: rgba(0,229,200,0.06);
margin: 6px 16px 14px;
}
.book-part { }
.part-row {
display: flex;
align-items: center;
gap: 7px;
padding: 5px 16px;
cursor: pointer;
font-size: .75rem;
color: var(--mid);
transition: all 0.15s;
user-select: none;
}
.part-row:hover { background: rgba(0,229,200,0.04); color: var(--text); }
.part-arrow {
font-size: 7px;
transition: transform 0.2s;
flex-shrink: 0;
color: var(--dim);
}
.book-part.open .part-arrow { transform: rotate(90deg); }
.part-chs { display: none; }
.book-part.open .part-chs { display: block; }
.ch-row {
display: flex;
align-items: center;
gap: 8px;
padding: 4px 16px 4px 28px;
cursor: pointer;
font-size: .72rem;
color: var(--dim);
transition: all 0.15s;
}
.ch-row:hover { background: rgba(0,229,200,0.03); color: var(--mid); }
.ch-row.active { color: var(--text); }
.ch-n { font-size: .6rem; font-weight: 700; color: var(--dim); width: 18px; flex-shrink: 0; font-family: var(--mono); }
/* ── MAIN ────────────────────────────────────────── */
.main {
flex: 1;
position: relative;
overflow: hidden;
}
.tab-pane {
position: absolute;
inset: 0;
display: none;
}
.tab-pane.active { display: block; }
/* MAP */
#pane-map { overflow: hidden; cursor: grab; background: var(--bg); }
#pane-map:active { cursor: grabbing; }
#pane-map svg { width: 100%; height: 100%; }
.g-link {
stroke: rgba(0,229,200,0.12);
stroke-width: 1.2;
stroke-opacity: 0.7;
transition: stroke 0.2s, stroke-opacity 0.2s;
}
.g-link.hi { stroke: var(--cyan); stroke-opacity: 1; stroke-width: 1.8; }
.g-node circle {
cursor: pointer;
transition: filter 0.2s, opacity 0.2s;
}
.g-node circle:hover { filter: brightness(1.4); }
.g-node text {
font-family: var(--mono);
fill: var(--text);
pointer-events: none;
user-select: none;
}
.g-node.dimmed circle { opacity: 0.2; }
.g-node.dimmed text { opacity: 0.2; }
/* LIBRO */
#pane-libro {
overflow-y: auto;
padding: 32px 36px;
background: var(--bg);
}
#pane-libro::-webkit-scrollbar { width: 5px; }
#pane-libro::-webkit-scrollbar-thumb { background: rgba(0,229,200,0.1); border-radius: 3px; }
.libro-h { font-family: var(--mono); font-size: 1.4rem; font-weight: 500; letter-spacing: -.02em; margin-bottom: 6px; color: var(--text); }
.libro-sub { color: var(--mid); font-size: .85rem; margin-bottom: 36px; }
.parts-grid { display: grid; gap: 20px; }
.part-card {
background: rgba(0,229,200,0.025);
border: 1px solid rgba(0,229,200,0.07);
border-radius: 12px;
overflow: hidden;
transition: background .3s, box-shadow .3s;
box-shadow: 0 8px 60px rgba(0,0,0,.4);
}
.part-card:hover { background: rgba(0,229,200,0.04); box-shadow: 0 20px 80px rgba(0,0,0,.5), 0 0 40px rgba(0,229,200,.04); }
.part-card-head {
display: flex;
align-items: center;
gap: 16px;
padding: 18px 22px;
border-bottom: 1px solid rgba(0,229,200,0.07);
}
.pnum {
font-family: var(--mono);
font-size: 2rem;
font-weight: 300;
color: var(--dim);
line-height: 1;
width: 50px;
flex-shrink: 0;
}
.pinfo h3 { font-size: .95rem; font-weight: 500; margin-bottom: 3px; color: var(--text); }
.pinfo p { font-size: .78rem; color: var(--mid); }
.chs-grid {
display: grid;
grid-template-columns: repeat(auto-fill, minmax(220px, 1fr));
gap: 1px;
background: rgba(0,229,200,0.05);
}
.ch-card {
background: var(--bg);
padding: 14px 18px;
cursor: pointer;
transition: background 0.15s;
}
.ch-card:hover { background: rgba(0,229,200,0.04); }
.ch-tag { font-size: .55rem; font-weight: 700; color: var(--dim); letter-spacing: .3em; text-transform: uppercase; margin-bottom: 5px; font-family: var(--mono); }
.ch-title { font-size: .82rem; font-weight: 500; line-height: 1.4; color: var(--text); }
/* ÍNDICE */
#pane-indice {
overflow-y: auto;
padding: 22px;
background: var(--bg);
}
#pane-indice::-webkit-scrollbar { width: 5px; }
