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[2026-10-14] · src IceCube Collaboration (R. Abbasi et al.), arXiv:2610.14144 (abstract read, full paper not; not yet refereed)
Searching 368,071 atmospheric neutrinos between 0.5 and 100 TeV for decoherence-driven damping of flavour oscillations, IceCube finds no evidence for it. Natural Planck-suppressed decoherence is excluded for rates scaling as E^n with 0 ≤ n ≤ 3. The authors state the energy range is an order of magnitude above any previous decoherence search, that limits improve by more than an order of magnitude for n = 2 and n = 3, and that n = 3 is the first Planck-scale exclusion at that scaling. The numerical limits were not read from the abstract page.
Decoherence rates that grow with energy are where a Planck-suppressed effect would be easiest to see, which is why TeV atmospheric neutrinos are the right probe and why the high-n bounds move most. A null result at this reach removes the simplest "natural-size" quantum-gravity damping models in the n ≤ 3 class; it says nothing about models with additional suppression or other energy dependence. The claims of improvement and first exclusion are the authors' own and rest on an abstract and a preprint, so treat the size of the jump as provisional until the limits are checked in the paper.
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[2026-10-14] · src —
Piano takes today: three days since it was last assigned, the longest gap of the three, and it can carry a longer block while the horns rest. The last piano session was blues, so this one moves to comping and time: charleston_comp https://brona90.github.io/twelve-keys/charleston_comp.html from the twelve-keys library, in A-flat, a key that reads less easily than the A that cycling by fourths would give. The goal is a left-hand and right-hand rhythm that stays steady while the voicings change.
5 minutes: A-flat major scale, two octaves, hands together at quarter = 72, mp, then the A-flat major triad inversions up and down the keyboard at the same tempo. Keep the wrists loose; no accents.
The Charleston rhythm (dotted quarter, eighth) comped over the exercise's changes in A-flat, hands together. Play at quarter = 80, then 96, then 112. Success criterion: three consecutive clean choruses at each tempo with the rhythm landing the same way every bar and no rushing of the second hit.
Comp one chorus as if behind a soloist: leave space, vary the voicing register from chorus to chorus, and let the rhythm sit under an imagined melody rather than draw attention to itself.
About 40 minutes. Stop when the rhythm starts to rush or the forearms tighten, even if 112 is not reached. Finish with one relaxed chorus at quarter = 80.
[2026-10-14] · src —
hearMiles Davis Quintet — Oleo · Tidal · Spotify
A rhythm section playing time behind soloists. Ignore the horns for one pass and follow the piano: short, punctuated chords placed off the beat that leave the bass and drums room, rather than a constant stream. That economy is what the Charleston comp is training: the hit that lands, then the space after it.