FREQUENCIES! Sacred Harmonic Geometry – Understanding Resonance, Cymatics and the Chakras,

Sacred Harmonic Geometry

By Richard Merrick

Harmonic Visualization Models – Sacred Geometry

The study of sacred geometry was passed down over thousands of years from the ancient mystery schools. The most common geometries considered sacred are the Egyptian Flower of Life, the Hebrew Vesica Piscis and the Italian Borromean Rings (also known as the Holy Trinity), though there are others.

Harmonic Sacred Geometry

The reason such geometry was considered sacred is due to their similarity to organic geometries found in life. Such geometry was described as ’emanations’ by Gnostics, indicating their awareness that they were patterns formed by the intersection or interference patterns of waves. And since music travels in waves, sacred geometry became intertwined with musica universalis, the ancient theory of everything. Through musical proportions, everything could be modeled using sacred geometry.

To see how this works, consider the following musical Chromatic Ring divided into twelve equal sections according to the earlier harmonic color model. This is known as the Z/12Z cyclic ring model where Z is the set of integers 1 through 12.

Harmonic Sacred Geometry 2

The labels indicate bi-lateral symmetry between each half of the ring as divided by the Harmonic Axis through the Harmonic Center or harmonic Partial 9. Spring symbols are used to indicate the regions where harmonics share energy, namely between the tritone and tonic major third.

From the Chromatic Ring, a dual ring system can be used to geometrically represent the standard Fourier wave consisting of complementary wave components sine and cosine in phase-quadrature (out of phase by 90-degrees).

Harmonic Sacred Geometry 3

To the ancients, this interlocking ring arrangement was known as the Vescia Piscis or Mandorla (meaning ‘almond’), referring to the union section of the two rings. In the Hebrew Kabbalah, all life is described as entering into the world through the mandorla interference region between the dual rings.

In the most general sense, this is correct. The dual rings are a vertical cross-section of the double torus produced by the Coriolis effect – a geometry found in the formation of galaxies and our own solar system. Life too is toroidal like a hurricane, twisting around an axis, as seen in the swirl of hair at the crown of the head. When we are born, the birth canal is indeed a mandorla.

Harmonic Sacred Geometry 4For these and other reasons, the mandorla is used to frame religion icons and deities in Christianity, indicating their origination from the creation matrix. Moving beyond religious interpretations, we can better understand the physical properties of the dual rings by separating the twelve tones into two groups of six divided between the rings – one group in the top ring to represent sine components in phase with the Harmonic Center (D for harmonic series of C) and another group in the bottom ring to represent the complementary cosine components. The two groups of tones are known as whole tone scales, of which there are only these two.

Interestingly, we find that the mandorla corresponds to the so-called ‘dominant’ interval (e.g., {G, B} in C major), used in common practice music to create tension and resolve to the tonic. This so-called ‘dominant-tonic’ resolution is also used as a central element in music harmony to chain together a series of chords into what is called the Cycle of Fifths. When represented as a lattice of interlocking Vesica Piscis, dominant triads can be seen to cascade through an orbit of twelve tones.

Harmonic Sacred Geometry 5

When this same lattice progression is then transformed onto an orthogonal wave lattice using dominant 7th chords, something truly amazing happens. The Cycle of Fifths traces out the profile of a fish. In fact, the tense leading tone adds onto itself in such a way as to produce a prominent fin-like geometry – appearing very shark-like. Sacred geometry indeed!

Harmonic Sacred Geometry 6

Not only is life is born through a mandorla, but harmony of form is the inevitable self-organization process of nature. As harmonic waves reflect inside round containers, they assume the same proportional shapes found in Z/12Z music harmony – a bi-lateral symmetry of harmonic proportion. Sacred geometry is nothing less than the visualization of physical musical concepts.

via Sacred Harmonic Geometry.

Understanding Resonance

By Richard Merrick

What is Resonance?

Example: Acoustical resonance of different frequencies in a cello.

1. A phenomenon of reflected energy
2. Always occurs inside some kind of container
3. Has a prime resonant frequency
4. Represented as squared magnitudes (E=mc2)
5. Responsible for all coherence in nature
6. Universal to ALL types of waves (air, water, electricity, light, atoms, plasma, etc.)

Neural Resonance

• Holonomic brain theory (Karl Pribram, David Bohm)

‘Cognitive function is guided by a matrix of neurological wave interference patterns.’

• Harmonic resonance theory (Steven Lehar)

‘Spatial patterns in perception and behavior are mediated by spatial standing waves in neural tissue.’

What is a Standing Wave?

As waves reflect in a container, the prime resonant frequency reflects back on itself (adding and subtracting in opposition) to create a stationary oscillating wave pattern. Similarly, all interference patterns are composed of standing waves that are similarly stable and stationary as well.

As a standing wave forms, additional waves can form in the same medium. These waves are called ‘harmonics,’ ‘wave partials’ or in music ‘overtones.’ Harmonic partials to the standing wave are not random frequencies, but instead whole number multiples (1x, 2x, 3x, … nx) of the prime resonant frequency. This is called the harmonic series.

This is what the harmonic series looks like when both opposing phases of interference are superimposed at a constant energy level or amplitude. Notice the stable pattern it creates and the gaps that form around the nodes and other locations. This is universal to all kinds of waves as they ‘resonate’ inside some container.

Question is, what causes standing waves to form in such a regular pattern? What is the underlying physics that prevents fractional or enharmonic waves from forming on the prime resonant frequency?

Harmonic Formation

By Richard Merrick

How do harmonics form?

As waves reflect and resonate inside a container or cavity, they cross one another. As they cross, they exchange energy at specific locations called ‘damping wells.’ In quantum mechanics this is explained by Landau-Zener theory (1932).

Known as Landau damping, waves that pass through one another mostly transparently, avoiding a direct collision, are called ‘avoided crossings.’ In such cases, energy is exchanged in a ‘parameter zone’ where one wave pushes against another, creating a kind of spinning well or vortex action. Like a kind of switch, energy is passed ‘adiabatically’ (without heat loss) across the damping well in a kind of torque action.

We can think of the damping well as a kind of low-pressure zone much like those in our atmosphere that create storms, hurricanes and tornados. The surrounding pressure differential causes an implosion toward the center of the low-pressure zone, forming a vortex.

In the special case of a standing wave, damping wells form at constant locations at golden sections of the period of the prime resonant frequency. This is because the golden ratio constant, represented by the Greek letter _ (or Phi) and equal to the ratio of about 1 : 0.618033… or 1.618033, is non-reflective while having the unique ability to nest into itself infinitely. As a result, energy is exchanged between harmonics at Phi proportions while harmonic wave partials begin to ripple outward from the edge of the well.

Because of this, the damping well of a standing waves can be described as a Fibonacci spiral converging to Phi, the deadest location in a standing wave and thus the point of greatest torque and energy exchange between harmonics. This can be proven by using the Fibonacci series as a nominal solution for the second-order equation known as the ‘characteristic wave damping equation.’ In this proof, the golden ratio Phi becomes the ‘eigenvector’ and the Fibonacci series (1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, …} become its ‘eigenvalues.’

In fact, we can understand harmonic formation as something called ‘phi-heterodyning’ where each harmonic emerges around the Phi eigenvector in nested golden sections like a fractal. A paper by Bovenkamp and Giandinoto entitled ‘Incorporation of the Golden Ratio Phi into the Schrödinger Wave Function using the Phi Recursive Heterodyning Set’ shows how this can occur, but there is an easier way to visualize it.

The Fibonacci damping well approximates the irrational Phi Recursive Heterodyning Set with rational harmonic waves. Above the proportion of 13:8, wave formation is damped and suppressed while below this in the range of {1 .. 12} whole number harmonics can form and resonate constructively with the prime resonant frequency. In general, waves that come too close to Phi proportions in the resonant frequency are killed while those furthest away resonate the most.

While this sounds like a new idea, it is actually part of the age-old practice of creating resonant chambers that suppress the formation of unwanted standing waves and reflection. Stradivarius was well-known for using golden sections in the design of his violins. The best rectangular concert halls use golden proportions in their dimensions, as do modern day speaker enclosures.

Standing wave reflection simply cannot be sustained when one of the three dimensions in a container is at or even near a golden ratio to another.

Harmonic Patterns

By Richard Merrick

Harmonic patterns in nature

The first step in understanding harmonic resonance patterns is to study cymatic patterns created by vibrating sand or water.

Each pattern is the result of specific harmonic frequencies reflecting inside a container, such as a circular cup of water. For instance, a pentagonal geometry is formed either by one frequency resonating at the 4th wave partial of the prime resonance frequency (4 : 1 = 5 vertices) or two frequencies forming an interval, such as a perfect fifth (3 : 2 = 5 vertices). In both cases, we simply add the two sides of the harmonic proportion to find the shape of geometry.

Cymatic patterns can also form in low-pressure zones that form between two regions of pressure differential (described in an earlier discussion about damping wells).

In a spinning bucket of water, cymatic patterns arise from the velocity differential between the outer edge of the bucket and its center axis. As before, the geometry is determined by the frequency proportion created.

Swirling weather patterns work the same way, spiraling around a center while closing into an approximated circle in the center. In recent years, the most powerful storms occasionally form cymatic patterns in the clouds, even tracing out a pentagram inside a pentagonal eye. Similar formations have been found on other planets, such as a giant hexagon around Saturn’s south pole.

While it is obvious that the bucket acts as a container for the standing wave patterns in water, what can we say is the container for weather patterns? Most would answer ‘clouds’ or ‘the planet’ but the more correct answer is gravity. Gravity acts as a damping well in space around a planet, forming a spherical bubble within which waves can reflect and form stable patterns.

The same thing happened long ago in the plasma disc of our solar system, forming planets in orbits spaced approximately at right angles along a Golden Spiral. In the process, the planets and their moons exhibit a variety of resonant properties. The most obvious is the resonant orbit of Venus to Earth.

In the heliospheric current sheet of the sun, a Phi-damping well once existed in the plasma between Earth and Venus. At one edge of the well was the planet node Venus and at the other Earth. For every 13 orbits that Venus travels around the Sun, Earth travels almost exactly 8, creating the resonant proportion 13 : 8 (mentioned in the harmonic formation section). Since 13 / 8 = 1.625, the two orbits straddle the stabilizing Phi-damping eigenvector in the space between, forming the geometry of a pentagonal star in the two planet’s conjunctions.

This star cymatic pattern was well known in ancient times as the Star in the East, the Morning Star, the Babylonian Star and the Star of Bethlehem. Since it rose in the sky before the Sun, it was called the ‘light bringer’ or in Latin ‘Lucifer.’ This orbital star pattern played a prominent role in many early religions and associated with the sacred feminine presence of God. This included the Hindu Vena (and Shukra), Kali, Ishtar, Innana, Astarte, Semiramis, Ashtoreth, Isis, Aphrodite, Venus, Demeter, Hathor, Ostara and Eastre.

But, celestial mechanics are not the only place where harmonics help nature organize itself. At the atomic level, harmonic resonance between atoms is known as bonding. In the case of life, 99 percent of a living thing is made of water and carbon and the way in which these atomic geometries harmonize. In particular, both assume pentagonal connectivity maps at the mesoscopic level where molecules cluster together.

As carbon-water clusters fit together to form cells, organs and bodies, life assumes a range of organic shapes. Nature’s geometry is not strictly a matter of natural selection and random mutation. Atomic resonance is also at work, guiding the formation of different life forms into a limited number of possibilities which are then differentiated further by environment.

For humans, the pentagonal shape was the guiding harmonic pattern, creating a dual-pentagon arrangement in the DNA molecule, a pentagonal cranium and five fingers and toes on each side of our body. In this way, physiological shape can be described as a harmonic patterning process that emerges from a Fibonacci spiral – exactly like that of a harmonic standing wave heterodyning out of a golden ratio fractal.

Note that the golden ratio Phi = (1 + √5) / 2

 

Cymatics Today

By John Stuart and Analiese Shandra Reid

Cymatics Today, a Window into the Universe
The underlying principle of cymatics is that the geometry of sound can be imprinted onto membranes and made visible with special techniques. The membrane can be a flexible material, such as latex or your skin, while other surfaces, such as brass or glass plates, may appear rigid yet they can still be minutely imprinted by sound. Simply by sprinkling on a little powder or sand, provided the membrane is horizontal, the imprint of sound can be revealed. The particulate matter gathers in the areas that are not vibrating, leaving the vibrating areas clear of particulate. Cymatic patterns are, therefore, rather like a photographic negative, because they represent the inverse of the sound that caused them to form.

Below is a typical CymaGlyph created with sand on the CymaScope that reveals a fundamental frequency of 5000 Hertz. Note the similarity between this cymatic pattern with the structure of a diatom, a sea creature that first appeared in the oceans of the Jurassic period, around 185 million years ago.

We used sand in our early research as the disclosing medium, but we soon discovered that water, with its highly flexible surface tension, acts like a super-thin membrane and reacts almost instantly to any sound, revealing very high levels of detail.

In the water CymaGlyph below an ultra- pure tone of 22.2 Hertz demonstrates archetypal pentagonal geometry creating an almost 3D view of sound. This CymaGlyph compares remarkably with the structure of the Campanula flower.

Dolphin Research
Applications for the CymaScope are beginning to emerge in many different fields. For example, in collaboration with Jack Kassewitz of SpeakDolphin.com we have taken the first steps in unraveling the mystery of dolphin language. We are contributing to their research program by transcribing dolphin echolocation sounds into CymaGlyphs, with each image representing a type of dolphin picture word. The image below is that of a CymaGlyph created by a baby dolphin calling to its mother. The call creates a replicable pattern of acoustic energy with a particular meaning. The second graphic illustrates the basic principle: a cross section through the dolphin’s high frequency sound beam is made visible on the CymaScope.

Signature Sounds of Stars
Another application for the CymaScope is imaging sounds from space. We discussed earlier the concept that all sounds have an infrared component. When we speak or sing outdoors our words or song will one day reach the stars in the form of modulated infrared light. But the reverse is also true: sounds from stars continually bathe the earth. Oscillating stars have a particular type of signature and in collaboration with Professor Don Kurtz we recently imaged the sound of a star that he discovered, known as HR 3831-A. This technique allows us to see the distinctive geometry of the sounds at work within the atomic furnace of the star and could provide a valuable analogue for future students of asteroseismology and for outreach projects in schools and colleges.

