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GOLDEN RATIO IN HUMAN ANATOMY

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GOLDEN RATIO IN HUMAN ANATOMY

Project submitted to the Department of Science and

Technology
as part of the Summer Vacation Research Work

of

Sruthy Murali

DST Inspire Scholar

171/2009

Under the supervision of

Dr. G N Prasanth
Department of Mathematics
Government College, Chittur
Palakkad - 678104
2012
 DECLARATION

I, Sruthy Murali, do hereby declare that the project entitled “Golden Ratio in
Human Anatomy” is a bonafide record of project done by me .

Sruthy Murali
Dr. G N Prasanth1 DEPARTMENT OF MATHEMATICS
Assistant Professor Government College, Chittur
PALAKKAD - 678104
KERALA, INDIA

CERTIFICATE

This is to certify that the project entitled “Golden Ratio in Human Anatomy”
submitted to the Department of Science and Technology as part of the Summer Va-
cation Research Work is a bonafide record of project work carried out by Sruthy
Murali under my supervision. This project is submitted as a poster in a national
seminar on Bio-Diversity Conservation:Challenges and Prospects organized
by the Department of Zoology, Government College, Chittur and has won first prize
sponsored by Conservation and Research in Ornithology and Wildlife (CROW), a
Non Government Organization based at Palakkad, Kerala, India. Copy of the poster
and certificate are enclosed herewith.

Dr. G N Prasanth

1
Mob:919447565939, E-mail:prasanthgns@gmail.com
 ACKNOWLEDGEMENT

First and foremost, I express my profound gratitude to my guide and mentor

Dr. G N Prasanth whose able guidance and seemless encouragement helped me in
studying and successfully completing this work.
I thank Prof. K K chidambaran, Head, Department of Mathematics, Govern-
ment College, Chittur, for the support rendered to me throughout this project work.
I am grateful to Dr. K P Naveenachandran, Department of Mathematics, Gov-
ernment, Chittur, for the fruitful and encouraging discussions given to me through-
out this project.
I also thank the faculty, Government College, Chittur, for the valuable sugges-
tions and advices rendered to me for the completion of my project.
I express my sincere thanks to Dr. Anisha G S, Head, Department of Zoology,
Government College, Chittur for the entire help in the poster presentation.
I am very much thankful to Department of Science & Technology, Government
of India for giving such an opportunity to do this work.

Sruthy Murali
Contents

1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

2. History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

3. Mathematics Of Golden Ratio . . . . . . . . . . . . . . . . . . . . . . . . . 11

3.1 Various Types of Representations of Golden ratio . . . . . . . . . . . 13

4. Golden Ratio in Human Anatomy . . . . . . . . . . . . . . . . . . . . . . . 14

4.1 Human Face . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
4.2 Human Hand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
4.3 Lungs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
4.4 Hearing and Balance Organ . . . . . . . . . . . . . . . . . . . . . . . 16
4.5 The Brain And Heart Rhythms . . . . . . . . . . . . . . . . . . . . . 18
4.6 Human Genome DNA . . . . . . . . . . . . . . . . . . . . . . . . . . 21
4.7 Human Health and Golden Ratio . . . . . . . . . . . . . . . . . . . . 23

5. Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
List of Figures

1.1 Picturisation of convergence of Fibonacci series. . . . . . . . . . . . . 8

3.1 Illustration regarding the Definition 3.1 . . . . . . . . . . . . . . . . . 11

3.2 Construction of golden rectangle. . . . . . . . . . . . . . . . . . . . . 12
3.3 Construction of golden rectangles. . . . . . . . . . . . . . . . . . . . . 12

4.1 Golden ratio in human face. . . . . . . . . . . . . . . . . . . . . . . . 14

4.2 Golden ratio in human hand. . . . . . . . . . . . . . . . . . . . . . . . 15
4.3 Golden ratio in human lungs. . . . . . . . . . . . . . . . . . . . . . . 16
4.4 Golden ratio in hearing and balance organ. . . . . . . . . . . . . . . . 18
4.5 Cardiac cycle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
4.6 Brain Waves corresponding to different mental states. . . . . . . . . . 21
4.7 Double-stranded helix shape of DNA. . . . . . . . . . . . . . . . . . . 22
4.8 A cross-sectional view from the top of the DNA. . . . . . . . . . . . . 22
 1
Introduction

