Remember those song birds we used to hear in the fields? The
sounds of animals in nature singing a symphony of soft and subtle
sounds as all things flow together to create a living and vibrant
concerto? Science is now showing that these sounds actually do
influence the growth of plants. Researchers have demonstrated that
plants respond to sounds in pro-found ways which not only
influence their overall health but also increase the speed of
growth and the size of the plant.
Many people remember hearing in the late 1960's and 1970's
about the idea that plants respond to music. There were lots of
projects in high schools and colleges which successfully tested
the effects of sound on plant growth. It was determined through
repetitive testing that plants did respond to music and sound.
The first book which brought this idea to most of us was: The
Secret Life of Plants, by Peter Tompkins and Christopher Bird
(Harper & Row 1973). In this best selling book a number of
astounding revelations about plant growth were revealed. The
idea that plants were influenced by sound in both positive and
negative ways was demonstrated by several world class scientists
at that time.
When we think of plants being affected by sunlight we are
really looking at the effect of a portion of the electromagnetic
spectrum on plants that portion which includes visible light.
It should not surprise us that sound also impacts plant growth
because it is, in essence, an extension to other parts of the
electromagnetic spectrum.
The science was first disclosed in an article by Andy Coghlan
which appeared in New Scientist (May 28, 1994, p.10). The
article confirmed old ideas by placing them in a scientific
context. It tells an excellent story about the impact of sound
on plant growth, bringing to light what was before considered
esoteric or mysterious science. After reading this short article
and those which follow in this issue of the Flashpoints a good
deal more will be thought of "singing gardeners" and "plant
communicators."
Many people remember reading accounts of plant growth being
stimulated by sound waves. At that time, "talking" to plants and
playing plants different types of music was used to influence
growth. A number of people were using these techniques without
being able to completely explain the phenomena. This article is
part of that story a story which could have a profound impact
on the way we grow and produce our food.
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.
In experiments by Sternheimer, he claims that tomatoes exposed
to his melodies grew two-and-a-half times as large as those
which were untreated. Some of the treated plants were sweeter in
addition to being significantly larger. The musical sequences
stimulated three tomato growth promoters, cytochrome C, and
thaumatin (a flavoring compound). According to Sternheimer in
the New Scientist, "Six molecules were being played to the
tomatoes for a total of three minutes a day."
Sternheimer also claims to have stopped the mosaic virus by
playing note sequences that inhibited enzymes required by the
virus. This virus would have harmed the tomato plants.
The note sequences used by the inventor are very short and need
only be played one time. For example, the sequence for for
cytochrome C lasts just 29 seconds. According to Sternheimer,
"on average, you get four amino acids played per second" in this
series.
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.
Plant stimulation by sound may have profound implications. The
idea that a cheap source of "electromagnetic fertilizer" has
been developed should be exciting for many third world
countries. At a time when human progress can be made through
simple solutions in agriculture, resources are being wasted in
the extraction of mineral and oil compounds for fertilizers. If
this method of fertilization were followed the human intellect
would prove superior to physical capital in terms of
distribution and production of this new technology.
The idea that sound can have a healing effect on humans is
being explored by a number of independent scientists around the
world. The know-ledge of the "sound effect on proteins" offers
insights to health practitioners of the benefits to humans. In
addition to the favorable economic factors, the increased
vitality of the plant substances can positively impact the
health of all humans that consume them.
The patent includes melodies for cytochrome oxidase and
cytochrome C which are two proteins involved in respiration. It
also includes sound sequences for troponin C which regulates
calcium uptake in muscles. Further, a tune was developed for
inhibiting chalcone synthase which is an enzyme involved in
making plant pigments.
http://www.bekkoame.ne.jp/%7Edr.fuk/IndexE.html
METHOD FOR THE REGULATION OF PROTEIN BIOSYNTHESIS
US2002177186
2002-11-28
Jol STERNHEIMER
Classification: - international: A61K41/00; C12N13/00;
C12P21/02; A61K41/00; C12N13/00; C12P21/02; (IPC1-7): C12P21/06;
A01N37/18; A01N43/04 ; - European: A61K41/00D; C12N13/00;
C12P21/02
Abstract --- There is provided a method for determining the
musical notes associated with an amino acid sequence, the
musical periods of the sequence, the lengths of the notes, and
the tone quality of the notes through the retroaction of the
whole set of amino acids and using that information to regulate
the biosynthesis of the protein. The amino acids that build a
protein emit a signal of quantum nature at a certain frequency.
Following the properties of this signal, the frequency is
transposed into a musical note. This discovery has numerous
applications since one can then deduce from the amino acid
sequence of a protein a sequence of notes composing the melody
that will act to stimulate or inhibit its synthesis inside an
organism, wherefrom one can in addition delimit its biological
functions.
Correspondence Name and Address:
ALSTON & BIRD LLP
BANK OF AMERICA PLAZA
101 SOUTH TRYON STREET, SUITE 4000
CHARLOTTE
NC
28280-4000
US
U.S. Current Class: 435/69.1; 514/2; 514/44
Description
CROSS-REFERENCE TO RELATED APPLICATION
[0001] This application is a continuation-in-part of U.S.
patent application, Ser. No. 08/347,353 filed Dec. 1, 1994.
BACKGROUND OF THE INVENTION
[0002] The present invention is directed to a method of
regulating protein biosynthesis. More particularly, the
invention is directed to a method for epigenetic regulation of
in situ protein biosynthesis and its use in agronomy and health.
[0003] Demonstration of the musical properties of elementary
particles suggests an important role for the scale at which the
phenomena happen. (J. Sternheimer, C. R. Acad. Sc. Paris 297,
829, 1983). For example, it is known that the physical existence
of quantum waves associated to particles propagate themselves
not only in space-time, but also in that scale dimension, thus
linking together successive levels of the organization of
matter. (J. Sternheimer, Colloque International "Louis de
Broglie, Physician et Penseur", Ancienne Ecole Polytechnique,
Paris, Nov. 5-6, 1987). These waves allow an action of one scale
onto the other, between phenomena that are similar enough to
constitute, in a mathematically well-defined sense, harmonics of
a common fundamental tone. (See J. Sternheimer, Ondes d'e'chelle
[scaling waves], I. Partie Physique; II. Partie Biologique.
Filed at Academie des Sciences (Paris) 1992 under seal no.
17064).
[0004] The theoretical reasons for the existence of scaling
waves makes them appear as a universal phenomenon whose function
is at first to ensure coherence between the different scales of
a quantum system, and that especially takes shape and can be
described in the process of protein biosynthesis. The peptidic
chain elongation effectively results from the sequential
addition of amino acids that have been brought onto the ribosome
by specific transfer RNAs (tRNAs). When an amino acid, initially
in a free state, comes to affix itself to its tRNA, it is
stabilized with respect to thermal agitation --while keeping a
relative autonomy because it is linked to the tRNA by only one
degree of freedom--for its de Broglie wavelength to reach the
order of magnitude of its size. This stabilization gives the
amino acid wave properties.
[0005] Interference between the scaling wave associated to the
amino acid and those similarly produced by the other amino
acids, results in a synchronization, after a very short period
of time (which can be evaluated to be about 10.sup.-12.5
second), of the proper frequencies associated with these amino
acids according to one and same musical scale, which more
precisely depends upon the transfer RNA population. However, to
within the approximation of the chromatic tempered scale, this
scale appears universal due to the very peculiar distribution of
amino acid masses which is already very close to it.
[0006] The scaling wave phenomenon appears in a more explicit
way when the amino acid carried by its tRNA fixes itself onto
the ribosome. It is at this moment that the stabilization with
respect to thermal agitation becomes such that the wavelength of
the amino acid outgrows its size by a full order of magnitude.
The scaling wave which then emits interferes, at the scale of
the protein in formation, with similar waves previously emitted
by the other amino acids. This interference draws constraints of
a musical type for the temporal succession of the proper
frequencies associated to these waves, so that the scaling waves
continue their itinerary and insure coherence and communication
between different levels of the organism. For example, the
succession of these waves minimizes the dissonance (harmonic
distance) and the frequency gaps (represented by melodic
distance) between successive amino acids. Additional properties
imply the existence of periods of minimization of harmonic
distances showing punctuations in the temporal succession of
frequencies which other levels will complete with correlations
all the more rich and marked that they themselves are more
numerous to influence the protein synthesis. The result is the
prediction that proteins possess, in the very succession of the
proper quantum frequencies associated to the sequence of their
amino acids, `musical` properties all the more clear and
elaborate that their biosynthesis is more sensitive to
epigenetic factors in general. Conversely, it must be possible
to act epigenetically, in a specific way for each protein onto
that biosynthesis.