Cymatics in Egypt
Most people who have experienced the acoustics of the King’s Chamber in the Great Pyramid walk away with a feeling of awe, in some cases coupled with an impression that the chamber was designed to reverberate. For a relatively small chamber the reverberation is indeed extraordinary; one can literally hear one’s own breathing (when the fluorescent lighting is turned off) and this experience often accompanies feelings of cathedral-like reverence. This notion of design implies a prior knowledge of acoustics and materials. The high levels of reverberation in the chamber are actually a function of the flat granite surfaces, their parallel arrangement and the chamber’s dimensions.

John Stuart Reid undertook an experiment in the Great Pyramid in order to investigate his belief that the King’s Chamber was designed to be highly reverberant and that the energy of any sound made in the chamber is transferred into the sarcophagus. Reid has studied Egyptology for decades and believes that the King’s chamber was designed to support a rebirthing ritual enacted prior to the pharaoh’s death or perhaps afterwards and that vowel sounds chanted in the chamber were intended to have an energizing effect on the sarcophagus and its occupant during sacred rituals.

Cymatics Experiment in the King’s Chamber
Reid conducted his cymatics experiment in 1997 with the intent of making sounds within the sarcophagus visible. He positioned a speaker inside the sarcophagus and connected it to an oscillator, a device that electronically creates pure tones. Finally, he sprinkled quartz sand on the surface area of the temporary latex membrane stretched across the sarcophagus and turned the oscillator on. To Reid’s amazement as well as the ‘Keeper of the Keys’ who accompanied him in the chamber, an astounding array of ancient Egyptian hieroglyphic-like images appeared! Two are shown here and we have many others on file.

The simplest explanation for how hieroglyphs came to be imbedded in the sarcophagus derives from the highly resonant crystalline structures imbedded in the granite that would have bathed the scribes in sound bubbles during the construction of the sarcophagus. Hypothetically, one or more of the scribes had synaesthetic abilities, that is, they could ‘see’ the sounds from the sarcophagus while it was being worked with tools. Reid postulates that these minds-eye sound patterns influenced the scribes in the development of the hieroglyphic language.
(For those readers interested to learn more about Reid’s acoustics research in Egypt please go to our web site: http:// http://www.cymascope.com/cyma_research/ egyptology.html)

Cymatics and the Chakras
The word ‘chakra’ means wheel or circle in Sanskrit and is based on the ancient Eastern model of the body having seven primary chakras or energy centres. Each of the seven centres connects subtle energies with the physical body and they are receptors that vitalize the body with prana or life force energy. The chakras are aligned from the base of the spine to the top of the head. Each chakra possesses specific purposes and is associated with the functioning of a particular endocrine gland.
In order to maintain emotional, mental, physical and spiritual health, all chakras must be functioning properly and working harmoniously with each other. When one or more of the chakras become imbalanced or blocked the result is dissonance in certain aspects of the body. Emotional imbalance, illness or disease often manifest as a result. Just as the cells of our bodies produce distinct sounds, so too do the chakras, although science is only just beginning to investigate this phenomenon using SQUID magnetometers.

Many healers have used their intuition to guide them to the sounds of the chakras and one of the most notable authorities on this subject is Jonathan Goldman, renowned sound healer. He devised a system of chakra sounds that Reid imaged on the CymaScope and can be used as an aid in meditation. Astoundingly, when he imaged the heart chakra it appeared in the shape of a heart—the image below has not been retouched except for the addition of colour.

The study of cymatics is still in its infancy and innumerable realms within this sphere of research are waiting to be explored. Please visit our website for updates on the latest cymatic insights and discoveries.

Cymatics – Seeing Sound

By John Stuart and Analiese Shandra Reid

Seeing Sound with the CymaScope
Sound is an invisible force that permeates every aspect of our lives. With the exception of music, many man- made sounds are jarring while the sounds of Nature tend to flow over and around us like soothing waters, lifting our spirit, inspiring us, exciting us. Yet if we could see sound our world would be even more beautiful than we could imagine. It would be a world filled with shimmering holographic bubbles, each displaying a kaleidoscopic pattern on its surface. To see sound is to open a new window onto our world, one that has been veiled in mystery until recently.

When the microscope and telescope were invented centuries ago, new realms came into view that were not even suspected to exist—a Universe in miniature under the microscope and a Universe so immense that centuries of research lie before us with the telescope. Now, like the microscope and telescope that preceded it, the CymaScope instrument allows us to see a previously invisible realm—the world of sound— helping us to gain a deeper and fuller understanding of life and the Universe. The CymaScope uses the science of ‘cymatics’ to make sound visible, by imprinting sound’s invisible vibrations onto the surface of ultra pure water to reveal its once-hidden geometric structures.

This new scientific frontier reveals aspects of Nature every bit as authentic as a flower or a butterfly, the stars in the heavens or starfish in the oceans—in fact, as we will come to see in this article, sound is just as much at work in the interior of a star as iis in the organs of a starfish or in the cells of your body. Sound lies at the heart of every aspect of Nature, underpinning all of Creation. Cymatics will, in the future, enable humanity to understand far more about the Universe and our world than was possible with previous technologies. The CymaScope and the science of cymatics provide a bridge that will lead to significant advancements in knowledge.

The Shape of Sound
Before looking at cymatics more closely let us dispel the popularly held misconception that ‘sound is a wave’. It isn’t. All audible sounds are, in fact, spherical in form or spheroidal, that is to say audible sounds are sphere-like but not necessarily perfectly spherical. For the sake of simplicity we’ll call these spheroidal sound spheres ‘sound bubbles.’

Our world is teeming with beautiful holographic sound bubbles that envelop us in shimmering patterns of acoustic energy, each bubble rushing away at around 700 miles an hour as new bubbles form from the source of the sound. Whether the sound is emitted from your voice or from some other source, such as a musical instrument, this ‘bubble-in-a-hurry’ leaves a fleeting vibrational imprint on the surface of your body: every cell in the surface tissues of your body actually receives sound patterns from the bubbles that surround you. However, only low frequency sounds can penetrate the interior of your body. To understand more fully how your cells respond to the healing power of audible sounds please refer to our previous Veritas article, Rediscovering The Art And Science Of Sound Healing.

Yet, despite the fact that sound is not a wave, the term ‘sound wave’ is in general use throughout the world, which is rather amazing when sound waves don’t actually exist! So let us briefly discuss how this strange anomaly has occurred.

Sound is basically periodic movements of air molecules bumping into each other. These movements of sound can be described mathematically and when plotted graphically the shape of the graph does indeed look like a wave. However, if we could see audible sounds shimmering in the air around us we would see beautiful bubbles, not waves, so it is misleading to say that sound is a ‘wave.’ If what is actually a bubble is described as a wave it is possible that incorrect conclusions will be made about the way Nature works.

In the illustration below a slice through a sound bubble is depicted. The peaks of the graph represent the regions of high-pressure air within the sound bubble, whereas the mid points of the graph represent the areas of low-pressure air. The ‘space-form’ of audible sound is indeed bubble-like whereas the graph—often referred to as a sound wave—is merely a mathematical depiction of the peaks and valleys of sound pressure.

Sound and its Relationship with Light
To understand the concept of visual sound a little more fully it will be helpful to explore how the vibrating atoms of air that create sound relate to light and life. At the moment of these atomic sound collisions something quite magical happens: Light is created.

Light occurs every time the magnetic shells of two vibrating atoms bump against each other. The frequency of light created in this way depends on the energy in the collisions, meaning how fast they bump together. Try this experiment: Rub your hands vigorously together. You’ll feel warmth. This is because the atoms in one hand are slipping past the atoms in your other hand, creating heat, which is just another name for light. The light you create by this friction method is in the infrared part of the spectrum of electromagnetism, invisible to our eyes but quite visible to some species of bat, owl, snake and mosquito.

You create infrared light even when you speak. The atoms and molecules in the air are excited by the vocal folds in your larynx, creating a tiny pearl of acoustic energy that rapidly expands out of your mouth and rushes away at around 700 miles an hour. The atoms and molecules of air within this expanding bubble are bumping into each other, each collision transferring your voice vibrations to the nearest atom or molecule. As these ‘bumps’ occur they cause infrared light to be created due to the friction between the magnetic shells of the air particles. The infrared light carries with it the modulations of your voice that rush away at the incredible speed of 186,000 miles per second. Unlike the sound of a voice, which becomes inaudible after about one mile, the infrared light created by your voice rushes out into space where it travels for eternity, carrying your words or songs to the stars.

Thus, there is a direct relationship between sound and light and in fact there can be no light in the Universe without sound because light is only created when atoms collide with each other, and such collisions are sound. So light and life owe their existence to sound.

Harmonic Evolution Part 1

By Richard Merrick

This paper proposes atomic resonance as a structural guide and predetermining condition for Darwinian evolution theory. Recent studies on the mesoscopic structures of water and carbon, together with the latest geometric DNA mapping theories, suggest that life emerges and grows according to predictable harmonic patterns found in organic chemistry, preserving and propagating specific atomic geometries into living organisms. Based on this and relevant neurophysiological research, a harmonic Gaussian interference model for cellular entrainment is presented to explain the origin of common organic geometries, including cardioid, ellipsoid and spiral primitives, as well as 3-fold exo- and 5-fold endo-skeleton structures. From this, a recursive harmonic Hilbert space is defined for use in evolutionary classification, physiological analysis and organic simulations. Examples are provided, including a step-wise analysis of the human body.

Avenues for additional research are discussed, including application of harmonic Gaussian interference models to cosmology, cognition, medicine, social theory and philosophy.

1. Introduction
To find our deepest connection to Nature, we need look no further than the geometry of the human body. (Fig. 1) It is at the apex of Creation, reflecting the beauty of the cosmos and embodying the order of its physics. Yet in spite of this self-evident truth, we still have very little understanding about why our bodies are shaped the way they are and how that might be connected with the evolution of perception and human consciousness.

Figure 1. Life can be described as the outward spherical resonance of atomic energy contained by the inward gravitational pressure of cubic space, crystallizing according to a recursive orthogonal harmonic lattice of Φ-damping rings.

The contemporary Darwinian view from the fields of biology and anthropology hold that the appearance of life on Earth was driven by chance from the molecular level up, then adapted over time to survive better in a hostile environment. [1] Indeed, the theory of evolution depends exclusively on natural selection and survival of the fittest (with the occasional random mutation) to explain the shapes of the tiniest plants and organisms up to the largest animal. [2, 3] The theory is probably best summed up by the rallying cry of the neo-Darwinist ‘If we could somehow restart life on Earth (or another planet) from the beginning, it would probably turn out completely different.’

As things stand today, Darwin natural selection combined with Mendelian inheritance has become the only generally accepted scientific explanation for life on Earth. Without a better explanation, most scientific-minded people choose this theory as is, defending it without question in spite of the fact that it cannot tell us, for instance, why we have five fingers instead of six or a wave-like spine rather than a straight one. Everyone knows instinctively that something is missing in evolutionary theory to answer such questions, but what could it be?

Re-thinking Evolution
What if there is a less obvious but universal property in Nature that physically guides evolution from somewhere beneath the environmental process of natural selection to carve the basic shapes of life? What if life is as much a function of the way atoms bond with one another as it is genetic mutation and selection?
Common sense alone tells us that for natural selection to be the only explanation for why life appears as it does, the fossil record should show many times the variations found. For instance, since eight legs work so well for a spider, shouldn’t we find fossils of higher organisms with eight legs capable of outrunning, outmaneuvering and even out-boxing their four- legged predators?

Or, how about only three legs, which might have enabled a more efficient cardiovascular system? Where are all the ‘failed’ animal fossils with entirely different appendages, re-arranged internal organs, extra joints that offer greater flexibility or even eyes in the back of their heads? Wouldn’t some of these have been more survivable than many animals today?
Yet for some unexplained reason, fish, reptiles, amphibians, birds, mammals and even dinosaurs all ended up with the same basic skeletal structure consisting of a wave-like spine, cardioid- shaped rib cage, single head and four limbs. While natural selection does imbue each of these creatures with a particular anatomical variation or morphology, this basic 5-fold archetype was the one and only internal skeletal template that emerged as life evolved in and out of the sea.

Figure 2. Pentagonal geometry of life: upper line shows the golden spiral of a Nautilus pompilius converging to the square root of 5; lower line indicates the inner seed geometry of an apple growing according to the same pentagonal recursion.

Similarly, insects are a morphological adaptation of a single 3-fold exo-skeleton template comprising a head, thorax and abdomen. These, too, appear to have occurred during the transition to land and air from simpler sea creatures.
As for invertebrates like jellyfish all the way down to bacteria and viruses, all manifest a morphology of simple periodic geometries, such as spheres, rings, toruses, tubes, helixes, stars and even icosahedrons. Plants and fungi are much the same, branching or spiraling as groups of about 62% and 38% into the extruded regular geometries of fruits, vegetables and flowers (Fig. 2).

But for natural selection to favor survivability, shouldn’t we expect to see fossils of plants that once branched randomly (or equally) or land animals with much more diverse features? Shouldn’t the animals alive today have descended from more efficient and fiercely competitive, anatomical archetypes?

The fact is there is nothing in the theory of evolution and the fossil record that can explain any of this, any more than it can explain why leaves are not square or why fruit assumes the shape of regular geometries. So, what else could be at work to guide the evolution of life?

2. Atomic resonance as a framework for life
All life on Earth is composed mostly of carbon-12 and water. This is the case because carbon-12 bonds or resonates with more simple elements than any other element in the universe. It is for this very reason that carbon-12 is the international standard for atomic weight and all other elements are measured against it. With 6 protons + 6 neutrons in its nucleus and 6 electrons orbiting in two shells, carbon-12 exhibits the lowest possible energy of all the elements and is said to be ‘unbound’, thereby creating the most stable atomic geometry possible (Fig 3). When mixed with water, carbon-12 creates endless chains of sticky amino acids capable of crystallizing into life.

This idea of life as a crystallization process is a good one because just as minerals align under pressure into lattices, coils of amino acids fold under pressure into three-dimensional protein structures, aligning into the familiar helical lattice of DNA. It is the geometric pressure of hydrogen atoms in water that helps create the lattice and give DNA its twist.

Figure 3. Carbon-60 Fullerene geometry is a result of the truncated icosahedral packing and spacing of carbon atoms in a cage.

In recent molecular studies of water, biochemist Martin Chaplin found that water organizes itself naturally into a lattice of icosahedral clusters, just as Greek philosopher Plato proposed more than two millennia ago. Water really does resemble the 12- pointed, 20- faceted geometry of an icosahedron.

The water lattice begins as 4-fold tetrahedral units of 14 water molecules, aligning into 20 clusters to create the geometry of a 280-molecule water icosahedron (Fig 4). This structure then assumes a variety of stable, geometric sub-structures (such as its complementary dodecahedron) that form into even larger superclusters. At this mesoscopic scale of water, molecules arrange themselves into a 2-dimensional connectivity map of a regular 5- fold pentagon. [4a-f]


Figure 4. Water’s molecular geometry begins as interlocking tetrahedrons of water molecules that combine into icosahedral clusters and pentagonal superclusters at the mesoscopic scale.

