Health Acoustics - The Acoustics Model of Man

Prof. Ir. Dr. James Wing Ho Wong

Apyramidra Company Limited

907, Unicorn Trade Centre,
127-131, Des Voeux Road C,
Central, Hong Kong, HKSAR.
email: jwaec@netvigator.com

ABSTRACT

The research and analysis of the fundamental definition of Health Acoustics, in the light of what Albert Einstein
said: "Everything is vibration”. But if this is true if everything is just a form of energy vibration then there should
be a process where new vibrations come into existence and other ceased to exist. Also this process should be able
to explain why we all have a future that is always uncertain and interactive relative to our actions with a past that
is always unchangeable and only really existing as a memory in the mind of the individual. In studying the
Ancient Egyptian’s interpretation of the nature and its relationship to our music theory, we are able to propose an
acoustics model of man. Egyptian architecture and art followed the principles of harmonic dynamic acoustics
design that equally applies to sound and form. Sound and form are two sides of the same coin in architectural
acoustics, and their relationship is equated to the metaphysical and physical aspects of the universe. The physical
manifestation of the universe is a master piece of order, harmony, and beauty, and if we understand this, we all
should have a healthy body and free of diseases.

Keywords: Health, Acoustics, Nature, Egyptian, Geometry, Music, Proportion, Consciousness

The Nature of Nature

“Music in the soul can be heard by the universe.” 1
—Lao Tzu

Despite enormous accomplishments in science and technology, we continue to stumble over the clues, though the
answer from the nature has always been with us, right from the womb: Sound.

What is nature? The word nature comes from the ancient Egyptian word NTR, or neter. The Egyptians’ concept of
neter is different from ours. Neter is often associated with the notion of “gods.” Rather, its true meaning is the
forces of nature.2 Nature is sound in many forms and states of existence. Every element in the cosmos is nothing
but sounds in waves composed of different frequencies, or vibrations, in different states of manifestation. Even
distant planets, stars, galaxies, and black holes are made of sounds in waves. The sound waves coming from it is
in the form of a single note, so rather than a song it is really a drone. Dr. Andrew Fabian3 and his colleagues made
their discovery using NASA’s Chandra X-ray Observatory, an orbiting X-ray telescope that sees the Universe in
X-ray light just as the Hubble Space Telescope sees it in visible light. Using the piano keyboard’s middle C note
as a reference point for the middle of the piano key music range, Fabian’s team determined the note is a B-flat.
The Perseus cluster black hole’s B-flat, by contrast, is 57 octaves below middle C or one million, billion times
lower than the lowest sound audible to the human ear! The Perseus sound waves are much more than just an
interesting form of black hole acoustics, said Steve Allen, also of the Institute of Astronomy and co-investigator
in the study. These sound waves may be the key in figuring out how galaxy clusters, the largest structures in the
Universe, grow.4 In essence, nature is sound—sound of infinite combinations. These sounds may appear solid

1“Thirty Awesome Music Quotes from Famous Non-Musicians,” My Music Masterclass, accessed September 22,
2015. Website: http://www.mymusicmasterclass.com/blog/30-awesome-music-quotes-from-famous-non-
musicians.
2Ibrahim Karim, Back to a Future for Mankind (Montreal, Canada: BioGeometry Consulting, 2010), 162–169.
3 Institute of Astronomy, Cambridge University https://www.ast.cam.ac.uk/people/andrew.c.fabian
4“Interpreting the ‘Song’ of a Distant Black Hole,” NASA Goddard Space Flight Center, accessed October 3,
2015. Website: http://www.nasa.gov/centers/goddard/universe/black_hole_sound.html.
Page 1 of 10
because of the high speeds at which they are moving. But beyond their molecular levels, they are simply
vibrations.

