The atmosphere of Earth is the layer of gases, commonly known as air, that surrounds the planet Earth and is retained by Earth's gravity. The atmosphere protects life on Earth by absorbing ultraviolet solar radiation, warming the surface through heat retention (greenhouse effect), and reducing temperature extremes between day and night (the diurnal temperature variation).
By volume, dry air contains 78.09% nitrogen, 20.95% oxygen, 0.93% argon, 0.04% carbon dioxide, and small amounts of other gases. Air also contains a variable amount of water vapor, on average around 1% at sea level, and 0.4% over the entire atmosphere. Air content and atmospheric pressure vary at different layers, and air suitable for use in photosynthesis by terrestrial plants and breathing of terrestrial animals is found only in Earth's troposphere and in artificial atmospheres. Wikipedia, Atmosphere
To move suddenly a square inch of air at the velocity of his vibratory circuit, on full line of graduation and at a vibration only of 2,750,000 per second, would require a force at least of twenty-five times that of gunpowder, and at 21,000 lbs. per sq. inch it would be 525,000 lbs. per square inch. The finer the substance the greater the power and velocity under such vibrations. [Snell Manuscript - The Book, page 2]
The structure of the air molecule according to Keely is as follows: Broken up, by vibratory action, he finds it to contain the "atomic triplet." This exists in a triangular position within the molecule, at its center, unless acted upon by electricity, when the molecule becomes oblate and the three atoms are ranged in a line within unless broken up by vibration. Nature never gives a vacuum, consequently the space within the molecule not occupied by the atomic triplet must be filled with something. This is where the "all-pervading ether" has made its secret abode through untold aeons. [Laurence Oliphant] [Snell Manuscript - The Book, page 3]
"Demonstrating the overcoming of gravity, Keely used an airship model weighing about 8 lbs., which, when the differentiated wire of silver and platinum was attached to it, communicating with the sympathetic transmitter, rose, descended, or remained stationery midway, the motion as gentle as that of thistledown floating in the air." [Snell Manuscript - The Book, page 3]
"In organ pipes, of a certain calibre, very sensitive waves occur at intervals; as according to the character of the sound evolved; but on a combination of resonators composed of brass tubes of more than nine in number, a wave of sound, induced by certain chords passing over them, produces high vortex action of the air enclosed in them. The vibration of tuning forks induces alternate condition of the air that surrounds them, if in open atmosphere; but quite a different action presents itself when the forks are exercised in resonating tubes, set to thirds of the mass chord they represent. Then high vortex action is the instant result. Vibrators cannot be set promiscuously in tubes, and get such results, any more than a musician can render a musical composition on the violin before tuning it." [Appendix I]
"We must look into unknown dimensions, into Nature, into that incalculable and imponderable life, whose carrier and mediator, the blood of the Earth that accompanies us steadfastly from the cradle to the grave, is water." [Viktor Schauberger, 1932, Implosion Magazine, No. 103, p. 28]
"Whoever accelerates the media of earth, water and air centrifugally perishes unconditionally, for in so doing they reduce the Blood of the Earth (water) to a pathogenic state and make it the most dangerous enemy of all living and growing things." [Viktor Schauberger, Implosion Magazine, No. 96, p. 4.]
In Nature there are only structures and orifices. From these arise all forms of materialisation and dematerialisation, if orifices and vessels are organised in an inversely symmetrical configuration and within them the reciprocal gaseous substances are correctly dosed. Pressure and suction, and most important of all, the temperature-gradient should be aligned in the right sense (+ not -), through which the desired energy is freed at the point of intersection.
