noun: the natural physical world including plants and animals and landscapes etc.
noun: a causal agent creating and controlling things in the universe.

"Nature the best book of all!" [Cayce 903-6]

“The book of nature is written in the language of mathematics." [Galileo Galilei, Geometric analysis of a Dandelion by Giovanni - Florence, Italy

Nature isn’t classical, dammit, and if you want to make a simulation of nature, you’d better make it quantum mechanical.” [[Richard Feynman]

"Every harmonious condition of Nature's evolutions is governed by one incontrovertible law; that of concordant assimilative harmony. This concordant key is the ruling one over all the antagonistic, negative, discordant ones; the one that diverts the disturbance of sympathetic equilibrium to one general concentrative centre for redistribution. Harmony concentrates, Harmony distributes. The focalising point of concordant sympathetic concentration is the percussive electric field, where the velocity of its sympathetic streams rebounds with a power that throws them far out into universal space; and so far beyond their equative centre of equilibrium, as to bring them in sympathy with the universal attraction of the combined neutral centres of all planetary masses." KEELY. [True Science]

The vapor from the liberator, registered at 20,000 lbs. per square inch has a range of atomic motion of 1333 1/3 the diameter of the atmospheric molecule with constant rotary vibratory action. At 10,000 lbs., 666 2/3, at 5,000, 333 1/3, at 2500, 166 2/3, at 1250, 83 1/3, at 625, 41 2/3. The higher the range of atomic motion the greater its tenuity and pressure. The very evolution on the negative shows a vacuum of a much higher order than was ever produced before confounding all theory to analyze. The highest vacuum known is 17.999999, or not quite 30 inches, but Keely produced etheric vacuums repeatedly of 50 to 57 inches ranging down to 30 inches or 57 lbs. All operations of nature have for their sensitizing centers of introductory action, triple vacuum evolutions. These evolutions are centered in atomic triple revolutions, highly radiophonic in their character and thoroughly independent of all outside forces in their spheres of action. No conceivable power, however great, can break up their independent centers. These triple centers are the foundation of the universe, and mathematically considered, the respective and relative motion of these atomic triplets, gravitating to and revolving around each other, is about one and one-third of their circumference. The problem of this action, when analyzed mathematically, (taking it as the quadrature of the circle) would baffle mathematical science to bring it to a numerical equation. Every revolving body is impressed by nature with certain laws making it susceptible of the operation of force, which being applied, impels motion. These bodies never can approach nearer than a certain limit, nor farther than a certain point. They are, at some mean point, made perfectly equal, and may therefore be considered as one force and as one element. It matters not that other and disturbing forces exist outside or inside the space these bodies revolve in, because if this force must be considered as acting uniformly, applying itself to each of these bodies in a way to produce a perfect equation on all, it is as if this outside force were nonexisting. [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]

"Science will in time classify the important modifications of the one force in nature as sympathetic streams, each stream composed of triple flows. Keely maintains that the static condition which the magnetic needle assumes when undisturbed by any extraneous force outside of its own sympathetic one, proves conclusively that the power of the dominant third, of the triple combination of the magnetic terrestrial envelope, is the controlling one of this sympathetic triplet, and the one towards which all the others coordinate. All the dominant conditions of nature represent the focal centers towards which like surrounding ones become sympathetically subservient. The rapid rotation of the magnetic needle of a compass shown in his experiments rests entirely on the alternating of the dominant alone, effected by a triple condition of vibration that is antagonistic to its harmonious flow as associated with its other attendants. A rapid change of polarity is induced and rapid rotation necessarily follows. [Snell Manuscript - The Book, DISTURBANCE OF MAGNETIC NEEDLE, page 8]

"The human ear cannot detect the triple chord of any vibration, or sounding note but every sound that is induced of any range, high or low, is governed by the same laws, as regards triple action of such that govern every sympathetic flow in Nature. Were it not for these triple vibratory conditions, change of polarity could never be effected, and consequently there could be no rotation. Thus the compounding of the triple triple, to produce the effect would give a vibration in multiplication reaching the ninth, in order to induce subservience, the enumeration which it would be folly to undertake, as the result would be a string of figures a mile in length to denote it. [Snell Manuscript - The Book, DISTURBANCE OF MAGNETIC NEEDLE, page 8]

"I have spoken elsewhere of the almost infinite difficulties of getting into position, to hold hydrogen gas in suspension between soap film a proper period of time, to conduct these experiments. The setting of the other parts of the apparatus is quite easy in comparison. All wave propagations, electromagnetic or otherwise by being thus refracted can be measured in regard to the time of their propagation all of which are introductorily subservient to the luminiferous ether. The theory put forward by "men of science" in regard to electromagnetic forces shows that they are misled by the imperfection of their instruments. They are trying to measure the infinite by the finite, necessitating terms of avoidance, to the instantaneous propagation of nature's sympathetic evolutions, of the same nature) as the one advanced in the assertion that a force does not exist in the interstitial embrace of all matter. ELECTROMAGNETIC RADIATION - Snell

"Our very name for God's Creation is NATURE, for that is what Nature is. I shall define Nature for you in simple words. Nature is an electric wave thought image of God's nature, electrically projected from His formless and unconditioned ONE LIGHT into countless many forms of conditioned light which we call matter." [Walter Russell, Home Study Course, 04 - Unit One - Lesson 2.1]

"Also the statement that uncharged particles are ejected from one end is not true to Nature. There are no uncharged particles in Nature. Wherever there is matter there is motion. Motion is an electric effect, which charges all matter." [Atomic Suicide, page 274]

"Nature is continually moving to the senses but within Mind-knowing it stands perfectly still as but a thought-picture of Idea. See Fig. 76." [Atomic Suicide, page 287]

"Every effect in Nature is divided into pairs of opposition. Each one of each pair is the reverse of the other. Each one is like a mirror reflecting the other. Nature is like unto a clock with two hands which bend away from each other in opposite directions but equal potentials. If one hand multiplies potential the other simultaneously multiplies it equally. Nature will not allow her balance to be disturbed. Each polarized hand moves away from the other from zero to four. Each then reverses its polarity from a charging body to a discharging one. Generation also reverses and becomes radiation. Heating bodies cool. Living bodies die. Solids become gases and dissolve. Fast motion slows until it ceases." [Atomic Suicide, page 288]

"The science I read was so utterly complex that it was beyond the comprehension of average people without special training, whereas the science of God's plan in Nature, which I wished to give, was so simple that anyone of average intelligence could master it without difficulty." [Walter Russell, Prelude to the Home Study Course, 1950, p. iii.]

"The force represented by that vacuity is an expansion pressure which is the equal and opposite of the gravitative compression pressure and gives rise to that commonly believed error of light repulsion which is not true to nature." [Russell to NYT - 1930 November 2]

Viktor Schauberger
"Our work is the embodiment of our will. The spiritual manifestation of this work is its effect. When such work is properly done it brings happiness, and when carried out incorrectly it assuredly brings misery. Humanity! Your will is paramount! You can command Nature if you but obey her!" [Viktor Schauberger]

"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[4]. 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]

Space and volume are inversely disposed opposites, which consume or animate one another depending on whether one is made to burn by the other or

[4] See description of air-turbine in Austrian Patent No. 145141, p. 115 of this book. —Ed.


is itself ennobled intrinsically through this reciprocal intensification and polarization. Today's technology mistakenly chose the former of the two processes and it is therefore no wonder that cancer is on the rampage here, there and everywhere.

Goethe said, "The driving wheels of Nature are polarity and intensification and whoever understands enough to untie also knows enough to bind." What is born in light, disintegrates in the coolness of the ground. It rises up and returns again as a ray of energy in order to quicken that which stands ready to become new life at the boundary between space and volume.

Every leaf is an animalistic magnet in monoplanar form, which attracts and radiates, depending on whether the Sun shines on it or cold caresses it. This great law of reciprocity also operates in water, which constantly restructures itself by altering its space and volume. The space is shaped by light and heat. The volume is a product of darkness and coolness. If we understand how to apportion the opposing relation between space and volume and how to organise its intrinsic structure, then the substance - water - will become 'The Space' and the formless volume its realisation, which is transformed instantaneously with heat-pressure, thereby creating the motion that fills the over-lying inter-space.

If nature-alienated humanity, however, reverses this purposeful process and combusts precisely those substances that occasion life, then they should no longer be surprised when the Sun burns up that which serves it as an intermediate space, and which serves humankind for the maintenance of life.

Life unfolds itself in three spheres:
1. in the Carbone[5] - sphere
2. in the Atmosphere
3. in the Stratosphere

The connection between these spheres is created by water. Conversely, the various states of aggregation of water form the bridges for the formation and reconstitution of the basic elements carried by water, which succeed in reaching the Earth's interior from the stratosphere and vice versa. The purely mechanical circulation of the physical form - water - operates in the opposite direction to the circulation of energy. The rising of the C-substances with their carrier - water - is countered by the sinking of the oxygen. Where these

[5] Carbone: In contrast to the normal use and definition of 'carbon', Viktor Schauberger grouped all the known elements and their compounds, with the exception of oxygen and hydrogen, under the general classification of 'Mother Substances', which he described with the word 'Kohle-stoffe', normally spelt 'Kohlenstoffe' and meaning carbon. Apart from the above definition the hyphen also signifies a higher aspect of carbon, both physically and energetically or immaterially. The additional V in the English word is therefore intended to redefine and enlarge the scope of the usual term 'carbon' in accordance with Viktor's concepts. On occasion carbone will be represented by the term C' [to] differentiate it from the normal term for carbon — C - Ed.


mutually contra-directional currents intersect, energy is freed. These energetic interactions can never reach a state of rest due to the constant variation in the length of night and day. Inevitably therefore, there is a continual shift in the individual microclimatic conditions, which further result in variations in the quantity and quality of the basic elements. [The Energy Evolution - Harnessing Free Energy from Nature, Conclusions]

The potential differences in constant existence between inner and outer temperatures are none other than forms of energy, which complete the cycle of water and at the same time kindle it anew.

Evolutionary manifestations are therefore,
1. of material, and
2. of immaterial nature.