#pane-indice::-webkit-scrollbar-thumb { background: rgba(0,229,200,0.1); border-radius: 3px; }
.concepts-grid {
display: grid;
grid-template-columns: repeat(auto-fill, minmax(210px, 1fr));
gap: 10px;
}
.concept-card {
background: rgba(0,229,200,0.025);
border: 1px solid rgba(0,229,200,0.07);
border-left: 3px solid transparent;
border-radius: 9px;
padding: 14px;
cursor: pointer;
transition: background 0.15s, transform 0.15s, box-shadow 0.15s;
box-shadow: 0 4px 30px rgba(0,0,0,.3);
}
.concept-card:hover { background: rgba(0,229,200,0.05); transform: translateY(-2px); box-shadow: 0 12px 50px rgba(0,0,0,.4); }
.concept-card.nucleo { border-left-color: var(--nucleo); }
.concept-card.hipotesis { border-left-color: var(--hipotesis); }
.concept-card.activacion{ border-left-color: var(--activacion); }
.concept-card.sonda { border-left-color: var(--sonda); }
.concept-card.epistemo { border-left-color: var(--epistemo); }
.concept-card.tech { border-left-color: var(--tech); }
.cc-label { font-size: .9rem; font-weight: 500; margin-bottom: 4px; color: var(--text); }
.cc-sub { font-size: .75rem; color: var(--mid); margin-bottom: 10px; line-height: 1.5; }
.cc-tag {
display: inline-block;
font-size: .55rem;
padding: 2px 8px;
border-radius: 20px;
font-weight: 600;
letter-spacing: .08em;
text-transform: uppercase;
font-family: var(--mono);
}
.cc-tag.nucleo { background: rgba(0,229,200,.08); color: var(--nucleo); }
.cc-tag.hipotesis { background: rgba(251,191,36,.14); color: var(--hipotesis); }
.cc-tag.activacion{ background: rgba(248,113,113,.14); color: var(--activacion); }
.cc-tag.sonda { background: rgba(34,211,238,.14); color: var(--sonda); }
.cc-tag.epistemo { background: rgba(251,146,60,.14); color: var(--epistemo); }
.cc-tag.tech { background: rgba(52,211,153,.14); color: var(--tech); }
/* ── DETAIL PANEL ────────────────────────────────── */
.detail {
position: absolute;
top: 0; right: 0; bottom: 0;
width: var(--detail-w);
background: var(--bg2);
border-left: 1px solid rgba(0,229,200,0.08);
transform: translateX(100%);
transition: transform 0.26s ease;
overflow-y: auto;
z-index: 100;
display: flex;
flex-direction: column;
box-shadow: -20px 0 80px rgba(0,0,0,.5);
}
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<h1 class="libro-h">Harmonic Information Theory</h1>
<p class="libro-sub">Transdisciplinary research program — 6 parts, 16 chapters</p>
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{
id:'HIT', label:'HIT', subtitle:'Harmonic Information Theory',
cat:'nucleo', sz:22,
links:['Intervalo','Consonancia','Hipotesis-HIT','Phideus','Beacon','Epistemologia','Armonianatural'],
body:`
<h2>The central question</h2>
<p>Can proportional frequency relations constitute a level of informational organization irreducible to individual elements? HIT does not answer by naively asserting that "harmony is universal." It does so by building a <strong>research program</strong> with falsifiable hypotheses, empirical probes, and explicit epistemological frameworks.</p>
<h2>Program structure</h2>
<ol>
<li><strong>Part I</strong> — The tendency: why harmonic organization keeps reappearing across domains</li>
<li><strong>Part II</strong> — Ontological foundations: Interval as minimal carrier, Consonance as relational function</li>
<li><strong>Part III</strong> — State of knowledge: empirical convergence across 7 domains</li>
<li><strong>Part IV</strong> — Theory: Natural harmony, Recurrence, Sense of consonance, Activation problem</li>
<li><strong>Part V</strong> — Probes: Phideus (computational) and Beacon (experiential)</li>
<li><strong>Part VI</strong> — Scope, limits, open questions, and applications</li>
</ol>
<h2>The six central hypotheses</h2>
<ul>
<li><strong>H1</strong>: Natural signals contain structured ratio distributions departing from arbitrariness</li>