THE EGYPTIAN SACRED CORD

Temples and other buildings in Ancient Egypt were laid out in a religious ceremony. The Greek’s harpedonaptae
are their people, often initialised and trained in Egypt, with extensive knowledge who strictly adhered to the
principles of sacred geometry. Their cord was (and still is, in parts of present-day Egypt) a very special cord that
consists of a 13-knotted rope with 12 equally-spaced distances of one Egyptian cubit (1.72' or 0.5236m).5

Figure 1.a,b,c: The

principles of a
quadrangle
triangle. The
Egyptian cord
with13 knots and
its mathematics
significants.

! a) ! b) ! c)

The hieroglyphic symbol for Ra (☉), the cosmic creative force, is the circle. When the cord is looped as a full
circle, the archetype of creation, we find that the radius of this sacred circle equals 1.91 cubits. In converting this
measurement of 1.91 cubits of the radius into the metric system, we get 1 meter exactly (1.91 x 0.5236).

The Egyptians utilised the harmonic

Figure 2. The scale as the perfect instrument for
proportion of teaching and demonstrating the
the vibrating workings of the cosmos. According
string to to Plato, musical “theory” did exist
musical in Ancient Egypt, and was detailed
octave. by appropriate rules and laws. Plato6
states: It appears that long ago [the
Egyptians] determined on the rule
… that the youth of a State should
practice in their rehearsals postures and tunes that are
harmonically pleasing. These they prescribed in detail
and posted up in the temples … As regards music, it has
proved possible for the tunes which possess a natural
correctness to be enacted by law and permanently
consecrated. Plato admits clearly to the following points
about ancient Egypt:

• Learning music is important.

• Harmonious (consonance vs. dissonance) notes are defined.
• Detailed musical theory was prescribed.

For example, for the fifth, such as C to G (on the keyboard): the ratio between the two rates of vibration is 2:3
(260:390 Hertz), and that between the two string lengths required on any given instrument is 3:2. In other words,
the harmonic proportion is the inverse (reciprocal) of every harmonic progression.

THE ONE AND ALL

In Ancient Egyptian traditions, Ra represents the primeval, cosmic, creative force. The Litany describes Ra as The
One Joined Together, i.e., the One who is the All. The Ancient Egyptian definition of Ra is the perfect
representation of the Unity that comprises the putting together of the many diverse entities.The eight notes that

5 Egyptian Harmony: The Visual Music; Moustafa Gadalla Tehuti Research Foundation. 2000
6Plato, Laws, 656-7. Susan Sauvé Meyer presents a new translation of Plato's Laws, 1 and 2. 2015 OUP Oxford.
Page 2 of 10
form the function of nearly all chords, i.e. unison (1:1), octave (1:2), fifth (2:3), fourth (3:4), major third (4:5),
minor third (5:6), major sixth (3:5), and minor sixth (5:8), were explained as divisions of a circle as follows:

! a)! b) ! c)
Figure 5 a, b, c: The Circle represent the Creation, Ra, divided in proportion in 2 dimensional geometrical forms
1:1, 1:2, 2:3, 3:4, 4:5, 5:6, 3:5, 5:8. From the roots of Two, Three, and Five, all harmonic proportions and
relationships can be derived.

• The 1:1 proportion, which is identity, is called unison.

• The diameter divides the circumference into the ratio 1:2, the octave.
• The equilateral triangle divides the circumference into the ratio 2:3, the musical fifth.
• The square divides the circumference into the ratio for 3:4, the musical fourth.
• The pentagon divides the circumference into the ratios 4:5 and 3:5.
• The hexagon divides the circumference into the ratio 5:6.
• The octagon divides the circumference into the ratio 5:8, the minor sixth.
The octagon divides the circumference into the ratio 5:8.

LET CREATION BEGIN

Creation is the act of the transformation of Nun7 from its undifferentiated state to differentiated energy/matter
(things, objects, thoughts, forces, physical phenomena). Transformation (differentiation) is achieved through
sound (the Word) as the prime mover (creative agency) of the inert energy/matter. Sound is caused by
compressing air particles, by rearranging the spacing and movement of air particles, i.e. creating forms. There is a
direct relationship between wave frequency and form. As a result, sound waves have different geometrical forms,
such as the waveforms shown here.