The golden ratio otherwise known as the Divine Proportion or Phi, is a mathematical
ratio with special properties and aesthetic significance. An enormous number of

things in the universe are engineered around the ratio, ranging from the human body
to the ark of the covenant to snail shells to the orbits of the planets. The divine
ratio and golden rectangles appear throughout the ancient architecture and art. The
golden ratio is believed to be the most aesthetically pleasing and harmonious means

of design. Statistical analysis indicates that “the people involuntarily give preference
to proportions that approximate to the Golden Section(Golden ration)”, See [1].
The Fibonacci numbers are Nature’s numbering system. They appear every-
where in Nature, from the leaf arrangement in plants, to the pattern of the florets
of a flower, the bracts of a pinecone, or the scales of a pineapple. The Fibonacci

numbers are therefore applicable to the growth of every living thing, including a
single cell, a grain of wheat, a hive of bees, and even all of mankind.
It plays a vital role in the arrangement of petals in flowers, structure of DNA and
various proportions in human face, structure of sea shells etc. Occurrence of this

proportion in zoology is frequent, viz in the clock cycle of brain waves, in hearing
and balance organ etc. Here we wish to explore the mysterious secrets of golden
ratio concealed in the human anatomy.
 1. Introduction 8

If we take the ratio of two successive numbers in Fibonacci’s series, (1, 1, 2, 3, 5, 8, 13, . . .),

we will find the following series of numbers: 1

1
=, 2
1
= 2 3
2
= 1.5, 5
3
= 1.666 . . .,
8
5
= 1.6, 13
8
= 1.625, 21
13
= 1.61538 . . .. It is easier to see what is happening if we
plot the ratios on a graph, Refer Figure 1.1.

Fig. 1.1: Picturisation of convergence of Fibonacci series.

The ratio seems to be settling down to a particular value, which we call the
golden ratio or the golden number. The golden ratio 1.618034 . . . is also called the

golden section or the golden mean or just the golden number. It is often represented
by a Greek letter Phi φ. The closely related value which we write as phi with a
small “p” is just the decimal part of Phi, namely 0.618034. . ..
 2
History

Mathematician Mark Barr proposed using the first letter in the name of Greek
sculptor Phidias, phi, to symbolize the golden ratio. Usually, the lowercase form

(φ) is used. Sometimes, the uppercase form (Φ) is used for the reciprocal of the
golden ratio, 1
φ
. The golden ratio has fascinated Western intellectuals of diverse
interests for at least 2,400 years. Some of the greatest mathematical minds of all
ages, from Pythagoras and Euclid in ancient Greece, through the medieval Italian

mathematician Leonardo of Pisa and the Renaissance astronomer Johannes Kepler,

to present-day scientific figures such as Oxford physicist Roger Penrose, have spent
endless hours over this simple ratio and its properties. But the fascination with the
Golden Ratio is not confined just to mathematicians. Biologists, artists, musicians,
historians, architects, psychologists, and even mystics have pondered and debated

the basis of its ubiquity and appeal. In fact, it is probably fair to say that the Golden
Ratio has inspired thinkers of all disciplines like no other number in the history of
mathematics. Ancient Greek mathematicians first studied what we now call the
golden ratio because of its frequent appearance in geometry. The division of a line

into “extreme and mean ratio” (the golden section) is important in the geometry of
regular pentagrams and pentagons. The Greeks usually attributed discovery of this
concept to Pythagoras or his followers. The regular pentagram, which has a regular
 2. History 10

pentagon inscribed within it, was the Pythagoreans’ symbol. Euclid’s Elements

provides the first known written definition of what is now called the golden ratio:
“A straight line is said to have been cut in extreme and mean ratio when, as the
whole line is to the greater segment, so is the greater to the less.” Euclid explains
a construction for cutting (sectioning) a line “in extreme and mean ratio”, i.e. the

golden ratio. Throughout the Elements, several propositions (theorems in modern

terminology) and their proofs employ the golden ratio. Some of these propositions
show that the golden ratio is an irrational number. The name “extreme and mean
ratio” was the principal term used from the 3rd century BC until about the 18th
century.
 3
Mathematics Of Golden Ratio

The golden ratio is a mathematical ratio with special properties and aesthetic sig-
nificance. In this section the mathematical side of φ is discussed.

