I think we are onto something!I’m curious what your perspective is on this!
The mysterious sequence given by the Cs may actually be a rhythmic sequence!Q: (A) 1 2 3 are the first three prime numbers...
A: Yes, thank you Arkadiusz!!!! Laura is dancing around in wonderland, meanwhile all of creation, of existence, is contained in 1, 2, 3!!! Look for this when you are trying to find the keys to the hidden secrets of all existence... They dwell within. 11, 22, 33, 1/2, 1/3, 1, 2, 3, 121, 11, 111, 222, 333, and so on! Get it?!?!
Q: When you say that the secrets of all existence dwell within 1 2 3 or variations thereof, what kind of secrets are we talking about here?
A: All.
- 11: one-one
- 22: two-two
- 33: three-three
- 1/2: a half
- 1/3: a third
- 1: one
- 2: two
- 3: three
- 121: one-two-one
- 11: one-one
- 111: one-one-one
- 222: two-two-two
- 333: three-three-three
Thankfully, the mysterious science behind number concatenations (in connection to DNA) has already been partially deciphered. Joel Sternheimer mapped amino acids to musical notes, and managed to stimulate or inhibit the growth of plants!Susumu Ohno and Midori Ohno: The all pervasive principle of repetitious recurrence governs not only coding sequence construction but also human endeavor in musical composition.
Immunogenetics 24: 71-78, 1986
Ohno-S.: "A song in praise of peptide palindromes"; Leukemia. ( 1993 Aug. 7 Suppl 2. P S157-9. ) Abstract: Peptide palindromes are invariably found in all proteins, and long palindromes exceeding 10 residues in length are not rare. They are particularly abundant in DNA-binding proteins such as H1 histone. When a complementary strand of the coding sequence is translatable being free of a chain terminator, a complementary protein encode by it becomes equally abundant in peptide palindromes. The simultaneous musical transformation of both strands of mouse H1 histone variety-1 DNA enable us to appreciate the symmetrical beauty of successive palindromes appearing in both H1 histone and its complementary protein.
Eccentrics who sing to their plants? People playing melodies to organic matter with the expectation that it will help stimulate growth? These ideas were the thoughts of some "non-scientists" until French physicist and musician, Joel Sternheimer, discovered the mechanism for how plants respond to the stimulation of sound waves. Sternheimer composes musical note sequences which help plants grow and has applied for an international patent1 covering the concept.
The sound sequences are not random but are carefully constructed melodies. Each note is chosen to correspond to an amino acid in a protein with the full tune corresponding to the entire protein. What this means is that the sounds sequenced in just the right order results in a tune which is unique and harmonizes with the internal structure of a specific plant type. Each plant type has a different sequence of notes to stimulate its growth. According to New Scientist, "Sternheimer claims that when plants "hear" the appropriate tune, they produce more of that protein. He also writes tunes that inhibit the synthesis of proteins." In other words, desirable plants could be stimulated to grow while undesirable plants (weeds for instance) could be inhibited. This is done with electromagnetic energy, in this case sound waves, pulsed to the right set of frequencies thus effecting the plant at an energetic and submolecular level.
Sternheimer translates into audible vibrations of music the quantum vibrations that occur at the molecular level as a protein is being assembled from its constituent amino acids. By using simple physics he is able to compose music which achieves this correlation. Sternheimer indicated to New Scientist that each musical note which he composes for the plant is a multiple of original frequencies that occur when amino acids join the protein chain. He says that playing the right notes stimulates the plant and increases growth. This idea is particularly interesting because it may lead to the eventual obsolescence of fertilizers used to stimulate plant growth. This new method would be cheap and relatively easily provided throughout the world, thereby avoiding many of the problems associated with the extraction, shipping, environmental and economic costs of chemical fertilizers.
Playing the right tune stimulates the formation of a plant's protein. "The length of a note corresponds to the real time it takes for each amino acid to come after the next," according to Sternheimer, who studied quantum physics and mathematics at Princeton University in New Jersey.
DETAILED DESCRIPTION OF THE INVENTION
[0021] The present invention will now be described more fully hereinafter with reference to the accompanying drawings, in which preferred embodiments of the invention are shown. This invention may, however, be embodied in many different forms and should not be construed as limited to the embodiments set forth herein; rather, these embodiments are provided so that this disclosure will be thorough and complete, and will convey the scope of the invention to those skilled in the art.