When the 5-fold icosahedral superclusters of water is then combined with the complementary dodecahedral structures of carbon, something very interesting occurs – they resonate with one another to produce the characteristic geometry of life. There is nothing random or arbitrary about this – it is an inevitable outcome of the physics of harmonics acting at the atomic level. Carbon vibrates or resonates with itself and other simple elements to form a wave-like spine while water acts to deaden or ‘damp’ everything into a pentagonal framework.

The role of atomic resonance in creating organic shapes was demonstrated in another recent study showing the first step of enclosure needed for a living cell occurs from a geometrical folding of carbon molecules. In a 2006 publication of the American Chemical Society entitled, Tb3N@C84: An Improbable, Egg-Shaped Endohedral Fullerene that Violates the Isolated Pentagon Rule, it was reported that a large, Fullerene, carbon-84 allotrope constructed its own egg- like cage when two adjacent pentagons in the carbon molecule became fused together in a reaction with terbium (Fig 5). [5]

Figure 5. Endohedral carbon-84 Fullerene Egg shown warping into the quasi-crystal geometry of a common hen’s egg.

Discovered by a combined team from the University of California, Virginia Polytechnic and Emory and Henry College, this was the first indication that the regular soccer ball geometry of hexagons and pentagons in a large carbon Fullerene could wrap itself into an egg-like cage by reacting with another atom, thereby producing a uniquely organic geometry known as a quasi-crystal.

This discovery could help answer a lot of questions. It may explain how amino acids ‘learned’ to form cellular containers to protect themselves from the environment. It could even offer a reasonable explanation for how ribcages came to form around vital organs in all vertebrate animals. It suggests that the atomic balance between pentagonal and hexagonal molecular geometry is the primary cause for the enclosure process of life, rather than some mysterious external selection process. The egg clearly came before the chicken!

In each of these studies, we can begin to see how evolution could be guided by geometric harmonies at the mesoscopic scale of carbon-water bonding. The 5-fold inward-damping geometry of water provides a kind of pressurized container for the outward- resonating carbon-12 atoms, bonding out of inanimate elements into living harmonic crystals. The entire process could be described as a kind of biological music resonating out of a finely tuned atomic framework contructed primarily from water and carbon atoms.

From the perspective of atomic resonance, Darwinian evolution becomes a veneer of adaptation that depends on pre-existing and universal harmonic laws intrinsic to Nature. Simple animals resonate into uni-body and 3-fold carbon-12 shapes while more complex forms succumb to the 5-fold damping pressure of water, branching out at approximated Golden Sections into pentagonal clusters, such as roses, starfish and the human anatomy. As the most resonant life form of all, we humans exist at the razor’s edge of atomic harmony – perfectly balanced in 12:5 proportions by Nature – to achieve consciousness and ponder our own existence.

Perhaps it is time to update Darwin’s 19th century theory of evolution to include atomic resonance acting in concert with natural selection. And maybe the first goal for this new theory of harmonic evolution should be to understand how carbon-water geometry is preserved in the genetic code.

3. Evidence of geometric encoding in DNA
A recent paper by physician and researcher Mark White, entitled The G-ball, a New Icon for codon symmetry and the Genetic Code, proposed that the codon table of the genetic code follows the shape of a 12-faced pentagonal dodecahedron.
Since there are exactly four nucleotides in DNA that combine in sequences of three to produce 64 codons (43 = 64), White suggested that the genetic code organizes itself into the shape of tetrahedrons, which then combine into the shape of a spherical dodecahedron – exactly like clusters of water molecules (Fig 6).

Figure 6. Mark White’s ‘G-Ball’ DNA dodecahedron model showing the 20 standard amino acids organized in space according to water affinity.

Following the equilateral genetic structure predicted by Russian physicist and cosmologist George Gamow, White explains how the 20 edges of a dodecahedron (or 20 triangular faces of its dual icosahedron) can be used to represent the 20 standard amino acids in DNA. The amino acids are then assigned locations in the geometry according to their water affinity (how much they like or dislike water).

From this, protein bonds into sequences of amino acid tetrahedrons, forming into a 12-sided dodecahedral framework that is then twisted by hydrogen around a fixed polar backbone to produce the 10-step spatial symmetry of the DNA double helix (Fig 7). [6]

Figure 7. DNA double helix modeled as a dodecahedron rotated around a central axis.

Another study by Chi Ming Yang at Nankai University in China claims to have also found a quasi-periodic, egg geometry in the human genetic code, paralleling Mark White’s G-Ball model.

Derived from the same building blocks of 20 standard amino acids and 64 tri-nucleotide codons in DNA, Yang found a cooperative ‘vector-in-space’ addition principle that stretches into an ellipsoid or egg-like shape called an icosikaioctagon (Fig. 8). Not surprisingly, this geometry was determined to have originated as five ‘stereochemical’ growth stages over a period of millions of years. [7]

So, when we combine Yang’s quasi-periodic model with White’s G-ball model, we arrive at a structure common to all forms of biological life – a 5-fold ‘egg’ with a 12-fold ‘yolk’ inside. Through the harmonic physics of atomic resonance and damping, Nature has engineered DNA with its own eggshell container to protect the geometric resonance of life over time.

Figure 8. CM Yang’s ‘Vector-in-Space’ DNA model showing five geometric stages of evolution. When combined with White’s G-Ball model we have the encoding of a quasi-periodic geometry of an egg.

This can be understood as a natural interaction between space and time. Water creates a spherical container for carbon-12 resonance, allowing only whole number harmonic structures to form in the yolk. Around this, a pentagonal water crystal forms to protect the yolk and gestation of life. This cage is then shaped into an egg as the pentagonal crystal recurses toward the square root of five and the yolk region is displaced along a polar axis. This causes the egg to assume the quasi-crystalline shell dimensions of Φ3 long x 2Φ wide, which reduces to Φ² / 2 = 1.3090165.

While the idea that DNA could be encoded geometrically as an egg may seem ‘improbable’ to some, the idea appears to predate even Pythagoras. As a symbol of balance in all life, early natural philosophers seemed to understand the egg as an instance of the Golden Mean – cubed in its length and doubled in its width, derived from the square root of 5 in a pentagram.

As example, Aesop’s fable of The Goose That Laid the Golden Eggs, based on a much older Egyptian story, probably has more to do with how life grows harmonically inside a golden-proportioned egg container than it does the precious metal. In an ancient worldview founded on the physics of music, the golden egg could have been seen as a pentatonic container for a dodecahedral yolk, creating a living 7-fold diatonic animal in between (‘dia-tonic’ means ‘thru the body’).

But even with the growing evidence of harmonic structures in DNA, one last puzzle remains to fully understand how DNA unfolds itself in space during reproduction. How exactly do the carbon and water atoms in DNA self-organize into larger organisms? And while the resonance of amino acids clearly start the crystallization process at the mesoscopic level of water and carbon, what can we say enables this process to continue outward into the macro structures of highly evolved life?

4. Space as a resonant container
It is a well-known fact that sound will produce regular geometric patterns when particles of powder are vibrated on plates or inside liquid containers. Known as cymatics (from the Greek word for ‘wave’), researchers such as Ernst Chladni in the 18th century and Hans Jenny in the 20th have shown how harmonic waves will reflect in containers to form circles, triangles, pentagons, hexagons and other, more elaborate, mandala-like patterns (Fig 9).

As might be expected, the simplest cymatic patterns occur inside a circular or spherical container, always aligning to a single line of symmetry. As waves resonate into standing waves, different harmonic frequencies combine to form regular patterns by crossing one another at whole number proportions. The same thing can be said to occur in the atomic substratum of DNA as harmonics guide cell mitosis. The only difference with DNA is space (together with gravity and atmospheric pressure) act as the cymatic container.

According to quantum chromodynamics, the vacuum of space is structured as a non-compressible, stationary cubic lattice.


Figure 9. Cymatic resonance pattern in a circular container show how water molecules resonate together inside a pressurized bubble to form pentagonal supercluster crystals.

One interpretation of this lattice is as a field of nominal Schwarzschild black holes comprising a field known as the Schwarzschild lattice. Within this definition of quantized space, atomic particles (bosons) are said to center on spiraling vortices (called a Flamm paraboloid) in a given cell of the lattice, forming geometrical patterns in its nucleus and orbiting electron shells. [8]

So, when we now consider carbon and water atoms resonating together inside a geometrical space lattice – pressurized into spherical bubbles by Earth’s gravity and atmosphere – the atoms and molecules in living tissue would naturally entrain and resonate synchronously into larger and larger cymatic patterns.

For life, it must be the quantum structure of space and the pressure of its gravitational ‘egg’ that together have the ‘know how’ to arrange vast numbers of resonating molecules into life-size crystalline structures. In this way, living cells would dynamically self-organize into stable geometries much like powder vibrated inside a spherical water container.

In the container of a human body, the energy of resonating atoms, molecules and cells would have little choice but to entrain into a reflected harmonic standing wave, rippling outward from the 12 x 2 = 24 vertebrae of the spinal column with less and less energy tothetipsofour5x2fingersand5x2toes.Hereagainwefind the body described as a 12 : 5 dodecahedral proportioned carbon- water crystal resonating under intense gravitational pressure into the container of the quantum chromodynamic lattice. It is not a matter of metaphysics to say that life is crystallized light formed by spherical harmonics in a structured space.

The universal harmonic pattern of life
This discussion now brings us to a definition of life based on the physical process behind the formation of harmonics in a circular or spherical container. Properly defining this process is essential in understanding the physics guiding evolution and the patterning process of organic growth. As we will see, the geometry of life can be traced back to one universal pattern of harmonic interference.

Not too surprising, this universal pattern can be easily found using a ‘Blackman spectral analysis’ of two musical tones diverging at a constant rate from unison upward to an octave (Fig. 10). Reproduced here with a built-in function in Adobe Audition®, the analysis reveals the spacing and size of resonant gaps that form naturally according to small whole number harmonic ratios, just as Pythagoras had discovered over 2,500 years ago. Each gap corresponds to a simple musical proportion, such as the 3:2 ratio of a perfect fifth, 4:3 perfect fourth and the highly resonant 5:3 major sixth – the widest gap of all.

To be clear, this is not a random, variable or contrived pattern, but the one universal pattern of interference produced by all harmonic standing waves as they vibrate through any medium.

Figure 10. The Gaussian shape of harmonic interference.

This spectral pattern is not limited to sound only, but exists everywhere harmonics form, including electromagnetic fields, laser light, musical tones, natural vibrations in the Earth, the spacing and sizes of planets in our solar system and the coherent cellular structures of life. We can represent it mathematically using a statistical curve called a first-derivative Gaussian distribution (shown in red in Fig. 10).

You will probably never learn in school how important this harmonic curve really is, but it is present everywhere in Nature. It approximates the change in the number of spots on the Sun, describes the change in diameter of blood vessels in living organisms and estimates the thickness of tree bark as it reduces upward in a tree, to name but a few. As a representation of the velocity change in a Gaussian ‘normal distribution’ (or ‘Bell Curve’), this one function is the foundation of probability science and the very cornerstone of modern statistics.

But while most scientists accept and use this distribution and its strange equation without question, some of us might still wonder what physical process is at work underneath it to cause harmonics to always self-organize in this way. How can we understand what this Gaussian equation is trying to tell us about Nature?

When we stop to consider the curve from a philosophical perspective, we can begin to understand the basic principles underneath it, driving the harmonic patterning process. A more intuitive and organic description of the resonance pattern can be expressed as the square of the linear harmonic series as it is curved (one might say carved) by the Fibonacci series (Fig. 11).

As we see in the figure, the interference curve is a natural byproduct of harmonics as they resonate and damp one another. It results from the square of the first twelve frequencies of the harmonic series, as {1, 4, 9, 16, …, 144}, divided by the first twelve Fibonacci frequencies {1, 1, 2, 3, …, 144}. This is summarized by the Harmonic Interference function in the figure, expressing the balance between spatial resonance and temporal damping in a simpler, more beautiful symmetric form.
With this one equation, we can see how Nature balances itself between the finite and the infinite, harmonizing a closed resonating circle or harmonic wave with an open Fibonacci spiral. It represents nothing less than the geometric harmony of π-squared divided by the golden ratio Φ, otherwise known as the ‘squaring of the circle.’

Figure 11. An organic expression of the Gaussian first derivative.

While this may all seem a bit abstract at first, its relevance to understanding how harmonics guide the evolutionary process will begin to become clearer after a minute or two. Consider first the fact that spherical stars and planets form out of spiraling clouds of plasma. Then consider that life also grows out of a spiral. We see this in the unfolded Fibonacci spirals of tree branches, the spiral of a chambered nautilus and the spiral of a human embryo. In a very real and physical way, everything emerges out of infinity as a spiral, eventually stabilizing into a harmonic wave or sphere.

So when we now take this harmonic interference pattern and geometrically square it again, folding it back upon itself as if reflecting inside a circular container, we arrive at perhaps the most important geometry in the universe and the one guiding pattern at work in the evolution of life – the symmetrical Reflective Interference Model (Fig. 12).[9]

Figure 12. The universal harmonic pattern of life.

Formed from the harmonic mean between a circle and a spiral, this organic-looking curve is the shape life assumes as it evolves into higher and more complex organisms. We can prove this by observation.

First of all, DNA and all forms of life always orient around a polar axis (see Fig 13). In humans and other animals the primary axis becomes the spine while for plants it is the trunk or stem.

Figure 13. Harmonic shapes in Nature.

As cells grow and resonate outward from their polar axis, the Polar Reflective Interference Model tells us that they resonate or explode outward (in slow motion) as a circle or sphere, but then begin to lose energy and damp back inward, spiraling and twisting back toward the polar axis. As this reflects in two opposing directions, a heart or cardioid shape forms with an intersecting almond-shaped region called a ‘mandorla’ in the center. We see this geometry in such things as plant leaves, fruit, bones and internal organs, such as the brain and cardio-respiratory system. A MRI cross-section of the chest is probably the most impressive example, revealing how the heart nests inside the mandorla.

Sometimes this harmonic pattern runs along a line instead of around a polar axis. Examples of Linear Reflective Interference can be found in such things as wings, shoulders and even the Earth’s spherical tectonic plates (stretched at the equator and narrowed near the poles). The most noticeable example of linear harmonic geometry is the double Gaussian shape of human breasts. As the organ that generates more energy during lactation than any other organ (including the brain), female breasts act as a damping container for cellular resonance either side of the heart. Nipples are a function of this resonance, forming near the apex (or max velocity) of the interference curve, opening at golden ratios to the surface of the body (Φ and -Φ in previous Fig. 12). All sentiment aside, mother’s milk is a physical expression of the heart’s harmonic resonance.