<li><strong>H2</strong>: That structure is learnable by computational systems</li>
<li><strong>H3</strong>: Ratio structure is shared cross-modally</li>
<li><strong>H4</strong>: Simple ratios minimize processing cost in biological systems</li>
<li><strong>H5</strong>: Biological systems possess functional sensitivity to consonance</li>
<li><strong>H6</strong>: The ratio functions as a scale-invariant informational carrier</li>
</ul>
<h2>What HIT is not</h2>
<ul>
<li>Not Pythagoreanism — it does not claim numbers govern reality</li>
<li>Not naive universalism — it recognizes cultural and contextual variation</li>
<li>Not a closed theory — it is a program with explicit falsifiers</li>
<li>Not psychotherapy or reductionism</li>
</ul>`
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{
id:'Intervalo', label:'Interval', subtitle:'Minimal informational carrier',
cat:'nucleo', sz:16,
links:['HIT','Consonancia','Armonianatural','Recurrencia','Hipotesis-HIT'],
body:`
<h2>Why the interval and not the note</h2>
<p>The <strong>interval</strong> — the proportional ratio between two frequencies — is the minimal ontological unit of HIT. Not the note. Not the absolute frequency. The <em>relation</em>.</p>
<ol>
<li><strong>Irreducibly relational</strong>: requires at least two terms and a ratio between them</li>
<li><strong>Scale-invariant</strong>: if transposed, intervals are preserved exactly — r = f₂/f₁ survives absolute rescaling</li>
<li><strong>Generative</strong>: from simple ratios, complex structures emerge (2:1 = octave; 3:2 = fifth; 5:4 = major third)</li>
<li><strong>Contextually differential</strong>: the same ratio functions differently depending on modal context</li>
</ol>
<h2>Interval and recurrence</h2>
<p>Two oscillators with ratio p:q return to their initial state with frequency f = p·q·f₀. Simple ratios produce higher recurrence density → lower corrective burden.</p>
<h2>The minimal ontological proposition</h2>
<blockquote><p>If harmonic information exists, its minimal carrier is the relational ratio, not the absolute element.</p></blockquote>`
},
{
id:'Consonancia', label:'Consonance', subtitle:'Relational function',
cat:'nucleo', sz:15,
links:['HIT','Intervalo','Armonianatural','Recurrencia','Beacon','Phideus','SentidoConsonancia'],
body:`
<h2>HIT's position</h2>
<p>In HIT, consonance is not an intrinsic property of isolated ratios. It is a <strong>function</strong>:</p>
<blockquote><p>Consonance = F(ratio, modal constitution, medium, coupling regime, receptor, context)</p></blockquote>
<p>HIT rejects Pythagorean essentialism ("simple ratios are consonant by nature") and radical cultural relativism ("consonance is only convention").</p>
<h2>Dynamic stability as criterion</h2>
<p>A relation is more consonant to the extent that it <strong>produces or sustains dynamic stability</strong> in the coupled system. Measurable through: Arnold tongue width, Recurrence Matrix (RP) density, error energy variance, phase-locking time.</p>
<h2>Each system has its own natural harmony</h2>
<p>Following Sethares (2005): partials of different timbres create different "consonance ecologies." This system-relativity does not cancel the objectivity of consonance — it makes it context-dependent, which is different from making it arbitrary.</p>`
},
{
id:'Armonianatural', label:'Natural Harmony', subtitle:'vs. perceptual harmony',
cat:'nucleo', sz:14,
links:['HIT','Consonancia','Intervalo','Recurrencia','Eficiencia','Phideus'],
body:`
<h2>The fundamental distinction</h2>
<p><strong>Natural harmony</strong> refers to proportional organization in the physical domain: frequency ratios as they occur in the signal, in linear Hz coordinates, regardless of how they are perceived by the human auditory system.</p>