[0022] There is provided a method of regulating protein synthesis in situ, using a musical sequence corresponding to the amino acid sequence of a protein through the decoding and transposition into sound of a temporal series of quantum vibrations associated with the elongation of the amino acid chain of the protein. The method of regulating protein synthesis in situ requires at least the following steps: the sequence of musical notes is determined; the period appearing in the molecule is determined; the period is rectified, if necessary; the rhythmic style is checked through the distribution of the bases of DNA; and the tone quality is determined.
[0023] Determining The Sequence Of Musical Notes. The sequent of music notes associated with the amino acid chain of a protein is determined by associating a musical note with each amino acid. More specifically, within the approximation of the tempered scale a universal code for the stimulation of protein synthesis is obtained. That code is:
[0024] Gly=low A; Ala=C; Ser=E; Pro Val, Thr, Cys=F; Leu, Ile, Asn, Asp=G; Gln, Lys, Glu, Met=A; His=B flat; Phe, as well as SeC=B; Arg, Tyr=sharp C; Trp=sharp D
[0025] which are deduced from the notes of the code by taking the notes of the chromatic tempered scale which are symmetrical to those of said keynotes with respect to central G.
[0026] There is another code for inhibition, which is deduced from the preceding code by symmetrization of the logarithms of the frequencies around their central value:
[0027] Trp=C; Arg, Tyr=D; Phe, SeC=E flat; His=E; Gln Lys, Glu Met=F; Leu, Ile, Asn, Asp=G; Pro, Val, Thr, Cys=A; Ser=B flat; Ala=sharp D; Gly=sharp F
[0028] that are deduced from the notes of the code by taking the notes of the chromatic tempered scale which are symmetrical to those of said keynotes with respect to central G.
[0029] The application of the universal code results in scaling waves respectively in phase with and in phase opposition to those taking place during the synthesis process. The term "universal code" means that this code is identical for all proteins to within the approximation of the tempered scale; the low A, for a central frequency located 76 octaves below the centre of gravity of the initial frequencies of leucine, isoleucine, and asparagine, is at 220 Hz. The expression of harmonic distance given above extends the definition suggested by Y. Hellegouarch in C. R. Math. Rep. Acad. Sci. Canada, Volume 4, Page 227, 1982. The exact values of the frequencies depend on the proportions of the groups of the above-mentioned amino acids among the transfer RNA population surrounding the protein biosynthesis.
[0030] Determination of Frequency. The next step is to derive the frequency of each of the notes. The following code is derived in the following manner, which also optionally enables to give a more precise frequency value to each note. The frequency of the musical notes is calculated from the frequencies of amino acids in their free state (proportional to their masses) by minimizing the global harmonic distance .SIGMA.ij P.sub.i P.sub.j logsup (pi, qj) calculated for all possible pairs of notes, (pi/qj) being the harmonic intervals globally the closest to the corresponding proper frequency ratios. Their respective proportions P.sub.i, P.sub.j in the environing population of transfer RNAs are taken into account. While respecting the condition .delta.f<.DELTA.f/2 where .delta.f is the displacement of the initial frequency towards its synchronized value and .DELTA.f is the interval between the two successive synchronized frequencies of the obtained scale, which encompass this initial frequency. The resulting frequency is then transposed into the field of audible frequencies. See, method described in the French patent number 8302122.
[0031] Determination Of The Musical Period. Once the frequency of each musical note is determined, the musical period is determined by identifying similar series of musical notes. The existence of musical periods results directly from that of scaling waves.
[0032] An indication is given by the presence of obvious cadences producing punctuations in the musical development. Obvious cadences include such cadences as GG, F-S. That is to say, F closely followed by S, as well as the cadence ending the signal peptide when it is present, for stimulation; series of R or Y, for inhibition; exceptionally, relative pauses induced by harmonic variations which would otherwise be too straight; and in all cases, cadences expressing the return to the tonic note.
[0033] The similar passages are then determined. One method of determination is by the direct repetition of notes. When this method is used the period is given by a simple calculation of autocorrelations of notes. More specifically, by minimizing the frequency differences between notes by the number that minimizes the average on the protein of melodic distances between notes located an integer number of intervals apart.
