KeywordsIsis and Osiris myth art and science geometry ancient Egyptian knowledge higher-dimensional space concepts ontology quantum information renate Quehenberger Independent researcher Quantum information traced back to ancient egyptian mysteries abstractThere are strong indications that ancient Egyptian mythology contains knowledge of the nature of space up to higher dimensions and provides ontologic answers to the question about the creation of matter. This article examines the pentagonal interpretation of the myth of Isis and Osiris by comparing the iconographic details with recent findings from the art research project Quantum Cinema, where an interdisciplinary group of digital artists and scientists established a virtual space model for visualizing the usually non-perceivable processes in the microcosm on a Planck scale. At this scale, quantum mechanics applied to space itself leads to a discrete amount of quantum states. For this research, a new geometrical tool proved invaluable: the epitahedron. The double heptahedron named epitahedron (E±), a 3D Penrose kites and darts representation, confines the dodecahedron in many ways and seems to be Plato's fifth element. It is a 5D space cell, decorated with fragments of circles, which allows to visualize the permutations of symmetry elements within a discrete lattice (Z5). This higher-dimensional configuration is also the appropriate space to create a quantum-mechanical depiction of particles with inherent wave-like character by means of 3D animated geometry. Disguised in a mythological language the same subscendent space structure with the same golden polytope (E±) can be revealed: is this the origin of the concept of aether, the quintessence model which was a basic scientific task for the last 2500 years?

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The authors describe the scientific background and technical details of the visualization of the mathematics underlying genetic codes applied to musical scales. “Genetic Music” provides audible access to genetic structures that become visible based on the fundamental level of nature as permutations of space itself. The carriers of genetic information characteristically possess hydrogen bonds in quantities 2 and 3 in complementary pairs of nitrogenous bases [GACT] in DNA and [GACU] in RNA. Since hydrogen is observed to expose the symmetries of the Penrose Patterns, visual access is achieved by means of a 3D representation of Penrose kites and darts named “epitahedron.” Those pyramid-shaped polyhedra represent the numbers of hydrogen bonds (C=G=3, A=T=2) that generate musical equivalence between the genetic alphabet and the 7 notes of the Pythagorean scale, as well as further and distinct correlations with “Fibonacci stage” “Genetic Music” scales. The visualization must be played synchronously with the musical performance. “Genetic Music” scales (so named by the Russian biophysicists who invented them) are an alternative microtonal system of musical notation [1–4] and provide audible access to genetic structures where hydrogen bonds with quantities 2 and 3 are characteristics of complementary letters of the genetic alphabet, the pairs of nitrogenous bases (C=G=3, A=T=2). Hydrogen is not only an element of the basic building blocks of genetic codes and therefore used as the fundamental principle of “genetic music”: It also plays an important role in the composition of our universe, where hydrogen atoms make up 87% of all atoms, and the “chemical influence of omnipresent hydrogen is the defining factor” [5]. The genetic matrix of the varying hydrogen bonds [3 2; 2 3](n) generates a musical equivalence between the genetic alphabet and a new system of “Genetic Music” scales.

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