METU NETER
The Ancient Egyptians called their language Metu Neter8, meaning word of neter (god). The image of each
Egyptian symbol contained its specific vibrational pattern. Words were constructed of these symbols in a manner
incorporating and amplifying the meaning of the individual symbols, so that the meaning of a word emerged from
the interplay of symbols, as the meaning of a chord or a musical phrase results from the combination of notes. A
person is a mind-body-spirit
complex, with his/her name becomes his/her vibratory complex of sound in this world. Given the importance of
chants, spells, and a person’s name in Ancient Egypt, it is clear that the sound of the words must have had a
functional connection with their meanings. For them, words were of a musical nature; or, more precisely,
speaking was a process of generating sonar fields establishing an immediate vibratory identity with the essential
principle that underlies any object or form.

7Nun, also spelled Nu, oldest of the ancient Egyptian gods and father of Ra, the sun god. Nun's name means
“primeval waters,” and he represented the waters of chaos out of which Re-Atum began creation. https://
www.britannica.com/topic/Nun-Egyptian-god
8Writing System of Medu Neter By Rkhty Amen, 2014. http://www.lulu.com/shop/rkhty-amen/writing-system-
of-medu-neter/paperback/product-21690856.html
Page 3 of 10
 ! a) ! b)
Figure 6 a, b: The word (sound) energies of Tehuti 9 transformed the creation concept (symbolized in a circle) into
a physical and metaphysical reality. Such transformation is reflected in the Ancient Egyptian process of “squaring
the circle”, as evident in all their “mathematical” papyri10.

The Ancient Egyptian papyri equate the 9 cubit diameter circle to a square with the sides of 8 cubits. The 9 are all
aspects of Ra, the primeval cosmic creative force, whose symbol is/was the circle. 8 corresponds to the physical
world as we experience it.

! a) ! b)
Figure 7 a, b: Human Figuration on an Original Ancient Egyptian Grid

! a)! b)
Figure 8 a, b: The 1:2 geometric outline of the twin-squares represents the diapason, the octave. The octave
represents renewal or self-replication.

SUMMATION (FIBONACCI) SERIES ON THE KEYBOARD

The series 2:3:5:8 is the beginning of the Summation Series. As the Summation (Fibonacci) Series progresses, the
ratio between successive numbers tends towards the Neb (Golden) Proportion. This proportion has recently been
assigned an arbitrary name by Western academia—the Greek alphabet letter φ (phi), even though it was known
and used long before the Greeks.

HARMONIC PROPORTION OF HUMAN FIGURATION

It is well known and accepted that all Egyptian art and architecture, including representations of the human
figure, followed a precise canon of proportion. Plato attested to the remote age of the canon of properties: That

9 This article is about the Ancient Egyptian deity. https://en.wikipedia.org/wiki/Thoth

10 Rhind Mathematical Papyrus, https://en.wikipedia.org/wiki/Rhind_Mathematical_Papyrus
Page 4 of 10
the pictures and statues made ten thousand years ago, are in no one particular better or worse than what they now
make. The Egyptian artistic representation is essentially two dimensional. When representing three-dimensional
objects on a plane surface, the Egyptians avoided using perspectives, and maintained a two-dimensional profile,
with the exception of a few parts of the body. The early records from the 5th Dynasty (2465–2323 BCE) show a
vertical line of reference for the human figure used as an axis, with significant points marked on the axis and
symmetrically about it. The highest defined point along the vertical axis is the hairline on the forehead.

! ! ! a) ! b)
Figure 9 a,b. The harmonic (Golden) proportion of human figuration. 11

This total height of the standing earthly human in Egyptian’s reliefs or paintings (excluding the crown of the
head) is 6 times the width of the foot. Records found from after the 5th Dynasty were set out upon a grid of
squares (equivalent to our graph paper) that made it easier to determine the precise proportions. As such, the
vertical (or horizontal) proportions can be read in terms of the number of squares (or fraction thereof) in the grid.
About 100 such grids are preserved, some dating from the Old Kingdom. Egypt through the Old, Middle, and
New Kingdoms operated on a grid of 18 squares to the standing earthly man’s forehead. The foot occupied 3
squares.