This same harmonic interference pattern is found repeated at different scales and orientations throughout the entire human body. Yet, it is not immediately apparent why the pattern configures itself the way that it does. Is it strictly random, a result of mutation and natural selection as the Darwinian theory of evolution claims, or is there an even larger harmonic pattern involved?

Harmonic Evolution Part 2

By Richard Merrick

Back to PART 1

5. Harmonic patterns in the human body
A larger pattern does indeed appear to be guiding evolution. When we take both the Blackman spectral analysis and Reflective Interference Model and compare them proportionally to Leonardo da Vinci’s Vitruvian Man illustration, we find a number of correspondences between the resonant gap pattern and key locations in the human body (Fig 14).

The point of maximum resonance (a 5:3 ratio) aligns precisely with the lower throat and top of the heart. The point of maximum damping (the golden ratio) then aligns with the lower heart. Together, these two locations correspond to the pumping action of the heart as it contracts in a twisting or wringing motion from top to bottom. Arms occupy this same resonant region, branching outward along the wide open pattern of gaps. This cannot be only the result of natural selection or random mutation.

Other correspondences include a pronounced stripe aligning with the top of the Vitruvian square and several gaps aligning with the brain, navel, perineum and knees. Based on these alignments, it seems undeniable that the human body is structured just like two musical tones diverging over an octave from the toes out to the fingertips. Thus, if the geometry of life is a function of harmonic resonance like a musical octave – then, the spine represents an axis of resonance in the body, partitioned into 24 discrete harmonic frequencies.

To this point, if we take the radius of the circle to be 2π and then align one full cycle of a harmonic standing wave with the navel, the fifth harmonic (a 3:2 proportion) can be found to match the curvature of the human spine – exactly. More amazing than this, the location and spacing of the seven tones of a musical major scale align with the seven Hindu chakra locations in the body. Even the traditional chakra colors align to these locations when the perineum (at the bottom of the torso) is assigned red at the bottom of the visible light spectrum. Obviously, someone understood harmonic interference patterns and their presence in the body a long, long time ago.

From here, we can reverse engineer the basic harmonic framework of the body using the physics of a circular cymatic resonance container. We begin by following a series of concentric damping rings spaced by the golden ratio converging inward toward the center of the body (Fig. 15). These rings represent the calmest and most stable locations in a circular standing wave.

At the outermost ring, there is 100 percent damping and no resonance, but as we move to the next two rings, appendages appear followed by a space for the torso. At the fifth ring in, a split occurs at the solar plexus, creating a new point of symmetry for the upper and lower halves of the torso.

Figure 15. Reverse engineering the geometry of the human body.

From the solar plexus, a 3:2 harmonic shockwave (fifth harmonic wave) apparently travels along the spine to the brain, creating a dipole nervous system. The head itself is dimensioned by another set of seven rings with the seventh ring migrating tangentially downward to define the basic geometry of the face. Within this ring set, Polar Reflective Interference patterns paired with a few simple waveforms can account for virtually every facial feature – from the coronal geometry of the brain down to the skeletal structure of the face. Even the tongue seems to fit perfectly inside the almond-shaped mandorla region in the lower interference pattern. When we take a closer look at the geometry of the brain itself, we find more compelling evidence of spherical harmonic patterns guiding the evolution of perception and the five senses (Fig 16).

The brain begins as a single ring set at the end of the spinal column that resonate at a 90-degree angle from the temporal lobe (as cosine) to form the frontal lobe (as sine). This frontal ring set then continues by taking a right angle turn down, phase shifting another 90-degrees from the frontal lobe ring set (as sine) into the mouth-jaw region (as cosine). In this way, the geometry of the head completes a half-twist or π-radian phase shift from cosine harmonics to sine and back to cosine. This half-twist phase shift between three sets of harmonic rings would explain how our face came to be cross-wired to our brain.


Figure 16. Geometry of the human brain and skull.

But the twisting does not stop there. It appears to continue spiraling inward, opening up the mouth to the nasal passage and displacing inner cells forward, carving out the sinus cavity and forming the peculiar shape of a nose (Fig. 17).

Our head is indeed a fifth appendage that winds around our ear canal into the jaw hinge, clenching into itself like a chambered nautilus instead of unfolding as our arms and legs do. If it were unwound, it would form a perfect star geometry with the body that sequentially hears, sees, tastes, smells and feels as it narrows to a point. Top this off with the pentagonal cranium found in every human infant and it becomes pretty clear that our body evolved as a pentagon in the anterior and dorsal dimensions and as a Fibonacci spiral in the lateral (or side) dimension of the head, unfolding into the sinusoidal wave of the spine.

So it is through a brief geometric analysis of our bodies that we can understand how life evolved according to harmonic principles – not merely through natural selection and accidental mutation as commonly believed. The same Reflective Interference Model is repeated over and over at different scales and orientations in the body, spiraling and twisting at right angles into itself to fill the gap left by the previous pattern. This is our body’s fractal logic.

Figure 17. Human cranium as harmonic focusing apparatus.

But of course, the body does not begin from the outer ring and work its way inward – rather, it starts somewhere in the innermost ring (conceived as an idea, perhaps) and unwinds outward. If we follow the rings in reverse order from the inside-out, we find that growth must begin at the center of the brain where resonance is greatest, unwinding into the spine and splitting into an upper and lower torso under damping pressure of Ring 5 (seventh ring from the center). From here, it extrudes outward into five appendages, each with their own five appendages to touch the world.

The significance of five in all this can be found in the damping pressure of the fifth harmonic wave (crystallized into the 3:2 ‘perfect fifth’ of the spine) in slowing atomic resonance and stopping cell growth. It is this very special harmonic that generates the golden ratio Φ at the center of the body’s spiral by crossing or interfering with its fundamental resonant frequency. This is expressed by the equation for the golden ratio as Φ = (1 + √5) / 2).

6. The Harmonic Lattice
Based on the previous discussion, a Harmonic Lattice is now proposed as a resonant container for organic growth that guides evolution. Using an outer orbital radius of 2π, a grid of mutually orthogonal standing waves can be superposed over concentric Φ- spaced damping rings to create an organic Hilbert space. This lattice is the only arrangement of standing waves in two dimensions that can sustain field resonance. (Fig. 18)

To match the harmonic proportions of the human body, each ring is assigned a frequency multiple corresponding to its ring number. For example, Ring 1 is assigned the fundamental frequency, Ring 2 the harmonic frequency of 2X, Ring 3 the frequency 3X and so on. In this way, growth is represented as an inside-out patterning process governed by twelve cylindrical harmonics shifting in step- wise fashion from maximum resonance to maximum damping.

Using this recursive lattice, we can calculate the squaring of the circle represented by the Vitruvian model as a balance of resonance and damping. Beginning with radius R of Ring 1, equal to 2π = 6.28318, the area of the Vitruvian circle is:

A_Circle = πR² = 124.0248

The area of the Vitruvian square (according to Vitruvius) can then
be calculated as the golden section of R as:

H_Square = R x Φ = 10.1664
A_Square = H_Square² = 103.3555

Taking the ratio of the areas of the circle and square we have:

A_Circle:A_Square= 124.0248 ÷ 103.3555 = 1.1999 ≈ 1.2 = 12:10 = 6:5 Circle Square

This result is consistent with the 12:10 ratio of carbon-water resonance and the dodecahedral helix structure of DNA.

Figure 18. Harmonic Lattice provides a recursive Hilbert space model for organic growth and evolutionary classification. The Lattice provides a single platform for the inclusion of other harmonic models and offers a theoretical framework for previously unexplained physiological properties.

We see here that ‘squaring the circle’ is really the closest possible ratio of 12 to 10, making the Vitruvian model of the human body a 12-fold ringed recursion divided by 10. Indeed, this is the only way to balance π-resonance against Φ-damping in the orthogonal standing wave model of the Harmonic Lattice. As the penultimate harmony of space and time, the 12/10 or 6:5 ratio in the human body is an embodiment of the balance between spherical energy and cubic space – a circle and square:

π : Φ² = 1.1999 ≈ 1.2

From this, we can calculate the precise point of balance in the growth of the human body where resonance transitions to damping.

Since it was at Ring 5 where the torso splits to create a new center at the celiac (or solar plexus), we begin by calculating the surface area of Ring 5:

A_{Ring 5} = π(R * (1/Φ)⁴ )²
A_{Ring 5}= π(0.9167)²
A_{Ring 5}= 2.64

On either side of this number we find the outermost ‘squared circle’ proportion of π : Φ² = 1.1999 (or 1.2 rounding up) and its reverse-squared proportion of π2 : Φ = 6.099 (or 6 rounding down). When the area of Ring 5 is taken as a proportion to each of these square proportions and then multipied together, we find the point of transition where damping overcomes resonance in a standing wave to be:

Torso Split = (A_{Ring 5} : ⎡(π : Φ²)⎤ x (⎣π² : Φ⎦ : A_{Ring 5})
Torso Split = (2.64 : 1.2) x (6.0 : 2.64)
Torso Split = 5

Not surprisingly, the point of balance in the Vitruvian model (and in the human body) is at a 5:1 proportion. The reversal to square Φ (replacing square π) represents water’s pentagonal damping pressure against carbon-12 resonance. This is the math behind the previously unexplained split in the human torso.

At and below the fifth ring, we find π and cyclic harmonic proportions resonating to drive growth – but, as we reach the fifth ring, Φ (= (1 – √5) / 2) becomes dominant to damp inner resonance and gradually slow cell growth in the outer four rings. Growth stops altogether when cellular resonance reaches zero at the toes and fingertips.

In the body, this transition at Ring 5 must be the defining event that generates the 3:2 spine and nervous system. The spine, measuring a half-period or π-radian in length, is then partitioned into 24 discrete vertebrae (as the proportion 24 : 10), each scaled proportionally by π/24. And, since 10π/ 24 ≈ Φ3 : 2Φ, each group of ten vertebrae closely match the proportion of a golden egg – cubed in its length and doubled in its width.

Parallel with the spine, the heart, celiac and uterus also align with the 3:2 anti-nodes of the spine’s sine wave, fitting perfectly inside the lattice of Ring 3 (Fig. 19). The overall structure of the torso is triadic with vascular branching along a vertical sinusoidal flow. The analysis suggests that cells entrain along electromagnetic paths during growth and evolution, crystallizing coherently in accordance with the proposed Harmonic Lattice.

Additional work is required to parameterize the lattice for deformation in order to accomodate the morphological adapation found in the fossil record and living organisms. Further correlation with the genetic code is also needed to adequately explain harmonic entrainment in terms compatible with the existing fields of organic chemistry and molecular biology. Doing so could have a profound effect on the direction of medical research, including computer modeling and even the engineering of entirely new species.

Figure 19. Triadic arrangement of Gaussian interference patterns in the human torso.

7. Suggestions for additional research
Since harmonic physics is universal to all things, the Reflective Interference model and Harmonic Lattice can be applied to any number of other fields of study with surprising results. Topics normally not associated with evolutionary theory, such as psychology, cosmology, sociology, music and computer simulation, can all benefit. Harmonic models offer a powerful cross-disciplinary platform capable of connecting diverse findings while expanding the scope of evolution into these fields. Here are a few examples.

The solar system as harmonic container
By definition, Darwinian theory assumes that evolution began with the very first organism, or at least the earliest known fossil. But if harmonic physics was at work at that time guiding the growth and evolution of life, why would it not also have guided the development of the Earth and our solar system? Could there be a cosmological equivalent to harmonic evolution in life?

As it happened, our solar system evolved according to the same harmonic principles in life. For example, the solar system can be modeled as a geometrical pattern without using any physical measurements whatsoever and within a cumulative average variance of less than -0.04 percent. Beginning with Mercury’s orbit, we simply calculate each successive semi-major axis as a multiple of the constant 1.6877, equal to 39(1/7) or one-sixth the semi-major axis of Eris divided by 1,000 (Fig. 20).


Figure 20. Logarithimic spacing model for the solar system

While only an approximation, the actual orbits of the planets vary from this geometrical model according to a Bessel envelope of cylindrical harmonics like those that form on a round cymatic plate. The spacing constant itself is a very special proportion that balances almost perfectly between the golden ratio and the base of the natural log:

e ÷ Φ ≈ 1.68.

Because of this, we can describe the overall spacing of the planets as the result of the anti-harmonic damping function of the golden ratio during solar evolution. Evidence for this can be found in the golden average of the actual spacing of the planets (Fig. 21).

We might now understand the solar system in harmonic terms as nodes that resonated into rings within a spiraling disc of hot plasma much like cymatic rings forming on the surface of a vibrated plate of sand. As waves rippled from the solar center out to the edge and back, harmonics resonated particles toward the calmest locations, gradually spiraling into rotating planetary systems. Harmonic interference between colliding particles in the plasma disc can explain why simple harmonic resonances found in the orbits and relative sizes of the planets.

Figure 21. The golden mean in planetary spacing.

Thus, it is possible to use the same evolutionary Harmonic Lattice framework for life to explain the harmonic development of our solar system. (Fig 22).

Each Φ-spaced ring in the lattice can be described as an orthogonal or 90-degree location on a golden spiral. Since harmonic waves are most coherent and stable at right angles to one another, they would naturally entrain with a Φ-spiral as illustrated in the model. The original solar spiral continues to this day as the Sun’s heliospheric current sheet.

Just like the spirals of galaxies and other solar systems, counterbalancing spiral arms form as the pressure differential of gravity causes the space lattice to curve – triggering the Coriolis effect, starting rotation and polarizing the solar disc. Orthogonal to this disc, a toroidal pattern like the Polar Reflective Interference Model forms into the solar wind. All of this occurs according to universal harmonic laws, setting the stage for life.

In this way, we might extend the scope of evolution to include principles of resonance as they guide the solar system, bridging the study of cosmology with biology. Evolution is first and foremost a matter of harmonic patterning in a containment field, regardless of whether the container is a body or structured space. Darwinian theory is but a secondary process of adaptation to all this.


Figure 22. Solar Harmonic Lattice model showing max damping orbits. found in the orbits and relative sizes of the planets.

Perception as harmonic focusing function
One of the major shortcomings of Darwinian evolution theory is its inability to explain what caused inanimate matter to become animate. There is simply no fossil record of a trial and error process that explains how simple life ‘learned’ to develop sensory organs during a process of natural selection and random mutation.

