A standard Cartesian coordinate system

A phyllotaxis spatiotemporal coordinate system

A section of the mod 9 daisy phyllotaxis integer matrix

Red 9 indicates a “[0,0]” point of origin for a discrete, biological

coordinate system.
Coordinate system I with Y-axis (orange) and X-axis (blue). Axes are spirals on the
surface of a cone.
Coordinate system II with Y-axis (green) and X-axis (yellow).
Axes are spirals on the surface of a cone.
 Formula used to transform daisy
integer matrix into modulo 9 matrix.

There are 9 “multiplication series”, denoted

M1…M9.
They are colored coded here to indicate the 4
“polar pairs” of multiplication series that are
virtually identical, but in reverse order.

“Go forth and multiply…”

Multiplication table (human origin)

Axes of the coordinate system are modulo 9 multiplication series.

 M9

M9

9 multiplication series define the x, y, and z (M9) axes of life

M9
CARTESTIAN COORDINATE SYSTEM PHYLLOTAXIS COORDINATE SYSTEM
Continuous Discrete
Axes arithmetic Axes geometric
Axes infinite Axes perpetual
Pos. and neg. numbers and direction Only pos. number and direction
Axes are lines Axes are curves (spirals)
3-D 4-D
Not fractal Fractal
Four multiplication series associated with four
Fibonacci differences.
M3 Fibonacci difference 21
M1 Fibonacci difference 55
M7 Fibonacci difference 34
Life is a magic square
M4 Fibonacci difference 13
 Life is a fractal

A section of the mod 9 congruent phyllotaxis integer matrix.

Small black numbers represent the digital surface of an object.
Red numbers in squares indicate the mod 9 sum of numbers in the
square.
The number sequences are self-replicating at different scales. Thus,
the integer matrix is a type of discrete, numerical fractal.
Table 1. Musical overtone series based on C vibrating as the fundamental tone at 256 hertz (hz).
A repeating, 9-digit cycle occurs for the overtones.
hz == m
Note Interval Solfege Harmonic Freqeuncy (hertz) (mod 9)*
1. C Unison do (1) 1st partial 256 hz 4
2. C Octave do (2) 2nd partial 512 hz 8
3. G Perfect fifth sol (1) 2nd partial 768 hz 3
4. C Octave do (3) 4th partial 1,024 hz 7
5. E Major third mi (1) 5th partial 1,280 hz 2
6. G Perfect fifth sol (2) 6th partial 1,536 hz 6
7. B flat - Minor seventh si (1) 7th partial 1,792 hz 1
8. C Octave do (4) 8th partial 2,048 hz 5
9. D Major second re (1) 9th partial 2,304 hz 9
10. E Major third mi (2) 10th partial 2,560 hz 4
11. F sharp - Augmented fourth fa (1) 11th partial 2,816 hz 8
12. G Perfect fifth sol (3) 12th partial 3,072 hz 3
13. A- Minor sixth lab (1) 13th partial 3,328 hz 7
14. B flat- Minor seventh si (2) 14th partial 3,584 hz 2
15. B Major seventh si (1) 15th partial 3,840 hz 6
16. C Octave do (5) 16th partial 4,096 hz 1

*the (mod 9) equivalent of the numeric value for hertz (frequency)

Table 1. Musical overtone series based on C vibrating as the fundamental tone at 256 hertz (hz).
A repeating, 9-digit cycle occurs for the overtones.
hz == m
Note Interval Solfege Harmonic Freqeuncy (hertz) (mod 9)*
1. C Unison do (1) 1st partial 256 hz 4
2. C Octave do (2) 2nd partial 512 hz 8
3. G Perfect fifth sol (1) 2nd partial 768 hz 3
4. C Octave do (3) 4th partial 1,024 hz 7
5. E Major third mi (1) 5th partial 1,280 hz 2
6. G Perfect fifth sol (2) 6th partial 1,536 hz 6
7. B flat - Minor seventh si (1) 7th partial 1,792 hz 1
8. C Octave do (4) 8th partial 2,048 hz 5
9. D Major second re (1) 9th partial 2,304 hz 9
10. E Major third mi (2) 10th partial 2,560 hz 4
11. F sharp - Augmented fourth fa (1) 11th partial 2,816 hz 8
12. G Perfect fifth sol (3) 12th partial 3,072 hz 3
13. A- Minor sixth lab (1) 13th partial 3,328 hz 7
14. B flat- Minor seventh si (2) 14th partial 3,584 hz 2
15. B Major seventh si (1) 15th partial 3,840 hz 6
16. C Octave do (5) 16th partial 4,096 hz 1