[0007] The observation of protein sequences confirms that all
proteins possess musical properties in the sequence of their
amino acids and these properties are all the more developed that
those proteins are, in a general way, more epigenetically
sensitive. (Data from M. O. Dayhoff, Atlas of protein sequence
and structure, volume 5 and supplements, N.B.R.F. (Washington)
1972-78). In addition, the acoustic transposition of the series
of proper frequencies corresponding to the production of scaling
waves in phase with the elongation of a given protein,.shows a
stimulating action onto the biosynthesis of this protein in
vivo, and in a correlative way it has an inhibiting action for
scaling waves in phase opposition.
[0008] In the case of animals having a nervous system the sound
wave is transformed into electromagnetic impulses of the same
shape and frequency right from the starting point of the
auditory nerve. These impulses, by virtue of the scale
invariance of scaling wave equations applied to the photon
(which generalize Maxwell's equations), have a direct action, by
scale resonance, on their quantum transpositions. Because the
squared quantum amplitudes are proportional to the number of
proteins that are simultaneously synthesized, the resonance
phenomenon results, in the case of scaling waves in phase, in an
increase of the rate of synthesis, as well as a regulation of
its rhythm, and in the case of scaling waves in phase
opposition, in a reduction of this rate. (cf. P. Buser and M.
Imbert, Audition, Hermann diteur, Paris, 1987). Among plants,
the sensitivity to sounds is visible through interferometry and
the scaling waves behave theoretically in a similar way.
[0009] The solution to the scaling wave equation, which
effectively shows the existence of scaling waves having a range
close to Avogadro number, anticipates similar properties for the
scaling waves drawn from the spatial distribution of amino acids
(whose de Broglie wavelength is then comparable to their size)
inside the protein after it has been synthesized. The solution
then provides a range approximating the square root of that
number. The observation of their tertiary structures confirms
the existence of harmonies within vibratory frequencies of amino
acids spatially nearby inside proteins (and especially at their
surface, as can be expected from their wavelength). An
appreciable stabilization of the effects obtained with the use
of the musical transpositions is then observed using colored
transpositions of these spatially distributed frequencies.
[0010] The present invention is drawn from these observations.
SUMMARY OF THE INVENTION
[0011] The method of the invention comprises determining the
musical notes associated with an amino acid sequence, the
musical periods of the sequence, the lengths of the notes, and
the tone quality of the notes through the retroaction of the
amino acids and using that information to regulate the
biosynthesis of the protein.
[0012] Stated in another way, the amino acids which build a
protein emit a signal of quantum nature at a certain frequency.
Following the properties of this signal the frequency is
transposed into a musical note in such way that playing back the
melody of a protein will stimulate or inhibit its synthesis.
This discovery has numerous applications since deduction of the
amino acid sequence of a protein provides a sequence of notes
composing the melody which will act on its synthesis inside an
organism. Thus, by diffusing to a plant the music of a protein
which plays an important role in flowering, more flowers are
produced.
[0013] Stated more scientifically, the method of this invention
uses the regulating action on the biosynthesis of proteins by
scale resonance of transpositions into sound of temporal
sequences of quantum vibrations associated with their
elongation. This action may be an increase of the rate of
synthesis or a reduction of this rate, depending upon whether
the modulation of the vibration frequencies used is in phase
with, or in phase opposition to the elongation. This is true for
the quantum vibrations as well as for their transposition into
sound. The result is further stabilized by the actions, again
through scale resonance, of colored light transpositions of
grouped quantum vibrations arising from the spatial conformation
of proteins issued from this elongation.
[0014] This method applies in a specific way to every protein
of known structure. Its use is all the more appropriate when the
synthesis of this protein is even more dependent upon epigenetic
factors, that is to say external to the DNA of the system to
which it belongs, and especially in the present case, upon
acoustic and electromagnetic factors. In addition, the method
uses the determination of metabolic agonisms and antagonisms of
these proteins due to scale resonance phenomena naturally
associated with their biosynthesis. The characterization of
these proteins in their associated metabolic subsets is another
feature of the present invention.
[0015] The identification of proteins designed to be regulated
as part of a given application includes other criteria a
correspondence between acoustic and electromagnetic phenomena or
which effects can be observed on living beings and the
transposed proteic sequences.
BRIEF DESCRIPTION OF THE INVENTION
[0016] Certain features and advantages will be evidence from
the drawings when considered in conjunction with the
accompanying drawing in which:
[0017] FIG. 1 shows the musical scale cytochrome oxidaze
and cytochrome C;
[0018] FIG. 2 shows the cytochrome C humain region for
amino-terminal and legends;
[0019] FIG. 3 shows Hystone IV and chalconesynthase;
and
[0020] FIG. 4 shows "heat shock" HSP 27 Ethsp 70 and
Troponinec.
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.
EXAMPLE 1
[0048] This example illustrates decoding a protein that is
regular from beginning to end. Cytochrome C provides a constant
deletion of eight amino acids (sometimes seven) among animal
proteins when compared to plants. Observing the autocorrelations
of musical notes and melodic contours confirmed the value of the
musical period.
[0049] The occurrences of the same note was counted and the
same direction of pitch variation occurred three times in a row
(the same triplet of signatures), which was distant from an
integer number k of musical notes. The following result was
obtained:
[0050] Values of k 1 2 3 4 5 6 7 8 9 10 11 12
[0051] Note autocorrelations 19 15 15 20 19 15 17 21 14 17 18
13
[0052] Melodic contour autocorr. 1 7 4 6 5 10 8 13 5 4 4 4
[0053] Total 20 22 19 26 24 25 25 34 9 21 22 17
[0054] the peak at k=8 being worth about 2.5 standard
deviations (as compared to its expectation value 22.3.+-.4.7
determined from the repartition of notes of the molecule). The
significance of this peak was reinforced when using melodic
distances.
[0055] The peak outgrew distinctly 3 standard deviations when
the autocorrelations of melodic intervals were included by
taking as a definition of the melodic distance between two
notes, the absolute value of the difference of the ordinal ranks
of their tempered frequencies arranged in ascending order. This
definition is derived from the usual nomenclature: second,
third, etc., for the notes of a musical mode. The secondary peak
at k=7 then became slightly significant, corresponding to the
relative stretching of the seventh note which tended to precede
the return to the tonic; whereas, the one at k=4 was reinforced
when harmonic distances were used to spatial foldings of the
molecule.
[0056] The observation of the cadences also confirmed this
value, as well as that of the internal similarities. The last
five notes of the first, second and third group of eight
produced together an exact harmonic superposition. In other
words, a canon for three voices. More precisely, these last two
investigations showed a greater relative importance of the
seventh note (F-S cadence on the second period) and the eighth
note (back to the A minor tonic) for each period. The latter
once more prevailing over the former. That is, the perfect S-Q
cadence on the sixteenth note prevailed over the preceding F-S
cadence with the recovering of the initial tonality. The
division of the period resulted in six semiquavers, one quaver,
one crotchet (which meant relative lengths 1-1-1-1-1-1-2-4 with
a 6:8 rhythm as shown in FIG. 1). The coherence of the melodic
progression (wherefrom the observed regularity mainly proceeds)
as well as the richness of the harmonic progression, the A minor
tonality being accompanied with modulations in E minor (second
bar), G minor (eighth bar), and F major (third and ninth bar)
was apparent.
[0057] The first and seventh notes of each period fostered,
respectively, adenine and thymine in third position; whereas,
the third and eighth notes fostered in the same way cytosine and
guanine. This confirmed the above division for the period and
the relative lengths of notes. In other words, the seventh and
eighth notes had lengths that were respectively twice and four
times the first. This also showed that in an AT-rich environment
strong beats were on the first and seventh notes, and therefore
the measure bars were on the first. However, in a CG-rich
environment the musical sequence started on an anacrouse (strong
beat on the third and eighth notes, measure bar on the third).
[0058] The conclusion was that the protein had distinct
metabolic roles, depending on its environment.
[0059] Actually, the range of its metabolic action was first
demonstrated by the degree of its musical evolution. In
comparison with the sequence of Euglena gracilis, in the three
first measures an improvement of 56% of the melodic [regularity]
level and of 16% of the harmonic [regularity] level was observed
as defined from the minimization of the respectively melodic and
harmonic distances between successive notes.
[0060] The search of musical similarities with other proteins
showed the possibility to superpose cytochrome C onto endozepine
with a musical reading frame compatible with the measure bar on
the first note. This resulted in a slightly AT-rich molecule;
thereby predicting an anti-depressive role for the cytochrome
(and its music), through the eventual desinhibition of
neurotransmission; as well as, a musical enchainment (then
beginning on an anacrouse) with cytochrome oxidase. Cytochrome
oxidase is slightly CG-rich and ends the respiratory chain.
[0061] As for tone quality, because tonality was present in A
(minor), the quasi absence of the fourth (D) and the relative
weakness of the fifth (E) compared to the distinct dominance of
the tonic note and to the abundance of the octave (low A-medium
A) privileged harmonics 1 and 2, to the prejudice of the
followings, indicated an organ timbre with slightly different
registers according to the passages.
