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 Manillustration, 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 harmonicfrequencies.
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.
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 Figure 15. Reverse engineering the geometry of the human body. 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.
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.
But of course, the body does not begin from the outer ring and work its way inward – rather, it starts somewhere in the innermostring (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).
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?
The Solar System as a Harmonic Container
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).
Thus, it is possible to use the same evolutionary Harmonic Lattice framework for life to explain the harmonic development of our solar system.
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.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
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 are found in the orbits and relative sizes of the planets.
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