[0034] A second method is to determine the melodic movements of the musical notes. The period is calculated by autocorrelations of signatures--or frequency variation signs--from one note to the next. More specifically, the period is determined by calculating autocorrelations of the melodic distances from one note to the other, the distances being counted with their sign, i.e., multiplied by the corresponding signatures; or even more finely, by the number which minimizes the average on the protein of step by step melodic distances variations, to within an integer number of intervals apart. The repetition of the melodic contours are processed by a calculation of autocorrelations of pairs, or even better, of triplets of signatures.
[0035] A third method of determining the period of the musical notes is by the logic of the harmonic movement that reproduces the notes or the melodic movement to the nearest simple harmonic transposition. The period is then given by the number that minimizes the average on the protein of harmonic distances between notes located an integer number of intervals apart.
[0036] Sometimes when an "alignment" of similar sequences is present, the period appears in the additions or in the deletions of certain of the sequences. The result gives a melodically and harmonically coherent progression. To do that, account is taken of the fact that the last notes of each period or member of phrase--usually the second half, and more particularly the last note--as well as those situated on the strong beat are the most important for this progression. The final result is the most significant respecting the whole of these criteria. These different elements are balanced according to their relative importance in the protein, and especially the harmonic and melodic distance by the square of the ratio of their normalized standard deviations. There is usually one that is distinctly more significant than the others.
[0037] Cases similar to allosteria nevertheless exist, and have a biological meaning (stimulation or inhibition by such molecule or such other one during the metabolism), but influence more frequently the position of the measure bars than the period. It is noted that metabolic function is different according to the context, for instance, CG rich or AT rich; the measure bars depending upon the composition of the DNA, as the "Christmas trees" that can be seen during certain syntheses clearly displayed (cf. B. Alberts and al., Molecular biology of the cell, 2nd edition, Garland Publ. Co. 1989, page 539).
[0038] Determining The Lengths Of Musical Notes. If necessary, the period is rectified so that the melodic passages that repeat or follow one another can be found in the same place inside the measure. From this rectification the individual lengths of the musical notes are deduced. This operation of adjusting the phrasing to the measure is comparable to the well known phenomenon of lengthening the vowels of a sung text.
[0039] In practice, the operations described above can be performed most easily with a keyboard, such as a Casio.TM. equipped with a "one key play" device, or with a computer programmed especially for that purpose with stored sequence of musical notes and where the sequence of notes can be played. However, some precautions are required. Prudence implies, among other things, to decode the same molecule or a musically similar molecule, in the direction of inhibition (or in any case in the direction opposite from the initial one), taking into account the fact that molecules very often have a preferential decoding direction. It is often the case that pairs of molecules that sensibly exert the same function find one pair being more musical in inhibition and the other one in stimulation.
[0040] Checking Rhythmic Style Through The Distribution Of The Bases of DNA. When the molecule is musical enough, the period of autocorrelations corresponds to that of the protein. The autocorrelations determine in principle the measure bars, the ranks of base triplets--or more precisely of bases in third position in these triplets--for which the peaks of autocorrelation are the highest, corresponding to the most accentuated notes. By referring to codon sage, in comparison with known molecules (already decoded, or more regular and thus raising less difficulties) having the same supposed rhythmic style; the style of musical rhythm (which by constraining the accentuation of notes, influences the choice of bases in third position) determining the codon usage. Molecules of the same style must therefore have the same codon usage. If necessary, the decoding of some passages is corrected.
[0041] Determining The Tone Quality. Tone quality is, in principle, different for every molecule and for every distribution of musical notes. In theory, tone quality mainly depends upon the molecule itself but it also depends upon all the levels of the organism which retroact on the harmonic structure of amino acid vibrations. The tone quality of the musical sequence is determined by comparing the repartition of the music sequence of the amino acid chain to the average repartition of those notes of the whole of the protein to determine which harmonics must be raised or lowered. The term "tone quality" or timbre is characterized by the harmonic structure of a note and more precisely by the variation of harmonic structure over a given note.