[0062] As shown in FIG. 2, colors effectively grouped
themselves into colored stains onto the mature protein with, as
in the case for music, remarkable harmonic responses. The color
determination was useful to confirm the musical decoding,
insofar as some autocorrelations of notes were translated not
into the musical period but in the spatial folding of the
molecule. The spatial folding must eventually be subtracted to
determine the musical periods. It was found that where a
secondary peak of these autocorrelations, k=4, due to the
.alpha.-helix of the beginning which can be seen in FIG. 2,
corresponded to these foldings. Conversely, the musical decoding
gave indications about the spatial structure of a protein.
EXAMPLE 2
[0063] This example illustrates control of the decoding of a
protein showing rhythmical variations. The decoding was
controlled at different levels including the decoding of
molecules known to be metabolically agonist and the coherence of
the conclusions that were drawn from the musical similarities
observed.
[0064] Recovering full sections of the metabolism facilitates
the decoding. In Example 1, the "rhythmic formula" of cytochrome
C was transcribed as follows:
1 .vertline.6/8
GDVEKGK:K:::.vertline.IFIMKCS:Q:::.vertline.CHTVEKG-
:G:::.vertline., etc. + + + + + + + + + + + + + + + + + +
[0065] where the +underline the strong beats, the .vertline.
indicate the place of measure bars and the: indicate the
lengthening of notes.
[0066] In subunit III of cytochrome oxidase, which is musically
chained to cytochrome C, the beginning is a four-time formula as
shown by the internal similarities. The notes 7 to 22, which
remind in their contours the manner of Bach, were split into
groups of four notes, each one being superposable to the next.
At the tenth measure, another measure which was not only
superposable was found onto the first measure of cytochrome C,
but was in fact, even practically identical to the third measure
of the same cytochrome. This implied a lengthening of the eighth
measure (as the cadence seen at the end of this measure already
indicated in itself), in a six-time measure (FIG. 1):
2 .vertline.4/8
MTHQSHAY.vertline.HMVKPSPW.vertline.PLTGALSA.vertli-
ne.LLMTSGLA.vertline. + + + + + + + + + + + + + + + +
MWFHFHSM.vertline.TLLMLGLL.vertline.TNTLTMYQ.parallel.6/8
WWRDVTR:::::.vertline. + + + + + + + + + + + + + + + + + + +
ESTYQGH:H:::.vertline.TPPVQKG:::::.parallel. + + + + + + + + + +
+ +
[0067] This change in rhythm (from 4/8 to 6/8) was visible in
base autocorrelations of the DNA where, at this point, the
prominent peak went from the fourth to the sixth base triplet.
[0068] As seen in FIG. 1, the sequence started on an anacrouse
emphasizing the strong beat on the third note, in view of the
enchainment with the CG-rich rhythmic variant of cytochrome C.
EXAMPLE 3
[0069] The example illustrates reconstitution of a metabolic
chain including stimulations and inhibitions.
[0070] The decoding of histone 4 was particularly easy. The
periodicity of 7 is clearly visible on the sequence at the
outset of the molecule. The repetition of G within a two amino
acid interval indicates a binary rhythm, and the GG cadences
that end the two first periods specify right away a four-time
rhythm:
3 .vertline.SGRGKGG:.vertline.KGLGKGG:.vertline.; + + + + + + +
+
[0071] this pattern continued until the end of the sequence,
with the only exception being the last measure which was
syncopated to recover the rhythm of the first two measures. See
FIG. 3. The global repartition of the notes showed a harmonic
structure corresponding to the tone of a flute. The "skip of
notes" repeated from the beginning, which suggested a sound with
an attack and a timbre similar to that of Pan's pipes.
[0072] Histone 4 is one of the most conserved proteins among
the animal and plant kingdoms. This does not mean that its
metabolic action doesn't sometimes need to be tempered. The
theme of histone 4's first two measures was found in inhibition
and transposed to the fourth, in the conserved part of the
beginning of chalcone synthase, which is the pigmentation enzyme
of many flowering plants. See FIG. 3. This may be compared to
the supposed role of chromatin, which histone 4 is part of, in
the process of magnesium fixation. During spring, plants need a
lot of magnesium for photosynthesis and the plant's fixation
needs to be stimulated. Chalcone synthase is then inhibited;
whereas, during the fall, the weaker stimulation of histone
desinhibits chalcone synthase and allows the replacement of the
green of the leaves by brighter colors of that season, the
diversity of which, so much praised by the poets, becomes thus
more understandable through their epigenetic component.
[0073] When listening to the musical transposition of histone
4, several auditors reported "an urge to eat chocolate" which
contains magnesium. Some auditors found that "it produces the
same effect as that of granulated magnesium, except that this
effect is immediate in this case". This presents some
inconvenience for people having a slightly too high rate of
cholesterol. Actually, the musical decoding of chalcone
isomerase--the metabolically agonist of chalcone synthase, but
which "works better" musically in stimulation--included a series
of themes and variations whose succession reproduced, in
flowering plants, themes of the full metabolic chain regulating
cholesterol in man. In addition, the frequency of the ascending
fourths in chalcone isomerase tended to approximate that
observed in the alcali light chain of mammalian myosin, which
stimulated muscular contraction (while magnesium acted as a
muscular decontractant). Listening to the musical transposition
of histone 4 encouraged physical exercise which is another way
to lower cholesterol.
[0074] In fact, this example underlines the importance of a
quasi-general phenomenon, that is, the epigenetic co-operation
of different factors in the stimulation of protein synthesis,
which accounts for the aspect meaningful in itself of the
musical sequences. In this way for example, listening to myosin
will generally suggest a military march.
EXAMPLE 4
[0075] This example illustrates the biochemical analysis of an
epigenetic cooperation involving harmonic superpositions. The
biochemical analysis of these epigenetic cooperations is a
valuable help for decoding.
[0076] Another way to stimulate epigenetically the muscular
decontraction is heat, whose healing action for rheumatism, for
example, is well known. The action of heat is conveyed by a
group of proteins called heat shock, generally synthesized
together. This suggests that the proteins should show harmonic
superpositions. In fact, the hsp 27 protein, which appeared to
be the most musical, superposed itself onto the beginning of the
hsp 70 protein, the most abundant, which sort of played here the
role of a bass line. These two molecules were again superposable
together with the beginning of troponin C, which regulates
calcium in muscular contraction. The conclusion was that it
plays a role as an anti-rheumatic and that its musical level is
high (FIG. 4). Other molecules, also of a high musical level and
epigenetically sensitive, were implicated in this type of
ailment, from the stimulation of prolactin and beta-lipotropin
(precursor of beta-endorphin) to the inhibition of estrogen
receptor, including the inhibition of IgE and interleukin 1
beta.
[0077] These examples clearly show how large sections of the
metabolism can be reconstituted step by step, with many ways to
check or control the coherence of the results obtained, and
thereby to precise the musical decoding of the concerned
proteins.
EXAMPLE 5
[0078] This example shows a practical application of the method
of this invention using the transcriptions in the form of either
musical scores, or of recordings of the obtained musical
sequences.
[0079] The recordings of musical sequences may be realized from
musical scores described earlier, by using one of the methods
evaluated in B. H. Repp, J. Acoust. Soc. Am. 88, p.622 (1990).
The most precise of these methods was used in the examples
hereby given.
[0080] In the fields of agronomy and textile industries this
invention provides methods to stimulate certain specific protein
synthesis, for example, bovine lactation, fermenting of baker's
yeast, the sweet taste of some fruits, animal or plant fibres
(keratine of sheep's wool, fibroin of silkworm, etc.), as well
as the proteins specific to certain medicinal plants. In the
field of environment the method of this invention is used, for
example, in the assimilation of industrial effluents through
plants by stimulating the biosynthesis of the corresponding
proteins.
[0081] The method of this invention was used on a cow who
regularly, during 15 days and at the time of milking, listened
to recordings of musical transcriptions of the amino acid
sequences of bovine prolactin, lactoglobulin, and lactalbumin. A
reduction, by a ratio of 3, of the relative quantity of whey was
observed, resulting in a milk highly enriched in proteins, and
in a particularly savory cheese.
[0082] In another experiment growing tomato plants were given a
"cocktail" of musical transpositions of different proteins
including: specific virus inhibitors, various extensions, then a
flowering enzyme (LAT 52), an antibacterial protein having
musical similarity to thaumatin, an improvement of sugar
percentage (P 23), and inhibitors of fruit softening enzymes
(pectinesterase and polygalacturonase). A distinct increase in
size and number of fruits (summing up to a ratio of about 3.5)
was observed, as well as, a sensitive increase of the sweet
taste in a significant proportion of the fruits that had
particularly received P 23.
