So there you go we have the location of power, the throat, the voice box.
See Vibrating vowels of YHWH
So if we make the center of a circle NOW, our throat or voice box, at the top of our shoulders at 4.236/29.034 of the total makes .
1458 of the total above or .8541 below And its extension to the intersection of our fingers to the intersection of the square and circle
makes a 72 degree angle….another 360/5 pentagon star.
So a phi projection outward would make a phi chord outward or our arms from our voice boxes resonating.
SEE diagram online from another site.
And then study over and over again …
http://www.schillerinstitute.org/graphics/fidelio/foundations_sci_tuning/42pct/f3_golden_section_octave.jpg
F sharp, exactly as it is and was the note of the Kings Chamber that had power, and it is and was the note and it is phi proportioned
C 1
E 1/phi .618
F sharp 1/phisquared .382
G
Moreover, as every competent musician knows, the simple sinusoidal signals produced by electronic circuits (such as the Hammond
electronic organ) do not constitute musical tones. Prior to Helmholtz, it was generally understood that the human singing voice, and
more specifically, the properly trained bel canto voice, is the standard of all musical tone. Historically, all musical instruments were
designed and developed to imitate the human voice as closely as possible in its nonlinear characteristics.
The human voice defines the basis for musical tuning and, indeed, for all music. This was clearly understood long before Helmholtz,
by the scientific current associated with Plato and St. Augustine, and including Nicolaus of Cusa, Leonardo da Vinci and his teacher
Luca Pacioli, and Johannes Kepler
The human voice, the basic instrument in music, is also a living process. Leonardo and Luca Pacioli demonstrated that all living
processes are characterized by a very specific internal geometry, whose most direct visible manifestation is the morphological
proportion of the Golden Section. In elementary geometry, the Golden Section arises as the ratio between the side and the diagonal
of a regular pentagon (see Figure 1). The Golden Section naturally forms what we call a self-similar geometric series—a growth
process in which each stage forms a Golden Section ratio with the preceding one. Already before Leonardo da Vinci, Leonardo Pisano
(also called Fibonacci) demonstrated that the growth of populations of living organisms always follows a series derived from the
Golden Section. In extensive morphological studies, Leonardo da Vinci showed that the Golden Section is the essential characteristic
of construction of all living forms
Since music is the product of the human voice and human mind—i.e., of living processes—therefore, everything in music must be
coherent with the Golden Section
http://images.google.ca/imgres?imgurl=http://www.schillerinstitute.org/graphics/fidelio/foundations_sci_tuning/f1-
27IhOo9wyZNxndK5MD4A&um=1&tbnid=LxEgGEzg
There is nothing mysterious or mystical about the appearance of the Golden Section as an "absolute value" for living processes.
Space itself—that is, the visual space in which we perceive things—has a specific "shape" coherent with the Golden Section. For,
space does not exist as an abstract entity independent of the physical universe, but is itself created. The geometry of space reflects
the characteristic curvature underlying the process of generation of the universe as a whole. We know that space has a specific shape,
because only five types of regular solids can be constructed in space: the tetrahedron, cube, octahedron, dodecahedron, and
icosahedron (see Figure 4)
.
These five solids are uniquely determined characteristics of space. They are absolute values for all of physics, biology, and music.
Indeed, Luca Pacioli emphasized that all the solids are derived from a single one, the dodecahedron, and that the latter is uniquely
based upon the Golden Section. Hence, the Golden Section is the principal visual characteristic of the process of creation of the
universe.
Coincidence, I again would say I think not. Its not conclusive, and strictly circumstantial until we actually fly. But the truth is we
shall be able to fly somehow, someway, so why wouldn’t the Lord use our sacred divine design that He has already imparted
into us, as a means of us flying?
It wouldn’t be for show, but for His Service. It wouldn’t be to mesmerize audiences into magician worship like the dark side
magicians are doing, but simply to move from place to place in His WILL
For Frequencies SEE Human Flight Design Frequencies
Human Flight Design
Part FOUR