Stone, plant, animal, human being, planet and Sun are organisms possessed of body and soul. Every ray of light or heat requires a physical form in which it can evolve, or organise itself. Every body requires an inner energy that builds it up or transforms it. When a body disintegrates then those energies


that created it will again be freed. They are never lost. If they lose their place of abode with the decaying of the body, then they are willingly taken up by the water that eternally circulates in, on and above the Earth and which conducts them once more to a new life. Therefore wherever we look there is life, constant formation and transformation. Should we look into apparent emptiness, then a sea of spiritual life, passed and future generations, returns our gaze. Every material form of vegetation is always the reflection of an immaterial form consisting of light, heat and radiation.

Every change in sphere changes the outer and inner relations of the whole, changes the weight and the intensity of the inner radiation of water and thus the direction in which this carrier of life moves. Disturbances to the inner and outer conformities with natural law lead to a disturbance in the organisation of the whole evolution of life. The disappearance of water or its substantial transformation is a very serious warning sign, because the character of the water also changes with its inner composition, and with this the character of all forms of life, including human-beings. The qualitative decline of the vegetation and above all the deterioration of the highest plant-organism - the forest, the psychic and moral degeneration of humankind, are only the legitimate consequence of the disturbance of the physical composition of water and the disruption of the geosphere occasioned by humanity's subversive activity in the organism of the Earth.

What we are experiencing today is no crisis, but rather the demise of the whole, i.e. the qualitative, physical degeneration of all organisms, brought into effect through the disturbance of Nature's water-balance. In step with this devolution goes the moral, mental and spiritual collapse of humanity, which has already reached such an advanced state, that despite all warning signs people still do not recognise the seriousness of the situation. Worse than animals, they seek their final salvation in the decimation of humanity with weapons of war, that our priests even bless along with the banners under which our children are supposed to bleed to death.

The decision, whether we take the latter path or whether at the final hour we can protect ourselves from our own self-mutilation, only lies with us, or with those men of science and the state, who take upon themselves an altogether appalling responsibility, when out of personal interest, with no consideration of the gravity of the situation and being incapable of bringing any effective help, they continue to adhere to their present point of view. [The Energy Evolution - Harnessing Free Energy from Nature, Conclusions]

Goethe called Nature's principal, formative essence the 'Eternally Female' and 'All-uplifting'. I have named it 'Qualigen'[11]. This can only come into being, if all medial masses (water, earth, air, etc.) are accelerated 'originally' - planetarily and predominantly centripetally by means of patented devices designed to create this form of motion. The design and the alloys used in the construction of these devices, which are continually being improved, are the exact opposites of those used in all areas of industry for the techno-academic acceleration of mass. [The Energy Evolution - Harnessing Free Energy from Nature, The Biological Vacuum - The Optimal Driving Force for Machines]

generated, which increase by the square of the rotational velocity. In a certain sense this can be interpreted as the application of a brake by a violated Nature. With the use of my patented suction-screws (see figs. 4 & 5) on the other hand, performance and efficiency are increased in the same ratio through molecular processes wherein quality is built up, with the result that over-unity energies can be generated. [The Energy Evolution - Harnessing Free Energy from Nature, The Biological Vacuum - The Optimal Driving Force for Machines]

Therefore it is also a mistake to believe that plants breathe in carbones and breathe out oxygen, which can be proven as follows: If the tips of enclosed stands of conifers are observed on very warm and windless days at about noon, then delicate transparent wraiths of mist can be seen, which waft upwards and disintegrate on exposure to excessive light and heat.[15] This is a sign that decentrating forms of emulsion are taking place. That is, the upwardly radiating carbones, which become passive (inactive) with strong light and heat, are being bound by the aggressive oxygen influence, which happens under a negative (rising) temperature gradient. In my own experience this also leads to the drying up of high-lying true springs, which can only rise under conditions where the oxygen is in a diffuse state. If these vapour formations appear above the tops of the trees, then it is certain to rain after about 4 hours. This prompted watchful foresters of old, who were close to Nature, to pack a raincloak in their rucksacks for the afternoon shift. If the opposite emulsive process takes place, i.e. if the downwardly radiating terrestrial energy, which becomes highly active under a positive (falling) temperature gradient, binds the excess oxygen, which becomes passive [The Energy Evolution - Harnessing Free Energy from Nature, The Catalysts]

Modern intuitionless science has regulated the eternal flow of evolution (panta Rhei) in the wrong way and thus failed to notice the possibility of generating ur-forces. Instead of additional products of emulsion possessing development-enhancing functions, it had to make do with development-disturbing reactive forces and resistances to motion that increase by the square of the reversed form of acceleration. According to an age-old maxim, "she half-pulled him down, he half-sank on her". In this play on words there lies a far deeper meaning. It would take too long here to enumerate all the catalysts with various functions, which as Goethe already recognised, form the 'connecting' emulsifying bond. They are ray-forms, upon whose function the development-disturbing rising temperature gradient and the development-fostering falling temperature gradient depend. Paramagnetic catalysts act decentratingly diamagnetic catalysts concentratingly. This fact alone pin-points the incorrect form of development, which ultimately results in the destruction of atoms. Wise Nature, on the other hand, proceeds by way of atomic transformation, which from, a biological viewpoint is the exact opposite. Pressure and fire technology therefore produce retrogressive atomic energies, whereas implosion technology generates super-powerful, forward-thrusting atomic energies, i.e. an almost 100% formative and levitative force. And so the question arises, what actually is a catalyst? The answer is simple. It is a condenser that has been galvanically alloyed with oppositely-charged substances, which radiates predominantly negatively potentiated ray-forms into the naturalesquely inwindingly moved medium. This then activates a flowing diamagnetism, the formative and levitative force that soars upwards and sucks the generating device up in its wake, and which can be regulated by the rate of rotation. With this, the force was rediscovered that enables air-craft to overcome gravity effortlessly and stationary machines to be powered for virtually nothing. According to accounts from earlier times, the high priests of ancient cultures had a commanding knowledge of this power, which they cherished and guarded like life itself so as to be venerated as Gods for their skill. [The Energy Evolution - Harnessing Free Energy from Nature, The Catalysts]

"What is the present outlook in the field of energy generation? One word suffices - catastrophic! Through over-illumination and over-heating of the media of earth, water and air in Nature's household, a short circuit - 'cold fire' - and the development of cancer has been triggered off. With nuclear fission a conflagration was kindled, whose ashes and slag residues alone will extinguish all life. Thus a reporter stated recently, "For the time being this radiating thing is there and with it the attendant worries as to how we can protect ourselves against these lethal rays, which penetrate even the thickest lead shields." The sheer lunacy of using nuclear power for peaceful purposes will be just as short-lived as the subsequent remorse will be long." - Viktor Schauberger - Implosion Magazine No. 56, p.29-30. [The Energy Evolution - Harnessing Free Energy from Nature, The Catalysts]

In reality there are two mutually opposed fermentation processes (forms of inner motion) that determine what is to be created from these allotropic (polymorphic) fat-concentrates entombed in the Earth along with the cadaver. Decomposive and retrogressive energies - the above ptomaine radiation - are active here, which are generated when the reversed fermentation process that produces positively charged acids is triggered by thermal influences which intensify internal - rupturing - pressures. This is further exacerbated by the disintegrative effect of mechanics, which bio-logic-ally speaking gives rise to reactivated centrifugal motion. It thus becomes clear that in Nature there are neither equivalencies, nor any constant conservation of energy or matter, but only differentiations, which mutually potentiate one another. Robert Mayer, Isaac Newton and others devoid of intuition - therefore nature-alienated lawmakers - have seriously erred (exact proof of this exists) inasmuch as in an eternally changing Nature there are actually no rigid laws, no domas or absolutes, but only a rhythmical interplay of energies, which determine the fate of all existence.[17] This is because the products of this interplay, already in an atomic state, have an in-built capacity to react, and are therefore products of bio-logical development. [The Energy Evolution - Harnessing Free Energy from Nature, Cadaverine Poison in Ray-Form - Ptomaine Radiation]

This explains why, for example, the resistance to motion increases by the square of the unnatural (centrifugal) rotational velocity in all technical, hydraulic and dynamic pressure- and heat-increasing machines. This, however, does not occur if medial masses (earth, water & air) are accelerated 'originally' in the manner of the natural motion of the Earth's mass (see fig. 9), namely centripetally along the longitudinal axis. Such motion, which builds up everything indirectly and maintains the whole Earth in delicate equilibrium, can be copied in a manner true to Nature with the aid of very specially constructed and alloyed devices. [The Energy Evolution - Harnessing Free Energy from Nature, Cadaverine Poison in Ray-Form - Ptomaine Radiation]

Undoubtedly known to the high-priests of ancient cultures, these concentrates of noble matter (ethericities) are responsible for the legendary near-absolute abundance of food and the freedom of movement associated with it. Incidentally, these concentrates were also ultimately responsible for the disaster of Atlantis, referred to as the Flood by a circumspect Church, which was the result of the careless control of these elemental levitative energies. In this respect the Church was quite right, because the negatively potentiated mother-water (amniotic fluid), the physically first-born, will be precipitated out by these formative and levitative energies (there is exact proof of this). It is in this ennobled carrier-substance, however, that the latent higher-grade atomic energies reside, which make naturally ordained locomotion possible. These energies, however, can be transformed into the most developmentally harmful forms of atomic energy if, for example, a cyclotron-like centrifugating device is employed as the supposedly correct means for producing energy. Hitherto it has not been known that vitamins, the concentrates of noble matter (perfectly developed fat-formations fermented under the exclusion of light and heat, which are known to solidify at death) can be degraded through inferior (expansively-acting) influences of heat and light and are gradually transformed into the atomic ptomaine radiation mentioned at the beginning. Only recently has so-called vacuum-distillation been applied to obtaining high-grade fat-concentrates from essential oils. For this, however, only atmospheric-gas-rarefying devices, air-suction or air-pressure pumps are used, which can never emulate the processes that wise Nature employs for specifically densifying these highest-grade concentrates of ennobled matter. This is the 'Organic' vacuum. Created by a centripetence-machine, it densifies noble matter through the co-active influences of higher-grade motion and contractile stimuli. That is to say, the moved (accelerated) mass approaches the temperatureless and feverless anomaly state (+4°C - +39.2°F), which is only possible through mass-acceleration on the longitudinal axis. Nor can the resistance to motion mentioned earlier evolve during this process for the simple reason that this 'original' system of mass motion and acceleration, the dissociative, structure-loosening, positive temperature influences are missing, which would otherwise induce an increase in dangerous wall-pressures. It should be noted that it is entirely immaterial whether a molecular interaction between basic elements is initiated by a physical or metaphysical motion-excitation combination. In the same way that social revolutions arise from psychological stimuli, so too can a beneficial fever and thus the healing of a supposedly incurable disease be provoked by a strong inner stimulus, or conversely, sudden death through a so-called stroke, caused by an abrupt alteration of the inner interaction between basic substances. [The Energy Evolution - Harnessing Free Energy from Nature, Cadaverine Poison in Ray-Form - Ptomaine Radiation]