[0083] These noteworthy results go along with a certain amount
of precautions, namely, there exist some counter-indications to
an excess of stimulation, especially of prolactin, which must be
cautiously taken into consideration by breeders that carry out
these methods, as well as for the animals themselves who may be
fragilized. In the experiments carried out on cows with Mozart
music--bovine prolactin has in fact, apart from a "musical
level" particularly high which can here define in a
mathematically simple way some musical turns that can be
qualified as "typically Mozartian"--the rate of mammites could
seem worrying. In such a case one ought to complete the hearing
of prolactin with that of alpha-1 antitrypsin, whose musicality
is also very elaborate and whose metabolism is complementary.
Similarly for tomatoes receiving outside stimulations, one must
be cautious not to interrupt the cycle too suddenly.
[0084] These results give an indication of the order of
magnitude of results obtainable in such conditions.
EXAMPLE 6
[0085] In the therapeutic and preventive fields, many ailments
are characterized by a specific metabolic weakness and can
therefore be efficiently prevented or treated with the help of
the present invention. This example illustrates such prevention
or treatment.
[0086] Because the minimal length of a musically active
sequence is of the order of that of a signal peptide, i.e., from
several amino acids to a few tens, this action may be very fast
and appear after a few seconds or a few minutes. Nevertheless,
the complete integration of the produced effect can take
slightly more time, or even require, in case of a strong
cultural conditioning, i.e., a certain initial training. But
usually, this initial training is accomplished rather rapidly
for the obvious benefit of the persons concerned.
[0087] For a responsible use of the described method, it is
important to know the metabolic role of the molecules involved.
And it is of course one of the interests of the musical decoding
of proteins (associated to the corresponding colors) to allow,
by systematically spotting the similarities and
counter-similarities of melodies (and colors) from the protein
sequences that are known and available in data banks, to select
proteins that are metabolically agonist and antagonist of a
given protein, for which the degree of musical elaboration also
gives an indication of the importance of its metabolic role. The
described method therefore allows determinations of precise
particular indications for some proteic sequences.
[0088] As earlier noted, in animal or plant proteins,
especially among the most musical ones, successive melodic
fragments of human metabolic chains were observed. Therefore,
the transpositions which were found to be active on man were not
limited to human molecules. On the other hand, the metabolism of
those species seems in some way more "specialized" for the
production of certain molecules, and it is indeed the most
musical proteins that will be the most important for the
applications. Of course, these correspondences between different
species facilitate the delimitation of the metabolic role, and
the decoding of proteic sequences.
[0089] The musicality of a molecule implies in itself that its
epigenetic stimulation is preferable for a therapeutic use,
(because of the range of its metabolic interactions), to its
direct absorption. The "most musical" molecules are generally
those for which either the production by genetic engineering, or
the therapeutic use which derives from it, will meet some
problems, such as of transportation to the site of action, or of
stability, or more specifically of secondary effects related to
doses that should be much more important than what they are in
the body to obtain comparable effects, because then, the scaling
waves naturally associated to their production are not present
any more. This is particularly true for the inhibition of
proteins, when the natural inhibitor is much heavier, or simply
when the production needs to be reduced at a given time or in a
systematic way.
[0090] Eventually, concerning the use of transcriptions of
proteic sequences, the very quickness of their action may allow,
by differential comparison, especially bipolar, of their
positive and negative effects to precisely which one is the most
appropriate in a given situation. This identification is
facilitated by the comparison with transcriptions of known
proteic sequences of acoustic or electromagnetic phenomena
exhibiting distinct series of frequencies, and for which some
effects have been observed in a similar situation.
[0091] As will be appreciated from the above, the invention is
in no way limited to those methods of putting it into effect, of
construction and of application which have been described above
in detail; on the contrary, it covers all versions which may be
conceived of by workers skilled in the art, without exceeding,
either the framework or the scope of the present invention.
http://v3.espacenet.com/textdoc?DB=EPODOC&IDX=FR2565016&F=0
FR2541024
Guitar-type Stringed Instrument for
the Acoustic Modelling of Elementary Particles
Abstract -- This instrument is characterised in that it
comprises a device for creating microintervals carried by the
neck 2 of the instrument and comprising at least one movable
crosswise fret (bar) and means for moving the fret along the
neck. Application: musical instruments.
Guitar-Type Stringed Instrument for the Acoustic Modelling
of Elementary Particles
FR2565016
1985-11-29
STERNHEIMER JOEL; FLEJO PHILIPPE; FAVINO JEAN-PIERRE; TREBUCHET
JEAN-CLAUDE
Classification: - international: G10D1/08; G10D3/04;
G10H3/18; G21K1/00; G10D1/00; G10D3/00; G10H3/00; G21K1/00;
(IPC1-7): G10D1/08; G10G1/02; G10H3/12; G10H7/00
- European: G10D1/08; G10D3/04; G10H3/18D; G21K1/00
Abstract--- This instrument is characterised in that it
comprises a device for creating microintervals carried by the
neck 2 of the instrument and comprising at least one movable
crosswise fret (bar) and means for moving the fret along the
neck. Application: musical instruments.
Also published as: WO9324645 (A1) / EP0648275 (A1) /
OA10113 (A) / FR2691976 (A1) / EP0648275 (A0)
METHOD FOR THE EPIGENETIC REGULATION OF PROTEIN
BIOSYNTHESIS BY SCALE RESONANCE
DE69334164T
2008-05-21
Classification: - international: C12Q1/68; A61K41/00;
C07K1/00; C07K14/47; C07K14/80; C12N13/00; C12P21/02; G10H1/00;
C12Q1/68; A61K41/00; C07K1/00; C07K14/435; C07K14/795;
C12N13/00; C12P21/02; G10H1/00; - European: A61K41/00D;
C12N13/00; C12P21/02
Two e-mails in disclaimer form / Deux
courriers électroniques en forme de mise au point
Suj : ’Proteodies’ vs. music (after a response
to an e-mail from United States, July 2001)
Sir:
I did not "develop a theory of music-amino acid
correspondence". I already made a similar deny in a letter
to the New Scientist which was published on aug. 6, 1994,
p. 50, as well as to the french magazine 'Courrier
International' which published it a bit earlier, on july 7th of
the same year.
More precisely, man-composed melodies follow cognitive
constraints of a statistical nature which clearly separate them
from sequences of frequency intervals as they may be computed
from protein elongation processes, whatever (truly remarkable)
properties they have in common on other grounds.
Therefore, the latter, when expressed in sound form,
differ from ’music’, as they do from ’noise’. They are new
stuff, which could not have been processed before present genome
sequencing, but which come to be now - whether, in fact, or to
which extent they should, may be open to debate. Still,
they have impressive, reproducible effects, observable at both
macroscopic and molecular levels, on in situ viruses, cells,
plants, animals - and people, who can exert appropriate control
on them, thanks to their audibility. But have to do it with
great care.
Why? because unlike music as long as it falls in behind
cognitive laws, ’proteodies’ as we call them may be quite
dangerous if not manipulated carefully. What 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.
If you need yourself any more precisions, you may call me on
Tuesdays or Thursdays afternoon (Paris time), at my office
number 33 1 55 55 86 78.
Yours
Joël Sternheimer
Suj : Re : rencontres sur le son
Date : 20/03/01 (extrait de réponse par courrier électronique
à une offre de participation à une conférence)
Cher monsieur
Certes la musique me passionne... Cependant je ne puis
souscrire au titre que vous m’avez communiqué pour votre projet
de conférence: "le son: des phénomènes vibratoires aux dérivés
musicaux". La musique ne se réduit pas à un "dérivé" de son ou
de phénomène vibratoire, car entre les deux il y a un sujet qui
s’exprime. C’est comme si l’on disait que la fable du corbeau et
du renard dérive du papier sur lequel elle est imprimée.
Une mélodie peut être comprise de façon active (au sens
physique du terme) comme une suite de sons, et de façon passive
comme un son dans lequel ’on’ change plusieurs fois l’unité de
mesure de fréquence sonore: ’on’, c’est-à-dire le sujet qui
choisit l’unité, et qu’on ne peut évacuer. Dans l’influence des
’musiques de protéines’ sur les plantes, ce qui agit est non pas
la vibration mécanique mais l’information contenue dans la suite
des intervalles d’une fréquence à l’autre, c’est-à-dire dans la
donnée des changements d’unités successifs effectués par la
plante-sujet qui reçoit ces sons. Le son n’est ici que le
support de l’information, laquelle peut être transmise sur
d’autres supports de la même façon que le texte de cet e-mail se
passe de papier.