<h2>Why the distinction matters</h2>
<p>Perceptual harmony is mediated by critical bands, masking, roughness — mechanisms of the human auditory apparatus. Natural harmony operates at a more fundamental level: it is the proportional structure any processing system (biological or computational) could detect.</p>
<p>HIT wagers that natural harmony — not perceptual — is the level where harmonic information operates as a cross-modal carrier.</p>
<h2>Implications for Phideus</h2>
<p>Descriptors D4, A4, V4-lin, V4-log, and H-series operate on the raw signal in real Hz, not on perceptual representations like mel-spectrograms. This choice directly reflects the theoretical wager.</p>`
},
{
id:'Recurrencia', label:'Recurrence', subtitle:'Informational efficiency',
cat:'nucleo', sz:14,
links:['Intervalo','Consonancia','Armonianatural','Eficiencia','Hipotesis-HIT'],
body:`
<h2>The recurrence principle</h2>
<p>When two oscillators with ratio p:q couple, the joint system returns periodically to its initial state. Simple ratios (small p and q) produce higher recurrence frequency → higher density in the Recurrence Matrix (RP) → lower corrective burden.</p>
<h2>Recurrence and predictive efficiency</h2>
<p>The hypothesis: simple ratios are processed more efficiently because they produce more predictable patterns. A biological system exposed to simple ratios needs less corrective energy to keep its prediction updated.</p>
<p>This is the central theoretical chain: simple ratio → high recurrence → high predictive efficiency → lower burden → differential physiological response (H4, H5).</p>
<h2>RQA as a tool</h2>
<p>Recurrence Quantification Analysis (RQA) allows direct measurement of recurrence density. Trulla et al. (2018) found significant harmonic structure using RQA in acoustic signals — direct evidence for H1.</p>`
},
{
id:'Phi', label:'φ — Golden Ratio', subtitle:'Query function for stored harmonic structure',
cat:'activacion', sz:12,
links:['Jpsh','ProblemaActivacion','Intervalo','Recurrencia'],
body:`
<h2>φ in HIT</h2>
<p>The golden ratio φ = (1+√5)/2 ≈ 1.618 occupies a singular position: not the "most consonant ratio" (its irrationality produces low recurrence) but the ratio <strong>most resistant to rational capture</strong>.</p>
<h2>The mathematical character of φ</h2>
<p>By Hurwitz's theorem, φ is the irrational number hardest to approximate by fractions with small denominators. Its continued fraction [1;1,1,1,…] never admits the large partial quotients that enable good rational approximations. In KAM dynamics, the golden-mean torus is the last invariant torus to break under perturbation.</p>
<h2>Storage and retrieval</h2>
<p>HIT proposes that harmonic systems <em>store</em> through recurrence (simple integer ratios) and are <em>read</em> through a different logic: a perturbation that can traverse the stored structure without locking into it. Phi is the clearest one-dimensional candidate for that query function — maximally resistant to rational capture while remaining orderly rather than random.</p>`
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cat:'activacion', sz:11,
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body:`
<h2>What is Jpsh!?</h2>
<p><strong>Jpsh!</strong> names the activation event in HIT: the moment when a brief, properly placed perturbation does not script a pattern but releases it. The medium resolves according to its own properties. The perturbation is minimal; the reorganization is global.</p>
<h2>The bell analogy</h2>
<p>When a bell is struck, the strike does not impose the bell's organization on the metal. It provides energy. The bell supplies the information through its own resonant structure. What rings out is the bell's organization — not the hammer's content.</p>