Produced in suction-turbines, the negatively potentiated ur-product of the cycloidally-moving Earth is therefore the 'original' resurrected entity, which in accordance with Nature's laws must be braked by a corpuscular carrier-substance. Unless this happens it will accelerate out of control and drag everything along with it. (viz. the cataclysm of Atlantis in which the supposed Deluge was triggered by the precipitating out of ur-water at great heights - a process that can be copied experimentally.) [The Energy Evolution - Harnessing Free Energy from Nature, Cadaverine Poison in Ray-Form - Ptomaine Radiation]

In conclusion it is necessary to address in more detail the question: Whence do these gigantic levitational forces actually come? Taking a very large-scale example from Nature, these are the forces that maintain the whole Earth in a fragile state of equilibrium, because they also move in cycloid-spiral-space-curves like every falling filament of water. [The Energy Evolution - Harnessing Free Energy from Nature, Cadaverine Poison in Ray-Form - Ptomaine Radiation]

It thus follows that all today's technical, hydraulic and chemo-dynamic machines, conveyances, agricultural implements (ploughs, harrows, disc-tillers, cultivators), dynamos, turbines, propellers, pumps, etc. are developmentally harmful, for apart from their pressure-intensifying shape, they are almost entirely constructed with materials unsuited to Nature's processes. Their use triggers off lower-grade vibrations in molecular structures. [The Energy Evolution - Harnessing Free Energy from Nature, Cadaverine Poison in Ray-Form - Ptomaine Radiation]

In the management of today's forestry, agriculture, water and energy resources, lower-grade interactions between basic substances are triggered exclusively and without exception. That is to say, molecular disturbances are caused through the influences of fire and expansively acting temperatures. These disturbances immediately intensify into chain reactions, thereby weakening the interaction between basic substances in the whole organism or actually reverse it. Thus, in accordance with Nature's inner laws, the disruptions to development will become all the more severe, the more modern science, which produces the reversed motive and stimulative influences, achieves its phoney successes. In lieu of the 'original' pressure-less and heat-less motion of the Earth's masses, it has invented and applied the reversed methods of motion and excitation. [The Energy Evolution - Harnessing Free Energy from Nature, Cadaverine Poison in Ray-Form - Ptomaine Radiation]

A Brief Description of My Discovery
Leonstein, 1945 (Schauberger Archives).
Arising from an exhaustive and in-depth observation of Nature, my discovery consists in the fact that all life and growth is shaped and fashioned through vibration and movement. This naturalesque form of motion I finally discovered after decades of research and countless series of experiments. It is the creative curving form of motion found in Nature that I have come to describe as 'cycloid-space-curve-motion', which in more common language is perhaps more easily understandable as a 'life-curve', 'curve of Nature' or even as a 'bio-curve'. [The Energy Evolution - Harnessing Free Energy from Nature, NEW FORMS OF TEMPERATURE]

Furthermore, I have also devoted considerable time and effort to translating these forms of motion and dynamic shapes, faithfully copied from Nature, into terms of mechanics. In this I succeeded and it provided me with the basis for my bio-technology. [The Energy Evolution - Harnessing Free Energy from Nature, NEW FORMS OF TEMPERATURE]

Through the naturalesque movement of liquid or gaseous substances (e.g. water and air) the following arise in Nature as well as in my apparatuses (which are neither difficult nor expensive to mass-produce): [The Energy Evolution - Harnessing Free Energy from Nature, NEW FORMS OF TEMPERATURE]

To contemporary technology, physics and chemistry the following are so far unknown:
1. The form of motion used by Nature herself (i.e. the cycloid-space-curve as the creative form-originating motion);
2. The temperature-form T2;
3. The flow-forms F1 and F2 and the phenomena of elemental transformation resulting from them. [The Energy Evolution - Harnessing Free Energy from Nature, NEW FORMS OF TEMPERATURE]

In Nature the purpose of temperature-form T1, which is associated with flow-form F1, is to transform [1]the condensed (allotropic) inner elements of organisms into aethero-energetic animating and kinetic energies. These T1 temperature-forms gives rise to falling and concentrating heat and exhibits rising and expanding cold effects. T2 triggers reduction processes and fosters apathogens. If T1 predominates, then an increase in raw materials and the qualitative improvement of all products of growth result. [The Energy Evolution - Harnessing Free Energy from Nature, NEW FORMS OF TEMPERATURE]

Temperature-form T2, which is related to flow-form F2, is generally known to contemporary technology, physics and chemistry. Its purpose in Nature is to precipitate out what has been decomposed, but not decayed, through F2 flow-forms, or what is unsuitable for the purposes of the next higher form of development. [The Energy Evolution - Harnessing Free Energy from Nature, NEW FORMS OF TEMPERATURE]

Decades-long observations of Nature, innumerable trials and series of experiments led to the discovery that two fundamentally different temperature-groups exist in Nature, namely: [The Energy Evolution - Harnessing Free Energy from Nature, Bio-Technology: Active and Reactive Temperatures]

In Nature both temperature groups are active. Group A provides for the progressive build-up of what is suitable for higher development. Group B is responsible for the precipitating out, breaking down and disassembly of everything unfit for such purposes. This has to be removed and as a life-form must be annihilated, or expressed more correctly, reduced to the relatively lowest developmental state, prior to attempting a renewed ascent under entirely different influences. This temperature-group also becomes active when any given life-form has fulfilled the purpose of its existence, its duty to multiply itself physically or further develop itself. Withering away through decrepitude, and as an over-ripe product of raw material, it is then made available for the build-up of qualigen with the aid of A-group temperatures (T1 - Schauberger). However, if for any reason B-group temperatures (T2 - Schauberger) become active in the deceased substance, it will be putrefied, combusted or otherwise destroyed. [The Energy Evolution - Harnessing Free Energy from Nature, Bio-Technology: Active and Reactive Temperatures]

The fact of the matter is that all forms of heat applied and exploited by science today, however and wherever they occur, engender rising and expanding effects. Similarly, all the forms of cold it utilises have falling and concentrating (mortally solidifying) functions, which lead to degrading, life-destroying expressions of temperament. These wise Nature employs to eliminate everything unfit for further development as well as for purposes of [The Energy Evolution - Harnessing Free Energy from Nature, Bio-Technology: Active and Reactive Temperatures]

Uncanny experiences in a high alpine reserve almost untouched by human hand and a perhaps extraordinary gift for observation of Nature led to the discovery that a mysterious current lies hidden in the media of air

[4] This also applies to the English language. — Ed.
[5] This relates to the provision of premises for research and development mentioned later in this article. — Ed. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

This 'why' has been clarified by various of Nature's phenomena. Amongst others, the stationary trout that stands motionless in torrential alpine streams and flees upstream like lightning whenever danger threatens. Or spawning [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

In a word, after decades-long observations, trials and series of experiments, I succeeded in getting to the bottom of this mysterious double-game of Nature's and in becoming aware of the unspeakable ferocity and purest mother-love that are united behind her two eternally concealed faces. I came to recognise the scales of fate of all life upon which every action is scrupulously weighed after death and that whatever is no longer fit for the next higher evolutive progression is once more ruthlessly eliminated, it being of too inferior a quality for its metaphysical transformation into exalted entities in the form of the above formative and levitative current. It has to return to greater or lesser depths within the Earth to interact with those vibratory influences in such a way that out of these basic substances new formative and levitative energies evolve for a renewed attempt to rise. It is these revitalised substances, whose higher forms of cooling essences possess expanding and upwardly impelling functions, which make this resurrection possible. Falling and concentrating light- and heat-forms then subsequently ensure the intermediate solidification of 'what is destined to vegetate', namely the actual physical form of growth in which the counter-energies also reside, which initiate the further interactions that enable this intermediate assembly of raw materials to grow, to reproduce and further evolve itself. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

Now comes a brief description of Nature's principal formative substance - metaphysical fatty-matter[8] - about which a thick book could be written. As a reactive or 'higher' temperature-form this comes into being with the aid of the Earth's 'cycloid-space-curve-motion' under the exclusion of light and ordinary heat in the cool germinating zone, the boundary zone between the negatively potentiated geo-atmosphere and the positively potentiated external atmosphere. This then develops as a potential that propagates horizontally in a wavi-linear movement. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

Fundamentally, therefore, we are dealing with two metabolic processes entirely different in nature and function, both of which are necessary, for without any purging and purifying process no more highly evolved forms could be built up.

These two metabolic processes, which in every organism interact reciprocally, are:

(a) the process of oxidation, and
(b) the process of reduction,

which, while known to today's chemist, are initiated unnaturally, therefore in the wrong way, and carried out with the use of ordinary temperature-forms. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

In Nature both temperature-groups are active in every healthy organism.