[0042] A first approach is given by adjusting the distribution of molecule notes to the theoretical graph of that distribution. The distribution is deduced from the scaling wave equation. The distribution also corresponds to what can be observed in average, on the whole of proteins. This adjustment to the tone quality requires determination of which harmonics are amplified and which are softened in the wanted tone. See, French Patent No. 8302122. The closest tone quality is then selected in a palette of given ones. For example, a voice memory or as one can already find included in many expanders and musical softwares. To distinguish more precisely between three situations: (1) distribution of notes constant along the molecule to provide a relatively fixed harmonic structure; (2) straight distribution changes to provide different successive tones of instrument, for instance cytochrome C with several organ registers; and (3) progressive distribution change which then reproduces the time evolution of the harmonic structure of one note, for example, myosin, where this evolution indicates a timbre of trumpet.
[0043] Apart from this, determining the tempo gives no real problem to the technician because it normally follows from the rhythmic style. It is generally all the faster that there are important redundancies in the proteic sequence, as it is the case for fibrous proteins.
[0044] Determining The Colors. Optionally, the colors are determined by applying the universal code. The color is deduced from vibration frequencies of individual amino acids through the formula (drawn from scaling wave theory): .nu..about..nu..sub.0 Argch (e (.function./.function..sub.0) Logch 1), where (.function., .function..sub.0 represent the proper quantum frequencies associated with aminoacids as previously, and .nu., .nu..sub.0 those of colors, the index 0 showing central values. This gives the following code relating to the stabilization of proteins synthesized in situ (the code related to the stabilization of their inhibition is deduced as in section 1 by symmetrization of the logarithms of frequencies with respect to the central lemon yellow):
[0045] Gly=dark red: Ala=bright red: Ser=orange; Pro, Val. Thr, Cys=ochre; Leu, Ile, Asn, Asp=lemon yellow; Gln, Glu, Lys, Met=green; His=emerald: Phe=blue; Arg, Tyr=indigo; Trp=purple,
[0046] these frequencies then being moved towards red or purple according to the global repartition of the molecule frequencies in a way similar to the description for tone quality as above. The spatial position of colors is the same as those of the amino acids in the tridimensional spatial representation of the molecules.
[0047] Several examples are set forth below to illustrate the invention and the manner in which it is carried out. In these examples as well as in the figures, the one-letter notation for amino acids: Gly=G; Ala=A; Ser=S; Pro, Val, Thr, Cys=P, V, T, C respectively; Leu, Ile, Asn, Asp=L, I, N, D; Gln, Glu, Lys, Met=Q, E, K, M; His=H; Phe=F; Arg, Tyr=R, Y; Trp=W is used.
Warning!The inventor also issued a warning for those repeating his experiments. He warns to be careful with the sound sequences because they can affect people. "Don't ask a musician to play them," he says. Sternheimer indicated that one of his musicians had difficulty breathing after playing the tune for cytochrome C.
Source of the quotes (a good read!): Joel Sternheimer -- Protein Music -- French Patent # 2,136,737What may heal, may also harm, and whenever a metabolic cascade is triggered, may not be that easy to reverse. In 1997, a color form expression corresponding by ’chance’ to a short excerpt of an epileptogenic GABA receptor, which was broadcasted on a japanese television program, drove 700 children to hospital - the full sequence would have driven tens of thousands (cf. Yomiuri Shimbun, dec. 25, 1997; Japan Times, apr. 4, 1998). Such a risk, which is quite real, can only be increased by confusing publicity.
Discussion
Going up or down multiple octaves allows the preservation of a given frequency. No wonder why notes that are an octave apart sound the same! Multiples of a number keep the latter's 'structure' (6 has the vibrations of 2 and 3; 12 inherits the vibrations of 6; 24 contains the signature of 12, etc). For this reason, resonance challenges the concept of distance as we know it.
Frequencies which seem inaccessible can be mapped to our reduced perception of the world in such a way that we can alter microscopic and macroscopic structures. Truth resonates on all levels!(Galatea) What star or constellation are you closest to right now?
A: We ride the Wave and thus are much "closer" than you can imagine. At the same time, imagination is the most direct way to comprehend that we are only a thought away.
Q: (L) So, you're saying that distance is not a viable concept. Is that what we're getting at here?
A: Yes
Q: (Pierre) Thought transcends distance.
(L) Thought transcends distance, and we are quantumly entangled or something...
A: Yes
Q: (Chu) There's no time, there's no space...
