Orchestral Compositions Soience of Life (c) SIG, the Foundation for advancement of  Integral Health Care

Our sensory system samples our environment in specific wavebands.
What we call our ‘sensory organs’ all together form one sensory system.
Just as our organs, together they form a Möbius Loop.
In (co)functioning as a Möbius Loop, they link ‘inside’ with ‘outside’.

An orchestra is a musical instrument in itself; as one whole system.
Just as our body is composed of organs, the orchestra has instruments.
Percussion, Strings, Wind and Vocal therein all complement each other.
Just as the Holy Bone, Hara, Heart and Head in our living body.

Each of the musical instrument sections accommodate a frequency range.
They also, each, have a characteristic frequency spectrum.
Together these frequency spectra overlap and complement each other.
As a result, the orchestra can play music which no instrument can play.

There are few composers who make use of the orchestra as an integral body.
Frequently musical sections are ‘pitched’ ‘against’ each other.
Rarely are they used to complement each other.
When that is the case, the music/melody is carries by different instruments in sequence.

The orchestra therein operates as a audio-Gestalt (a sonic ‘holographic image’).
As a result, frequencies can match and mix and create an local focal coherence.
This can be amplified by choosing a specially designed resonator (musical container).
This means that music can. Must, be regarded as a spatial phase construct.

Musical notation offers a (limited) code for frequency coherence (instrument spectra are implicit).
Laban Dance Notation offers a (limited) code for spatial organisation Dynamics.
Cubal Analysis (Karin Blair) offers a (Limited) code for social orientation.
Semantic Transmutatins {Cees SChooneveld} offer a limited code for cultural contextual integration.


In our body we see the more integral unified version of these 4 code systems.
Sensory cell, neuron, nerve plexus and brain all operate their own code.
These are (respectively) the Dirac Pulse, Fourier Code, Moiré Array and Gabor Hologram.
Together they compose the 4D Gestalt Coherence of Point, Line, Plane and Volume.

Together they operate like a 4D Volumetric Inversion Vortex (Möbius Loop, Klein Bottle).
Every living being is a Vibrational Gestalt (a hologram in phase space))
It is composed by the interplay in/of a light field, electromagnetic field, electron valency and electron bonds (in/of atoms).

The HyperMandala of Roberto Renout has the potential to be used for this (musical) purpose.
It is based on the pattern dynamic of the motions of planetary orbits.
It can be applied also to the relationship between molecules and atoms.
It also has potential for the complex process dynamics within living bodies.

In studying light, frequencies (colours) merge into a new frequency (colour).
In studying sound, frequencies can superimpose in (partial) amplification or cancellation.
In studying fluid motion, the same is seen as surface/volumetric waves or crests.
In studying solid state motion the object dynamics are mutually exclusive.

There is a relationship between the light, EM (‘gas’), fluid and solid state fields.
In our body all merge, and interchange in the dynamics of transmutation.
Transmutation is the interchange between the 4 forms (or ‘phases’) of matter.
The (‘5th’) ‘Element’ which allows for these transitions is Freedom of Choice.

Freedom of Choice is a very specific (‘Freebond’) phase change operator.
It can only operate in the interface (The Singularity Set of the System).
It can only operate by changing the state of phase of the interface (Open/Closed).
A (Field) Boundary is defined only by (non) reflection of phase at that location in spac

In our physical body all of the processes are interrelated.
The processes within our body form part of the environmental processes.
These processes ‘run through’ (and form) the materials, atoms, molecules and information field of the body.
Our body is the manifestation; the models of mathemusics serves as its representation.

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