En ces temps de réification sauvage où le sujet est ouvertement
occulté, où les plantes sont transformées en objets dont on
modifie le génome et les vaches carrément massacrées pour rien,
ce serait terrible que de vouloir réifier aussi la musique, lieu
du sujet par excellence, en la présentant comme un ’dérivé’ du
son! Si l’écoute d’un timbre particulier peut éveiller l’envie
ou le besoin de le développer en une mélodie, c’est parce qu’il
aura éveillé chez le sujet qui l’entend une sensation qu’il aura
su exprimer: bien sûr que la suite des notes reflètera (si le
compositeur est ainsi sensible) certaines propriétés de
l’amplitude des harmoniques de ce timbre, mais qui ne suffisent
nullement à la déterminer.
Même si vous entendez par "phénomène vibratoire" l’émotion qui
accompagne la dérépression d’un gène et la synthèse d’une
protéine résultante chez une personne qui aura su en capter un
écho ou un fragment à l’intérieur d’elle-même, le résultat sous
la plume du compositeur ne pourra en être un simple dérivé à
cause des limites propres à la cognition, qui limitent
drastiquement la longueur du fragment en question. Il lui
restera tout un travail d’élaboration pour produire une musique,
qui pourra suivre des lois mélodiques, rythmiques et harmoniques
similaires, mais qui seront nécessairement distinctes sur le
plan cognitif: on s’en rend bien compte lors des tentatives de
mémorisation des ’musiques de protéines’ par ceux qui les
écoutent, qui diminuent toujours, et souvent à leur insu, la
quantité moyenne d’information par intervalle, soit en réduisant
ceux-ci, soit en introduisant des redondances, même relatives
(c’est-à-dire en répétant localement certaines séquences sur une
autre tonalité).
En un mot, les objets peuvent produire des sons, les sujets
font de la musique...
Je serais heureux de développer ces éléments, mais dans une
conférence portant un titre qui ne les contredirait pas! Si vous
voulez en discuter plus avant, vous pouvez m’appeler au siège de
notre association (1 rue Descartes à Paris) le mardi et le jeudi
après-midi au 01 55 55 86 78.
Bien à vous
Joël Sternheimer
Sir:
Thank you for your e-mail.
There is no 'agricultural music CD' available or for open sale.
There are proteodies available, i.e. epigenetic sound sequences
able to stimulate or inhibit specifically well-defined proteins,
and which must be used very carefully since they may also affect
humans. They cannot therefore be diffused in open air in places
where human may travel through.
For grapes, are presently available: - stilbene synthase, for
resveratrol synthesis, i.e. protection against some specific
diseases; - caffeoyl-coenzyme A methyltransferase; - several
proteins to enhance sugar content in grape.
If any of these fits a problem of yours please let me know, as
we may then discuss of a user's license. A young agricultural
engineer who passed his thesis in Gand on this subject has
recently recieved funding from a french foundation to develop
use of this method for grapes and wine, and is taking contacts
for this. His name is Yannick van Doorne, and he may be
contacted to help users apply the method correctly. His work is
coordinated by Pedro Ferrandiz.
Yours
Joël Sternheimer
Dear sir:
Thank you for your e-mail.
For vineyard and grapes, as in general, things depend on the
specific problem which one faces. Here, a few proteins have been
decoded: stilbene synthase and caffeoyl-coenzyme A
methyltransferase, both of which protect against certain
diseases of the grape without affecting its taste; and a few
proteins acting on color and sugar content. If any is of
interest to you, we may discuss about it.
Please note, however, that proteodies differ from music on
cognitive grounds, as explained in
http://members.aol.com/jmsternhei/faq.htm; they should be used
with much caution since they may affect humans, and therefore
not in the open where people may walk, only in greenhouses or in
desert, or at least in well-protected places. Unless the plants
are sick precisely because humans are, and therefore healing one
will heal the other (as it is for the proteodic homology between
stilbene synthase, which catalyzes resveratrol synthesis, and
human lactate dehydrogenase, which partially accounts for the
heart-protecting effects of grapes and wine).
Yours
Joel Sternheimer
http://www.bekkoame.ne.jp/~dr.fuk/IndexE.html
What Will Happen to Milking Cows that
Listen to the Radio?
- the reason why they can do "good work" with
favorite Mozart -
It has been said that more milk is obtained with background
music, which is Mozart, than without music. In fact, there is an
old genre painting in England on which milkwomen are milking
cows with a radio in their neibourhood. They might have done so
because it has been known by experience that the quantity of
milk increases by music or human voice. However, the scientists
do not officially admit such relation between the milk quantity
and music. About this, Dr. Sternheimer says: "From the point of
view of the protein music, there is certain relations between
the music of Mozart and the quality of milk." The characteristic
music style of Mozart can be recognized in the melody of
prolactin, a protein which plays an important role in producing
milk in cows and is also called mammotropic hormone. A
musicologist points out: "The melody of prolactin contains
several passages very similar to those of Mozart. One typical
example is the final 8 notes in the attached score." A pianist
finds out, in the attached score, a feature seen in the earliest
works of Mozart at his Salzburg period.
Prolactin facilitates to produce tasty milk
So as to verify his theory, Dr. Sternheimer made some
experiments with cows in Charente at the central west of France:
what will be the difference between milk with music and that
without music? At milking, the music of lactogloblin and
lactoalbumin in addition to that of prolactin were played near
cows. Then the quantity of whey became one third of that
obtained in the case of no music, and therefore milk with high
quality rich in proteins were obtained. Cheese made from the
milk was, according to a testing panel, very delicious. The
cheese made of the milk was also sold in a shop in Paris and the
sales became 6 times more than usual during 2 weeks when the
experiment has been carried out. We have already made "musical
bread" and now tasty cheese with music came to join it. We miss
then good musical wine.<BR>Setting aside the topic, we
must be very careful when the music of protein is applied to
cows. If prolactin is too stimulated in cows, they tend to be
affected with mammites. It is to be noted that "musical remedy"
should be used appropriately. Readers, therefore, must be
cautious not to play the attached score for amusing although it
corresponds to the melody of the prolactin of cow and not of
human beings.
Cows affected with the mad-cow disease may be saved by using
the protein music
As for other diseases of cows, there may be pointed out the
mad-cow disease about which much was talked recently. This
disease is officially called the bovine spongiform
encephalopathy (BSE), which makes the brain of cow a sponge-like
material and leads them to death. The first cow affected with
this disease was discovered in 1986 in England. There is also a
counterpart for human being, which is called the
Creutzfeldt-Jakob disease. Both diseases, of cows and of human
beings, are said to be caused by a protein called prion which is
neither a virus nor a bacterium.
What is then the protein melody corresponding to the prion?
Here again, let's listen to Dr. Sternheimer: "Since the 1950's,
the effect of the music of Mozart on the milking of cows has
been appeared, for example, in newspapers. Then, many breeders
in England began to switch on the radio during the daytime in
their cattle pen although Mozart is not always heard from the
radio...
By the way, among melodies we hear often in these years, there
is one - the so-called "trance" music - which contains a passage
common to that of prion at its repeated portion and which may
promote the synthesis of the prion. It is therefore no wonder if
cows in the cattle pens heard such music with this passage from
the radio which were on during the daytime and they were
influenced unfavorably. If the music is uncomfortable for us, we
can turn off the radio or leave the place not to hear the music
any more, and we can avoid the harm which may bring us. However,
cows cannot escape from the music even if they feel it
uncomfortable."
Dr. Sternheimer, therefore, proposes that it will be worth
while trying, as a measure for coping with the mad-cow disease
by using the music of protein, to put the music which inhibits
the prion on the air so as to be heard by cows.
http://www.bekkoame.ne.jp/~dr.fuk/index.html
A Decisive Factor of Deliciousness is the
"Ears" of Bread
- the Pastoral Symphony of Beethoven is a favorite of
yeast?
About three years ago, an article appeared in a newspaper: "To
Japanese noodles or Udon, the "Four Seasons" of Vivaldi; the
"Pastoral Symphony" of Beethoven to bread" (Asahi Shimbun, July
23, 1993). With classical music, fermentation of food stuffs is
somehow promoted and tasty food products are obtained. To our
regret, the reason is not revealed in the article, and only the
following explanation is given: just as human beings become
relaxed when they listen to music, enzyme or yeast seems to
become active by classical music. The interesting and mysterious
effects of classical music on enzyme or yeast were made clear by
Dr. Sternheimer, who remarks: "the Pastoral Symphony of
Beethoven has certainly positive effects on yeast. However,
there exist far more appropriate melodies for it". He says so
because he knows the great effects of protein music that
he has discovered. It must be noted that there are two types of
melodies for a protein: one which promotes the synthesis of the
protein and the other which inhibits the synthesis. For example,
if a fermentation or brewing step of food stuffs is included in
a food production process, the use of a melody or melodies
appropriate for relevant enzyme, which is mainly composed of a
protein and contained in the yeast for the fermentation step,
makes it possible to promote or inhibit the activity of the
enzyme. Therefore, the taste of the obtained food product will
be influenced by the melodies.
Bread yeast becomes encouraged by a melody specially made for
it.