<h2>The character of the event</h2>
<p>Jpsh! is named after the sound of a whip-like impulse reaching its coordinated state in Nicolás Echániz's rope-flow practice. It condenses the activation problem: storage belongs to the medium; retrieval belongs to the query event that activates the medium without replacing it.</p>
<h2>Open question</h2>
<p>Can Jpsh! be deliberately induced? Does the Beacon generate conditions in which it occurs more readily? This is one of the program's central open questions.</p>`
},
{
id:'ProblemaActivacion', label:'Activation Problem', subtitle:'Reading without writing',
cat:'activacion', sz:13,
links:['Phi','Jpsh','Beacon','SentidoConsonancia','Hipotesis-HIT'],
body:`
<h2>The problem</h2>
<p>Given a medium that stores structure in the arrangement of resonant relations — what kind of perturbation can illuminate that arrangement without entering into permanent capture by it? The conditions that favor storage are not automatically the conditions that favor readout.</p>
<h2>The asymmetry</h2>
<p>A perturbation in simple rational relation to the stored system tends to be captured by that structure rather than traversing it. A readout must do two things at once: overlap enough with the stored system to excite it globally, and avoid commensurability strong enough to collapse into one preferred locking regime. <em>Contact without capture.</em></p>
<h2>Relation to φ and Jpsh!</h2>
<p>φ may be the mechanism by which natural systems maintain availability for Jpsh!. If φ maximizes phase non-capture, the system remains in a state of maximal openness — ready to be asked rather than already answered.</p>
<h2>Experimental implications</h2>
<p>The Beacon protocol cannot be simple passive exposure. It must include conditions of "system preparation" that favor the φ state before exposure to consonant harmonic field. Storage and retrieval require different relational regimes.</p>`
},
{
id:'Hipotesis-HIT', label:'H1 – H6', subtitle:'Six central hypotheses',
cat:'hipotesis', sz:18,
links:['HIT','Phideus','Beacon','Recurrencia','Eficiencia','SentidoConsonancia','EvidenciaArquitectura'],
body:`
<h2>H1 — Structured Distributions</h2>
<blockquote><p>Natural signals contain structured ratio distributions that depart from arbitrariness strongly enough to support lawful description.</p></blockquote>
<p><strong>Status</strong>: validated observational foothold. Evidence: ratio structure across musical, neural, ecological, and physiological literatures.</p>
<h2>H2 — Computational Learnability</h2>
<blockquote><p>Structured ratio distributions are learnable by computational systems in ways that matter for representation and task behavior.</p></blockquote>
<p><strong>Status</strong>: validated computational foothold. Phideus E1 — 84.0% retrieval vs. 75.2% baseline. Cohen's d = 4.50.</p>
<h2>H3 — Cross-Modal Structure</h2>
<blockquote><p>Ratio structure can be shared cross-modally rather than remaining trapped inside one material substrate.</p></blockquote>
<p><strong>Status</strong>: active test with strong initial support. Phideus cross-modal retrieval, causal contrasts, and latent reorganization in Audio↔MIDI.</p>
<h2>H4 — Reduced Processing Cost</h2>
<blockquote><p>Simple harmonic ratios may correspond to regimes of lower processing cost or greater informational efficiency.</p></blockquote>
<p><strong>Status</strong>: informed conjecture. Theoretical bridge through Landauer, prediction cost, and free-energy arguments.</p>
<h2>H5 — Biological Sensitivity to Consonance</h2>
<blockquote><p>Biological systems possess a functional sensitivity to consonant or harmonically organized regimes.</p></blockquote>