THE DIVINE AND EARTHLY REALMS

The oldest discovered records from the 5th Dynasty show that the highest defined point along the vertical axis is
the hairline of the person’s head, when presented in the earthly realm. Egyptian figurations carefully mark—with
a headband, crown, diadem, or joint—a dividing line for the top of the skull of the earthly man, thus separating
the crown of the skull. The height of the body was measured exclusive of the crown. The illustrations show the
earthly man as always higher than the divine aspects. The representation of the neteru (gods/goddesses) and/ or
human beings in the afterlife are shown on an 18-square grid, for the full height to the top of the head. The choice
of the number 18 is very significant and is consistent with all other Ancient Egyptian aspects. The removal of this
part of the human brain leaves man alive, but without discernment, hence with no personal judgement. The
person is in a vegetated state, i.e. living and acting only as the executant of an impulse that he receives, without
actual choice. It is like a person in a coma.

VARIANCE WITH NATURAL HARMONY

If during a person’s earthly life the actions are not harmonious with nature, the person will reincarnate again to
the earthly realm, to try another time. When the earthly man has developed his consciousness to the utmost
perfection, he will no longer need his cerebral instrument. The perfected soul will go through the process of
transformation and the subsequent rebirth, and as the Egyptian writing describes it, becomes a star of gold and
joins the company of Ra, and sails with him across the sky in his boat of millions of years.

The Ancient Egyptian canon for the harmonic proportion of human figures differed only between children and
adults. The differences were reflective of the actual physical differences at these two stages. At birth, it is the
navel that divides the height of child into two halves. Upon maturation (reaching puberty), the junction of both

11 The Golden Ratio; https://www.cambrearoy.com/golden-ratio-site/humans.html

Page 5 of 10
legs (reproductive organs) is at mid-height of the adult figure. The position of the navel now divides the height
into unequal parts that make the parts and the whole in compliance with the Neb (Golden)Proportion.

Figure 10.
Original Grid in
KV22 of Amen-
hotep III. The
portion from the
navel to the
hairline.

! !

The navel is located about 11.1 grid squares from the bottom of the heel on the 18-square grid system (or the
same equivalent ratio 0.618 for grid or non-grid systems). Such division follows the laws of harmony between the
two parts themselves, and the parts to the whole, as per the following two relationships:
1. The ratio between the Two (top and lower) Parts of the divine height (18 grid squares) are harmonic. Top :
Lower is 0.618 Lower : Top is 1.618
2. Between the Two Parts to the whole Unity (divine height)—taking the full height (to the hairline of the
earthly man’s head) as 1, the body from the feet to the navel, in the Egyptian canon, is equal to the reciprocal
of the Neb (Golden) Proportion, i.e. 0.618. The portion from the navel to the hairline of the head equals the
power 2 of the reciprocal of the Neb (Golden) Proportion, i.e. 0.382.

1 / N + 1 / N2 = 1 [1]
0.618 + 0.382 = 1 [2]

Because of the intimate relationship between the Summation Series and the Neb (Golden) proportion, we find that
the different parts of the figure also follows the Summation Series. In harmonic proportion, measurements are not
an issue. Harmonic proportion is the relationship/ratio between the parts to the whole.

THE UNITY
In order to maintain the unity of the temple or human body, its components must be connected so that the cosmic
energy can flow through unimpeded. The unity of the components of an Egyptian temple must be like the
components of the human body. The walls of a temple consist of blocks and corners, and such components
(blocks) must be connected together in a way that allows the flow of divine energy, just like the parts of the
human being. It is incorrect to merely think that a connection between two components/parts is only to ensure the
structural stability of the part(s) and the whole building. We can take clues from the human body (the house of the
soul) when reviewing the Egyptian temple (the house of cosmic soul/energy/neter). The human body is connected
with muscles, ...etc., but veins and nerves are not interrupted at the bone joints of the skeleton. The living Ancient
Egyptian temple was designed likewise. Bas-reliefs of all sizes, as well as the hieroglyphic symbols, span two
adjoining blocks with total perfection. The intent is very clear—to bridge over the joint between adjacent blocks
(next to each other, or on top of each other), which thread and maintain the energetic functions as a whole.

