This scientific document is addressed to anyone interested by the idea that plants and trees, far from being a simple machine producing sugars and verdancy, are also sensitive beings with which we can maintain a relationship through musical language. Just because what I talk about here is about tomorrow’s science, I invite anyone who would doubt my scientific abilities to visit my profil https://marchenry.org/. My active scientific research is indeed referenced on Publons, Google Scholar or Research Gate. I have an ORCID ID for the Web of Science, the online service of academic information created by a league of the Canadian group Thomson Renters. My forty years spent doing scientific research and my 27 years teaching at University allowed me to cover a large range of knowledge from quantum physics, the field of fighting cancer, to matter chemistry and molicular biology. My speciality being the understanding of water, I was naturally attracted by plants that use water in conjunction with carbon dioxyde and light photons to produce nutritive substance for all the animals on this planet. I discovered Jean Thoby’s work in Gaujacq, during his apparition in the show “28 minutes” aired on TV the 24th of May 2019 on the ARTE channel. So I used my holiday in August 2019 to go to Gaujacq and see what was happening on the field. I of course, invested in a device to make my own plants sing. I have been persuaded of the integrity of the work done in Gaujacq and even accepted to be part of a group of fifteen researchers who work with Jean and Frédérique Thoby to develope a new science named “Phytoneurology” in 2014.
It is a fact that in a fast paced world,, plants appear like an immobile lump enduring rain and wind. The first way to realise that plants evolve and grow just like us, is to take a timelapse of every few hours over a long period of time. Once we have it, we just have to play it at a speed of 25 images per second to reveal all the subtil and graceful mouvements of these beings restrained by nature to stay rooted on the same spot. Just like an animal, a plant feels its environment and moves slowly and majestically on a much longer time scale than the mouvements of animals. But can we go further than this and see if we can communicate with a plant the same way we would with an animal or even with another person ?
The idea seems absurd on a first approach, because nothing in our modern education leads us to care and inquire for the plants and their well being, or maybe even for them to indicate us if we are healthy. Because if we consider the long evolution of life from the first bacterias to the first animals, we find plants, they appeared on our Planet approximetly 400 millions years ago. Compared to that period of time, we, humans only appeared 4 millions years ago. Let’s just say we are still newborns and we still probably have a lot to learn about plants. For the societies so called “primitive” , it is obvious that plants are sensitive beings that we can address during rituals [2-3].
My visit in Gaujacq will confirm to me the potential benefice to interact with plants instead of considering them like simple ornement. We do not use shamanism at the Plantarium of Gaujacq where are gathered over 3000 species. The idea here is to have plants sing by picking up their surface electricity with two electrodes, one at it’s roots and the other one on a leaf of flower petal. This surface electricity translates the behaviour of the plant and how it reacts to it’s immediat environment, facing human or animal activity. Oscilliations and vibrations that once transcoded and amplified, transform into music notes. We then just need to associate this given partition with instruments. The “musinieristes” have discovered that way that every specices of plant “sing” differently depending on the atmosphere and geographic location .
We know today that due to the perpetual movements of ions in it’s water component (99% in number of molecules), any living organism continually emits a coherent magnetic field detectible with Superconducting Quantum Interference Devices. For human being, threee main organs play a part in this magnetic emission with, by intensity level low to high : brain < intestins < heart . It is the heart the source of the greater intensity. A plant has sap, where we find that same movement of water and ions, which also explains a strong electric activity recorded by the devices developped in Gaujacq. When we have an emotion or a thought, our blood flow evidently changes and so does the magnetic field emitted by our heart. Depending on it’s environment, the plant makes it’s sap flow vary and also emits an eletromagnetic field which will interfere with the one emitted by a human heart. There is therefore nothing strange about being able to talk to plants with our heart, something that is obvious for all “primitive” people.
This way, we can talk to the self of other living being without limiting filters of the very small bandwidth of the conscious self . The issue with this system of communication is that we have to be trained to self-induced trance and admit that the hydration water of every cellular membrane can memorise and process information .
So this leaves us with the conversion into music notes, of electric signals emitted by the plants. The listening and recording technic is simple and open to anyone as long as we have a device that does the work. Anyone can then experiment at home or in nature. The issue of course is the interpretation of the emitted music and that’s where the musinieriste plays it’s part. We know that music can have a biological effect on our entire body via the stimulation of the cerebral activity by a mecanism implying thoughts, feelings and emotions. Fortunately, we have here scientific tools that will allows us to interpret the notes emitted by a plant. The core idea is to use what we call scale invariance, which stipulates that scale invariance is a feature of objects that does not change if variables, are multiplied by a common factor, and thus represent a universality. Music is a perfect example of a phenomena presenting a scale invariance by octave transposition.
Sound waves physics teaches us that is it possible to match a certain vibratory frequency to any musical note. If you change the frequency, the note changes, except if you adjust it so that the new note has double or half the frequency from your starting note. And with music, doubling the frequency means to play the same note at the octave above. So by the link having the number 2 interfering, the frequency can change but not the note which stays the same. Another way to demonstrate scale invariance of music is to consider, not the note itself but the gap between two notes. Let’s take the interval in a fifth (DO-SOL for example) ❲C-G❳, which in terms of frequency means a ratio of 3/2 = 1.5. As we can observe, the frequency of the two notes do not appear. So f0 the fundamental frequency, we will find the ratio of a fifth 3f0/2f0 = 3/2 for a whole frequency f0 as small or big as it can be. Therefore the scale invariance of all music piece based on a tempered note scale where the octave is divided in n egal parts .