This is necessary because the formative and uplifting levitational essences evolve from the higher temperature group A and the purging dissociative [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

The very specific molecular motion mentioned in the opening paragraph is what is decisive here. More particularly, a mechanically induced outside-inwardly directed impulsive force is required, through which, aided by supplementary influences, Nature's principal formative substance - naturalesquely fermented, etherised fatty-matter (carbones or sweet-matter) - becomes free, unipolar and highly active and is able to overpower its opponent, which becomes passive under these influences. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

There is insufficient space here to explain the nature of biomagnetic and bioelectric currents or their origin and purpose in more detail. They always come into being and operate simultaneously, because everything is bipolar, i.e. in every man the feminine also exists, and in every woman the masculine. Here too it is merely a question of which type of molecular motion took place first, thus giving precedence to processes of oxidation or reduction. All it takes therefore is a small starting impulse to determine the fate of all living things and whether they are dispatched on a downward or upward path. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

Contemporary science is founded on far too low a level of knowledge. The dying forests, the wasting fields and meadows, the polluted waters and the mind- and body-crippling industries are frightening warning signs of a total failure to appreciate the true workings of Nature. Through false pictures of the world, world-views and the ways of working arising from them, science unconsciously or consciously arrested the build-up of quality matter, thus committing the greatest stupidity or the greatest crime; the crime against the spiritual germinating force. It inhibited the transformation of matter into [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

No words suffice to castigate what nature-alienated individuals have perpetrated on their unsuspecting fellow human beings through ignorance or their desire to rule. There is only one thing to do: To point out the developments that we are experiencing today, namely the biological consequences of the disruption of Nature's water-balance through totally unnatural work practices. As a result, all those things, which that something that accompanies us faithfully and unselfishly from the cradle to the grave, requires for its coming into being and its original movement, will now have to travel the road to ruin. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

Today's forest, land, water and energy resources management and all branches of contemporary science - whatever the specialist discipline - are tragic mistakes, whose terrible consequences will only become apparent when the irrefutable truth has been grasped through practical demonstrations; when people see and understand what is created when any thing - above all air and water - is moved unnaturally and therefore wrongly. Through this absurd form of motion precisely that temperature-form is produced which gives rise to the developmentally harmful cavitation current that wise Nature uses to remove everything from the path of evolution, which for one reason or another is unfit for the growth and formation of the relatively highest quality. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

escape-less dead-end. Rigid laws and dogmas were contrived which simply do not exist in Nature, where constant change is sovereign. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

For Nature to punish those individuals responsible for the dreadful fate of millions upon millions of human beings was impossible. She therefore had no other alternative but to condemn the whole of humanity, the most dangerous of Nature's trouble-makers, to death by starvation. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

Unfortunately Galilei could not explain why the Earth actually rotates and what actually should be understood by the term its 'own' or more correctly its 'peculiar' axis. Had he also been able to pass on this information, then we would have been unlikely to have experienced this disastrous machine age. Nor would we have had to experience the lunacy of trying to build up a culture with the influences of fire and the usual forms of heat, which in Nature are used to decompose what is unsuitable for further development. And so it came to pass that the forests were senselessly sacrificed in order to produce the usual rising and expanding heat-forms, which propels flies to the ceiling in a mad rush, while freezing those on the floor. In addition the reserves of coal are as good as exhausted and those who control the meagre residual deposits no longer want to deliver the black diamonds, which are destined by Nature for higher purposes, to those to whom they were previously supplied. [The Energy Evolution - Harnessing Free Energy from Nature, New Forms of Motion and Energy]

'Conventional' science and fire-spitting technology naturally do this very differently, indeed in a diametrically opposed fashion. They exploit hot processes of oxidation as the developmental basis for the build-up of a decomposive and retrogressive force, which in Nature is employed for the recall for reconstitution of what is unfit for development. No wonder therefore that this type of force reacts, with resistances that increase by the square, against the insanity of its wrongful exploitation for the purposes of the build-up of culture. Therefore the crowning law of today's technology, the conservation of energy law and the so-called heat equivalent are founded on an unnatural developmental basis. To put it plainly, contemporary science and its technology have backed the wrong horse and have ridden it for so long, or have sacrificed the available raw materials to power precisely the opposite force to such an extent as to drag in an economic collapse by its head and shoulders. It has not understood how to copy the ideal method of generating power and formative energy, or through the naturalesque transformation of inferior raw materials into quality products, how to make the natural sources of energy available in unlimited quantity for a virtually free, silent and development furthering mechanical power. [The Energy Evolution - Harnessing Free Energy from Nature, New Forms of Motion and Energy]

This ideal fuel is present in a latent state in the stones, which emit a cold golden glow when rubbed together under water - a sign that these energy-concentrations are mature and properly alloyed. Austria, and the Tyrol in particular, is exceptionally rich in such minerals, charged with allotropic formative and levitative substances, which can be used to generate reactive temperatures by very simple means. These can provide a quite ideal form of domestic heating and cooling, because it is in this way that Nature keeps the ground cool in summer and warm in winter. Thanks to this mineral abundance, Austria will become immensely rich, if only it has the will and the determination finally to rid itself of those, who do everything entirely back-to-front so as to secure their continuing existence as so-called experts and [The Energy Evolution - Harnessing Free Energy from Nature, New Forms of Motion and Energy]

Naturally, no normal thinking person will believe that he or she were so brain-washed at school and in church as to be made to believe in the existence of rigid laws and dogmas in a Nature so rich in interchanges of substances and metabolic processes. For this reason it is still necessary to take a small example as an aid, which every respectable Tyrolean knows, who loves a good wine, even if a little dry. [The Energy Evolution - Harnessing Free Energy from Nature, New Forms of Motion and Energy]

When the fruit juices that have flourished in the Sun begin to ferment, it is a sign that reactive temperature differences have triggered the fermenting movement, which in the initial stages has to separate the inferior from the superior. The former will be separated and centrifugated out through cycloid-space-curve-motion. The latter interconnects with itself, as it were, and the product of this remarkable marriage process is that something, which also brings us out of the delicately balanced equilibrium that the Earth ceaselessly enjoys. Not being in a state of stable equilibrium, she has constantly to rotate about her own axis in a form of movement that declinates and oscillates in two directions. This is how she generates the inversely symmetrically- and inversely proportionally-acting force, which enables everything that crawls and flies on this dung-heap Earth to move 'originally' (autonomously) in order to seek out its food, which also contains allotropic energy-producing substances. These are then broken down through the vibration of the organs, leading to the familiar development of physical strength and mental vigour, whose ur-causes have not been perceived by physico-technical scientists, who calculate with common calories and measure them with decimal scales and rulers. Moreover, they also believe they have captured everything with their tweezers that is proper to Nature. Unfortunately, however, this cannot be accomplished with such an instrument, because the producer of 'measure' and 'weight' is an imperceptible extraordinary energy-form, which as the 'essential' is the 'reactivated' itself, which actively moves the ordinary. [The Energy Evolution - Harnessing Free Energy from Nature, New Forms of Motion and Energy]

This two-fold interplay of perpetual motion can be directly observed and studied in deep, cool cellars, for through differences in temperature, what has grown large in the Sun and then reduced in size by squashing, will be moved 'cycloidally' in the cellar. First refined, then made 'cloudy', it slowly becomes clear after termination of this adolescent period. This is how wise Nature operates, who is known to have unlimited developmental periods at her disposition for all things. We, poor souls, to whom only a single, unique life is available in which we will also be forced to make use of cycloid-space-curve-motion in order to alleviate almost intolerable reactive energies through their abreaction, will have to behave more sensibly in order to become somewhat more blissful while still on this Earth than has been the case due to the efforts of 'active' technicians. In other words, we must reverse the way things are done. Cycloid-space-curve-motion must therefore be given pride of place, which logically leads to the almost cost-free mechanical generation of reactive differences in potential, which in turn give rise to increased and intensified active differences in motion. Harnessed once more, these trigger further high-grade differences in potential of a reactive nature, and so on and so forth until temperatures and reactive forces of such a kind are triggered that it is a veritable art to devise an operating load heavy enough to brake and control these elemental suctional and pressural forces. At the right time, therefore, we must keep our eyes open for the specialists and experts, who function as super-brakes on development!! Most certainly, however, we must replace those, who today brake the normal course of development with the reversed interplay of forces, which they do in such a way as to increase and intensify precisely those kinds of energy that promote decomposition and the expulsion of what is unsuitable for further development. In so doing they trigger a form of perpetual motion, because here too the self-intensifying decomposive and repulsive forces also increase by the square owing to the cycloid-space-curve-motion of the Earth. Sadly they do not see what they have themselves created, namely boundless decline and disintegration instead of an equally [The Energy Evolution - Harnessing Free Energy from Nature, New Forms of Motion and Energy]

In General
In the same way that it would be impossible, for example, for human beings and animals to reproduce and further develop (increase and qualitatively improve), were Nature not to enforce an interaction between their primary sexual substances through intolerable urge-driven differences in tension, which function reactively, there would likewise be no possibility for the reproduction and further development of plants, minerals and metals, and the physical (active) forms of heat and cold. Today's science is not only founded on a false developmental basis, but also on too low a level of knowledge. It ignores the formative reaction and using combustion processes gives pride of [The Energy Evolution - Harnessing Free Energy from Nature, The Practical Application of Cycloid-Space-Curve-Motion arising from Processes of Cold Oxidation]

[4] Excremental or faecal technology: This expression reflects Viktor Schauberger's view that today's technology is founded on the wrongful combustion of waste matter, such as oil and coal. As the energy-deficient physical residues of formerly vital substances, i.e. the expelled by-products of interactions of a purely energetic nature, he regards them as Nature's faecal matter — hence the term 'excremental'. [The Energy Evolution - Harnessing Free Energy from Nature, The Practical Application of Cycloid-Space-Curve-Motion arising from Processes of Cold Oxidation]

Since there would be little point in providing a long and detailed preliminary scientific explanation, a simple example that can be understood by everyone will suffice to explain the nature of this form of motion, which we all have to thank for all we see around us or are otherwise aware of. Only one thing remains hidden from us and that is the 'reactive' temperature-form. This actually involves higher undetectable temperature differences, which reveal the presence of two opposing 'ur-primordial' primary substances, which explain the profound mystery of the genesis of all life or inner motion. Since this will invalidate all forms of contemporary belief and science, it seems to be the real reason why an explanation is shunned in such circles. [The Energy Evolution - Harnessing Free Energy from Nature, The Economy Founded on Reactively Produced Energy]