THE ACOUSTICS MODEL

From the flow of energy point of view, the human body reacts not so much to physical sound as to the interior
sounds into which the physical sounds are translated. It’s acoustics structures also reacts to sounds that have no
physical “counterparts." There are certain properties within the structure of the chromosomes that must be
activated by specific internal sound values. If this activation does not take place then the "attributes" latent within
the chromosomes remain so. There are chains of influence that are actually composed of inner values of sound
that thread together, as it were, the complicated inter-weavings of both the genes and chromosomes.

These sound values are literally interwoven in an electromagnetic pattern. The sounds must weave themselves
through, and help form this pattern. The activity of cells within the body also causes what one might call minute
explosions of interior sound. The electromagnetic and inner sound patterns are impinged upon by certain kinds of
light. Together these all form the prototype upon which, and out of which, the physical body is formed.
Page 6 of 10
 THE MENTAL ACOUSTICS IMAGE
If we can create a mental acoustics image in our mind, it is composed of the same
properties of an atom. There is a steady progression in complexity involving the three
scientific primary elements. Electrons are negatively charged particles circling a
nucleus on which there are an equal number of positive charges; together these make
up an atom; groups of atoms combine to form molecules. A mental image then is also a
pattern of internal sound with electromagnetic properties imbued with certain light
values. In a sense, and a very real one, the mental acoustics image is incipient matter;
and any structure so composed, combining the electromagnetic sound and light values,
will automatically try to reproduce itself in physical existence, or materialisation.
Molecular structures send out their own messages, and unless we are tuned in to
perceive them, they may be interpreted as meaningless noise. There is a definite
connection, then, with the nature of such images and the way in which a physical body
Figure 11. Energy itself is composed.
healing occurs through
correcting imbalances, Electrons, atoms, and molecules all have their independent interior sound and light
promoting values12. There are definite sounds produced when messages leap from our nerve ends.
wholesomeness, and This may be very difficult to explain some of this, but there is "invisible" light, then,
alleviating the body- and inaudible sound, that affects our body and helps form the pattern about which it
spirit of disturbances constantly emerges.
from the past or
present. HEALTH ACOUSTICS OF MAN
The body is a harmonic system, obviously continually created during our present
lifetime, in our time-space terms. It is not a mechanism once created, then left to fend
for itself. Our health were not given a certain amount of
"life force" at birth that we use up as we go along,
contrary to many schools of thought.

The atoms and molecules within our body are quite

Figure 12. The sound of
an atom has been
captured.
disease no longer penetrates the body. As soon as it stopped penetrating – that is the
end, there is no disease.
literally dying and being completely replaced all the time.
Man’s body is being created physically and acoustically
each instant. The body reacts to exterior sounds and to
the stimuli transmitted to it by the physical senses. These
patterns of reaction can be clearly observed scientifically
as waves. They are all that is presently observable,
however, of far greater interactions that also occur.
Therefore, we need to find a mechanism for cognising
our perceptions. We are occupied with a system of
cognition between reality and control. The solution to our
problem, such as healing in health maintenance, is a
system of acoustics cognition: to make the event such that in future during any
studies there will be improvement and normalisation, and no deterioration under
any conditions by start using the harmonic proportion and acoustics knowledge.
The point is that the rate of thinking is faster than the rate of the disease reaction.
A person obtains a protective environment through which information of the

INTERIOR ACOUSTICS STRUCTURES

The nerves are composed of the same kind of interior acoustics structures: around, or rather from which, the
physical nerves form. The exterior data is translated and broken down into inner terms. That is, it is decoded in
terms of the internal sound, light, and electromagnetic patterns discussed before.