*the (mod 9) equivalent of the numeric value for hertz (frequency)

Table 1. Musical overtone series based on C vibrating as the fundamental tone at 256 hertz (hz).
A repeating, 9-digit cycle occurs for the overtones.
hz == m
Note Interval Solfege Harmonic Freqeuncy (hertz) (mod 9)*
1. C Unison do (1) 1st partial 256 hz 4
2. C Octave do (2) 2nd partial 512 hz 8
3. G Perfect fifth sol (1) 2nd partial 768 hz 3
4. C Octave do (3) 4th partial 1,024 hz 7
5. E Major third mi (1) 5th partial 1,280 hz 2
6. G Perfect fifth sol (2) 6th partial 1,536 hz 6
7. B flat - Minor seventh si (1) 7th partial 1,792 hz 1
8. C Octave do (4) 8th partial 2,048 hz 5
9. D Major second re (1) 9th partial 2,304 hz 9
10. E Major third mi (2) 10th partial 2,560 hz 4
11. F sharp - Augmented fourth fa (1) 11th partial 2,816 hz 8
12. G Perfect fifth sol (3) 12th partial 3,072 hz 3
13. A- Minor sixth lab (1) 13th partial 3,328 hz 7
14. B flat- Minor seventh si (2) 14th partial 3,584 hz 2
15. B Major seventh si (1) 15th partial 3,840 hz 6
16. C Octave do (5) 16th partial 4,096 hz 1

*the (mod 9) equivalent of the numeric value for hertz (frequency)

 Number=color=tone=polarity

9/0 = Red = C = (neutral)

1 = Yellow = D = (+)
2 = Orange = E = (-)

3 = shock = x = (neutral)

4 = Green = F = (+)
5 = Blue = G = (-)

6 = shock G-sharp = (neutral)

7 = Indigo = A = (+)
8 = Violet = B = (-)

= shock = y = (neutral)

The daisy as a musical composition

 Electromagnetic daisy coil
design, inspired by the daisy
integer matrix and prime
number sieve.
Red & Blue wires: 2 prime
number circuits
Dotted line: Equipotential
lines of force.
Daisy lattice with 2 prime number circuits or
“growth circuits” (yellow and green)
 Toroidal thistle flower “The Dandelion Puff Principle”
m
2
m m
4 1 7 4 1 7 4 1 7 4 1 7 4 1 7 4 1 7 8 4 1 7 4 1 7 4 1 7 5
6 3 9 6 3 9 6 3 9 6 3 9 6 3 9 6 3 9 6 3 9 6 3 9 6 3 9
8 5 2 8 5 2 8 5 2
8 5 2 8 5 2 8 5 2 8 5 2 8 5 2 8 5 2
1 7 4 1 7 4 1 7 4
1 7 4 1 7 4 1 7 4 1 7 4 1 7 4 1 7 4 m m
3 9 6 3 9 6 3 9 6 3 9 6 3 9 6 3 9 6 3 3 9 6 3 9 6 3 9 6 6
5 2 8 5 2 8 5 2 8
5 2 8 5 2 8 5 2 8 5 2 8 5 2 8 5 2 8
7 4 1 7 4 1 7 4 1
7 4 1 7 4 1 7 4 1 7 4 1 7 4 1 7 4 1 9 6 3 9 6 3 9 6 3
9 6 3 9 6 3 9 6 3 9 6 3 9 6 3 9 6 3 m m
4 2 8 5 2 8 5 2 8 5 1
2 8 5 2 8 5 2 8 5 2 8 5 2 8 5 2 8 5 m
7