This self-generating force, which also intensifies by the square, not only refutes above all the conservation of energy law, the law of gravity and the Second Law of Thermodynamics; in short, all rigid laws of whatever kind, but also renders just as invalid, all those basic tenets and principles impossible in Nature, such as the dogmatic axioms of theology. By enshrining these so-called laws, both science and theology have committed several blunders, and through this identification of their intentionally or unintentionally promulgated fallacies, have made fools of themselves for all time. In any event, they gained an advantage in this way, the loss of which will now for the first time reveal the unholy consequences of the greatest deception, although it could merely be self-deceit. For if the process is reversed, i.e. if the form of motion actuated by the above temperature differences is given first place in naturalesquely constructed and shaped development-facilitating devices, [The Energy Evolution - Harnessing Free Energy from Nature, The Economy Founded on Reactively Produced Energy]

already very shaky scientific edifice would come tumbling down, if the full scope of the reactive energy economy should become known too quickly. An upheaval of such a kind would then arise, which could not be endured in these days of food shortages, and the baby would be thrown out with the bath-water by those, who have only one idea left: somehow to struggle through life and to be free of all problems. Were this implemented, however, then the most marvellous things would come to life again, which compared to the present world situation would be a paradise. The trick therefore is - how do I tell the innocent children that the end has come for all manner of lusts for power, because a natural power is now appearing, before which everything else must unconditionally capitulate. Today this new power rejoices over the victory, which was brought about by the fact that the Germans - and this can be examined from any desired viewpoint - were unfortunately the best exponents of a technology founded on faecal matter. Unhappily they exploited precisely those expulsive energies that enable us, for example, to rid ourselves of those substances so vital to the Earth for maintaining the eternal renewal of her motive forces. With the aid of these earthly and other waste materials she recreates everything anew, which our evolutionally older descendants absolutely require for their various necessities of life. For this reason wise Nature will not hesitate much longer before she clears everything off the green dissection-table with a single sweep of the hand, as it were, upon which, using decimal scales and an inch ruler, attempts were made to discover the 'essence', namely, that which provides for the weight and measure of all things. And thus, instead of specific elements they found absolutely heavy remnants, which they then declared to be 'atoms'. That these remnants of a former organic whole, which have been artificially rendered potential-less (stripped of life-force, so to speak), interact in a lively fashion, is quite obvious. Under no circumstances, however, do the products of synthesis that produce higher quality products come into being in this way, but only active forms of heat and cold. These promote the process of decay through further interactions, which in turn give rise to the decomposive and retrogressive factors that promote an accelerated disintegration as well as the annihilating energies that intensify by the square. That these energy-forms, which foster decomposition and are possessed of a force of resistance that increases by the square, contradict the irrational assumption that they actually further the build-up of culture, is perhaps only incomprehensible to those who know nothing of the specific counter-elements and who, because of a tragic error, established the crowning law of contemporary technology, such that under all circumstances the resistance must increase by the square of the velocity. The specific counter-form, the upward falling weight as it were, comes into being when etherialised substances are transferred to the 4th dimension. This happens, due to the fact that negatively potentiated constituents of carbonic [The Energy Evolution - Harnessing Free Energy from Nature, The Economy Founded on Reactively Produced Energy]

For this reason any expert opinion from this quarter is totally uninteresting, because the scientists, who failed to perceive the natural process of development, formulated rigid laws and dogma that do not exist in Nature's rhythmical interplay of forces. [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism - Electricism]

The consequences of this defective motion are so great that there is only one thing left to do, namely to reveal the truth with brutal frankness; a truth which, as a Roman poet declared, has been so cleverly concealed that only the sages understood it. Those who think naively, however, continue to go astray. As the mentally castrated so to speak, they do not perceive that they mis-earn their daily bread all the more rapidly by the sweat of their brows, the more conscientiously they carry out the processes and procedures expounded from lecture-chairs and pulpits. They have become the victims of an over-enfeebled mind and only after the most difficult experiences will they be able to reacquire their innate intuition and repentfully return to Nature. [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism - Electricism]

It was therefore inevitable that we should be assailed by the catastrophes of Nature that we are presently experiencing. They are exactly the opposite of those experienced by the Atlanteans, who realised the danger of over-stimulating formative and levitative energies only when whole sections of the Earth were wrenched skywards by these elemental (metaphysical) suctional forces. [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism - Electricism]

No present-day scientist can explain or understand the quintessential nature of 'motion'. From a naturalesque standpoint, this should be viewed as a rhythmical metabolic interplay between the components of refreshing (cooling) suction and fatiguing (paralysing) pressure; in other words, two constituent forces which as reactive opposites, alternately (rhythmically) act mechanically (materially) and temperature-relatedly (physically). Therefore, depending on the predominance of either the suction or the pressure component (whether the active force is material or physical is unimportant), the metaphysical formative force, or the most elemental destructive force on this planet, comes into being. As the end product of a natural or unnatural sequence of motion, it will be accelerated along either the longitudinal or the transverse axis. [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism is the Function of Levitism and Electricism is the Function of Gravitism]

In the unnatural, degenerative direction of acceleration, which operates along the transverse axis (centrifugally), i.e. in an axial->radial mode, the magnetism (= levitism) here acts as the resistance. Compared to the counter-flowing electricism, it appears to be in a certain state of rest, the magnitude of its resistance or support increasing commensurately with the acceleration of the downwardly flowing electricism (= gravitism). This is the origin of the tragic misconception that in all motion the resistance increases by the square of the starting velocity. However, in reality this only happens when any given mass (matter) is made to move technically, hydraulically or dynamically[2], i.e. axially->radially (centrifugally), therefore unnaturally. For if any given mass (matter) is made to move radially->axially (centripetally), then the upwardly flowing magnetism (levitism) increases at the expense of the disintegrative (destructive) electricism (gravitism) and thus the naturally ordained formative and levitative forces intensify in proportion to the starting (radial->axial) rotational velocity. With this type of motion, which is of course only possible with very special motion-inducing shapes (profiles), the effective performance amounts to about 96%. In this case only about 4% of the original formative energies are lost in producing the resistance to motion required by Nature. In technical, hydraulic and dynamic motion precisely the opposite is the case and this is how the enormous consumption of fuel came about, which is exclusively expended in a manner destructive of Nature. [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism is the Function of Levitism and Electricism is the Function of Gravitism]

It cannot be disputed that contemporary science, which is founded on far too low a level of basic knowledge, has made exclusive use of pressure-intensifying (development-crippling) motion and arbitrary dynamic shapes that in no way correspond to those required by Nature. The formative components of suctional force, which act in an enlivening (cooling) way, were completely neglected. Hence science created even more dangerous degenerative forces as purported successes were achieved to the detriment of the reactive formative forces. A more rapid economic decline was therefore inevitable, the more widespread and more intensive technology, hydraulics and dynamics became. The soil's energies must also become depleted in the same proportion, because the [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism is the Function of Levitism and Electricism is the Function of Gravitism]

[2] These terms Viktor Schauberger uses disparagingly, for he considered these various scientific disciplines to have misused and misinterpreted Nature's processes. - Ed. [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism is the Function of Levitism and Electricism is the Function of Gravitism]

If on the other hand a tripolar mass is split up by suction-intensifying and temperature-reducing dynamic influences, then the true creative substance (sweet matter) will be exposed to revitalising (cooling) temperatures. In this case the formative (levitative) sweet-matter becomes free, unipolar and so highly active that it binds, consumes and digests the oxygen (fertilising substance), which has become passive under this other dynamic influence. The end product of this magnetolytic dissociation is the predominantly magnetically charged ion, whose original formative and levitative force, which as everything else in Nature is to be understood as an indirect effect, can be intensified by up to 96%. Imbued with levitative force, these ions suck up the inferior matter and the generating device in their wake with elemental ur-force and encounter the natural and therefore higher-grade forms of inwardly falling (impanding) and concentrating (condensing) heat and light moving in the opposite direction. The product of this partial concentration, which has been solidified through these higher-grade counter-influences is what is known as 'growth', (see fig. 15) [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism is the Function of Levitism and Electricism is the Function of Gravitism]

The Nature of Water - Its Conduction and Use for Transport

"At the intersection of two temperature gradients atomic energy is released. Whether it is a formative or destructive energy is determined in each case by the type of movement and the composition of the alloys used to build the motion-producing machine." [Viktor Schauberger, Implosion Magazine, No. 71, p. 12.] [The Energy Evolution - Harnessing Free Energy from Nature, THE NATURE OF WATER - ITS CONDUCTION AND USE FOR TRANSPORT]

present lot, a situation for which the whole population is also doubtless culpable. Through the free and voluntary disclosure of Nature's greatest secret, this can in part be rectified. For good water into which beneficial properties can be instilled, expiates the crimes of those, who attacked the fate of all humanity in ignorance of the inner nature of the source of life, which can bequeath both good and bad character traits. [The Energy Evolution - Harnessing Free Energy from Nature, The Ennoblement of Water]

"Of these three chords, which constitute a scale or key, Nature next proceeds to generate, in a similar way, a family of scales or keys, and these in two lines, the Major and the Minor. The twice twelve-fold family of keys is brought forth in much the same way as were the chords which constitute them, and as were the notes which constitute the chords. There is a beautiful growth-like continuity in the production of all." [Scientific Basis and Build of Music, page 20]

"The science of music is the knowledge of how Nature proceeds in this beautiful region of creation in which so much of pleasure for mankind is found, and meet expression for the praise of God. "Music hath charms to soothe the savage beast;" how much more to gratify the civilized and educated ear; to stir with inspiration the prophetic gift; to comfort the troubled heart; and to draw forth the best feelings of our nature." [Scientific Basis and Build of Music, page 20]

Well, how are we to get the true minor scale? There is a remarkable fact, and a beautiful one, which suggests the method. Such is the economy of Nature, that from one system of proportion employed in two different ways, in the one case as periods of vibrations and in the other as quantities of strings, everything in Music's foundation is produced. It is a remarkable fact that the numbers for the lengths of the strings producing the major scale are the numbers of the vibrations producing the minor scale; and the numbers for the lengths of the strings for the minor scale are the numbers of the vibrations of the notes of the major scale. Here Nature reveals to us an inverse process for the discovery of the minor scale of notes. [Scientific Basis and Build of Music, page 31]

The Art of Music, which is music on its spiritual and inspirational side, has been carried to a wonderful perfection of development; while the Science of Music, which is music on its intellectual and logical side, has been left far behind. Works on the Science of Music have been a failure, not because music has not a scientific basis, but, and for the most part, because Mathematicians have dealt only with the law of Ratios, ignorant of other laws which play an important part in music's scientific basis and build. They have carried the law of ratios beyond its legitimate sphere, and so their conclusions do not represent the method of Nature truthfully. [Scientific Basis and Build of Music, page 33]