Definition 3.1: Two quantities are in the golden ratio if the ratio of the sum of

the quantities to the larger quantity is equal to the ratio of the larger quantity to
the smaller one.

The figure illustrates the geometric relationship, Refer figure 3.1.

Fig. 3.1: Illustration regarding the Definition 3.1

We can express the figure algebraically as a+b

a
= a
b
≡ φ. Solving this, we obtain
φ = 1 + φ1 . That is φ2 = 1 + φ. Being a quadratic equation in φ, this equation has
√
one positive solution in the set of irrational numbers, φ = 1+ 5
2
≈ 1.6180339887.
At least since the Renaissance, many artists and architects have proportioned their
works to approximate the golden ratio-especially in the form of the golden rectangle,
in which the ratio of the longer side to the shorter is the golden ratio-believing this
 3. Mathematics Of Golden Ratio 12

proportion to be aesthetically pleasing. Mathematicians have studied the golden

ratio because of its unique and interesting properties. Construction of a golden

rectangle (The construction is depicted in the figure 3.2)

1. Construct a unit square (red).

2. Draw a line from the midpoint of one side to an opposite corner.

3. Use that line as the radius to draw an arc that defines the long dimension of
the rectangle.

Fig. 3.2: Construction of golden rectangle.

A golden rectangle with longer side a and shorter side b, when placed adjacent
to a square with sides of length a, will produce a similar golden rectangle with
longer side a + b and shorter side a, See Figure 3.3. This illustrates the relationship:
a+b a
b
= b
≡ φ.

Fig. 3.3: Construction of golden rectangles.

 3. Mathematics Of Golden Ratio 13

3.1 Various Types of Representations of Golden ratio

We can represent φ in various forms as given below.

• The formula φ = 1 + 1
φ
can be expanded recursively to obtain a continued
fraction for the golden ratio: φ = [1; 1, 1, 1, . . .] = 1 + 1+
1
1
1+ 1
..
1+ .
• The equation φ2 = 1 + φ likewise produces the continued square root, or
q p √
infinite surd, form: φ = 1 + 1 + 1 + . . .

• An infinite series can be derived to express φ as :

∞
13 X (−1)n+1 (2n + 1)!
φ= +
8 n=0
(n + 2)!n!42n+3
 4
Golden Ratio in Human Anatomy

The Golden Section, also known as φ (Phi), is manifested throughout the structure
of the human body. Here I wish to mention only some of them.

4.1 Human Face

There are several golden ratios in the human face. Do not pick up a ruler and try
to measure people’s faces, however, because this refers to the “ideal human face”
determined by scientists and artists.

Fig. 4.1: Golden ratio in human face.

For example, the total width of the two front teeth in the upper jaw over their
height gives a golden ratio. The width of the first tooth from the centre to the second
 4. Golden Ratio in Human Anatomy 15

tooth also yields a golden ratio. These are the ideal proportions that a dentist may

consider. Some other golden ratios in the human face are:

• Length of face / width of face,

• Distance between the lips and where the eyebrows meet / length of nose,

• Length of face / distance between tip of jaw and where the eyebrows meet,

• Length of mouth / width of nose,

• Width of nose / distance between nostrils,

• Distance between pupils / distance between eyebrows.

4.2 Human Hand

Our fingers have three sections. The proportion of the first two to the full length of
the finger gives the golden ratio (with the exception of the thumbs). You can also
see that the proportion of the middle finger to the little finger is also a golden ratio.

Fig. 4.2: Golden ratio in human hand.

We have two hands, and the fingers on them consist of three sections. There are
five fingers on each hand, and only eight of these are articulated according to the

golden number: 2, 3, 5 and 8 fit the Fibonacci numbers.

 4. Golden Ratio in Human Anatomy 16

4.3 Lungs

In a study carried out between 1985 and 1987 , Dr. A. L. Goldberger et.al in their

paper [5], revealed the existence of the golden ratio in the structure of the lung.

Fig. 4.3: Golden ratio in human lungs.