To make bread, we must prepare flour, water, yeast, and so on.
Whether baked bread becomes tasty or not depends mainly on the
activity of yeast during the fermentation provided that the same
food stuffs are used. If the activity of enzyme called alcohol
dehydrogenase (ADH), which is contained in bread yeast and plays
an important role in fermentation, is promoted during the
fermentation of dough by the music of the enzyme, one can obtain
tasty bread. In fact, in a blind test for comparing the taste
between the "musical bread" and normal bread without music, the
former was by far preferred.
By the way, as for the reason why the Pastoral Symphony helps
to make delicious bread, Dr. Sternheimer analyzes: "a part of
the melody for activating ADH is contained in the theme of the
first movement of the symphony". For bread, therefore, the whole
symphony is not necessary, but only the first movement is
sufficient.
However, if we could ask the bread yeast the preference of
music, it would say in chorus to choose the melody for promoting
ADH rather than the Pastoral Symphony on the ground that the
former is more comfortable.
Improving Food Quality with the Protein Music
Between the protein music and existing music such as classical
music, there is a difference similar to that between sovereign
remedy and food. In more detail, the whole melody of the protein
music is effective, while effective portions may be included in
the existing music. Therefore, the protein music may be
symbolically called "musical remedy". It must be noted, however,
that the protein music should be treated with care just as
sovereign remedy in general.
Before the positive effects of the Pastoral Symphony on bread
was found, many trials might have been done. According to Dr.
Sternheimer, so as to obtain the same effects by using
non-specific music as those by specific music, one must play the
non-specific music for more than a month, which period can be
known by a simple calculation. Accordingly, arbitrary music
cannot produce remarkable effects in a short time and a specific
melody must be selected if relatively quick response is desired.
The main characteristics of the protein music are: the melody
for obtaining desired effects can be theoretically deduced; and
the same effects as those by classical music can be obtained far
faster than by using classical music. For example, the article
cited at the beginning says about bread: "before baking dough,
yeast was fermented for 72 hours with the Pastoral Symphony.
This is a fermentation time more than ten times longer than
normal". On the other hand, dough was fermented with the ADH
music by Dr. Sternheimer for 1 hour and a half. Therefore,
delicious bread is obtained about 50 times more efficiently in
time with the use of the ADH music than with the Pastoral
Symphony.
We are looking forward to increasing the pleasure of table
in the near future using the protein music, which may
bring us delicious bread, good beer, wine and sake, and miso
paste and soy sauce with high quality.
http://www.bekkoame.ne.jp/~dr.fuk/index.html
Musical Tomatoes
Two years ago in summer, an interesting experiment was planned
in a region affected by drought in Senegal in Africa.
The aim of the experiment was to draw full potential of
tomatoes with the help of music in the course of cultivation.
For this purpose, a conventional radio-cassette recorder and a
tape on which is recorded a melody were used. These were all the
preparations.
We often hear that music is effective in promoting the growth
of plants. However, no one has been able to give convincing
explanations of such phenomena. It is therefore natural that
most of the reactions of those who engaged in the experiment
were negative: "It's joking" or "Incredible".
For comparison, two sections were prepared for cultivating
tomatoes: a section with music (referred to as "music section")
and a section for control without music (referred to as "control
section"). Taking into consideration the results obtained in the
preceding experiences, the quantity of water given to each
section was different: twice a day for the control section
according to the standard of the region; once a day for the
music section but with music for three minutes every day.
No less than two weeks, the difference of growth became
remarkable between the plants of tomato of the two sections. The
difference of heights became larger and larger thereafter. When
the time of crop came, the difference in number, size and
appearance of fruits was apparent between the two sections. The
harvest of musical tomatoes became, as a whole, twenty times
more than that of the control section. Furthermore, what is to
be noted is that although insects gave damages to fruits in the
control section, tomatoes in the music section were left intact.
Facts are more convincing than theories. Seeing is believing.
The difference was so apparent that farmers who have observed
the experiment from the beginning have completely changed their
mind in the course of the experiment and even said at the end:
"We have expected such good results from the beginning".
What "magic" was used to produce such remarkable effects?
The key to understand the magic consists, of course, in the
melody recorded on the tape.
The melody was offered by Dr. Joel Sternheimer, a physicist in
France. He has elucidated the secret or a secret, at least, of
the effects of music on living creatures through the research of
quantum physics and molecular biology.
According to him, the principle is as follows:
Animals and plants synthesize a number of proteins in their
body. In the process of synthesis, each protein being formed
emits a series of quantum-mechanical signals which are related
with the amino acids sequence. By decoding the signals and
transforming them into audible sounds, melodies proper to each
protein are obtained, which are called, as a whole, "Protein
Music". If the Protein Music is in turn played near animals or
plants, the synthesis of corresponding protein is controlled
through a kind of resonance phenomena. This is the essential
difference of the Protein Music from that composed by human
beings.
The melody used in the experiment of tomatoes in Senegal was
that of TAS14.
In general, plants begin to produce a special protein when
sufficient water is not available so that they can be resistive
to scare water. The mechanism might be obtained in the course of
evolution to survive even under severe circumstances. One of the
proteins which increase resistance to water deficiency is the
TAS14 of tomatoes.
By playing the melody of TAS14 near the plants of tomato, the
synthesis of the protein was promoted and water resistance
became increased, which has lead to good growth of plants and
fruits of tomato.
Music and "Musical Medicine"
It is well known that Mozart promotes cows to produce milk. The
reason for this phenomenon is not well investigated and
explanation is given simply as: "Music must have made cows
comfortable, which has contributed them to produce milk".
However, according to the theory of "Protein Music" proposed by
Dr. Sternheimer, this phenomenon can well be
explained.</P>
Prolactin is known as a protein which promotes the development
of mammary gland and the secretion of milk. This protein is also
called a mammary gland stimulating hormone for its function. Dr.
Sternheimer thought of translating prolactin into melody. As is
expected, a typically Mozart-like passage was really included in
the melody of prolactin.
Next step is to verify the effects of the protein music. An
experiment of milking cows under music was performed for two
weeks: in addition to the melody of prolactin, those of
lactogloblin and lactoalbumin were also used. The three types of
music were diffused twice a day, ten minutes each time.
Obtained milk contained an average of 3 to 4 times less whey as
a result of the increase in prolactin, lactoglobulin and
lactalbumin in the milk, which is the result just as expected.
Cheese was made from the milk, which was presented for tasting
test. Those who have tried it assured its excellence taste. The
cheese was also brought to a shop in Paris where it was sold six
times faster than usual during the two weeks of experiment.
As is proved above, protein music acts on living creatures at
the molecular level and produces desired effects. This is the
essential difference of protein music from music composed may
men. We must therefore pay attention not only to the merits but
also to side effects of protein music. Cows, for example, risk
to be easily affected with mammites with the excess of prolactin
music. Human beings are not exceptions: protein music also has
effects on them.
Prolactin is, for human beings, also a stress hormone which is
produced under physical fatigue or mental stress. By creating
this hormone, we try to protect our bodies. Therefore, the
melody which stimulates the synthesis of prolactin may have
favorable effects in curing ulcer caused by stress.
A lady speaks of her experience as follows:
"I was affected with typical stomach ulcer. I was in bed and
was to be brought to hospital for operation. Then, I decided to
listen to thecassette of prolactin. During the night of the day,
I felt really better. I listened it many times for a week. The
ulcer then disappeared and thevolume of my bust became two times
more than before. Since then, I am well."
Excess of prolactin may cause leak of milk for women, and
impotenceand/or feminization of bust for men. The melody of
prolactin does not bring always merits for human beings.
Protein music in general gives us a resonating feeling all over
thebody if the melody is really necessary for the person. As if
"it is really his music". The existence of this sensation is the
only criteria for judging if the person may continue to listen
to the melody.
In summary, protein music must not be used for amusement and
must be used personally, just as a medicine. In this sense,
protein music may be called as a "musical medicine".
KeelyNet email...
Jean-Pierre Lentin ( lentin@imaginet.fr )
Sat, 7 Feb 1998 18:24:19 +0100 (MET)
Hi all !
As promised, here's part 2 : the health and medical aspect of «
protein music » - a promising but difficult field of
research.
So far, Joel has « decoded » about 600 proteins (vegetal or
animal/human), and there is 100 000 known proteins in human
cells. Of course his first choice was proteins who might have an
interest for agriculture and for health. He did try them on
himself, family, friends, friends of friends... Now, Joel is no
MD, this is illegal stuff, even if it is done for free (which is
the case). It may be safely discussed on an Internet mailing
list, but it'd better not be mentioned in press or TV. And
there's no scientific documentation.
About 100 different protein melodies turned to have some effect
on a wide variety of ailments, from flu to cancer & AIDS. To
my knowledge there was no complete healing for heavy
pathologies, but rather better comfort, slowing down or stopping
the evolution. I heard lots of case stories of good results for
lots of things.