<p><strong>Status</strong>: informed conjecture with growing perimeter. Neuroscience of harmonic relations, acoustic ecology, physiological coordination.</p>
<h2>H6 — Scale-Invariant Carrier</h2>
<blockquote><p>The interval, or ratio more generally, can function as a scale-invariant carrier of information.</p></blockquote>
<p><strong>Status</strong>: founding structural hypothesis under partial test. r = f₂/f₁ survives absolute rescaling by construction.</p>
<h2>Hypothesis hierarchy</h2>
<pre>H6 (carrier) → H1 (exists in real signals)
↓
H2 (computationally learnable)
↓
H3 (cross-modal)
↓
H4 + H5 (biological response) ← major conjectures</pre>`
},
{
id:'Phideus', label:'Phideus', subtitle:'Computational probe — dual-encoder',
cat:'sonda', sz:19,
links:['HIT','Beacon','Armonianatural','Hipotesis-HIT','Convergencia','HAT','PPU','EvidenciaArquitectura'],
body:`
<h2>The question Phideus answers</h2>
<blockquote><p>Does harmonic guidance reorganize the representational space? Does the latent geometry organize differently when the model is trained with natural harmony descriptors?</p></blockquote>
<h2>Architecture: Dual-Encoder + VICReg</h2>
<p>Two independent encoding branches project into a shared 256-dimensional space. <strong>VICReg</strong> (Bardes, Ponce, LeCun, 2022) enforces Variance + Invariance + Covariance, solving the representation collapse problem.</p>
<h2>Natural harmony descriptors</h2>
<table>
<tr><th>Descriptor</th><th>Description</th></tr>
<tr><td>D4</td><td>Local interval descriptor: previous/next interval in semitone and octave-normalized log-ratio form</td></tr>
<tr><td>A4</td><td>Harmonic asymmetry across 4 frequency ranges</td></tr>
<tr><td>V4-lin</td><td>Variance of partial distribution (linear)</td></tr>
<tr><td>V4-log</td><td>Variance of partial distribution (log)</td></tr>
<tr><td>H-series</td><td>Relations between fundamental and partials in real Hz</td></tr>
</table>
<h2>Central result — Escalon 1</h2>
<p><strong>84.0%</strong> retrieval with harmonic guidance vs. <strong>75.2%</strong> baseline. <strong>Cohen's d = 4.50</strong> — very large effect. Harmonic guidance <em>reorganizes the geometry of the representational space</em> in a statistically robust and causally controlled way.</p>
<h2>Four Escalones</h2>
<table>
<tr><th>Escalon</th><th>Modality A</th><th>Modality B</th><th>Status</th></tr>
<tr><td>E1</td><td>Piano audio</td><td>Piano MIDI</td><td>✓ Closed</td></tr>
<tr><td>E2</td><td>Speech</td><td>EGG</td><td>Closed (null)</td></tr>
<tr><td>E3</td><td>Stereo XY audio</td><td>Lissajous figure</td><td>Closed through P6</td></tr>
<tr><td>E4</td><td>ECG</td><td>PPG</td><td>Planned</td></tr>
</table>`
},
{
id:'Beacon', label:'Harmonic Beacon', subtitle:'Experiential probe — living harmonic field',
cat:'sonda', sz:19,
links:['HIT','Phideus','PMP','HAT','Corazofono','OpenClaw','Phi','Jpsh','Convergencia'],
body:`
<h2>What the Beacon is</h2>
<p>The Beacon is both experimental instrument and sonic artwork. At its core: an electromagnetic kalimba exciter implementing the natural harmonic series F×1 through F×5 as continuous physical vibration. A companion app makes those vibrations available as a 24/7 live stream of natural harmonics — with audio overlay sessions and biometric validation protocols designed to test the affective and neurological implications of harmonic structures.</p>
<h2>Physical principle</h2>
<p>The Beacon does not play isolated notes. It sustains a <strong>living interference field</strong>:</p>
<pre>s(t) = Σₙ Aₙ cos(2π n f₀ t + φₙ) where fₙ = n·f₀</pre>
<p>All relations between components are ratios of small integers — the densest region of simple-integer relations (1:2:3:4:5), which yields the clearest interference structures and the most geometrically distinct Lissajous figures. The cover image of the book is a Lissajous figure traced from the simultaneous resonance of these five harmonics.</p>