Recent neurophysiological research is finding evidence that harmonic structures in the body provide an autonomous focusing function required by sensory organs. In vision cognition studies, the ‘Gaussian derivative model for spatial-temporal vision’ has been found to best describe the first stage of processing in our visual cortex for motion, orientation, location and size. [9] Similar studies of auditory cognition in cats and monkeys have also found a natural Gaussian derivative filter in the inner ear and auditory cortex that helps focus sound. [10, 11]

Together, these studies confirm the presence of a universal Gaussian derivative filter that helps mammals (and other biological life) identify and maintain attention on objects and sounds in the environment, a necessary skill for survival. As example, consider how a pitch-sensitive auditory filter would help identify the sounds of a predatory animal in time to flee. Or how it could help recognize the crying tones of offspring separated from the pack. In people, a Gaussian derivative filter in our auditory system is the reason we can recognize the pattern of concordant gaps in a musical octave and effortlessly follow the melody of a single instrument in an orchestra.

But since the Gaussian derivative distribution curve is just another name for the spectral interference pattern that harmonics make, these studies also tell us that we prioritize the world by focusing mostly on harmonic things. For instance, the Fibonacci spirals of our ears begin the focusing process of sound by ‘unwinding’ or canceling out fractional enharmonic frequencies to prepare sound for the eardrums. And since eardrums also happen to be shaped as a Polar Reflective Interference pattern with the inner ear bones positioned to measure maximum resonance and damping on the membrane, harmonic geometries are again emphasized out of the ocean of incoming sound.

As sound propagates further into the Basilar membrane of the ear’s spiraling cochlea, thousands of tiny hairs provide even more filtering by bending around the gaps that harmonics create. When you consider physiology as a prerequisite for cognition, the spiraling anatomy of the human ear evolved to reduce noise while enhancing recognition of harmonics. This must be why we can enjoy and respond emotionally to music. Simple music harmonies fit the coherent structure of our body like a glove.

Vision also has its harmonic filter. Around the fovea centralis, or ‘blind spot’ at the back of the eye, color cones self-organize according to something called a Gaussian density curve. Neurophysiologists use the Gaussian Color Model of hue, luminance and saturation to describe how our vision system interprets color as shapes. Few people realize that color actually helps us recognize objects in space and that everything we see is filtered and prioritized depending on how harmonically shaped it is. Thus, plants and animals with their reflective interference physiology are easily recognized and assume a higher priority to our eyes and ears than, say, a boulder or some artificially manufactured object.

In the most general sense, harmonics are a focusing property of Nature and should be central to any theory of evolution. The question is where does this process really begin and what causes it? What is the fundamental principle of evolution that focuses energy into life?

We can trace the harmonic evolution process back to the lattice structure of space itself as it first focuses light into particles, then particles into atoms and atoms into molecules. It is from the resonant atomic geometries of nucleotides that Hox genes in DNA know how to shape networks of other genes into specialized organs, probably communicated as concordant frequencies inside the circular field surrounding the fetus during gestation

(Fig. 23).


Figure 23. Embryonic harmony between a spiral and a circle.

Some cells focus on extracting oxygen from the air; some on breaking down nutrients from food or eliminating waste; others on sensing the world around us and creating new life. All of this occurs as a kind of musical nesting process within the resonating container of the fetus.

In fact, the central goal of evolution – beginning with the very first primordial interaction between light and space – must be to focus energy into harmonically structured life forms that are able to recognize other harmonic forms. Counter to the widely accepted theory that life is a fluke of Nature and guided strictly by natural selection and random mutation, Darwinists need to seriously consider the idea that the universe is predisposed toward increasing coherence through the omnipresent patterning process of harmonic standing waves. Increasing coherence is built into the very fabric of spacetime even while entropy works to take it apart according to the second law of thermodynamics. The proof is all around us, as the following story illustrates.

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One morning, a small woodland creature wakes up and begins his daily hunt for food. Somewhere else, a truck driver wakes up and gets ready to haul a new load down the highway. Stopping first for coffee and fuel, he enjoys the beautiful sunrise as he drives. But then, as he rounds the corner he sees a small animal in the road up ahead. With no time to react, he hits the innocent creature and in a tragic instant transforms him into another road kill statistic. Repeated over and over, this is the sad story of how vehicles kill an estimated one million vertebrate animals a day (one every 11.5 seconds) in the U.S. alone.
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Yet while each road kill event appears to be just another random occurrence in a hostile and uncaring world, you might be surprised to learn that they all occur in a very predictable pattern. If we were to add up the distances between each of the road kill on the highway and sort them by distance inside a spreadsheet, we would find they tend to approximate a probability curve known as a Poisson distribution. The more road kill we measure, the closer it will fit into the same curve. And, if we could measure the road kill everywhere in the world at any given moment we would find an almost perfect match to the Poisson curve! How could this be?

As it happens, the Poisson distribution is a special case of the Gaussian distribution, which, as we know by now, is the spectral interference pattern of harmonics. So, this story is really telling us that the physics of harmonics is a guiding property of time – no matter how random something may seem. It is also telling us that the second law of thermodynamics, which defines entropy as the decaying (or damping) principle of Nature, should be amended to recognize the counterbalancing effect of reflective resonance in periodic systems. Harmony should not be ignored or avoided.

In the case of the woodland creature and truck driver, their very thoughts are guided by a universal harmonic pattern shared between their brains, which may in turn be locally synchronized by moving together through spacetime. While more experimental evidence is needed to prove such a claim, my own research and other recent studies do suggest this.
During the 1980’s, I was surprised to learn that brains operate together harmonically. While analyzing large libraries of electronic documents in a search engine I was working on (ironically named DARWIN for DAta Retrieval With INtelligence), my engineering team found that the frequency of word occurrences would always sort into a Poisson distribution. We found this to be true regardless of language or subject matter – even computer languages fit into the curve. It was just after this that it finally dawned on me that anything I or anyone else ever said or thought would always fall into this universal harmonic pattern after a minute or two, as long as it was semantically coherent.

So it is that each and every human brain thinks basically alike, expressing his or her thoughts through the shared harmonic pattern of language. As I pursued this line of inquiry in later years, I found many other studies to support it, including how neurons always fire in a Gaussian wave through the brain and how brain waves can be translated into musical harmonies for use in brain therapy. [12, 13, 14] The evolution of the brain must have been guided toward coherence over time by harmonic patterns in the overall body and the structure of space itself.

Consciousness as a property of spacetime
Perhaps the best evidence of Nature’s predisposition toward coherence is how starlight becomes a harmonic standing wave as it travels through space. While light leaves its source as a spread spectrum mix of electromagnetic radiation, it becomes more coherent and harmonic over time. This is due to the fact that as it travels through the quantum lattice of space, enharmonic frequencies are gradually suppressed and filtered out, leaving only harmonic frequencies in a single wave front. The farther the light travels from its source, the more it approaches the shape of a perfect plane or standing wave. Lasers work the same way.

As light bounces between two mirrors inside a laser cavity, it also travels a great distance through space. And just like starlight, the lattice structure of space filters out all fractional or enharmonic waves, thus ‘focusing’ the light into a single frequency wave. So, when laser light is released as a beam, it is really a powerful blast of harmonic wave partials riding on a single fundamental frequency of color much like a vibrating guitar string. And like a guitar string, laser harmonics can even be separated out by over- resonating whole number multiples of the fundamental frequency, as is often done these days to create exotic higher frequency lasers at a lower cost.

Now, since we can consider life to be a crystallized form of light, it too must become more coherent as it travels through space. We might even describe a living body to be a slow motion biological laser that focuses energy between its two reflecting halves; thus, becoming more harmonically tuned over time. When you think about it, a living being is just a resonating liquid crystal made mostly of carbon and water, becoming more coherent and more focused as it rides on the Earth through space.

From this perspective, spatial movement should really be considered the first principle of evolution, since it focuses (or grooms) life toward greater efficiency, greater mobility, greater balance, greater intelligence and ultimately greater consciousness. Like the gravitational pressure that ignites a star at a certain threshold of mass, logic tells us that it must be the movement of life through space that strikes the match of consciousness during the evolutionary process. From this spark of self-awareness, it is then the two reflecting halves of the brain (like mirrors in a laser) that holds the fire and keeps it burning.

One theory of the brain suggests that this reflective process creates a neurological hologram within which we recognize and interpret the world. Proposed in the 1980’s by neurosurgeon Karl Pribram in cooperation with quantum physicist David Bohm, holonomic brain theory describes cognition and memory as a holographic interference pattern produced by two coherent sources (two eyes; two ears) which act like lenses. Identical in principle to the interference patterns produced by a split-beam laser on holographic film, this theory describes cognition as a simple and efficient pattern matching process between the outside hologram of the world and the inside hologram of the brain. [15]

Extending this to include harmonic theory, we can explain how our brain measures and identifies objects through geometric proportions and pattern matching. In fact, each one of the principles of Gestalt psychology – continuity, regularity, simplicity, stability and unity – can be explained by the natural patterning of harmonic standing waves as they manifest in human physiology. The Reflective Interference Model, describing the physics underlying harmonic formations, provides a much-needed template for both holonomic theory and Gestalt psychology to describe how our brain interprets, measures and predicts the outside world.

But if our brain is a harmonic resonator made of light, focused into consciousness as it evolves in space and time, might the phenomenon of conscious self-awareness be a preexisting property of space? That is, could consciousness exist independent from physical life and simply be ‘tuned in’ by the resonant interaction of our liquid crystal brain with the quantum space lattice?

As incredulous as this may sound, the brain may not be much different from those old crystal radio sets back in the 1960s, picking up and transmitting certain frequencies through the quantum field of space based on principles of resonance.[16, 17] After all, as our brain thinks, quantum mechanics tells us that the electrons making up our thoughts are constantly taking ‘quantum leaps’ in and out of this spacetime. This suggests that our brain may be acting as a kind of quantum transceiver with our thoughts under the influence of non-local quantum effects.

According to quantum entanglement, thinking cannot be entirely local or physical, but instead able to exist anywhere in the universe or even outside of spacetime. The electrons of our thoughts do this by ‘tunneling’ across the so-called Higgs boson boundary into some other place millions of times a second, where they could be affected or influenced before returning. According to quantum physicist Evan Harris Walker, non-local quantum effects could determine how electrons group together on a particular set of neural synapses before firing OR inexplicably cause them to land elsewhere in the brain, leading to an entirely different thought. [18] So while our body and brain may be harmonic like everything else in the universe, our mind must resonate beyond spacetime.

All joking aside, human beings might simply be semi- autonomous biological robots under the remote control of a higher self. Given our current understanding of physics, it is really not that farfetched to think that we could be guided by impulses transmitted and received via quantum leaps from some other realm. Our concepts of free will, creativity and personality might well be a glimpse into this other realm, resonating through to us from space as subtle patterns in the liquid crystal antennae of our brains.

Harmonically guided social evolution
As life evolved into reflective self-awareness, primitive tribal societies evolved into complex civilizations. Guiding this social evolution were the many physical archetypes of harmony and balance apparent in the natural world. Translated from abstract forces into the stories of personified musical-astrological gods and symbols, mankind first based its laws and governments on the physics of harmonics. Unified over 2,500 years ago by Pythagoras in a philosophy known as musica universalis, ancient civilizations found order and a noble purpose in harmonic science (Fig. 24).


Figure 24. Harmonic symbols that once guided social evolution.

Yet today, this musical theory of everything is nowhere to be found. The harmonic models of Nature no longer guide our understanding of how things came to be as they are or what their purpose might be. Instead, natural selection or divine intervention are the only reasons we give ourselves to explain the magnificent order and beauty we see around us. We live in a world defined by theories of creation and life that completely ignore the central role harmonics play in all things.

If mankind is to survive within a universe of natural laws, the truth of harmonic evolution must one day be rediscovered and accepted. When it is, the artificial barriers between biology, anthropology, psychology, acoustics, physics and all other fields of science will come tumbling down like the Berlin wall. Life will be seen as part of a whole and harmonically unified universe, falling under the purview of harmonic physics and described by musical philosophy. The quantum effects of subatomic harmonic systems will become central to all biological and medical research, leading the world toward any number of unimaginable advancements.

And as society’s thinking shifts, Western religion will change too, transforming into great temples of natural learning. The Gnostic study of sacred geometry and musical proportions will once again infuse our culture with a respect and appreciation for Nature. Everyone from the staunchest atheist to the most dogmatic fundamentalist will no longer deny the truth of a coherent, harmonically structured universe and the life inside it.

Today’s neo-Darwinian view that ‘restarting life on Earth (or another planet) would turn out completely different’ would be replaced by the deeper realization that 12:5 geometry is as much a universal constant as the circular resonance of π or the square damping action of the golden ratio, woven into the very fabric of space itself.

With the reintroduction of universal harmonic laws, we will also know that life is evolving in other harmonically balanced solar systems and that it cannot be too much different from our own. We will finally understand the cosmos as the purpose-driven incubator for life that it really is. Maybe then we will be ready to take the next critical step in Nature’s harmonic progression – peaceful coexistence.

8. Summary
We can no longer ignore the overwhelming proof of quantum effects on electrons and the established role of harmonic resonance and damping in the magnetic fields that contain them. Biologists and anthropologists alike need to accept these new truths and find a way to embrace them in their theories about life.

To make this happen, geneticists and physiologists must lead the way by acknowledging the importance of geometry, cymatics and the role of gravity in the structure of DNA and anatomy. Psychologists might also contribute to this new vision of life by considering the possibility that perception is first and foremost a function of physics and that consciousness likely operates beyond the brain under the influence of quantum effects. Change can only come when our most brilliant scientists and educators stop looking only for differences and begin looking for commonalities.

The greatest strength of Darwin’s theory of evolution is its ability to explain the diversity of life through random gene mutation and selection in a hostile environment. But this is also its greatest weakness since it cannot explain the commonality of life as found in the overwhelming presence of 5-fold endoskeletons and 3-fold exoskeletons in the fossil record. Only a theory founded on the physics of harmonics can explain this and provide a complete picture of how life evolved on Earth.

There are few absolutes in this world, but one of them is definitely the fact that a harmonic standing wave will always resonate into the same spectral interference pattern no matter what medium it travels through. Harmonic patterns truly are the grand scientific musical template for all coherent systems in Nature, repeated over and over in all things, especially life – yet, they remain completely ignored and written off as happenstance by modern evolutionary theory.

