Sympathetic Vibratory Physics

Figure 42 - Electric Current Cycle.
(scan courtesy of University of Science & Philosophy)
(see Atomic Suicide, colorized version)
(click to enlarge)

Russell
"Fig. 42. Three examples of tonal rhythms of the electric current. Every cycle of an electric current is a complete octave of four pairs and an inert gas keynote. All motion in Nature is tonal and rhythmic. Its rhythms are geometrically and mathematically cube-based." [Atomic Suicide, page 163]

"The fourth of the octave pairs is the sphere itself. These four pairs, and their inert gas recorder, constitutes the whole octave wave-field principle. It shows how matter is constructed." [Atomic Suicide, page 259]

God creates three pairs of disunited male and female bodies upon His extending octave wave shaft - and then a united fourth pair at His thought wave amplitude. This united, balanced pair is an incandescent sphere. At that point in the wave, and that only, the disunited father and mother unite as ONE at its white center. One of its hemispheres, however, is still the red light of the father (syntropy) and the other one is the blue light of the mother (entropy); for each is still extended from its centering Oneness." Atomic Suicide?, page 111-114 [see prime neutral center, underline added]

"To better understand this take the cobalt out entirely. Only the zero of equilibrium is now there. Now turn on the current and you immediately divide that equilibrium, balanced zero into four opposite and equal pairs, all of which units are in perfect balance with their mates. The cathode is also in the exact middle instead of being off-center. That is the way Nature creates atoms. Cobalt is an unbalanced unit of a pair. It cannot be divided into equal pairs when used as a cathode." [Atomic Suicide, page 276]

"All motion begins at a cathode point in space, which is all cathode. It cannot move out of that omnipresent position, however, without dividing its seeming energy into four radar-acting pairs in the wave, which is beginning to construct, nor can it do so without measuring out its own desire-energy into countless billions of other cathodes throughout all omnipresence." [Atomic Suicide, page 285]

"Our knowing Mind, however, attributes that seeming change of position to gravity division of omnipresent Oneness, and attributes its cause to the direction of motion, which spins around this direction at an angle of ninety degrees from it. To clarify this new thinking we shall go back to the electric wave within which all of the secrets of Creation are hidden. Bear in Mind that the electric wave is the divider of ONE into four pairs which constitute ONE. As we explain this thought turn back to figures 17 to 29 - to give objectivity to them." [Atomic Suicide, page 284-285]

"The formless zero universe is divided into four pairs of cubes and four pairs of spheres which are concentrically placed within each other. These four pairs of cube-spheres constitute one tonal octave of the universal harp. These tonal octaves are eight in number but appear to be nine for the first half of the ninth octave is the last of the first." [zero universe]

Hughes
The twelve key-notes, with the six notes of each as they veer round in trinities, are again written in musical clef, and the scales added. The key-note leads the scale, and, after striking the two next highest notes of the seven of the harmony, goes forward, with its four lowest, an octave higher. The seven of each harmony have been traced as the three lowest, thus meeting the three highest in three pairs, the fourth note being isolated. Notwithstanding the curious reversal of the three and four of the scale, the three lowest pair with the three highest, and the fourth with its octave. The four pairs are written at the end of each line, and it will be seen how exactly they all agree in their mode of development. Keys with sharps and keys with flats are all mingled in twelve successive notes. If we strike the twelve scales ascending as they follow each other, each thirteenth note being octave of the first note of the twelve that have developed, and first of the rising series, the seventh time the scales gradually rise into the higher series of seven octaves beyond the power of the instrument. Descending is ascending reversed. After the seven and octave of a scale have been sounded ascending, the ear seems to lead to the descending; but ten notes of any scale may be struck without the necessity of modulation; at the seventh note we find that the eleventh note in the progression of harmonics rises to meet the seventh. For instance, B, the seventh note in the scale of C, must have F#. This point will be fully entered into when examining the meeting of fifths. To trace the scale of C veering round as an example for all, we may begin with C in Diagram II., and go forward with F, G, A, and B an octave higher. If the twelve scales were traced veering round, they would be found to correspond with the twelve as written in musical clef. [Harmonies of Tones and Colours, Diagram IV - The Development of the Twelve Major Scales, page 26a]

THE same laws are followed here as in the development of the major scales. In that of A, F, the sixth note, has risen to F#, in order to meet B, which has previously sounded. In descending, the seventh note, B, falls to B?, in order to meet F, which has also previously sounded. The notes, ascending or descending, always follow the harmony of their key-note, except when rising higher or falling lower to meet in fifths. We may here trace the twelve, the ascending scale sounding the fifth harmony higher than its key-note, and, in descending, sounding the fifth lower harmony. The four pairs of each scale are written at the end of the lines. If we strike the twelve scales as they follow in succession, the thirteenth note being the octave of the first, and leader of a higher twelve; having gained them six times, at the seventh they gradually rise (though beyond the power of a keyed instrument) into the higher series of seven octaves, and again, in descending, they fall lower, and are linked into the lower series of seven octaves. Nine notes of any ascending minor scale may be struck without the necessity of modulating beyond the fifth harmony. For example, in the scale of A, its tenth note, C#, rises to meet the sixth note, which has previously sounded. In descending, E?, the eleventh note, meets B?, the seventh note, which has previously sounded. The scale of A may be traced veering round by reference to Diagram IX., beginning with A, and carrying the four lowest notes an octave higher, F rising to F# in ascending, B falling to B? in descending. [Harmonies of Tones and Colours, Diagram XI - The Twelve Minor Keynotes with the Six Note of Each, page 36a]

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