Let’s now have a look at modern physics which teaches us that for an atomic nucleus with a stable atom, the matter must behave like a wave with a frequency f regulated by the mass m : f = m·(c2/h). where c and h are two universal constant (speed of light in void for c and quantum reaction for h), scale invariant. This is called Einstein-De Broglie relation and it allows the association to any mass m a frequency f, and therefore a certain music note. Of course, considering the very big value of c and the extreme littleness of the quantum action h the frequency f is huge, exceeding by far the value of 1024 hertz. But it doesn’t mattter, because as long as we consider a sucession of music notes, appearing bewteen these notes those musical links, third, fourth, fifth, sixth, seventh, or unisson, which are scale invariant and stay the same regardless of the frequency of each note which only depends of the masses that play a part. However, in non relativistic physics which is the one that applies to macroscopic objects like human beings or plants, the mass stays the same no matter what. So from that, to any mass must match a series of notes, meaning a music piece.
The next step is to look in a natural environment for any phenomena that makes a mass sequence intervene. A first sequence is easy to find during the breaking down of an instable mass’s particle (created in a particle accelerator) which breaks down into smaller particles. If the idea is right, we must be finding a certain mass spectrum matching a musical chord after disintegration of the instable particles. Yet, the experiement done with elementary particle accelerators shows that it is the case . Another example of mass sequence is given by the amino acid sequence which caracterises all protein. All the same we can establish a correlation bewteeen the mass of each amino acid and a music note here too, and that way associate to every protein a music piece called “proteodie” . A company called “Genodics” (see the website : genodics.com) has specialised in the use this epigenetics regulation tool in farming with remarkable success . At the Plantarium of Gaujacq, we use the same tool but backwards, meaning, going from a music generated by a plant, we search what proteins have been encoded by the plant, either to express unhapiness (sickness), or to express the unhapiness of someone sitting in front of the plant and listening to it’s music. Studies shows that during the six first minutes, the plant introduces itself and talks about itself, after an amount of time that varies more or less depending on the person listening, it doesn’t speak about itself anymore but about the person with whom it has established contact via scale waves predicted by Joël Sternheimer’s theory and that it has transcirpted into electric activity.
In conclusion, we can say that Genodics based on the concept of scale waves emitted by all living being has already proven itself on the field but it remains difficult to convince scientists rooted in the all matter. Because scale waves do not propagate in the four-dimensionnal space-time of relativist physics, but wihtin a fifth independant dimension, the existence of which is insured by the group of conformal symetrie ISO (4.2) leaving the Maxwell equations invariant . This group ISO (4.2) reflect the very high level of symmetry in the relative quantum void which falls apart in the presence of matter. This symmetry breaking is making appear, away from all matter the Poincaré group ISO(3,1) of Minkowski spacetime which is a flat void with no curves, whereas the group ISO (4,1) is DeSitter’s spacetime with positive curves. These notions being largely discussed and debatable in physics theory. Because behind the extensions of the poincaré group ISO (3,1) towards ISO (4,1) and then ISO (4,2) there is probably the fact to be able to differentiate an inert matter and living matter (first extension implying the existence of scale waves) and then to be able to dinstiguish beetween living matter and conscious matter (second extension implying the superiority of consciousness over matter [11-12]).
On a praticle level, the main consequence of these theoratical developments is the idea that through music we can communicate with the plants. Meaning, if plants are a food source, they can also guide us in the technology crises awaiting for us in a close futur, thanks to their old experience of 400 millions years. So we call farmers, gardeners, and in general anyone who works with vegetals (florist, nurseryman, council gardeners using herbicides, local ellected officials responsible for embellishing our living spaces), to a collective awakening concerning the impact that plants can have for the humans well being. Efforts to become musinieriste must be encouraged and supported with courage and determination and must not be overlooked by suspicion and scepticism. The way we interact and learn to have a relationship with plants may be decisive for the futur of humankind, a relationship that implies reciprocity bewteen two terrestrial species, not domination and violence from one specie towards the others judged inferior.
Strasbourg, Monday 27th April 2020
 Fabienne Berthaud, « Un monde plus grand », 30th October 2019.
 Juan C. Mirre Gavalda, Catalina Fernandez de Ana Portela, « Champignons médicinaux », septembre 2017, ISBN : 978-84-608-1273-9
 Voir le site de la fondation TranceScience : https://www.trancescience.org/
 Jean Thoby, « Le chant secret des plantes », Rustica éditions, Paris (2019), ISBN : 978-2-8153-1285-1.
 Marc Henry, « Consciousness, Information, Electromagnetism and Water », Substantia, 4(1) : 23-36 (2020).
 Marc Henry, « L’Eau et la Physique Quantique », Dangles, Escalquens (2016). ISBN 978-2-7033-1147-8
 Marc Henry (2017), « Musique et physique quantique », Éditions Natur’Eau Quant, Strasbourg, ISBN 979-10-95620-01-3.
 Joël Sternheimer, « Musique des particules élémentaires », Comptes Rendus Acad. Sci. Paris, Ser. II, 297 : 829-834 (1983).
 Joël Sternheimer, « Procédé de régulation épigénétique de la biosynthèse des protéines par résonance d’échelle », brevet n° FR 92 06765 (1992), Brevet Européen, EP 0 648 275 B1, 29 août 1993.
 Isabelle Capitant de Villebonne, « Protéodies, une science qui dérange ? », Nexus, mai-juin 2017, 110 : 68-79.
 Jean-Pierre Gerbaulet, Marc Henry, « The ‘Consciousness- Brain’ relationship », Substantia 3(1): 113-118 (2019).
 Marc Henry, J.-P. Gerbaulet, « A scientific rationale for consciousness », Substantia 3(2): 37-54 (2019).