Einstein spent his later part in Princeton as an artist building theories which are symmetrical and elegant but largely ignored by the rest of the scientific community who were busy curve fitting experiments to their standard models – which is often hated by beauty seekers of aesthetics for the number of arbitrary parameters (numbers) put into those models - more of philately than philosophy.
But once in a while there are efforts to resurrect Einsteinism in theorizing. Sometimes those go beyond normal senses into the paranormal sphere.
https://www.academia.edu/12035946/The_E ... rn_physics
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The author is researcher in a field called para-physics – making it all spooky.
While understanding the whole paper requires expertise in theoretical physics and quantum gravitational theories – some of the interesting basic geometrical arguments can be cited without a deeper understanding of the whole paper.
1. Mathematical continuity (any finite extension consists of infinite number of points) can only be established from higher dimension by constructing loops into that dimension assuming some curvature as well ( Page 45 thru 50)
2. Any notion of curvature requires an extension and cannot be defined for a dimension less point.
3. Only dimensionless points that emerge naturally are center of rotation or centers of mass. ( Page 21)
The last one is quite analogous to swaras in Indian music where the Adhara Sadjam and pacamam are always fixed points.
But can we go further and assert that they are the only fixed points – rest of the swaras are all extensions no matter what rAga we take up – scalar or otherwise?
The correlates to a vikRti swara ( other than sa-pa-sa) as a fixed pitch position frequently identified by the finger position on the fret board of a vINa – are they really indicative of an actual pitch position in the context of a rAga?
Even when supposedly a note is transited without much gamakam – as a plain note – is it really plain in the transition?
These questions lead us to a potential alternative view that – if a musician were really halting for an extended time on a specific note other than sa-pa – he/she is not conveying the original rAgA’s essence any more – he/she is essentially preparing the ground for a potential graha-bedam where the note being dwelt on is a new “center of rotation” – a new AdhAra Sadjam if you will – where it loses its extension character as it was in the original rAga – and becomes a point around which other notes start to swirl!!
Now more analogies : Just as the mass is defined by curvature in space-time , the weightiness of the music is defined by the curvature of these new things called extensions !!
So nobody need to search for the cent/Sruti values for tOdi gandhara – Eureka!! it is an extension – we need to measure it’s curvature instead.
A final declaration can be made with a pallavi line :
tOdi gAndhAriyai azhaitOdi vAdi | inda sadasukku
We all have an opportunity to become immortal (or invincible should I say?) then if we wished 
.