As long as this doctrine is in effect, people will never know what they have in common with the rest of Nature. As long as Darwin’s theory of evolution remains incomplete, so do we. Let us all open our minds to an evolutionary theory guided by the physics of harmonics, yet adapted to the environment. Ω

Selected Bibliography
1. Darwin C., ‘On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life,’ John Murray, London, 1859; Charles Darwin, Julian Huxley. The Origin of Species, Signet Classics, 2003. ISBN 0-451- 52906-5.
2. Fisher RA., ‘The Genetical Theory of Natural Selection,’ Clarendon Press, Oxford, 1930.
3. Williams GC., ‘Adaptation and Natural Selection,’ Oxford University Press, 1966.
4a. Chaplin MF., ‘Structuring and behaviour of water in nanochannels and confined spaces,’ In: Adsorption and Phase Behaviour in Nanochannels and Nanotubes, Dunne L, Manos G. (eds), Springer, 2009, article in press.
4b. Chaplin MF., ‘Roles of water in biological recognition processes,’ In: Wiley Encyclopedia of Chemical Biology, Begley TP. (ed), Wiley, 2008. DOI: 10.1002/9780470048672.
4c. Chaplin MF., ‘The memory of water; an overview,’ Homeopathy 2007;96:143-50 [Abstract];
4d. Chaplin MF. Reply to Comment on ‘The memory of water; an overview’, Homeopathy 2008;97:43-4.
4e. Chaplin MF., ‘A proposal for the structuring of water,’ Biophys Chemist 2000;83(3):211-21.
4f. Chaplin MF., ‘Water structuring at colloidal surfaces,’ In: Surface Chemistry in Biomedical and Environmental Science, Blitz J, Gun’ko V. (eds), NATO Security Through Science Series, Springer, 2006:1-10.
5. Merrick RS., ‘Interference: A Grand Scientific Musical Theory,’ (self-published), Fairview, Texas, 2009. ISBN: 978-0-615-20599-1.
6. White M., ‘The G-ball, a new Icon for codon symmetry and the genetic code,’ arxiv.org:q-bio/0702056v1 [q-bio.OT], Feb 26, 2007.
7. Yang CM., ‘On the 20 canonical amino acids by a cooperative vector-addition principle based on the quasi-20-gon symmetry of the genetic code,’ Neurochemistry and Physical Organic Chemistry Program, Nankai University, Tianjin, China, 2003.
8 Misner, CW, Thorne, KS, Wheeler, JA., ‘Gravitation,’ McMillan, 1997, ISBN: 0716703440, 9780716703440.
9. Young, R.A., Lesperance RM, Meyer, WW, (2001) ‘The Gaussian derivative model for spatial-temporal vision: I. Cortical Model,’ Spatial vision (Spat. vis.) ISSN 0169- 1015, 2001, vol. 14, no 3-4 (5 p.), pp. 261-319.
10. Fishman, Y.I., et. al. (2001), ‘Consonance and Dissonance of Musical Chords: Neural Correlates in Auditory Cortex of Monkeys and Humans,’ The Journal of Neurophysiology Vol. 86., No. 8, December 2001, pp. 2761-2788.
11. Cedolin, L. (2005), ‘Spatio-temporal representation of the pitch of complex tones in the auditory nerve,’ Eaton-Peabody Laboratory, Massachusetts Eye and Ear Infirmary, Massachusetts Institute of Technology.
12. Nardo E.D., Nobile A.G., Pirozzi E., Ricciardi L.M. (2007), ‘Natural Computing: an international journal archive,’ Volume 6 , Issue 3 (September 2007) table of contents, p283-310, 2007, ISSN:1567-7818
13. Cunningham J.P., Yu B.M., Shenoy K.V., Sahani M. (2008), ‘Inferring neural firing rates from spike trains using Gaussian processes’. In Advances in Neural Information Processing Systems 20, (J. Platt, D. Koller, Y. Singer, and S. Roweis, eds.), (Cambridge, MA), 2008, pp. 329-336.
14. Levin, Y.I. (1996), ”Brain music’ in the treatment of patients with insomnia,’ Neuroscience and Behavioral Psychology, Pringer New York, Vol. 28, No. 3, May 1998.
15. Bohm, D. (1980), ‘Wholeness and the Implicate Order,’ Routledge Classics 2002, ISBN: o-415-38978-5 (hbk).
16. Hadley, F., ‘Goodbye wires!,’ MITnews, June 7, 2007.
17. WiTricity home page: http://www.witricity.com/.
18. Walker, E.H. (2000), ‘The Physics of Consciousness: The Quantum Mind and the Meaning of Life,’ Basic Books (December 2000), ISBN: 978-0738204369.

Textual Healing & DNA Activation

By Sol Luckman

The Human Bioenergy Blueprint

The science of muscle testing (kinesiology) employs muscle-response tests to determine allergies, emotional blockages, and even the truth or falsehood of given statements.

For the purposes of this introduction, it is simply necessary to emphasize that muscle testing, properly utilized, can be a powerful tool for gathering and evaluating information that has been validated in numerous studies.

My partner Leigh assisted me throughout the development of Potentiation and the Regenetics Method. We performed literally tens of thousands of tests with clients who had come to us suffering from various chronic ailments.

At the time, over eight years ago, we were offering a form of energetic allergy elimination derived from Nambudripad’s Allergy Elimination Technique and an offshoot of NAET called BioSET.

One of our most important realizations about traditional allergy clearings was that these techniques employ a typically ‘Western’ focus on the physical—even though the techniques themselves use pure energy!

In light of this internal contradiction, we became interested in the body’s bioenergy fields.

These fields—which, collectively, have been called the ‘aura’—can be thought of as an interlocking set of high-frequency ‘force-fields,’ each responsible for the correct functioning of a particular gland, organ, emotion, etc.

The bioenergy fields, combined with the system of chakras, form the human bioenergy blueprint that can be envisioned as a hologram of intersecting horizontal and vertical lines of force.

Many researchers have confirmed the existence of the human bioenergy fields. Kirlian photography has captured these fields for decades.

In the 1980s, Dr. Hiroshi Motoyama developed instrumentation capable of measuring bioluminescent electromagnetism such as light emitted from the chakras of yoga masters.

Valerie Hunt, a professor at UCLA and author of Infinite Mind: Science of the Human Vibrations of Consciousness, has employed an encephalograph (EEG) machine to register the bioenergy blueprint.

Dr. Hunt goes so far as to theorize that the mind, rather than residing in the brain, actually exists in the bioenergy fields—and that in some as yet poorly understood way, the latter may be the mind.

The Jewish alchemical science of the Kabala calls the bioenergy blueprint the nefish, often described as an iridescent bubble surrounding the body.

One reason Western science has ignored the bioenergy blueprint is that, because of its extremely high (‘torsion’) frequency bands, it is difficult to quantify.

Our bioenergy blueprint functions as compendium of all the data pertinent to our wellbeing. In The Holographic Universe, Michael Talbot explains that because an illness can appear in the energy field weeks and even months before it appears in the body, many … believe that disease … originates in the energy field. This suggests that the field is in some way more primary than the physical body.

Naturopath Stephen Lindsteadt explains that an ‘interruption or distortion in the range, strength and coherency of the body’s electromagnetic system leads to breakdown in the body’s self-healing mechanisms.’

Physician Richard Gerber goes a step further by arguing that if doctors could find a way to treat the bioenergy field, they would achieve total healing. Until then, Dr. Gerber contends, many treatments ‘will not be permanent because we have not altered the basic [blueprint].’

Similarly, Nataliya Dobrova describes the individual as a complex emotional bio-energy information system: a microcosm that reflects a macrocosm—the universe. All of a person’s organs and systems have their own electromagnetic rhythms. Disharmony in this rhythmic activity signifies disease.

Dr. Dobrova explains how such an imbalance is closely connected with structural or functional problems found in a person’s organs or systems. If one can restore the person’s own rhythmic harmonies to a sick organ, one can restore the proper functions of that organ.

A nearly identical line of thinking informs one of the classics in the field of sound healing, Jonathan Goldman’s Healing Sounds. Through harmonic resonance, writes Goldman,

it is possible to restore the natural vibratory frequencies of an object that may be out of tune or harmony. When an organ or another portion of the body is vibrating out of tune, we call this ‘disease.’

Such belief in the power of sound to heal the body is echoed by Leonard Horowitz, whose research in cymatics (the study of the effects of sound on physical form) leads him to emphasize that ‘harmonic frequencies maintain health, promote growth and healing, while discordant frequencies produce stress, oxygen deprivation, acidification, electrochemical imbalances, illness and death.’

From a cymatic or vibratory standpoint, disharmony is disease. The critical concept here is that all manifestations of disease, whether ‘physiological’ or ‘psychological,’ result from distortion (via toxicity or trauma, or both) of the primary bioenergetic harmonies contained in the bioenergy fields and corresponding chakras.

These bioenergy centers have an intimate relationship with DNA that gives them direct regulatory access to all cellular functions.

Therefore, if we can ‘reset’ our bioenergy blueprint through harmonic resonance, we can go directly to the root of disease processes.

Mapping the Bioenergy Blueprint

Having spent nearly a decade suffering from an illness with many similarities to chronic fatigue (CFIDS or CFS), multiple chemical sensitivity (MCS) and fibromyalgia, I am deeply grateful for the pioneering work of Drs. Nambudripad and Cutler—without whom I do not know where (or even if) I would be today.

Their inspiring techniques served as an indispensable springboard for the development of my own work in DNA activation. But here I must point out two major blind spots with traditional allergy clearings, at least as vehicles for ‘resetting’ the bioenergy blueprint.

The first oversight, to reiterate, is a predominant focus on physical issues without fully acknowledging their origins in our bioenergy blueprint.

The second problem is that the nervous system (used in traditional allergy clearings) simply cannot process all the torsion frequencies encoded like radio waves in our bioenergetic structure so as to transform a damaged blueprint.

The same shortcoming applies to most energetic modalities, such as reiki and radionics, which function at the comparatively ‘surface’ level of the nervous system, as opposed to through DNA.

Another way of stating this is that the majority of energetic therapies are ‘light-based,’ lacking the genetically transformational aspect of sound.

Compared to sound, light is superficial. Light is thought, form; sound is being, essence. Light diagnoses; sound restores. Light treats; sound heals.

Light is concerned with information, whereas sound is about transformation.

Contrary to the conservative paradigm that insists healing must be achieved ‘one baby step at a time,’ my own experience and observation suggest that chronic illness in particular requires a radical, simultaneous bioenergy reset—one that can be accomplished by using the primary energy of sound to activate DNA.

DNA is ironically named an acid because it is technically a salt (sodium). Sodium is a critical human electrolyte and an excellent conductor of energy. Thus it is hardly surprising many researchers have determined that DNA regulates the body’s electromagnetics.

Through extensive kinesiological research, Leigh and I identified more than 3,000 energy signatures over the body-mind-spirit continuum of the human bioenergy blueprint.

A traditional allergy clearing of this size would far exceed the capacity of the healthiest nervous system. But when properly activated by sound, the superconductor that is DNA is designed to re-harmonize the entire bioenergy blueprint.

One of my mentors was a prominent figure in the field of radionics, chiropractor and author David Tansley, who provided some of the foundation for my notions about the bioenergy fields.

Following Dr. Tansley’s lead, and supported by the quantum sciences’ holographic view of the body, I began to understand the bioenergy fields as an integral aspect of our existential template, the blueprint for our physical form.

My theory was that when ‘mapped,’ this blueprint would reveal itself as a series of ‘ecosystems’ where a number of interdependent factors work either harmoniously to create vitality or disharmoniously to produce disease.

The approach Leigh and I took to map the bioenergy blueprint was straightforward. Using kinesiology, we began muscle testing to establish which elements (genetic, physical, mental, emotional, spiritual, etc.) were governed by which bioenergy fields.

We discovered an amazing poetic symmetry, a sacred geometry of almost breathtaking beauty in the way the fields are organized and work in concert.

We spent six months developing our ideas in South America, where we performed the first DNA activation in the Regenetics Method—Potentiation—on ourselves that restored my physical wellbeing and took care of Leigh’s asthma and environmental allergies.

Then we began offering Potentiation to others, many of whom have reported remarkable results.

In order to complete our work, however, we first had to set aside what we had been taught about DNA (that it is merely a biochemical protein-assembly code) and understand DNA’s vitally reciprocal relationship with the bioenergy blueprint.

Only then were we in a position to explore avenues for stimulating the human genome’s extraordinary self-healing potential.

Resetting the Bioenergy Blueprint via DNA

After mapping the bioenergy blueprint, we realized we had to find a way to press its ‘reset button.’

It was at this stage we began to understand that the nervous system was never meant to repattern the human bioenergy blueprint; that only sound-activated DNA can permanently restore bioenergetic harmony; and that therefore, some other method of initiating repatterning besides stimulation of the nervous system had to be found.

We went to DNA because it was the obvious choice. DNA contains our genetic codes and is the master blueprint for our biology. It literally creates us through a protein-assembly process known as ‘transcription.’

To transcribe is to copy in writing, to produce in written form, or to arrange music for a different instrument. In other words, we come into being, at our molecular level, through a process with striking affinities to ‘composition.’

It is extremely interesting to consider the privileged place of song, storytelling and words in creation myths. Anyone who has undertaken a comparative study of religions probably has been struck by the universal role of sound and language in such myths.

Genesis 1:3 relates, ‘And God said, Let there be light: and there was light.’ In the New Testament John states, ‘In the beginning was the Word,’ an idea paralleled in the Vedas where we read, ‘In the beginning was Brahman with whom was the Word.’

The ancient Egyptians similarly believed that the god-men Thoth and Ra created life through language, just as the Popul Vuh from the Mayan tradition insists that the first humans were brought into existence by speech.

Consistent with this language-based cosmology, the healing tradition immortalized in Finland’s Bock Saga is based on memorization and utterance of sacred sounds.

This Saga, which Dr. Horowitz describes at length, is an elaboration of a time-honored oral technology employing sound and light based on a ‘spiritual understanding of how to work with ‘nature orally”—or ‘naturally.’

‘Here, in ancient mythology,’ writes Horowitz, ‘is the relationship between genesis, genetics, and the spoken word. Also implied is the concept of wholistic health hinging on oral functions.’

Horowitz points out that neurophysiologists have determined that fully one-third of the sensory-motor cortex of the brain is devoted to the tongue, oral cavity, the lips, and speech. In other words, oral frequency emissions (i.e., bioacoustic tones) spoken, or sung, exert powerful control over life, vibrating genes that influence total well-being and even evolution of the species.

Since the start of the Human Genome Project, there has been a tendency even in mainstream science to regard DNA as the alphabet through which we are written into existence.

Another metaphor helpful in understanding genetic composition also derives from language. DNA’s alphabet is composed of four basic ‘letters’ (nucleotides) that combine to form sixty-four different ‘words’ (proteins) used to build a virtually limitless number of ‘sentences’ (genes).