This can be accumulated if the thing is cooled during its motion, becoming homogenously structured in the process. In this manner it is even possible to decompose ordinary air into animalistic electrical essences, or to produce an artificial thunderstorm, whose transformative essences discharge into metal conductors, calling into being a physical vacuum with which a thunderstorm can be produced in the tube, whose power exceeds that of a cyclone. While it is still necessary to use small quantities of earthly substances in the artificial production of petrol (gasoline), no fuels of any kind are needed to operate the air-turbine. This will avert the crisis that will inevitably ensue if nature-alienated humanity continues to combust substances in its machines, which are preordained by Nature for the provision of food. The seemingly remarkable behaviour of liquids under the influence of light is the totally natural permanent condition of the eternal 'Arising' and 'Passing Away', of the evolution from small to large and vice versa, whose vital harmony Goethe has already explained to us so beautifully that all we need to do is read his works so as to create the perpetual interaction required by all molecules in order to exist in a state of well-behaved order. [The Energy Evolution - Harnessing Free Energy from Nature, Conclusions]
"The perfect character of a musical sound is the result of the harmonious workings of the vibrations of the "perfectly elastic" air with the perfectly elastic string. The forces which act on the air and string being proportional to the distances passed through, makes the times of the vibrations equal,1 and the pitch of the sound the same throughout. These varied forces and distances, with the equal times of the vibrations, and with the simultaneous compressions and expansions of the air and string, are all according to the universal laws of Continuity and Duality. [Scientific Basis and Build of Music, page 24]
2 - In the second sphere the tension of strings and other elastic bodies imbues them with forces operating upon the elastic air, producing vibrations quick enough to awaken sounds for the human ear. Here Nature plays on her tuneful harp the same grand fugue; from which everything in music is derived. [Scientific Basis and Build of Music, page 86]
The sympathy of one thing with another, and of one part of a thing with another part of it, arises from the principle of unity. For example, a string requires to be uniform and homogenous to have harmonics producing a fine quality of tone by the sweet blendings of sympathy; if it be not so, the tone may be miserable ... You say you wish I were in touch with Mr. Keely; so do I myself ... I look upon numbers very much as being the language which tells out the doings of Nature. Mr. Keely begins with sounds, whose vibrations can be known and registered. I presume that the laws of ratio, position, duality, and continuity, all the laws which go to mould the plastic air by elastic bodies into the sweetness of music, as we find them operative in the low silence of oscillating pendulums, will also be found ruling and determining all in the high silence of interior vibrations which hold together or shake asunder the combinations which we call atoms and ultimate elements, but which may really be buildings of wondrous complexity occupying different ranges of place and purpose between the visible cosmos and Him who built and evermore buildeth all things. The same laws, though operating in different spheres, make the likenesses of things in motion greater than the differences. [Scientific Basis and Build of Music, page 87]
In a musical air or harmony, i.e., when once a key has been instituted in the ear, all the various notes and chords seem animated and imbued with tendency and motion; and the center of attraction and repose is the tonic, i.e., the key-note or key-chord. The moving notes have certain leanings or attractions to other notes. These leanings are from two causes, local proximity and native affinity. The attraction of native affinity arises from the birth and kindred of the notes as seen in the six-octave genesis, and pertains to their harmonic combinations. The attraction of local proximity arises from the way the notes are marshalled compactly in the octave scale which appears at the head of the genesis, and pertains to their melodic succession. In this last scale the proximities are diverse; the 53 commas of the octave being so divided as to give larger and lesser distances between the notes; and of course the attraction of proximity is strongest between the nearest; a note will prefer to move 5 commas rather than 8 or 9 commas to find rest. Thus far PROXIMITY. [Scientific Basis and Build of Music, page 91]
In the opening of the third measure the tune returns to its own key by striking the tonic. This case is a very simple illustration of how a composition will move with perfect naturalness in more keys than one, the keys so grow out of each other, and may either merely snatch a passing chord from a new key, or pass quite into it for a phrase or two, or for a whole measure, then return as naturally, either by a smooth and quiet or by a strongly contrasted turn, according to the chords between which the turn takes place. In such modulation there may or there may not be marked a sharp, ♭, or ♮, in the air itself; the note which Nature raises in the new key may occur in one of the other parts of the harmony. In Watchman it is A, the fourth, which is altered; from being ♭ it is made ♮. The change which takes place in the sixth of the scale, which is C in Watchman, is only one comma, the ratio of 80 to 81, and it slips into the new key as if nothing had happened. No mark is placed to it, as the comma difference is never taken notice of, although it is really and regularly taking place, with all the precision of Nature, in every new key. It is, however, only the note which is altered four commas, which is marked by a sharp, ♭, or ♮, as the case may be. [Scientific Basis and Build of Music, page 94]
Among the many subjects which excite interest at the present time is the question whether the doctrine of Evolution is true or false. Milton had evidently some glimpse of its truth, as we see in the following lines:—
"Air and ye elements! the eldest birth
Of Nature's womb, that in quaternion run
Perpetual circle, multiform, and mix
And nourish all things; let your ceaseless change
Vary to our great Maker still new praise!" [Paradise Lost, Book V.] [Harmonies of Tones and Colours, Reflections on the Scheme4, page 46]
"I esteem myself fortunate in being introduced to you, and becoming acquainted with your beautiful work on 'Tones and Colours.' I have, to the best of my ability, worked out your idea, by writing down in music the various discords in use amongst musicians, and resolving them according to the laws of Harmony, and I find in all cases the perfect triad agrees with what you term the trinities in colours. The way in which you find the whole circle of Major and Minor keys by pairs in colours is deeply interesting, and must be true. The only point of divergence between your system and that recognised by all musicians is the ascending Minor Scale. No musically trained ear can tolerate the seventh note being a whole tone from the eighth. The Minor second in the lower octave descending is very beautiful, and it is strange how all composers feel a desire to use it. To mention one case out of hundreds, I may cite Rossini's well-known air, 'La Danza.'
"W. CHALMERS MASTERS." [Harmonies of Tones and Colours, Supplementary Remarks and Diagrams, page 53]