One year ago we (I and my wife, Laurence) started attending the
bi-monthly free seminars Joel was holding at Universite
Europeenne de la Recherche (a non-profit educational association
hosted, ironically, in the buildings of the State's Department
of Research). We got to know him, and he gave us a lot of
melodies to try. We soon bought a mini-disc, the only practical
player for easy access and repeat - each piece last from 10
seconds to 1 minute and you quickly end with dozens of them...
Research for the right melodies was done by Joel, in lengthy
testing sessions. It's a tricky affair. Joel has a thorough
knowledge about his proteins and biology in general, but there
is always different solutions to try, some of them not good for
you. The fact that you spontaneously feel good while listening a
melody is an indication, but no sure thing. Melodies can not be
given haphazardly, or be publically available, for fear someone
hears the wrong one and gets sick from it. At the time, I
thought this precaution was a bit far-fetched. I learned
otherwise.
We eased pain with the beta-endorphin music, no problem, and
headaches with histone 4. Of course placebo effect is common in
analgesia, but we did it on friends who knew nothing about it
and it worked. Collagen music had spectacular effects on bruises
or burns. My wife once had a severe sunburn that disappeared in
one hour. On the negative side, music for certain hormones was
not so great for her, and I felt no effect with statherin (for
dental cavities) or kininogen inhibitor (for hemorrhoids). One
day I mentioned I had a tendency to grow intestinal polyps, and
I got something for that. Thought it would be a long term
effort, no easy way to see any result for years... But after
hearing the melody twice, the next day, I had severe intestinal
bleeding, which lasted 3 days. Needless to say, I never listened
to it again - and never bled since. So I realized this was
potent stuff, and not that easy to use safely.
This very experimental stage is likely to last some time.
Discreet and informal use is going on with a small batch of
friends. Joel's time is obviously limited. A few other persons
have learned to « prescribe », but nothing is documented or
organized. There is no scientific testing at the moment. Joel is
too much an off-beat character, and too ethically oriented (some
would say obsessive) to fit in with institutional research. For
example he can't stand the idea of sacrificing laboratory
animals for medical tests. Maybe someone else will do it
someday, or do a clinical human double blind research, but I
can't see it happening soon It all sounds too weird for « normal
» medical research.
So right now Joel is concentrating on agricultural
applications, a less touchy area. Once the technique is more
validated (by big scale tests, and/or scientific publications),
maybe the health aspects can get into the open.
Well, that's it for today. I'll be glad to answer any further
questions.
Best regards to all !
Jean-Pierre Lentin
An email...
In the New Scientist of 28 May 1994, p.10, was an article
about Joel Sternheimer, a french physicist and musician,
who claims that sounds can influence amino acids and make plants
grow
better. I don't know if he as tried DNA yet.
In 1988-89 I used a computer program called MacVector (I think
I am right) that use to sing you entire DNA song. Four alphabets
of DNA were given
specific tunes and you can fill in any DNA sequence in the
computer and ask him to sing for you. It was melodious.
Dr. C.P. Joshi
Department of Forestry
Michigan Tech University
1400, Townsend Drive
Houghton, Michigan 49931
phone: 906-487-3480
Fax: 906-487-2915
; Open-gene uses some code which refers to constructs used in
; IBM 360 mainframe LISP, which are coded as macros separately
; to allow this code to run. This explodes the RNA code to
; a single symbol list, changing t --> b and g --> d,
; which suit better for converting the material to chord
; sequences and melodies.
(defun open-gene (l)
(prog (out a elem)
loop
(cond ((null l)
(return (reversewoc out))))
(setq a
(explodec (car l)))
(while (not
(null a))
(setq
elem (car a))
(cond
((equal elem 't)
(setq
elem 'b))
((equal
elem 'g)
(setq
elem 'd)))
(setq
out (xcons out elem))
(setq
a (cdr a)))
(setq l (cdr
l))
(go loop)))
; ----- pepside coding
; This set ups symbol correspondeces to certain notes selected
; to produce nice chord sequences from the RNA strand. These
; tonalities transpose as groups with the control of the the
; RNA in a couple of levels, thus adding more interest in the
; tonality scheme.
(defun pep-to-chord-1 (pep)
(cadr (assoc pep '((a (f 4 g# 4 c 5 f 6))
(b
(g 4 c# 5 c# 5 e 5))
(c
(f 4 c# 5 f 4 c# 5))
(d
(c 4 d# 4 d 4 g 4))))))
(defun pep-to-chord-2 (pep)
(cadr (assoc pep
'((a
(c 4 f 4 g 4 c 4))
(b
(a# 4 a# 4 f 5 c 5))
(c
(c# 5 a# 4 c# 5 g 4))
(d
(g 4 g 4 f# 4 c# 4))))))
(defun pep-to-chord-3 (pep)
(cadr (assoc pep
'((a
(f 5 g# 5 a# 5 c 6))
(b
(a# 5 a# 5 f 5 c 6))
(c
(g 5 g 6 g 7 g 8))
(d
(g 5 g 5 f# 5 c# 5))))))
(defun pep-to-chord (pep type transp)
(cond ((equal type '1)
(transpose-chord (pep-to-chord-1 pep) transp))
((equal type
'2)
(transpose-chord (pep-to-chord-2 pep) transp))
((equal type
'3)
(transpose-chord (pep-to-chord-3 pep) transp))
(t (diagnostic
(list "illegal type in pep-to-chord" $cr$)))))
(defun pep-to-trans (pep)
(cadr (assoc pep '((a 0)
(b
-2)
(c
5)
(d
7)))))
(defun peps-to-chords (peps type trans-len)
(prog (out trans-val chord-val count transpeps)
(cond ((null trans-len) (setq trans-len 4)))
(setq transpeps peps)
(setq count trans-len)
loop
(cond ((null peps) (return (reversewoc
out))))
(cond ((equal count trans-len)
(setq trans-val (pep-to-trans (car transpeps)))
(setq transpeps (cdr transpeps))
(setq count 1))
(t (setq
count (add1 count))))
(setq chord-val (pep-to-chord (car peps) type
trans-val))
(setq out (xcons out chord-val))
(setq peps (cdr peps))
(go loop)))
; Set up default length for all instruments.
(def-length
default '1/16
)
; Melodies all follow the same symbols.
(def-symbol
default pep
)
; Tonality is different for all instruments.
(def-tonality
inst1 (peps-to-chords pep 1 4)
inst2 (peps-to-chords pep 2 4)
inst3 (peps-to-chords pep 3 4)
)
; Use some variations in velocities.
(def-velocity
inst1 '(65 75 85 90 100 40)
inst2 '(74 84 70 65 60 94 80 70)
inst3 '(100 90 80 70 60 50)
)
; Calculate zones from the total length of RNA.
(def-zone
default (symbol-repeat (truncate (/ (length pep) (*
16 4))) '(4/1))
)
; Play 70 percent of the maximum value with +-10 percent
variation range
; controlled by Brownian noise.
(def-expression
default ((legato 70 10 0.4))
)
; Compile the MIDI file
(compile-instrument "ccl;output:" "xxx"
inst1
inst2
inst3
)
DNA Music References
Joël Sternheimer, exposé au Colloque International "Louis de
Broglie, Physicien et penseur", Ancienne Ecole Polytechnique,
Paris, 6-7 novembre 1987; "Ondes d’échelle. I. Partie physique",
pli à l’Académie des Sciences n° 17064 (juin 1992), ouvert en
1999.
Joël Sternheimer, "Procédé de régulation épigénétique de la
biosynthèse des protéines par résonance d’échelle", brevet n° FR
92 06765 (1992), n° de publication 2691796, aujourd’hui délivré
en France (13/7/95) et 16 autres pays (dont OAPI, Australie,
Russie).
Joël Sternheimer, "Régulation épigénétique de la biosynthèse
des protéines par résonance d’échelle", exposé à l’Académie des
Sciences de Tokyo-Kanagawa (23/5/93). "Interactions non-locales
dans l’expression des gènes", (extrait sur
http://www.ecoropa.org/), 1997.
http://www.bekkoame.ne.jp/~dr.fuk/InterNonlocF.html
Pedro Ferrandiz, "Procédé de régulation épigénétique de la
synthèse protéique: essais en panification", Industries des
Céréales n° 85, p.40 (1993) ; "De la musique et des plantes", La
Garance Voyageuse n° 37, p. 25 (1997).
http://www.bekkoame.ne.jp/~dr.fuk/Pain.Pedro.html
Yoichi Fukagawa, "Tampaku-shitsu no ongaku", Shoku no kagaku
(Dietetic Science, Tokyo) n° 245, pp. 2-7 (1998) (en japonais).