Leigh and I realized that if we were to activate what we saw as an extraordinary latent potential in DNA, one perhaps capable of transforming both consciousness and physiology we intuited along with a growing number of researchers, we had to find or develop a way to access DNA without laboratories or test tubes.

But how do you activate DNA without physically manipulating it?

At this stage, we were fortunate to be given a copy of The Cosmic Serpent: DNA and the Origins of Knowledge, by French anthropologist Jeremy Narby.

Dr. Narby spent years studying the healing techniques of shamans (medicine men) in the Amazon. His riveting account was particularly helpful in developing the Regenetics Method.

In one telling passage, Narby writes that DNA is not merely an informational molecule, but … also a form of text and therefore … is best understood by analytical ways of thinking commonly applied to other forms of text. For example, books.

This way of looking at DNA as a book made sense. Narby clearly says we can learn to read DNA. By implication, he suggests we can learn to write—or rewrite—the genetic code.

An alternative way to conceptualize what I am calling ‘rewriting’ is to imagine that DNA contains a subtext resembling a series of footnotes that can be scrolled up onscreen.

In this scenario, no rewriting or reprogramming is required. The program for our new and improved bioenergy blueprint already exists in what mainstream genetics has dismissed as ‘junk’ DNA.

Most geneticists have admitted they have little idea why over ninety percent of our DNA even exists. The majority of DNA appears to be nonsense. A lot of it is in the form of palindromes, puzzling sentences that read the same forward and backward.

‘Junk’ DNA consists primarily of ‘introns,’ considered noncoding genetic sequences, as opposed to ‘exons’ that have an identifiable coding function in building our protein structures through RNA transcription.

In other words, as shown in the figure below, exons clearly do something, while introns supposedly do not.

Fortunately, some who have asked how nature could be so inefficient are beginning to rethink this dogma that ultimately raises more questions than it answers.

Recent research has shed light on intense epigenetic as well as ‘meta-genetic’ activity in ‘junk’ DNA, which appears to have much more to do with creating a specific species than previously thought.

For example, if we only look at the small portion of DNA composed of exons, there is very little difference, genetically speaking, between a human being and a fruit fly! There is also practically nothing at the level of exons that distinguishes one human being from another.

Others who have studied the mystery of ‘junk’ DNA have concluded that the as little as three percent of the human genome directly responsible for protein transcription simply does not contain enough information to build any kind of body.

Faced with this mystifying scenario, more and more scientists are paying attention to curious structures called ‘jumping DNA,’ or transposons, found in the supposedly useless ninety-seven percent of the DNA molecule.

In 1983 Barbara McClintock was awarded the Nobel prize for discovering transposons. She and fellow biologists coined the term ‘jumping DNA’ for good reason, notes David Wilcock, as ‘these one million different proteins can break loose from one area, move to another area, and thereby rewrite the DNA code.’

Clearly, ‘junk’ DNA was prematurely dismissed. In an article entitled ‘Genetics Beyond Genes’ published in Scientific American, Dr. John Mattick is quoted as saying that the failure to recognize the importance of introns (to say nothing of transposons) in ‘junk’ DNA ‘may well go down as one of the biggest mistakes in the history of molecular biology.’

Leigh and I propose that we rename ‘junk’ DNApotential DNA and understand it as the our ‘ener-genetic’ interface with the bioenergy blueprint.

It is accurate to say that DNA is a form of text with its own alphabet, and that we can use linguistic means to rewrite DNA, in the process activating an ener-genetic ‘reset program’ designed to turn our introns into exons (via transposons) and create new protein transcription sequences capable of leading to regeneration, or re-gene-ration.

Potentiation employs particular combinations of vowel-based sounds paired with linguistic thought (light) codes that are transmitted to the recipient’s potential DNA—initiating a domino effect of repatterning that resets the bioenergy blueprint to harmonic functioning.

Here, I am coming from a perspective that views light and thought as equivalent energies. The new physics, as well, explains that the act of thinking produces electrical currents that generate torsion waves of light, much as audible sound waves produce torsion waves of sound.

Potentiation safely and permanently stimulates DNA without fundamentally altering the individual’s basic genetics by simply activating a reset potential that already exists.

The session, a one-time event, takes just thirty minutes. The resultant shifts surface in the weeks and months following as the bioenergy blueprint repatterns.

For some these shifts are felt dramatically, for others they flow into a subtle upswing. The entire process takes just over nine months (42 weeks) to complete: interestingly, a human gestation cycle.

                                                                                                                                                                               

>The Science of the CymaScope<

>Introduction

The CymaScope is a new type of scientific instrument that makes sound visible.

Its development began in 2002, with a prototype that featured a thin, circular, P.V.C. membrane; later we used latex.

• CymaScope Professional Model with water temperature control
  Fine particulate matter was used as the revealing media. However, it was soon discovered that far greater detail could be obtained by imprinting sonic vibrations on the surface of ultra pure water. The surface tension of water has high flexibility and fast response to imposed vibrations, even with transients as short-lived as a few milliseconds. Therefore, water is able to translate many of the sinusoidal periodicities–in a given sound sample–into physical sinusoidal structures on the water’s surface. Current limits to imprinting sound on water occur in the higher harmonics and are due mainly to there being insufficient energy available in this area of the audio spectrum to cause excursions of the surface tension membrane.

In some cases the sinusoidal structures created on the surface tension are visible beneath the water’s surface, providing partial 3D geometrical data. These surface and sub-surface structures can readily be made visible to the naked eye by the application of a light source arranged above the water’s surface, either off-axis or–when using a light ring illuminator–on-axis. Capturing the imprints, known as CymaGlyphs, is achieved by means of a conventional digital camera or camcorder arranged vertically downward toward the water and coaxial with it.

The generic term for the patterns of vibration that occur on the surface of an object when excited by an incident sound is ‘modal phenomena,’ a field of study that covers everything from vibrations in suspension bridges, to vibrations in body parts of cars, to the effects of sound on the human skeleton and internal organs. In the 1970’s this branch of science was named ‘cymatics’ by Swiss doctor Hans Jenny, a word that derives from the Greek ‘kyma,’ meaning ‘wave’ and the inspiration for the name of our CymaScope instrument. The classical view of modal phenomena is that modal patterns form as a consequence of the natural resonant frequencies, or modes, of the object or membrane; current mathematical techniques used to describe this class of phenomena say nothing about the quality of the exciting sound. Musical sounds contain many harmonics so when a circular membrane is excited by a complex musical sound the resulting modal pattern(s) are, naturally, also complex. If we sample a moment from music and analyze it in terms of its fundamental frequency and associated harmonics, and then apply that sample to, say, a circular latex membrane of known elasticity, known diameter and fixed edge, present mathematical
techniques cannot predict what pattern will form on the membrane. It appears that no one has attempted to solve this problem, either because no applications for a solution have become evident or because physicists have not seen the importance of mathematically modeling such phenomena. Only the pattern associated with the fundamental frequency can be predicted with any degree of certainty. Thus, for example, the design of musical instruments remains an art rather than a science.

Mathematical modelling of the modes of vibration of a circular flexible membrane currently contain only such factors as shape and elacticity of the materials; the mathematics either describe a fixed boundary condition, in the case of a drum, or a single central fixing and a free edge in the case of a circular Chladni plate. Bessel functions and the wave equation are employed to define a finite number of normal modes, based on the natural resonances of the membrane or plate.

However, the parameters for the CymaScope are quite different to the case of the drum and the circular resonant plate. Water is free to move at the circular boundary and across its entire surface area. In addition, water responds not only to its normal modes but to any audible frequency imposed on it. In other words, within the limits mentioned above, all the primary periodicities in a given audible sound or in a given sample of music are rendered visible. The resulting patterns can be considered as analogs of the sound or music since the geometry in the resulting patterns is a function of the periodicities within the exciting sound.

Applications

The CymaScope has applications in almost every branch of science simply because vibration underpins all matter. The ability to see such vibrations permits a depth of study previously unavailable to scientists, engineers and researchers. Readers will have seen our list of research topics covering subject areas from Astrophysics to Zoology. Just as great advances in medical science have come about as the result of the microscope, and huge strides have been made in understanding the Universe with the telescope, the CymaScope instrument holds enormous potential to reveal the hidden realm of sound and vibration.

Our team recently made a wonderful breakthrough in the field of dolphin language research and in Mereon research, an energy pattern that may lie at the heart of creation.

However, as with all scientific instruments it is vital that the relevant maths is developed, enabling predictions to be made and dynamic
systems to be modeled.

If you are a student or professor of applied mathematics we invite you to contact us to discuss a possible collaborative study of the CymaScope instrument.

Alternatively, if you are interested in acquiring a CymaScope please drop a line to:

John Stuart Reid, Sonic Age America, john@sonic-age.com

 

Cymatics–the trigger for life? Cymatic Pentagon Image credit: Erik Larson A pentagon created by low frequency sound on the CymaScope. Since the pentagon contains phi, the golden mean, prevalent in all life forms, this image demonstrates the clear link between sound and life   Spiritual traditions from many cultures speak of sound as having been responsible for the creation of life. The words of St John’s gospel are a good example:   In the beginning the Word already existed. The Word was with God, and the Word was God. [‘Word’ meaning ‘sound’]   The science of cymatics, the study of visible sound, is beginning to yield clues to one of the most challenging questions in science: what triggered the creation of life on earth?   The hypothetical model we have developed was inspired by ancient traditions and demonstrates that sound and cymatic forces could have worked together to become the dynamic force that created the first stirrings of life.     Around 4.5 billion years ago immense sound ‘storms’ reverberated within the earth’s molten core and mantle, contributing to the formation of the early landmasses. Then, around 3 billion years ago, following the formation of the oceans, the first primitive life forms are believed to have evolved in the watery depths.   The nature of the structuring and organizing force that triggered life has baffled theorists for centuries. Many scientists have come to believe that fierce lightning storms ripping through the early atmosphere were the magic ingredient that literally ‘sparked life’. There is a classical experiment, created in 1952, which offers some validity to this theory. A glass jar was filled with a small quantity of methane, ammonia, hydrogen and water (thought to have been present in the surface pools of the early earth) then sealed.  For several weeks the concoction was irradiated with sparks. The sparks changed the character of the chemical soup and created several primitive forms of amino acids, the building blocks of life.  Dr Stanley Miller was working under Nobel Laureate, Harold Urey, when this seminal Miller-Urey paper was published.   Dr Stanley Miller with his seminal Miller-Urey apparatus   Neat as this theory sounds it fails to explain how the building blocks of life were assembled. What force was at work to cause the building blocks to coalesce, and begin to create form from formlessness? We believe, just as the ancient seers prophesied, that the creative force was the most obvious and potent of all: sound. When sound interacts with matter cymatic forces organise the matter into microscopic and macroscopic structures.   Of the several competing theories for the creation of life, most envisage primitive life forms arising in the harsh environment around hydrothermal vents on the ocean-floor where hot gases, escaping from the core of the earth, came into contact with water, just as they do today. Accepting this theoretical model as a foundation, let us explore how sound and cymatic forces could have triggered life.
Cymatic model of life   The hydrothermal vents spewed mineral-rich gases from earth’s core into the seawater and made contact with molten lava in the vicinity of the vent, causing bubbles to form that ranged in size from melons to microbes. Our discussion will focus on the microscopic bubbles.   The elements that poured out of the vents emerged into highly turbulent water in an ocean of rich bubbling sounds. It is important to understand that although sound is invisible it actually carries structure, both in air as well as water. The watery membrane surfaces of the microscopic bubbles offered the perfect places for sound structures to be imprinted with cymatic patterns of energy. The areas of stillness on the surface of these tiny bubbles are called nodes, and areas of vibration are called antinodes. Hydrothermal Vent Image credit: Atypical Media/Capstone Beautiful cymatic patterns on the surface of oceanic microscopic bubbles may have been the precursors to life on earth. Image credit: Atypical Media/Capstone   It is important to note that only pure sounds can create perfect cymatic structures on the surface of microscopic bubbles. In searching for a possible source of pure sound in the early oceans we originally envisaged the sound being created by wind-driven storms. During such energetic storms the wave action at the ocean surface creates broadband white noise that theoretically contains all frequencies of sound. As this noise penetrates the water the high frequencies are immediately filtered out because water acts as a natural acoustic filter. When the noise has passed through around 100 feet of water only fairly pure low frequency sound remains. However, we recently learned of a second possible source of low frequency sound in the oceans. In 1996 scientists discovered pure tones in the vicinity of hydrothermal vents in French Polynesia, using the SOSUS underwater sounds listening station. They theorize that the largest bubbles, generated by the vents, act like Helmholtz Resonators, effectively tuning out all frequencies except those that resonate with the gas cavity formed by the bubble. Thus, we have two potential candidates for the source of pure sound that created life. The elements emerging from the hot vents naturally found a safe haven in the nodal areas of the microscopic bubbles, attaching themselves to the “sonic scaffolding” created by the accompanying pure low frequency sounds in the vicinity of the vents.   Put simply, in this model, life structures formed in the stillness of cymatic patterns on the surface of microscopic bubbles. The patterns of stillness were geometric in shape, such as that of a dodecahedron. Adjacent to these still areas were areas of dynamic vibration, which we could think of as the dynamic creative force.   When we use the CymaScope to study the visual geometry of sounds, we see that they include many of the mathematical constants of the universe, including phi, sometimes known as the ‘golden mean’. This ratio is approximately 1 to 1.618 and it is found in all living things, thus demonstrating the connection between sound and life. Cymatic geometry is composed of patterns that form on a membrane ‘imprinted’ with sound vibrations, thus allowing us to observe them visually. The reason that all living things have the phi ratio imbedded in them may be because the phi ratio is mathematically imbedded within sounds that are devoid of harmonics, sounds that we might label as “pure” (Pure sounds do not contain the rich complexity of a musical sound. Two examples are bubbling water and whistling wind.) Such pure sounds contain the all-important phi ratio and they create sonic scaffolding that we believe organised, structured and triggered life near hydrothermal vents. The starfish demonstrates one nature’s almost perfect pentagonal forms, linking life with the golden mean and with sound Cymatic vortex Image credit: Erik Larson Image Credit: John Stuart Reid Image credit: Vera Gadman/Gadman Graphics<           Water CymaGlyph created by low frequency sound on the CymaScope. Note the fine tendrils emerging from nodal points–evidence of sonic scaffolding   Cymatic vortex Image credit: Erik Larson Water CymaGlyph in a drop of water created by low frequency sound on the CymaScope. Note the matrix of tubular vortices, in particular the vortice that begins near the three o’clock position and snakes up to the two o’clock position before tracking further left
Daisy head twin spiral Image credit: Science Photo Library Gymncalyizozogsii twin spiral  Image credit: Science Photo Library If sound was indeed the trigger for life we would expect to find many examples of early life forms that resemble cymatic sound forms and, not surprisingly, this is exactly what we do find, as you will see in the examples below. Recent research at Yellowstone National Park in the USA suggests that the earliest life forms may have been what we would now recognise as viruses, life forms that are often highly angular in their outer shells. Cells, according to this research, evolved much later. The angular aspects of the earliest primitive life forms and organisms provides strong evidence that sound was involved in the creative process.		Cymatic twin spiral Image credit: John Stuart Reid Thirteen clockwise and anti-clockwise arms created at 78 Hertz on the CymaScope The CymaScope can also image spiral movements in water under the influence of low frequency sound. The image below is that of a twin spiral created by a pure 78-Hertz sine tone. Notice the similarity with the twin spiral arrangement of a daisy head. Sound has the ability to organise matter into regular forms including the double spiral.
Trilobite Image Credit: Science Photo Library Early Cambrian Period. 526 million years ago Trilobites, Radiolaria and Diatoms are marine creatures that emerged much later, in the Early Cambrian, Cambrian and Jurassic periods respectively. Here are three examples that demonstrate the clear similarity between these early creatures and cymatic images created in our laboratory by pure sounds on the CymaScope instrument.		Cymatic Trilobite Image Credit: John Stuart Reid
Hepatitis Virus Image credit: Science Photo Library Paleoarchean Period, 3,500 million years ago		Cymatic Virus Image Credit: Erik Larson
Diatom Arachnoidiscus Image Credit: Science Photo Library Jurassic Period, 200 million years ago		Cymatic Diatom Image Credit: John Stuart Reid
Radiolaria Actinomma Leptoderma Cambrian Period, 542 million years ago		Cymatic Radiolaria Image credit: Erik Larson