Either the one or the other must be at fault. Had the dictates of the mathematicians and the scale of mathematical intonation wholly ruled, the advent of the great masters would have been impossible. It was well said by one writing in The Choir - "Theory should be made from music, and not music from theory . . . the final judge of music is the Ear." The Great Masters are the exponent artists of what is true in the Science of Music, though it may differ from what has been taught by the merely mathematical-intonation advocates of music science. It should not be forgotten that the science of the mathematical theorists is one thing, and that of the composers is another. Schubert, Beethoven, Mozart, Haydin, Mendelssohn, and such inspired musicians, who walked in the liberty wherewith Nature made them free, are sufficient authority against the bondage of the one-law theorists who would tie us down to the mathematical command which comes from without, but who know nothing of the life within music which is the law unto itself.1
With twelve divisions in the Octave, each note is adapted to serve in any capacity, and does serve in every capacity by turns. It is quite clear that this cannot be said of the mathematically perfect notes. And this is where it is seen that what is perfect in mathematical ratios becomes imperfect in the Musical System. Indeed, the mathematical intonation does not give a boundary within which to constitute a System at all, but goes off into never-ending cycles.
In music, Nature begins by producing the Diatonic Octave of seven notes, derived by the mathematical ratios2; [Scientific Basis and Build of Music, page 34]

character of its own. And as Nature has constituted them, these various forces all converge to the Center of the Tonic Chord, and, with the exception of the interval of the octave itself, the notes of the tempered scale being a little nearer each other than the mathematically perfect notes, these converging forces and this tempering mutually assist each other, and give a greater decision to the resolution of chords. [Scientific Basis and Build of Music, page 36]

B, namely G#, they come in touch of each other like the two D's. When this three fifths below F major and three fifths above B minor have been developed, the extremes A♭ and G#, though standing like the two D's in duality, are so near that here again one note can be made to serve both. The major series of scales and the minor series at these limits are thus by two notes which have duality in themselves hermetically sealed; but not till Nature has measured off for any one of these scales a sphere of twelve keys in which to move in perfect freedom of kinship by softly going modulations. [Scientific Basis and Build of Music, page 39]

It runs in all the polarities of Nature. Music, as belonging to Nature - as one of the things which the Great Numberer hath created - is under this Law of Duality as well as that of mathematical ratios and other laws. The Law of Duality in music gives the major and minor systems. As the major is derived from certain primes in ratios ascending, and the minor from the same primes in the same ratios descending, they are inversely related; and these diatonic scales have in the responding parts exactly the same quantities. But as multiplying by 3 three times gives the framework of the major system in the ascending genesis, and dividing by 3 three times gives the framework of the minor system in the descending genesis. They are in this view also directly related. The Law of Duality in music emerges into view from the genesis [Scientific Basis and Build of Music, page 42]

The specific levity of notes increases in proportion to the number of times the ratios are multiplied in order to produce them, going upward by sharps; and their specific gravity increase in proportion to the number of times the ratios are divided in order to produce them, going downward by flats. The knowledge of this is attained when everything is in its perfect order. It is the discovery of the Law of Duality in music which shows the method of applying the ascending and the descending ratios so as to exhibit that perfect order of Nature. [Scientific Basis and Build of Music, page 43]

Here, then, we have an order of modes entirely symmetical in pairs placed thus; the only mode that can stand alone being the Dorian, built on D, whose duality has been discovered to reside in itself. All this build of symmetry, which was the watchword of Greek art, as it is also one of the watchwords of Nature, presupposes that the tones of the scale, with lesser and larger intervals lying between them, were resting in their ears exactly as they are in ours,1 and as they are in all humanity, save where it has sunk down into the savage condition, benighted in the evil that is in the world. It is not to be concluded that the Dorian mode is Nature's primitive scale, although it might have a certain pre-eminence [Scientific Basis and Build of Music, page 45]

among the Greeks on account of having symmetry in itself. The primitive scale was doubtless that which is the model of all major music; and our minor model is its dual, as Ramsay has shown, which in its genesis indicates the duality of all the rest of the notes, although it is not probable that the Greeks saw the musical elements in this light. It is remarkable and significant that in their modes the Greeks did not lift up the scale of Nature into different pitches, preserving its model form as we do in our twelve major scales, but keeping the model form at one pitch they built up their symmetrical tetrachords, allowing the larger and lesser tones of the primitive scale to arrange themselves in every variety of place, as we have shown in the table of tetrachord modes above. Without seeing the genetic origin of music's duality they were led to arrange the modes by symmetry, which is one of the phases of duality. Symmetry is duality in practice. It may not always be apparent how symmetry originates in Nature; but in music, the art of the ear, duality emerges in the genesis of the minor scale; in the true mathematical build of the major on the root of the major subdominant F, and the true relation of the minor to it in the inverse genesis descending from the top of the minor dominant B. [Scientific Basis and Build of Music, page 46]

Nature has not finished when she has given us the Diatonic Scale of notes as first generated. In the diatonic scale, in ascending from C, the root of the tonic, the first step is an interval of 9 commas, supposing that we adopt the common division of the octave into 53 commas, which is the nearest practical measuring rule; the second step has 8 commas; the third has 5; the fourth has 9; the fifth has 8; the sixth has 9; and the seventh and last has 5 commas. So we have three steps of 9 commas, two steps of 8, and two of 5. The order of the steps in the major is 9, 8, 5, 9, 8, 9, 5. In the minor the magnitudes are the same, but the order is 9, 5, 8, 9, 5, 9, 8. So there are three magnitudes.1 But Nature has an equalizing process in the course of her musical marshallings, in which these greater ones get cut down, and have to change places with the lesser, when her purpose requires them so to do. [Scientific Basis and Build of Music, page 47]

It should not be supposed that this division of the notes into semitones, as we call them, is something invented by man; it is only something observed by him. The cutting of the notes into twelve semitones is Nature's own doing. She guides us to it in passing from one scale to another as she builds them up. When we pass, for example, from the key of C to the key of G, Nature divides one of the intervals into two nearly equal parts. This operation we mark by putting a # to F. We do not put the # to F to make it sharp, but to show [Scientific Basis and Build of Music, page 47]

that Naturehas done so.1 And in every new key into which we modulate Nature performs the same operation, till in the course of the twelve scales she has cut every greater note into two, and made the notes of the scale into twelve instead of seven. These we, as a matter of convenience, call semitones; though they are really as much tones as are the small intervals which Nature gave us in the genesis of the first scale between B-C and E-F. She only repeats the operation for every new key which she had performed at the very first. It is a new key, indeed, but exactly like the first. The 5 and 9 commas interval between E and G becomes a 9 and 5 comma interval; and this Nature does by the rule which rests in the ear, and is uttered in the obedient voice, and not by any mathematical authority from without. She cuts the 9-comma step F to G into two, and leaving 5 commas as the last interval of the new key of G, precisely as she had made 5 commas between B and C as the last interval of the key of C, she adds the other 4 commas to the 5-comma step E to F, which makes this second-last step a 9-comma step, precisely as she had made it in the key of C.2 [Scientific Basis and Build of Music, page 48]

This subtracting and adding process of Nature by which she so freely handles the notes is the way she gives us the materials of the Chromatic Scale, in which an entirely new series of chords with strikingly different effects, and with exceedingly interesting, subtle, and at the same time easy progressions, is put in possession of the practical musician. This new series of chords forms, in fact, materials for the Chromatic System, which D. C. Ramsay has discovered, and which he has elaborated, as his custom was, exhaustively - his last labor in the interests of music science and art. [Scientific Basis and Build of Music, page 48]

The common chord is a group of notes which come together by generic affinity, much like the chemical combinations of our system of atoms. The common chord is a triplet, and in the progression from one chord to another these triplets have always something in common; by the law of continuity one of the notes of the chord first is also found in chord second; and chord second also finds one of its notes in chord third. This is the way Nature gives them to us [Scientific Basis and Build of Music, page 48]

In the progression - that is, the going on from one to another - of these triplets in harmonizing the octave scale ascending, Nature goes on normally till we come to the passage from the sixth to the seventh note of the scale, whose two chords have no note in common, and a new step has to be taken to link them together. And here the true way is to follow the method of Nature in the birthplace of chords.1 The root of the subdominant chord, to which the sixth of the octave scale belongs, which then becomes a 4-note chord, and is called the dominant seventh; F, the root of the subdominant F, A, C, is added to G, B, D, the notes of the dominant, which then becomes G, B, D, F; the two chords have now a note in common, and can pass on to the end of the octave scale normally. In going down the octave scale with harmony, the passage from the seventh to the sixth, where this break exists, meets us at the very second step; but following Nature's method again, the top of the dominant goes over to the root of the subdominant, and F, A, C, which has no note in common with G, B, D, becomes D, F, A, C, and is called the subdominant sixth; and continuity being thus established, the harmony then passes on normally to the bottom of the scale, every successive chord being linked to the preceding note by a note in common. [Scientific Basis and Build of Music, page 49]

In the progression - that is, the going on from one to another - of these triplets in harmonizing the octave scale ascending, Nature goes on normally till we come to the passage from the sixth to the seventh note of the scale, whose two chords have no note in common, and a new step has to be taken to link them together. And here the true way is to follow the method of Nature in the birthplace of chords.1 The root of the subdominant chord, to which the sixth of the octave scale belongs, which then becomes a 4-note chord, and is called the dominant seventh; F, the root of the subdominant F, A, C, is added to G, B, D, the notes of the dominant, which then becomes G, B, D, F; the two chords have now a note in common, and can pass on to the end of the octave scale normally. In going down the octave scale with harmony, the passage from the seventh to the sixth, where this break exists, meets us at the very second step; but following Nature's method again, the top of the dominant goes over to the root of the subdominant, and F, A, C, which has no note in common with G, B, D, becomes D, F, A, C, and is called the subdominant sixth; and continuity being thus established, the harmony then passes on normally to the bottom of the scale, every successive chord being linked to the preceding note by a note in common. [Scientific Basis and Build of Music, page 49]

In the following treatise of our author Nature will be found beckoning us toward the Chromatic in an exceedingly interesting way; and the exhibition of the Chromatic as a system, and an exceedingly important system, of chords and progressions is a monument to the genius of D. C. Ramsay. [Scientific Basis and Build of Music, page 49]

But, as the subdominant sixth and dominant seventh suggest that the chromatic chord should be a 4-note chord, we must find out how Nature completes this diatonic chromatic triad and makes it a 4-note chord, and that according to its own intrinsic character as of minor thirds. Nature has always a rationale in her operations which it is ever delightful to discover. Wedged in between the minor dominant and the major subdominant, this triad, B D F, has already B, the top of the dominant minor, for its root; and F, the root of the subdominant major, for its top; and its middle is the mysterious D which, in its two positions as root of the minor subdominant and top of the major dominant, stands at the two extremes of the whole twofold diatonic key, bounding and embracing all; and which in its two degrees as D26 2/3 and D27 claims kindred with both minor and major modes of the twofold key system. Surely this Janus-faced D, looking this way toward the minor and that way to the major, seems to say, "the complement of this chord, of which I am the heart, is not far to seek nor hard to find on either side." It has already B in common with the minor dominant; the very next step is to the middle of this chord, G. Roots and tops of chords may not be altered, but middles may with impunity be flattened or sharpened as occasion may require. No two of them in succession in the chord-scale have the same structure; the chromatic triad, in claiming this middle, claims it sharpened, for it must have [Scientific Basis and Build of Music, page 54]