One feature of the network of the bronchi that constitutes the lung is that it

is asymmetric. For example, the windpipe divides into two main bronchi, one long
(the left) and the other short (the right), See Figure 4.3. This asymmetrical division
continues into the subsequent subdivisions of the bronchi. It was determined that
in all these divisions the proportion of the short bronchus to the long was always
1
1.618
.

4.4 Hearing and Balance Organ

When sound waves enter the ear, they strike the ear drum and cause it to vibrate.
Tiny bones in the ear transmit these vibrations to the fluid in the cochlea, where they
travel along the narrowing tube those winds into a spiral. The tube is divided into
two chambers by an elastic membrane that runs down its length. The mechanical

properties of this “basilar” membrane vary from very stiff at the outer end and
become increasingly flexible as the chambers narrow. These changing properties
cause the waves to grow and then die away, much as ocean waves get taller and
narrower in shoaling water. Different frequency waves peak at different positions
 4. Golden Ratio in Human Anatomy 17

along the tube. Hair cells sitting on the basilar membrane sense these motions

by bending against the membrane and produce electrical signals that feed into the
auditory nerve. Hair cells near the large end of the cochlea detect high-pitched
sounds, such as the notes of a piccolo, while those at the narrow end of the tube
detect lower frequency sounds, like a the oompah of a tuba. This basic frequency

sorting works in the same fashion whether the cochlear tube is laid out straight
or coiled in a spiral. That observation, in fact, was the major reason that the
researchers studying cochlear mechanics concluded its shape didn’t matter. The
spiral shape causes the energy in the waves to accumulate against the outside edge
of the chamber. D. Manoussaki et.al, See [3], considered this to be this to the

“whispering gallery mode” effect where whispers traveling along curved walls of
a large chamber can remain strong enough so they can be heard clearly on the
opposite side of the room. This uneven energy distribution, in turn, causes the
fluid to slosh higher on one side of the chamber, forcing the basilar membrane to

tilt to one side, the direction to which the hair cells are most sensitive. The effect
is strongest in the center of the spiral, where the lowest frequencies are detected.
The researchers calculate the sensitivity increase can be as much as 20 decibels.
That corresponds to the difference between the ambience of a quiet restaurant and

the noise of a busy street. Spiral-shaped cochleae, See figure 4.4, are exclusive to
mammals. Birds and reptiles generally have plate-like or slightly curved versions of
this critical organ, limiting the span of octaves that they can hear. Animals with
tightly coiled cochleae tend to have greater hearing ranges, but previous attempts

to associate these auditory effects with the physical characteristics of the cochlea
have proven unsatisfactory because they did not take a critical acoustic effect into
account.
 4. Golden Ratio in Human Anatomy 18

Fig. 4.4: Golden ratio in hearing and balance organ.

4.5 The Brain And Heart Rhythms

Man’s heart is beaten uniformly (about 60 impacts in one minute in the rest state).
The heart as the cylinder piston compresses, and then pushes out the blood and
drives it on the body. The pressure of the blood changes during the cardiac perfor-
mance. It reaches of the greatest value in the left heart ventricle at the moment of its

compression (systole). In the arteries during the heart ventricular systole the blood
pressure reaches the maximum value, equal to 115−125 mm of the mercury column.
At the moment of the cardiac muscle debilitation (diastole) the pressure decreases
until 70 − 80 mm of the mercury column. The ratio of the maximum (systolic) pres-

sure to the minimum (diastolic) pressure is equal, on the average, to 1.6, that is,
is close to the golden proportion. Whether is this coincidence random or it reflects
some objective regularity of the cardiac activity harmonic organization? The heart
is beaten continuously from man’s birth up to his died. And its activity should be
optimal and be subordinated to the self-organization laws of biological systems. And

as the golden proportion is one of criteria of self-organizing systems naturally one

may suspect that the cardiac performance is subordinated to the golden section law.
This hypothesis underlies the mammals cardiac activity researches fulfilled by the
Russian biologist Zvetkov, See [4]. One may select on the cardiogram two segments

of different duration corresponding to systolic (t1 ) and diastolic (t2 ) heart activity.
 4. Golden Ratio in Human Anatomy 19

Zvetkov established, that there exists the optimal (“golden”) palpitation frequency

for the man and for other mammals; here the durations of systole, diastole and full
cardiac cycle (T ) are in the golden proportion, that is, T : t2 = t2 : t1 , Refer figure
4.5.