 

To summarise, we suggest the creative power of sound shaped life in many different ways, a process that is probably just as much at work to this day as it was in the primordial oceans of earth. The shape of life, we believe, is sound

 

                                                                                                                                                                                                 

432 hz – Natures Musical Tuning

By Stuart Mitchell

On starting this article I have been struck by the diversity of opinion on 432 hz and its roots and meaning within the musical concert pitch context. This is simply because, nothing, I repeat, nothing is actually in perfect tune from bottom of a scale to the top of the scale. All notes eventually go out of tune due to the ratios and mathematics governing the harmonic scale, which are the overtones to each and every single note.

432 Hz or ‘cycles’ has been born out of the research and calculations of Pythagoras in 500 BC, calculated using the Pythagorean method of 3:2 ratio for dominants, 11:8 for sub-dominants, 2:1 for octaves. But the key question to why even Pythagoras or Plato chose this central frequency can be found in nature. To the right here is a cymatics pattern at 432 Hz created by John Reid on the Cymascope: www.cymascope.com

Since the very beginning of our human consciousness we have been evolving ourselves within the expression of our day to day life experiences, in music. It would appear natural for us to do this as creative human beings, but we are not alone, and species that have existed from millions of years have been doing the same thing. In fact, I believe that a creative harmonious musical species, such as Birds, Bee’s, Whales and Dolphins have survived precisely because of this collaboration with nature’s tuning.

All the questions running around the net on whether Verdi used this tuning, Mozart or Bach’s Well Tempered Clavichord (which was the foundation to straighten out the Pythagoras system which left the top end and bottom end out of tune, ‘cheating the ear’) are all meaningless until we ask ourselves..

Where and how did the birds find ‘their’ central tuning system in nature?

In my opinion after years of research into the properties of DNA, music is embedded within the data of DNA to be musically creative and artistic. Every living organism is born an artist with an ear, eye and heart to harmonise with the planets resonance/environment.

DNA adapts to environmental change and resonates with the frequency of Earths Biosphere. The Schumann Resonance

Every cell of our bodies, heart, and mind have grown up with the Earth’s heart beats and being in harmony keeps all that is alive on Earth healthy. It is an essential program deep in the DNA code that maintains stability and growth of each species. So it becomes understandable now why the animals have such a ‘perfect pitch’, because their DNA is a biological music instrument that tunes itself to its planetary environment in order to develop and survive.

Quote from Vincent Bridges Green Language of Light at: http://www.jwmt.org/v1n4/readlight.html
‘…we know that DNA emits a weak form of coherent light that has been demonstrated to work like a communication system between cells and even between larger organisms. In this sense, the art of light is indeed the instrument of the spirit. It is nothing less than the mechanism, the framework so to speak, that allows Mind to exist in the universe. The language of light emitted and received by the DNA may be the original of all languages, the ultimate language of initiation.’

Fulcanelli clearly understood this, as he shows when he states that argot, the initiation of the Argonauts, is but ‘one of the forms derived from The Language of the Birds.’ This Ur-language, Fulcanelli insists, is the common language of initiation and illumination behind cultural expressions.

Repertoire & Pitch

Songbirds remember many different songs which they regularly repeat. The European blackbird has a repertoire of some 22-48 songs whereas a nightingale may have up to 300! One of the most astounding musical abilities of birds is their control of their song’s key.

Many birds have what is musically known as ‘absolute pitch’ – the ability to determine exactly what key they sing in without reference to other sounds. If you hear a bird singing a song in G major, you will find it singing the same song in G major on subsequent occasions.

Now this is interesting because Mozart owned a Starling which would sing to him everyday, eventually providing Mozart with a melody for his Piano Concerto in, you guessed it, G Major.

Mozart Piano Concert No.17-3rd Mvnt

In the interplay between Piano and Orchestra it is almost as if Mozart is ‘singing with’ the Starling in a symphonic embrace of mutual creativity. This was a wonderful collaboration between Mozart and nature and one of the most famous and recognisable melodies of Mozart’s complete output.

This brings into question the tuning of Mozart’s piano and/or tonal ear..

Did Mozart choose the key of this piece because the bird was singing in G Major?

It is quite possible he did, but it is also possible, because birds are such good mimics, that the bird picked up the key by its own ear, which is more likely. But the fact remains that Mozart was deeply moved by the Bird’s song that they collaborated together on a musical work, refined to perfection by Mozart, into an unforgettable and eternal inspiration of nature.

Mozart is not alone here, as in the song cycle Die Schone Mullerin, Schubert set to music a poem in which a starling is given a romantic mission: ‘I’d teach a starling how to speak and sing, / Till every word and note with truth should ring, / With all the skill my lips and tongue impart, / With all the warmth and passion of my heart’
And again, the majority of the Keys in this Song Cycle are in the keys of G Major or G Minor. Coincidence or not, it shows that even the greatest musical ears of history were listening to the birds since they are the great musicians of our mother Earth.

Many composer’s have been inspired by nature to ‘tune’ their musical instruments and creativity toward a musical pitch or ‘heart-beat’ that is all around them pulsating invisibly from the heart chakra of the planets herself.

I listen to the animals and their frequencies for a tuning system and 432 Hz appears to be what they are centrally tuned to, to my ear. In all the passage of time that has passed before us, we have been in the audience to a music that is in perfect harmony with nature and provided to us every day by the sounds and musical gestures put forward by species that have successfully survived employing this musical expression since DNA first arrived here on Earth. We are musical ambassadors of DNA, if not the ultimate musical expression of nature, every one of us. Because we understand today how important music is in the fabric of our physical reality, we can begin to interact with it harmoniously and potentially for the survival of our species based upon the current musical species around us today.

If we are ‘in tune’ with the Earth, we, as a species are within it’s full of potential.

Potential is the means of our DNA’s survival.

Content courtesy of Stuart Mitchell
Copyright (c) 2011. All Rights Reserved.
http://www.stuart-mitchell.com/

 

Properties of waves and wave cycles. Scalar, transverse, energy and more.

 

By: Chris Plouffe

I’d like to talk about some different types of waves, their properties, and their cycles. We will focus on two concepts or types. One is longitudinal and the other transverse and how they fit in to the cycles.

You may already be familiar with the common slinky image that shows the different between the two. (shown below)

In short, longitudinal is considered a pressure wave, and the transverse a traveling wave (like the sine wave we see alot of).

But there are some details that aren’t talked about often in regards to their properties and where they fit into the wave cycle.

Lets dig deeper into waves.

Longitudinal: Can also be referred to as Scalar Wave, Compression Wave, Pressure Wave. Sound waves are longitudinal.

Transverse: Can also be referred to as Traveling Wave. EM Waves are transverse waves.

Both of these waves can also become Standing Waves or Traveling Waves.

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These are the harmonic (standing wave) and the non-harmonic (traveling wave). A traveling wave is one that changes its shape over time. Traveling waves start at one point and are propagated outward freely. They are not restricted beyond the one fixed starting point. Think about the waves that are produced when a rock is thrown into a pond. They start at the point where the rock entered the water and propagate outwards. Eventually the waves broaden out and have a smaller maximum amplitude. This is due to the fact that there are multiple frequencies in a traveling wave. A standing wave is different. It is fixed at two places. When a wave is created, it starts from a fixed starting point and travels to the other fixed point. Once it reaches the second fixed point, the wave gets carried back (is reflected back) to the starting point. Imagine shaking a rope that is tied down at one end. The wave, after traveling down the rope, returns back to the starting point. In this case, the wave does not change over time. Every wave will eventually have the same frequency. – from here.

 

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Ok now lets talk about some details relating to the stone being thrown in the pond.

Science tends to focus on one side of the wave cycle. The death half..or radiating, centrifugal, discharging, expanding half.

Just as Newton focused on the apple falling to the earth, while missing the important part of the apple getting up there in the first place, so does science today miss the compressing, centripetal, living, charging half of the cycle. They concentrate on the transverse EM wave too, which is really just the radiating wave on the equator of a spherical wave. The invisible waves that are winding up at the poles will then be discharged on the plane of the equator OR surface of the water.

When the rock is sitting in your hand it has potential energy. When the rock is thrown that potential is expressed as kinetic energy or moving energy. So as the rock is moving towards the water, it is charging the air in front of it. It is also charging gravity. I think this would relate to why a comet catches on fire as it enters the earth’s atmosphere. You have friction or drag from the air, then there is compression happening in front of the object as it moves. It is charging up on its way to impact. Then it displaces the water and expresses its potential through its equator as the ripples move out.

A few more details on gravitational potential energy and kinetic energy happening in the rock and pond scenario. They say gravitational potential energy is equal to weight x height above ground. So the rock gains GPE as it is thrown up. It loses GPE or expresses GPE through the increase in Kinetic Energy or speed as it falls. In any case the sum has to equal out to be the same to follow the conservation of energy.

‘When a man multiples gravity by casting a stone in the water, his senses see only wave-ripples. They do not tell him that those ripples are equatorial ring series of expanding spheres, which are dissipating gravity in the same ratio as it is being multiplied by the falling stone. The same principle applies to all actions. This is, in fact, the very basis of the Universal Life Principle. – Walter Russell

So again, lets look at the whole thing as a sphere. As all waves are spherical in my opinion, we just may not see the entire cycle. With a sphere we charge and compress at the poles and discharge and expand at the equator. When the rock is approaching the water there is a force in the direction of the surface and one opposing it coming up from the water. This sort of longitudinal wave is also called a pressure or compression wave. They both meet at the wave’s surface to then dissipate in surface transverse waves which are expanding out.

Coming back to the standing wave… as you throw the rock the pressure changes and reflects back to the source because it is longitudinal/standing wave/compressing wave…there has to be some sort of displacement as the rock approaches the surface. A difference in potential and pressure which registers and reacts as mentioned above. You would think this would create a standing wave which would reflect back and interfere. So I am working on finding out more information on this type of scenario. If these longitudinal waves are creating standing waves in between the object and the surface, we should then have antinodes and nodes which also relate back to kinetic and potential energy. For standing waves you need interference, but everything is made of waves, so there should be interference everywhere too. Throughout the entire Universe.

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Next I’d like to talk about the equator itself that divides these actions.

If you notice in this image that we used above, there is a curved equator(pond) and a straight one(plane):

The reason for this is that there is differing properties of the medium which allow for differing pressures and potential.

When waves interfere they are not always of the same wave properties. When they are equal, they normally create a straight line or plane of zero curvature and the vesica piscis shape. This means they are symmetrical on each side.

But when they differ but are still allowed to interfere… you may have the same potential but the volume, pressure, and other properties will be different. If you think of balance in the Universe there will always be a fulcrum center, just like on a child’s seesaw. In Nature, that fulcrum will need to move to balance the differing conditions.

I won’t touch on this here, but these wave interactions and differing potentials/pressures/properties, are what make up the chemical elements we know today.

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Now that we have shown some examples of the waves, wave properties, and equator, lets talk about how it relates in other places.

Just to name a few, here are others who have mentioned the invisible growth side of things, in addition to Walter Russell:

Dr Meyl:
talks about compressing potential vortex

Eric Dollard:
magnetic fields are conducive to transverse waves / di-electric fields are conducive to the longitudinal pressure waves

Dan Winter:
phase conjugate longitudinal pump wave – centripetal

Lets talk quickly about Magnetism. I subscribe to the fact that this is an electric/optical Universe with electricity being the sole worker. What we experience as energy is the expression of electrical tension and electrical potential from polarity, and strains of motion. So what we call ‘Magnetism’ is measurable but it is just the other side of the cycle we have been talking about. Article here and video here for more info.

If we assign magnetism to the expanding, discharging end of the cycle…then it matches to the equatorial expression above in our rock and pond example. So if we look at Eric’s statement that magnetic fields are conducive to transverse waves and electric/di-electric fields are conducive to the longitudinal waves, then it all matches up!!!! As above so below. All waves are the same from the growth of a tree, to our human breathe, to the sun’s cycles.

Walter Russell also pointed out that the Electro Magnetic wave is the transverse wave and that this correlates to loops of force expanding out from the equator. EM waves are said to have the strength of the wave diminish at constant rate as it travels and is defined by the inverse-square law. Just like the ripples on the water. Another fit!! I will dive into inverse/square inverse/cube laws in another post.

 

 

 

 

Ok so again… magnetic fields are the expanding equatorial transverse waves. But don’t forget about the electric compressing pressure longitudinal waves. This can also come back to voltage and current as well. Check out this article for more relating to that. Hint: voltage = compressing longitudinal / current = expanding transverse

If we relate this same cycle to the elements then we would have Carbon at the wave amplitude or the anode. Loops of force = anode and starting point 0 =cathode.

So we covered alot and there is much more to come!! This just gives us some good confirmations and helpful understanding in how these cycles work, and how we can see them in everyday occurrences.