12 AntonFrisk Kockum, Per Delsing, and Göran Johansson. Designing frequency-dependent relaxation rates and
Lamb shifts for a giant artificial atom
Phys. Rev. A 90, 013837 – Published 30 July 2014 Chalmers University of Technology. http://
www.dailyaravidis.eu/2014/09/the-sound-of-an-atom-has-been-captured/
Page 7 of 10
 ! a) ! b) ! c)

! d)! e) ! f)
Figure 13 a, b, c, d, e, f: Heat cross section structure under acoustic pressure stimuli a: f=100Hz; b: f=300Hz; c:
f=1000Hz; d: f=16000Hz; e: f=300Hz; f: f= 10000Hz. 13

It then becomes usable information within our acoustics structures, even in terms of the atoms and molecules that
compose the cells. The physical lapse that occurs between an incoming message, and its intended destination does
not occur on these other levels. The "interior message" gets through the interior acoustics structure like
“structural-borne vibration” to its destination ahead of the physical “air-borne” one.

THE SYSTEM RESPONSE

By the time the organism responds the inner patterns have already reacted, and this must and always does precede
any physical response to stimuli. Therefore the invisible body pattern, composed of its interior light, sound and
electromagnetic properties, reacts first, and actually
initiates the later physical response.

There is always this translation of exterior stimuli. The perceived lapse noted by scientists is of course the
physical one, caused by the "time" it takes the message to leap the nerve endings. The interior translation however
is simultaneous.

IN REALITY
In the situation of the near accident with a car, its driver, and the one’s own precarious position, exists as another
structure beside the one that we physically see. It is — an event — exists in a time-space, in a reality composed of
invisible light, inaudible sound, and electromagnetic patterns.

Consciously we react to the physical data — the air-borne noise, the squeal of brakes perhaps, the visual shock of
seeing the car so close, but the entire inner reality of that scene or event is instantly "recognised" by “our inner
senses” which formed our interior acoustics structures. These respond to the interior patterns around our nerve
systems. The physical data is carried through the nerves with the necessary time lapses that must occur. These
represent the temporal end of the spectrum of perception. Because man is flesh and blood creatures, the interior
aspects of perception must have its physical counterparts. But material awareness and bodily response to it would
be impossible were it not for these internal webworks.

Therefore, before we “see” anything physically, we do so through these inner acoustics structures pathways. The
interior perception activates the outside one. When we experience physical motion or activity, events or
phenomena, we are becoming aware of the tail end of a long "series" of interior comprehensions. In all exterior
events, including our own bodies with insides, all objects, all physical materialisations, are the outside structures
of inside ones, that are composed of interior sound and invisible light, interwoven in electromagnetic patterns.

ACOUSTICS MODEL
Beneath temporal perception, then, each object and event exists in these terms, in patterns that interact with each
other. On a physical level our physical body seem to be separated from everything that is not ourselves. This is

Elena Lacatus, G C Alecu, A Tudor, Mihai Adrian Sopronyi; From Music to Non-Invasive Therapies via
13

COMSOL Multiphysics ® Models. September 2014

Page 8 of 10
not true, but in our education and day-to-day existence, it seems to be, and our governments’ laws and regulations
made us believe it is, an assumption that we usually take for granted.

Figure 14. The field of

consciousness exploration
through the Acoustics
Model is limited only by
the openness of the
modeller.

!
On the interior level, all happenings and objects are connected14. A movement or change in one affects others.
One will physically respond to and recognise some of this alteration, as in the example of the near accident. But
whether or not it is consciously aware of such activity, it changes the interior environment of our body through
these inner pathways.

The Health Acoustics Model of Man is developed by understanding the knowledge that our own thoughts and
beliefs, having the same kind of inner reality, also transform the interior environments of others. The near
accident mentioned was a physical event but it was initially a mental one. It existed in this non-temporal reality
then before, in time-space terms, it was physically materialised, perceived and reacted to. It was propelled from
inner reality to outward reality through belief, emotion and imagination. Because we cannot see them, it may
seem to be that these qualities are not as real, say, as an object. Physically, for instant, we can only observe the
results of an emotion. We cannot hold it in our hands as a stone. Ideas represent our psychic intent. They generate
emotion and imagination. These activate the interior acoustics structures and generate patterns of vibrations. They
are the motive force of action, the means by which all interior events are exteriorised. They are energy formed
and directed, formulations of interior and exterior patterns of reality. They are a part of the creative force from
which all realities spring.