Fig. 4.5: Cardiac cycle.

So, for example, for a man this “golden” frequency is equal to 63 heart impacts
in one minute, for dogs - 94 that corresponds to actual palpitation frequency One
may judge about the heart activity by using the electrocardiogram, the curve re-

flecting different cycles of the cardiac performance. Further Zvetkov established

that if we take as the measurement unit the middle blood pressure in the aorta
then the systolic blood pressure in the aorta is 0.382, and the diastolic pressure is
0.618, that is, their ratio corresponds to the golden proportion. It means, that the

cardiac performance concerning to the timing cycles and to the blood pressure vari-
ation are In medical practice there judge about the cardiac performance on pulse.
It was appeared that the ratios of pulse (minimum and maximum) pressures are
equal to the golden proportion, and this ratio in the aorta does not change at level

variation of load and, accordingly, of palpitation frequency. In Zvetkov opinion, the

organization of the cardiac cycle pursuant to the golden proportion is a result of a
long evolution of mammals in the direction of optimization of their structure and
functions, providing of their life-activity at the minimum consumptions of energy
and “a live building stuff”.

Not only the heart activity, but also the brain activity also is subjected to the golden
proportion law. And the Russian physiologist Sokolov ’s established this fact. Man’s
 4. Golden Ratio in Human Anatomy 20

brain represents by itself the most complicated, self-adapting system; the regula-

tion of the different human body organs activity, its main role is implementation of
man’s communication with environment. In the brain structure there is gray and
white matter. The gray matter represents by itself the concentration of the nervous
cells, the white one of the nervous fibers. The nervous cell with the outgrowth is

called as a neuron. The brain neurons form miscellaneous networks interacting with
the help of electrical signals. The configurations of neuronal networks represent by
themselves oscillating electrical networks. To different brain states there correspond
the electrical oscillations with different frequencies, which can be found out by ana-
lyzing of the brain electroencephalogram. The numerous researches showed that in

the healthy man’s brain the electrical oscillations of definite frequencies correspond-
ing to his different states dominate. The specific frequencies of electrical oscillations
(“the brain rhythms”) correspond to each brain state. The steadiest a-rhythm with
the oscillation frequencies from 8 up to 13 hertz corresponds to the rest state of

the brain. So-called b-rhythm with the oscillation frequencies 14 − 35 hertz corre-
sponds to mental activity; the most sluggish oscillations with frequency 0, 5−4 hertz
correspond to the D-rhythm corresponding to the steep dream state. At last at ap-
pearance of the trouble or danger sensation there arises so-called q-rhythm with the

oscillation frequencies from 4 up to 7 hertz. Except for values of the limiting oscil-
lation frequencies of the brain for different rhythms, they are characterized also by
other characteristics. One of them is the mean geometrical value of extreme frequen-
√
cies calculated by the formula f = f1 , f2 where f1 , f2 are the extreme (boundary)

oscillation frequencies. The mean geometrical frequency divides frequency band into
high frequency and low frequency areas. The ratio of these frequency bands is a
constant for the given wave and is the brain invariant. This invariant was adopted
by Sokolov’s as the basic characteristic of the brain rhythms. The researcher found
out that for the b-rhythm, which corresponds to mental activity, this invariant co-

incides with the golden proportion! For other rhythms the invariants differ from
 4. Golden Ratio in Human Anatomy 21

the classical golden proportion, but they also are characteristic numbers 1, 324 (for

the q-rhythm), 1, 272 (for the a-rhythm), 1, 232 (for the D-rhythm) coincided with
so-called generalized golden proportions, Refer figure 4.6.

Fig. 4.6: Brain Waves corresponding to different mental states.

4.6 Human Genome DNA

The DNA molecule, the program for all life, is based on the golden section. It
measures 34 angstroms long by 21 angstroms wide for each full cycle of its double

helix spiral. 34 and21, ofcourse, are numbers in the Fibonacci series and their ratio,
1.6190476 closely approximates phi, 1.6180339. DNA in the cell appears as a double-
stranded helix referred to as B-DNA. This form of DNA has a groove in its spirals,
with a ratio of phi in the proportion of the major groove to the minor groove, or

roughly 21 angstroms to 13 angstroms.