<h2>Device generations</h2>
<ol>
<li><strong>Beacon Guitar</strong> — Motor-driven string on resonant body; highest spectral richness; manually tuned to natural-ratio intervals derived from the instrument's own spectral signature</li>
<li><strong>Pico Robot</strong> — Struck tuning forks; improved robustness and portability</li>
<li><strong>Digital / OSC Bank</strong> — Oscillator bank + 64-pad harmonic surface driving piezoelectric actuators; digital programmability with physical resonance; OpenClaw orchestration</li>
<li><strong>App / Distributed</strong> — Live streaming interface; 24/7 remote access; distributed network of synchronized nodes</li>
</ol>
<h2>Four experimental lines</h2>
<table>
<tr><th>Line</th><th>Measurement</th></tr>
<tr><td>Biosignal + calibration</td><td>HRV, electrodermal, respiration; Corazofono individual profiling</td></tr>
<tr><td>Physiological response</td><td>Harmonic field vs. matched control; pre/post contrastive designs</td></tr>
<tr><td>EEG feedback</td><td>EEG as control surface for real-time field synthesis</td></tr>
<tr><td>Lissajous figures</td><td>Cymatics; visible proportional structure; bridge to Phideus Escalon 3</td></tr>
</table>
<h2>Individual calibration: Corazofono</h2>
<p>Records thoracic resonance frequencies to build a personal harmonic profile. The Beacon field is then tuned to the subject — not generic imposition but <em>relational calibration</em>, implementing consonance as a function of the specific receptor.</p>`
},
{
id:'PMP', label:'PMP', subtitle:'Personal Myth Projection',
cat:'sonda', sz:11,
links:['Beacon','Convergencia','Epistemologia','HIT'],
body:`
<h2>What is PMP?</h2>
<p><strong>Personal Myth Projection</strong> (PMP, Julián De La Reta) is a psychic work technique based on Jungian analytical psychology, Moreno's psychodrama, and Campbell's monomyth: the subject projects and works with their symbolic material — archetypes, monomyth narrative, images from the unconscious.</p>
<h2>PMP + Beacon</h2>
<p>The experimental probe combines PMP with exposure to the Beacon field. The hypothesis: the sustained harmonic field <strong>facilitates access</strong> to symbolic material and reduces resistance to the individuation process.</p>
<p>Double measurement: biosignals during the session + content analysis of the symbolic material produced.</p>
<h2>The symbolic register</h2>
<p>PMP operates in HIT's fourth register. According to the epistemology of inconsistency, it has its own norms (analytical psychology, hermeneutics) that cannot be collapsed with the other registers — and that irreducibility is precisely what makes it informative.</p>`
},
{
id:'Convergencia', label:'Convergence', subtitle:'Phideus — Beacon — PMP',
cat:'sonda', sz:13,
links:['Phideus','Beacon','PMP','EvidenciaArquitectura','Epistemologia'],
body:`
<h2>The convergence point</h2>
<p>Three probes attack the same question from radically different registers:</p>
<ul>
<li><strong>Phideus</strong>: computational geometry of representational space</li>
<li><strong>Beacon</strong>: physiological and experiential response to a living harmonic field</li>
<li><strong>PMP</strong>: navigation of symbolic material under harmonic field</li>
</ul>
<h2>The shared experimental object</h2>
<p>The Lissajous line (Phideus Escalon 3) creates the first experimental object where both probes meet: the visible interference figures of the Beacon can be analyzed with the Phideus architecture — the same proportional relations approached computationally and physically from different sides.</p>
<h2>What convergence would prove</h2>