Image Page 56

In the above line it will be readily observed that these three chromatic chords, having each of their intervals a minor third, involve, as necessary elements of their build, every one of the twelve semitones at one point or another of the line. This is a second witness to the legitimacy of the chromatic scale of twelve semitones. We have our first witness to the same in the evolution of the semitones progressively in the course of the modulations by which, in growth-like continuity, Nature links the successive keys; whether developed upward, as is the natural way of the majors; or downward, as in the natural way of the minors; or half upward and half downward, which is an expedient in order to simplify the signatures. In whichever direction the modulation is effected, one note is always divided, and must, true to Nature, be signified by placing a sharp or a , as the case may be, to the 4-comma altered interval, and this always leaves a 5-comma interval to occupy the place to which Nature has assigned such interval in the original scale. When this operation has been twelve times performed, we have the chromatic scale of twelve semitones. Thus by two witnesses the thing is established. By further examination of these chromatic chords we find other interesting features beside their witness to the twelve semitones of the octave. [Scientific Basis and Build of Music, page 56]

dividing itself by 2 or 3 or 5, etc., up through the whole geometrical series of numbers, not keeping fixed at one thing; but while the whole length is vibrating the fundamental partial, it keeps shifting the still nodes along its length, and sometimes longer and sometimes shorter segments are sounding the other partials which clothe the chief sound. It has been commonly said that "a musical sound is composed of three sounds," for every ear is capable of hearing these three, and with a little attention a few more than these; but many will be startled when told that there are twenty-five sounds in that sound. Eighteen of them are simply the octaves of the other seven, all of these seven except one having one or more octaves in the sound. Four of the seven also are very feeble, the one which has no octave being the feeblest of all. Two of the other three are so distinctly audible along with the chief partial that they gave rise to the saying we have quoted about a musical sound being composed of three sounds.1 If the three most pronounced partials were equally developed in one sound, it could not be called one sound - it would decidedly be a chord; and when in the system they do become developed, they form a chord; but in the one sound they, the partials, having fewer and fewer octaves to strengthen them, fade away in the perspective of sound. The sharp seventh, which in the developed system has only one place, not coming into existence until the sixth octave of the genesis, is by far the feeblest of all the partials, and Nature did well to appoint it so. These harmonics are also sometimes called "overtones," because they are higher than the fundamental one, which is the sound among the sounds, as the Bible is the book among books. [Scientific Basis and Build of Music, page 59]

Now we come to a remarkable arrangement of Nature. The minor does not grow in the same way out of this third chord's top. Two features come before us: first the minor chord grows out of the major, but it is taken not from the top but from the middle, from a rib out of his side. B, the middle of the major dominant chord; B, the last-born of the major genesis; B is the point of departure in the outgrowth of the minor mode. The feminine is a lateral growth from the masculine. Another feature: it grows downward, like a drooping ash or willow. Its first generated chord is its dominant, and its last is its subdominant. Its middle chord, like the middle one of the major, is its tonic. Still further, it is generated by division, not multiplication; B45 is divided by 3 and by 5 for the root and middle of this highest chord, E and G. E15 is divided by 3 and 5 for the root and middle of the tonic chord, A and C. A5 is divided by 3 and 5 for the root and middle of the lowest chord, D and F. Thus we have the whole generation of the elements of music, six generations of harmony, like the six days of creation. Up to this point the whole process and aspect is inverse; growing from a middle; growing downward; growing by division;- while the major is growing from the top; growing upward; growing by multiplication. But here the inverse aspect ends. The generating primes of the major are 3 and 5; 3 and 5 are also the generating primes of the minor. In this essential phase of their creation their comparison is direct, not inverse. [Scientific Basis and Build of Music, page 67]

Why do we compound? Because it produces variety, and variety is one of the aspects of the beautiful; Nature loves and abounds in variety, without violation of her unity. And further, all creation throbs with sympathy, one thing feeling and tending toward another, nothing content in isolation; and compound chords are chords reaching out after assimilation to an affiliation with other adjacent chords, that they may be able, through something in [Scientific Basis and Build of Music, page 70]

Helmholtz falls into a mistake when he says- "The system of scales and modes, and all the network of harmony founded on them, do not seem to rest on any immutable laws of Nature, but are due to the aesthetical principle which is constantly subject to change, according to the progressive development of taste." It is true, indeed, that the ear is the last judge; but the ear is to judge something which it does not create, but simply judges. Nature is the maker of music in its scales and modes. The styles of composition may vary with successive generations, and in the different nations of men; but the scientific basis of music is another thing. It is a thing, belonging to the aesthetic element of our being and our environment; it is under the idea of the beautiful, rather than the idea of the useful or the just; but all these various aspects of our relation to creation have their laws which underlie whatever changes may be fashionable at any period in our practice. If the clang-farbe of a musical tone, that is, its quality or timbre, depends on the number and comparative strength of the partial tones or harmonics of which it is composed, and this is considered to be the great discovery of Helmholtz, it cannot be that the scales and modes are at the caprice of the fickle and varied taste of times and individuals, for these partials are under Nature's mathematical usages, and quite beyond any taste for man's to change. It is these very partials or harmonics brought fully into view as a system, and they lead us back and back till they have brought us to the great all-prevading law of gravitation; it is these very partials, which clothe as an audible halo every musical sound, which constitute the musical system of sounds. [Scientific Basis and Build of Music, page 78]

as the savage state. The savage is the sunken state of man, consequent on falling away from God by distrust and disobedience, and the loss of paradisial converse with Him. We may presume that music in the beginning, when the first human pair sang out with unbroken voices the joy of their hearts, was in the scale to which mankind, risen and restored by God's mercy, have returned. Our last days are thus become like the first again; and the lost dominion of Nature has returned, in the Incarnate One, into the hands of mankind. [Scientific Basis and Build of Music, page 79]

"To say that I was surprised at what Mr. Keely has discovered would be saying very little indeed ... It would appear that there are three different spheres in which the laws of motion operate.
1 - The first is the one in which Nature plays her grand fugue on the silent harp of Pendulums. In one period of Nature's grand fugue, as illustrated by pendulums, there are 19 ratios in 25 circles of oscillations ranging over 6 octaves; but all in silence. [Scientific Basis and Build of Music, page 86]

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]

musical vibrations in both acute and grave harmonics, generate a concentration of mighty action, an ever-outgoing of Nature's own power, so that she, by her own laws of vibratory motion, can reproduce and perpetually maintain outgoing power of action; and, again, play in perfect harmony her grand fugue with these tremendous all-resolving forces in that high and hidden and silent region in which Mr. Keely is experimenting. [Scientific Basis and Build of Music, page 87]

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]

The scales march on following each other methodically, whether they be written with sharps or flats, and

"Not a step is out of tune, as the tides obey the moon."

The most natural, because the genetic, way to write the scales is to make the major scales all in sharps, after C, because the major genesis is upward in ratios ascending; and to make the minor scales all in flats, after A, because the minor genesis is downward in ratios descending. Let the young student, however, always keep in mind that the sharps and flats are simply marks to show how Nature, at whatever pitch we are taking the scales, is securely keeping them in the same form as when they are first generated; and in their birthplace no sharps or flats are needed. [Scientific Basis and Build of Music, page 90]

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]

Subdominant - F, A, C E G, B, D - dominant

- and it is balanced between the two forces. If the effects of notes or chords depended solely on their ratios, then the effect of the subdominant, tonic, and dominant would have been alike, for these chords have exactly the same ratios. The centrifugal force of the notes of the dominant chord would take if away from the tonic chord; but Nature, in her skill to build and mix, has in the octave scale placed the middle of the dominant B under the root of the tonic C, and the top of the dominant D under the middle of the tonic E; so that these two rising notes are inevitably resolved into the tonic chord. The gravitating tendencies of the notes of the subdominant would take it also away from the tonic; but in the octave scale Nature has placed the middle of the subdominant A above the top of the tonic G, and the root of the subdominant F above the middle of the tonic E; so that these two falling notes also are inevitably resolved into the tonic chord. In this way two notes resolve to the center of the tonic, D upwards and F downwards; one to the top, A to G, and one to the root, B to C. Nature has thus placed the notes which have upward tendencies under the notes having downward tendencies; she has also related them by proximity, the distance from the one to the other being always either a semitone or the small tone of the ratio 9:10. [Scientific Basis and Build of Music, page 95]

"The three notes of the dominant chord resolve by each note going to the next note upward - G soars to A, B to C, D to E. The three notes of the subdominant resolve by each note going to the next note downward - C sinks to B, A to G, F to E. The two upper notes of the dominant resolve into the tonic chord according to the Laws of Proximity and Specific Levity; and the two lower notes of the subdominant resolve into the tonic chord according to the Laws of Proximity and Specific Gravity. And in this way Nature, in chord-resolution, has two strings to her bow." [Scientific Basis and Build of Music, page 96]

"Dividing the octave into twelve semitones is a near approach to the mathematical quantities, and this saves the musical artist from errors in tone - at least to any extent; but it does not save from errors in judgment. In the case of G#, for example, not one of the reasons given for the use of the sharp seventh in the minor scale is a correct one. A touch of nature makes the world akin, and a touch of the Law of Duality balances everything in music." [Scientific Basis and Build of Music, page 99]