A cross-sectional view from the top of the DNA double helix forms a decagon,
See figure 4.9(a). A decagon is in essence two pentagons, with one rotated by 36
degrees from the other, so each spiral of the double helix must trace out the shape

of a pentagon, See figure 4.8.

 4. Golden Ratio in Human Anatomy 22

Fig. 4.7: Double-stranded helix shape of DNA.

Fig. 4.8: A cross-sectional view from the top of the DNA.

(a) Cross sectional view (b) Illustration of Golden ratio

Jean-Claude Perez suggests that there is a strong link between DNA and golden
ratio in 1991, then again in 1997 in his book l’ADN décrypté, ([2]). In this work,
he shows that the relative proportions of nucleotides within coding DNA sequences

like genes or RNA strings are governed by specific Fibonacci and Lucas numbers
sets. This discovery was validated particularly on all known HIV and SIV (Simian
Immunodeficiency Virus) retroviruses whole genoms by Prof. Luc Montagnier (the
discoverer of HIV virus) which he called the discovery a “DNA Supracode”. DNA
 4. Golden Ratio in Human Anatomy 23

supracode is revealed by computing sets called “resonances” within any DNA se-

quence: specific nucleotides clusters like FFF ( Fibonacci Fibonacci Fibonacci),

LLL (Lucas Lucas Lucas), FFL (Fibonacci Fibonacci Lucas) or LFF (Lucas Fi-
bonacci Fibonacci). An example of elementary FFF resonance: 144 contiguous
TCAG bases contain exactly 55 bases T and 89 bases A or C or G. This kind of

screening is processed along the DNA sequence, for all possible Fibonacci/Lucas
combinations, and for all possible values (example here 144, 89 and 55 are three
consecutive Fibonacci numbers). Then there appear lots of “resonances”. For ex-
ample, in HIV whole genome, long of about 9000 bases, there are more than 50000
significant Fibonacci/Lucas resonances. The longer resonances (several hundred

resonances are overlapping about 2

3
of the whole HIV genome (6765 bases which
is a Fibonacci number). The whole Human Genome is controlled by two BINARY
CODES ATTRACTORS which provide a kind of self-organized bistable binary code
like in computers. The ratio between both bistable states is exactly equal to “2”

(the space between two consecutive octaves in music . . .)

• The Top state is exactly matching with a GOLDEN RATIO. . .

• The Bottom state is also exactly related to Golden ratio. . .

• “Top” level= φ1 .

• “Bottom” level = 1
2φ
.

4.7 Human Health and Golden Ratio

Human health is affected by facial proportions. Biologically, people who have long
faces have more chances of having breathing problem, suffering from sleep apnea.

And people with shorter faces tend to have abnormal jaw development due to the
excessive pressure on the jaw joint, suffering from headaches because their jaws are
positioned in a manner that can restrict blood flow to the brain.
 5
Conclusion

While some may dispute the significance of the Golden Ratio, it is apparent that
through our history there has been a fascination with it. Many will speculate on

the validity of it in nature, as well as in our history. It’s important to realize that,
while although some of these examples mentioned are in fact not quite perfect to
Golden Ratio, there still is a significance to the approximate value. We have come to
conclude that it is not the “holy grail” of numbers, but merely a great measurement

to start from. There happens to be an uncanny appeal to the aesthetics of this ratio
and we intend to keep using it in my works. If you are looking for an improvement
in your own aesthetics, Golden Ratio will be a great resource.
 Bibliography

[1] Ed. Harold Osbome, The Oxford Companion to Art, First Edition, Oxford
University Press, 1978, p.489.

[2] Jean - Claude Perez, CODEX BIOGENES: les 13 codes de l’ADN.

MÉDECINE & SCIENCES, 2009.

[3] D. Manoussaki, E.K. Dimitriadis, and R.S. Chadwick, Cochlea’s Graded Cur-
vature Effect on Low Frequency Waves, Phys.Rev. Lett. 96, 08871 (2006),

DOI:10.1103/PhysRevFocus.17.8

[4] V. D. Zvetkov, Heart, Golden Ratio and Symmetry , Puschino, Russian

Academy of Sciences, 1997.

[5] A. L. Goldberger, et al., Bronchial Asymmetry and Fiboacci Scaling, Experien-

tia, (41), 1985, 1537-1538.

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