In practice, a mathematical acoustics model can be developed, based on the development of perception from a
man. If we have two parameters f[k(I)]and f[k1(E)], as the interior and exterior acoustics structures, they are
connected in vector form. With Ra(☉), the binding control in infinite number of systems; k, and k1 are the
characteristics coefficients of interior and exterior perceptions; x, is the assigned area of the perception; and n, the
degree of freedom which one can take decisions, then the equation may be written as:

Ra(☉) = {f[k(I)] * f[k1(E)]}xn [3]

It turns out that we can describe the phenomena that are connected in real time.

DISCUSSIONS
Imagination and emotions are the most concentrated forms of energy that man possess as physical creatures
which may affect our health conditions. Any strong emotion carries within it have more energy than a spaceship,
are manipulated by our minds. Emotions, instead of propelling a physical rocket, for example, send thoughts from
this interior reality through the interior acoustics structures, a kind of barrier between nonphysical and physical
into the "objective" world — which is no small feat, and one that is constantly repeated.

The physically alive body, its activities and condition, are directed through the beliefs of the conscious mind. The
body, as explained in this paper, also has "invisible" counterparts composed of the electromagnetic properties and
the interior sound and light qualities.

These invisible structures preceded the emergence of the physical body in a system of acoustics structures. They
also exist after the body's death. While the condition of the body is directed by the conscious mind in life, then,
the idea or mental pattern for the body existed before the conscious mind's connection with the physical brain.

14 What is bio resonance? New Earth Project. https://newearthproject.org/initiative_page/bio-resonance/

Page 9 of 10
The genes and chromosomes do not just happen to have within them the precisely definite coded information that
will be needed. The data is impressed upon them from within. The identity exists before the form. We could say
that the identity, existing in another dimension entirely, plants the seed into the medium of physical reality from
which its own material existence will spring.

Therefore the inner self forms, first, the "invisible" body structure which will "later" emerge in flesh. At the event
of this mental seeding, the conscious mind, in our time-space, is obviously not connected with the brain, which
has not yet been formed in flesh. The idea of the body is held and made physical by a conscious mind.
Consciousness then is not dependent upon physical perception, though this attribute does require an awareness
immersed within a material form. While physical consciousness is sifted through the bodily apparatus, most of us
are usually unaware of non-corporeal kinds because of that process. The general framework, properties and
characteristics of the body exist, therefore, before its formation. In simple terms, we do choose ahead of time the
kind of body we will inhabit and impress. It may seem that we do not have any conscious control over our body's
condition in life as we know it, much less before our birth. In schools, we have been taught that there is little
connection between our thought and our body's activities.

A man believing he has heart trouble will finally, through his own anxiety, affect the functioning of his
"involuntary" system until his heart is definitely harmed if the belief goes unchecked. The conscious mind directs
the so-called involuntary systems of the body, and not the other way around. No idea slips insidiously past our
awareness to affect our involuntary system unless it fits in with our own conscious beliefs. Once more, people
will not be sick if they think they are well — but there may be other ideas that make them believe in the necessity
for poor health. Most are not aware of how the body performs its many involuntary functions. The conscious
mind could not handle all that data, but those functions perfectly mirror our consciously held ideas and beliefs.

Our consciousness is not cut off from the inner self or from those deep inner sources of knowledge available to it.
Our awareness is not just any one event; it represents various portions of the inner self that “surface and display"
at any given time. Within the basic structural framework of the body chosen before physical birth, we do have full
freedom to create a perfectly healthy functioning form. The form is, however, a mirror of beliefs, and will
accurately materialise in flesh those ideas held by the individual’s conscious mind.

Page 10 of 10