Yannick van Doorne, "Invloed van variabele geluidsfrequenties
op de groel en ontwikkeling van planten" (Influence de
fréquences sonores variables sur la croissance et le
développement des plantes), thèse d’ingénieur en agriculture et
biotechnologie, soutenue le 22 juin 2000 à la Hogeschool Gent
(Belgique).
Technical Reports -- Notifications Officielles de Brevets :
Saddakuni Saito, Shukuko Saito et Joël Sternheimer, "Effet de
la stimulation épigénétique de la chalcone isomérase sur la
coloration des pommes" (1992).
Martine Ulmer, Bruno Gil, Pedro Ferrandiz et Joël Sternheimer,
" Régulation épigénétique de la biosynthèse des protéines
appliquée à la culture de fruits et légumes: compte-rendu
d’expérience en jardin potager" (1993).
http://www.bekkoame.ne.jp/~dr.fuk/TomateFranceF.html
Jean-Marcel Huber, Jean-François Treyvaud, Bérengère Dubouloz,
Castor et Rachel Egloff, André Lappert et Joël Sternheimer, "
Régulation épigénétique de la biosynthèse des protéines
appliquée à la culture de tomates: compte-rendu d’expérience en
serre" (1994).
http://www.bekkoame.ne.jp/~dr.fuk/TomateSuisseF.html
Pedro Ferrandiz, "Régulation épigénétique de la biosynthèse des
protéines sur culture d’algues bleues cyanophycées" (1995).
Mansour et Ousmane Gueye, Fitory Diagne, Jacques-Joël Houziel,
Pedro Ferrandiz et Joël Sternheimer, "Stimulation épigénétique
de la résistance à la sécheresse pour des cultures de tomates:
une expérience en plein air au Sénégal", rapport UER (1996).
http://www.bekkoame.ne.jp/~dr.fuk/AlguesF.html
François Sneyaert, Michel Renoma, Pedro Ferrandiz et Joël
Sternheimer, "Conservation de fruits et légumes par régulation
épigénétique: inhibition de l’expression de la polygalacturonase
d’avocat" (1997). http://www.bekkoame.ne.jp/~dr.fuk/AvocatF.html
Yoichi Fukagawa, "Anatomy of music", série d’articles parus en
japonais dans Raku (Tokyo) n° 1 (juillet 96) à n° 7 (janvier
97), accessibles avec traduction anglaise sur son site Internet
(d’autres articles en japonais, anglais et français sur le sujet
sont visibles sur ce site).
http://www.bekkoame.ne.jp/~dr.fuk/IndexE.html
Sources :
Hermann Weyl, Raum Zeit Materie, Berlin 1918 (trad. angl. Space
time matter, Dover 1952, p. 282) (nécéssité de généraliser la
relativité à l’invariance des lois physiques lors d’un
changement d’unité de mesure); Louis de Broglie, "Recherches sur
la théorie des quanta", thèse de doctorat (1923), rééd. Masson,
Paris 1964 (relation entre masse propre d’une particule et
fréquence de l’onde associée).
Moshé Flato et Joël Sternheimer, C. R. Acad. Sc. Paris 259, p.
3455, 1964 [Note présentée par Louis de Broglie] (nécéssité de
généraliser l’opérateur de masse relativiste pour décrire les
masses des particules); M. Flato, D. et J. Sternheimer,
J.P.Vigier et G. Wataghin, Nuovo Cimento vol. 42, p.431, 1966
(généralisation de l’équation d’ondes associée à celle de
l’opérateur de masse). Joël Sternheimer, "Sur les formules de
masse des particules élémentaires", thèse de doctorat en
physique théorique n° 186, Lyon 1966.
Joël Sternheimer, in "Strong and weak interactions: present
problems", 1966 International School of Physics ’Ettore
Majorana’, (ed. A. Zichichi), Acad. Press 1966, pp. 731 et
suiv., 746-47, 752-53, 786-87, 800 (discussions avec S. Coleman,
M. Gell-Mann et S. L. Glashow sur les masses des particules).
Julian Schwinger, Phys.Rev.Lett. 18, 797 (1967); Phys. Rev.
165, 1714 (1968) (observation empirique d’une ’constante
universelle’ dans les masses des particules); Moshé Flato et
Daniel Sternheimer, Commun. Math. Phys. 12, p. 296, 1969
(introduction d’un opérateur de type "quasi-échelle" dans une
dimension autonome vis-à-vis de l’espace-temps pour décrire les
masses des particules).
Joël Sternheimer, C. R. Acad.Sc.Paris 297, p.829, 1983 [Note
présentée par André Lichnerowicz]; Séminaire de physique
mathématique - A. Lichnerowicz, Collège de France (1984),
reprod.in Rev. Bio-Math. 94, p.1, 1986. (Opérateur d’échelle
exponentiel dans une dimension autonome vis-à-vis de
l’espace-temps pour décrire les masses des particules, et sa
déformation linéaire en quasi-échelle, rendant compte, par
synchronisation, de la valeur de la constante observée par
Schwinger; généralisation associée de l’équation d’ondes).
Methodological Aspects :
Joël Sternheimer, Le Cahier du Collège International de
Philosophie 3, p. 180, Osiris, Paris (1987); "How ethical
principles can aid research", Nature vol. 402, p. 576 (1999).
Gérard Huber, in Psychanalyser après la choa, pp. 147 et
suivantes, Osiris, Paris (1988).
Vincent Bargoin, "Le face-à-face entre la science et
l’éthique", Le quotidien du médecin n° 6089, p. 10, 18 juin
1997.
Vincent Bargoin, Pedro Ferrandiz et Joël Sternheimer, statuts
du Réseau Associatif de Chercheurs Indépendants (1999).
Other References :
Jean-Marie Pelt, "Les langages secrets de la nature", chapitre
XVIII "La musique et les plantes", Fayard Paris 1996, rééd. Le
Livre de Poche n° 14435, 1998.
Yoichi Fukagawa, "Tampaku-shitsu no ongaku" (Qu’est-ce que la
musique des protéines?), éd. Chikuma (Tokyo), septembre 1999
(200 pages, en japonais).
"Good vibrations give plants excitations", Andy Coghlan, New
Scientist n° 1927, p. 10, 28 may 1994; mise au point, "Quantum
vibrations", Joël Sternheimer, New Scientist vol.43, n°1937, p.
50 (1994); trad. fr., Courrier International n° 191, p. 38, 30
juin 1994; mise au point, Joël Sternheimer, id. n° 192, p. 38, 7
juillet 1994.
"Des mélodies qui parlent aux cellules", Eric Bony, Science
Frontières n° 7, pp. 2-7, avril 1996; "Les théories de Joël
Sternheimer se confirment", id., n° 14, p. 3, décembre 1996 [se
trouve à la Bibliothèque Générale de Jussieu (tour 56),
réf.SC557]. "Influence de la musique sur les plantes: de
nouvelles expériences prometteuses", ibid., n° 56, p. 22,
octobre 2000 (extrait).
"La musique et les plantes", Eric Bony, Nouv. Clés n° 14, été
1997.
Internet Accesible:
"French Physicist Creates New Melodies - Plant Songs"
(11/8/97), commentaire sur
http://www.earthpulse.com/science/songs.html.
Sondage Internet, "Music that makes tomatoes grow twice as
big", http://www.newciv.org/GIB/reinv/RIS-120.HTML (depuis le
14/8/96).
Bref résumé sur le site "Science Online" de Sheffield
University
http://www.shu.ac.uk/schools/sci/sol/cgi/answers/sf05.htm.
Joël Sternheimer, "A propos du CPT11-Campto" (rapport Univ.
Euro. Recherche 1996).
Joël Sternheimer, "Sur les fonctionnalités épigénétiques de
l’hypodermine du varron" (d’après un exposé à Caen en avril
1999, m.à.j. en mai 2001).
"Farines animales et vaches folles: l’arbre qui cache la
forêt", Alain Tardif,
http://www.biovert.com/articles/vachefolle.html (janvier 2001)
(commentaire du texte précédent).
Li, W.; Kaneko, K. : "Long-range correlation and partial
1/f/sup alpha / spectrum in a noncoding DNA sequence"; Europhysics
Letters ( 7 Feb. 1992, vol.17, (no.7):655-60.)
Abstract: Mutual information function, which is an
alternative to correlation function for symbolic sequences, and
a symbolic spectrum are calculated for a human DNA sequence
containing mostly intron segments, those that do not code for
proteins. It is observed that the mutual information function of
this sequence decays very slowly, and the correlation length is
extremely long (at least 800 bases). The symbolic spectrum of
the sequence at very low frequencies can be approximated by
1/f/sup alpha /, where f is the frequency and alpha ranges from
0.5 to 0.85. It is suggested that the existence of the
repetitive patterns in the sequence is mainly responsible for
the observed long-range correlation. A possible connection
between this long-range correlation and those in music notes is
also briefly discussed.
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.