<p>If all three registers — computational, physiological, symbolic — show coherent response to the same harmonic structure, that would constitute trans-register evidence convergence: the type of validation HIT requires given its transdisciplinary nature. Independent lines reshaping what becomes plausible without becoming identical.</p>`
},
{
id:'Epistemologia', label:'Epistemology', subtitle:'Of inconsistency',
cat:'epistemo', sz:14,
links:['EvidenciaArquitectura','HIT','PMP','Convergencia','Hipotesis-HIT'],
body:`
<h2>The proposition</h2>
<blockquote><p>Knowledge in a transdisciplinary program is always produced through heterogeneous registers whose relations are imperfect and partial. Inconsistency between registers is not a problem to be solved but the <strong>condition of possibility</strong> of transdisciplinary research.</p></blockquote>
<h2>HIT's four registers</h2>
<table>
<tr><th>Register</th><th>Type of claim</th><th>Own norms</th></tr>
<tr><td>Physical</td><td>Ratios, frequencies, RP</td><td>Physics, signal analysis</td></tr>
<tr><td>Biological</td><td>HRV, EEG, RQA</td><td>Neuroscience, physiology</td></tr>
<tr><td>Affective</td><td>Sensation, homeostasis</td><td>Psychology, phenomenology</td></tr>
<tr><td>Symbolic</td><td>PMP material, archetypes</td><td>Analytical psychology</td></tr>
</table>
<h2>What inconsistency permits</h2>
<p>Register tensions are informative. If physiology shows Beacon response but the subject reports no coherent experience → the response may be subcortical. If Phideus learns harmonic representations but they don't transfer to biosignals → the structure exists computationally but is not directly readable biologically in that domain.</p>
<h2>Empirical / theoretical / speculative</h2>
<p>HIT requires each claim to know what type it is. The PPU is speculative. Phideus E1 result is empirical. The ratio→recurrence→efficiency chain is theoretical with convergent support.</p>`
},
{
id:'EvidenciaArquitectura', label:'Evidence Architecture', subtitle:'Transdisciplinary validation structure',
cat:'epistemo', sz:12,
links:['Hipotesis-HIT','Epistemologia','Phideus','Beacon','Convergencia'],
body:`
<h2>The problem of transdisciplinary evidence</h2>
<p>HIT cannot be validated by a single critical experiment because it operates across multiple registers. Its architecture of evidence is cumulative and convergent — not a pyramid of proof but a network of mutual constraints.</p>
<h2>Three types of support</h2>
<ul>
<li><strong>Direct empirical</strong>: Phideus E1 results; future Beacon experimental lines</li>
<li><strong>Indirect convergence</strong>: subcortical neuroscience (Bidelman & Krishnan, 2009); psychoacoustics (Schwartz et al.); acoustic ecology (Krause); nonlinear dynamics (Kuramoto); cross-frequency coupling (Canolty & Knight, 2010)</li>
<li><strong>Theoretical</strong>: ratio→recurrence→efficiency→biological response chain</li>
</ul>
<h2>What HIT needs to advance</h2>
<p>H4 and H5 (major conjectures) require direct experimental evidence from the Beacon. The current architecture has H1 and H2 with empirical support; H3 partially; H4 and H5 only with indirect convergence. A null result for one conjecture would not invalidate the program; a strong positive would not settle every other.</p>`
},
{
id:'SentidoConsonancia', label:'Sense of Consonance', subtitle:'Biological origin',
cat:'epistemo', sz:12,
links:['Consonancia','Recurrencia','Beacon','Hipotesis-HIT','Epistemologia'],
body:`
<h2>The question</h2>
<p>Why do biological systems respond to consonance? Is it learned, innate, or structurally necessary? HIT proposes it has a functional origin — not aesthetic preference but adaptive efficiency.</p>
<h2>The predictive efficiency hypothesis</h2>