Six Octaves required for the Birth of the Scale


THIS plate is a Pendulum illustration of the System of musical vibrations. The circular lines represent Octaves in music. The thick are the octave lines of the fundamental note; and the thin lines between them are lines of the other six notes of the octave. The notes are all on lines only, not lines and spaces. The black dots arranged in these lines are not notes, but pendulum oscillations, which have the same ratios in their slow way as the vibrations of sounding instruments in the much quicker region where they exist. The center circle is the Root of the System; it represents F1, the root of the subdominant chord; the second thick line is F2, its octave; and all the thick lines are the rising octaves of F, namely 4, 8, 16, 32, and 64. In the second octave on the fifth line are dots for the three oscillations which represent the note C3, the Fifth to F2, standing in the ratio of 3 to 2; and the corresponding lines in the four succeeding Octaves are the Octaves of C3, namely 6, 12, 24, and 48. On the third line in the third Octave are 5 dots, which are the 5 oscillations of a pendulum tuned to swing 5 to 4 of the F close below; and it represents A5, which is the Third of F4 among musical vibrations. On the first line in the fourth Octave are 9 dots. These again represent G9, which stands related to C3 as C3 stands to F1. On the seventh line of the same octave are 15 dots; these represent the vibrations of E15, which stands related to C3 as A5 stands to F1. On the sixth line of the fifth Octave are 27 dots, representing D27, which stands related to G9 as G9 stands to C3, and C3 also to F1; it is the Fifth to G. And last of all, on the fourth line of the sixth Octave are 45 dots, representing B45, which, lastly, stands related to G9 as E15 stands to C3, and A5 to F1; it is the Third to this third chord - G, B, D. The notes which arise in each octave coming outward from the center are repeated in a double number of dots in the following Octaves; A5 appears as 10, 20, and 40; G9 appears as 18 and 36; E15 appears as 30 and 60; D27 appears as 54; and last of all B45 only appears this once. This we have represented by pendulum oscillations, which we can follow with the eye, the three chords of the musical system, F, A, C; C, E, G; and G, B, D. C3 is from F1 multiplied by 3; G9 is from C3 multiplied by 3; these are the three Roots of the three Chords. Their Middles, that is their Thirds, are similarly developed; A is from F1 multiplied by 5; E15 is from C3 multiplied by 5; B45 is from G9 multiplied by 5. The primes 3 and 5 beget all the new notes, the Fifths and the Thirds; and the prime 2 repeats them all in Octaves to any extent. [Scientific Basis and Build of Music, page 102]

Nature does give us the chromatic scale of 12 semitones, but she does so by a very different process.
We have, however, to thank Euler, perhaps, for starting the genesis of the scale from F instead of C, which he does without assigning any reason for it, and, it seems without seeing the deep significance of it; and since he does this as a mere matter of course, it would be interesting to know if he had not seen F thus used by some other, it may be some obscure genius who had insight to discern, more than push to put forth his finding - a case in which the world has doubtless sometimes been a loser. - Editor. [Scientific Basis and Build of Music, page 108]

ratio of 5:8; three, 3:5; and one, 16:27. There are seven fifths - one in the ratio of 45:64; one, 27:40; and five, 2:3; and seven corresponding fourths - five in the ratio 3:4; one, 40:54; and one 32:45. These are the ratios of the intervals in their simplest expressions as given in the second outer space above the staff in the plate. In the outer space the intervals are given less exactly, but more appreciable, in commas. The ratios of the vibration-numbers of each interval in particular, counting from C24, are given in the inner space above the staff. These vibration-numbers, however, are not given in concert pitch of the notes, but as they arise in the low audible region into which we first come in the genesis from F1, in the usual way of this work. The ratios would be the same at concert pitch; Nature gives the numbers true at whatever pitch in the audible range, or in the low and high silences which lies out of earshot in our present mortal condition. [Scientific Basis and Build of Music, page 110]


In the major system, when the tonic chord follows the subdominant one, there is one semitonic progression to the middle of the tonic, and one note in common with the root, so these two chords are linked together in different ways. When the tonic chord follows the dominant one, there is one semitonic progression to the root of the tonic, and one note in common with its top, so these two chords also are linked together in two different ways. When the tonic chord follows the compound dominant, i.e., the dominant seventh, there are two semitonic progressions, one to the middle and one to the root, and one note in common with its top, so these two are linked together in the same two ways; but the semitonic progression being double gives this resolution great urgency. And now we come to the two chords, the subdominant and dominant, which have no note in common, and must, when they succeed each other, be helped to come together. Nature teaches us how this is to be done by a process of borrowing and lending which will establish between them a similar relationship to that which keeps the continuity of the other chords in succession. We have seen that the top of the subdominant and the root of the tonic are a note in common to these chords, and so the top of the tonic and the root of the dominant also are a note possessed in common by these two chords. In like manner in this disjunct part, when the dominant follows the subdominant, the root of the subdominant is lent to the top of the dominant, and thus they come to have a note in common. The top of the [Scientific Basis and Build of Music, page 111]

With perfect duality of response does resolution of chords go on in the minors. When the tonic chord follows the subdominant one, they have for their note in common A, i.e., in the key of A; and the middle of the subdominant moves by semitonic progression to the top of the tonic. When the tonic chord follows the dominant one, the top of the tonic and the root of dominant E is a note in common, and the top of the dominant goes by semitonic progression to the middle of the tonic. These simple chords are thus linked together exactly with the same degree of continuity as the simple chords of the major. When the tonic chord follows the compound subdominant, this compound chord, like the compound dominant in the major, has two semitonic progressions - one to the top and one to the middle of the tonic - and they have one note in common. When the compound dominant follows the subdominant, the root of the subdominant is lent to the top of the dominant, and thus a note in common is created, and the middle of the subdominant moves by semitonic progression to the root of the dominant. When the compound subdominant follows the dominant, the top is lent to the root of the subdominant, creating a note in common between them, and the root of the dominant goes to the middle of the subdominant in semitonic progression. This is the way of Nature. The unbroken continuity of her ways is perfectly illustrated in the linked sweetness and kinship of chords in a key; or when one key passes by modulation to another key; and that through all the chords and all the keys. We shall see wondrously more of this when we come to the study and contemplation of the Chromatic System of Chords. [Scientific Basis and Build of Music, page 112]

given to this scale, as the D of A minor would be a comma too low; it would make a 9-comma interval between D and E, the seventh and eighth, where the minor mode has an 8-comma one. So its two new notes are thus found in the relative and sub-relative majors. This is the way of their mutual providing in the region of the #s; the # seventh of the major is given to be the # second of the minor, and the comma-higher second of the sub-relative becomes the seventh of the minor; and then we have a true written representation of what Nature has done. [Scientific Basis and Build of Music, page 113]

The Octave being divided into 53 commas, the intervals are measured, as usual, by these, the large second having 9-commas, the medium second having 8, and the small second 5. These measures are then made each the radius by which to draw hemispheres showing the various and comparative areas of the seconds. The comparative areas of the thirds are shown by the hemispheres of the seconds which compose them facing each other in pairs. The comma-measures of the various thirds thus determined are then made the radii by which to draw the two hemispheres of the fifths. The areas of the three fifths are identical, as also the attitudes of their unequal hemispheres. The attitude of the six thirds, on the other hand, in their two kinds, being reversed in the upper and under halves of the scale, their attitude gives them the appearance of being attracted towards the center of the tonic; while the attitude of the three fifths is all upward in the major, and all downward in the minor; their attraction being towards the common center of the twelve scales which Nature has placed between the second of the major and the fourth of the minor, as seen in the two D's of the dual genetic scale, - the two modes being thus seen, as it were, revolving [Scientific Basis and Build of Music, page 113]

When Plate XIII. is divided up the middle of the column, as in Plate XIV., so as that one side may be slipped up a fifth, representing a new key one-fifth higher, its subdominant made to face the old tonic, the two new notes are then pictorially shown, the second being altered one comma and the seventh four commas. The key at this new and higher pitch is by Nature's unfailing care kept precisely in the same form as the first; and wherever the major scale is pitched, higher or lower, the form remains unaltered, all the intervals arranging themselves in the same order. The ear, and the voice obedient to it, carry Nature's measuring-rule in them, and the writing must use such marks as may truly represent this; hence the use of sharps, flats, and naturals; these, however, be it observed, are only marks in the writing; all is natural at any pitch in the scale itself. All this is equally true of the minor mode at various pitches. These two plates are only another and more pictorial way of showing what the stave and the signature are usually made to express. [Scientific Basis and Build of Music, page 114]

This is a twofold mathematical table of the masculine and feminine modes of the twelve scales, the so-called major and relative minor. The minor is set a minor third below the major in every pair, so that the figures in which they are the same may be beside each other; and in this arrangement, in the fourth column in which the figures of the major second stand over the minor fourth, is shown in each pair the sexual note, the minor being always a comma lower than the major. An index finger points to this distinctive note. The note, however, which is here seen as the distinction of the feminine mode, is found in the sixth of the preceding masculine scale in every case, except in the first, where the note is D26 2/3. D is the Fourth of the octave scale of A minor, and the Second of the octave scale of C major. It is only on this note that the two modes differ; the major Second and the minor Fourth are the sexual notes in which each is itself, and not the other. Down this column of seconds and fourths will be seen this sexual distinction through all the twelve scales, they being in this table wholly developed upward by sharps. The minor is always left this comma behind by the comma-advance of the major. The major A in the key of C is 40, but in the key of G it has been advanced to 40 1/2; while in the key of E, this relative minor to G, the A is still 40, a comma lower, and thus it is all the way through the relative scales. This note is found by her own downward genesis from B, the top of the feminine dominant. But it will be remembered that this same B is the middle of the dominant of the masculine, and so the whole feminine mode is seen to be not a terminal, but a lateral outgrowth from the masculine. Compare Plate II., where the whole twofold yet continuous genesis is seen. The mathematical numbers in which the vibration-ratios are expressed are not those of concert pitch, but those in which they appear in the genesis of the scale which begins from F1, for the sake of having the simplest expression of numbers; and it is this series of numbers which is used, for the most part, in this work. It must not be supposed, however, by the young student that there is any necessity for this arrangement. The unit from which to begin may be any number; it may, if he chooses, be the concert-pitch-number of F. But let him take good heed that when he has decided what his unit will be there is no more coming and going, no more choosing by him; Nature comes in [Scientific Basis and Build of Music, page 117]

This diagram shows pictorially the open in the spiral of the mathematical scales, in which, if written in sharps only, B# is seen a little, that is, a comma and the apotome minor, in advance of C, and as the first scale of the new cycle; for it is a violation of Nature's beautiful steps to call it a thirteenth scale of this order, since every scale in the order is 31 commas in advance of the preceding, whereas B# is only one comma and a small fraction in advance of C. If the scales be written in ♭s and #s for convenience of signature, then G# is seen a comma and apotome in advance of A♭; while the whole circle of keys advancing by fifths are each 31 commas in advance of the preceding. We may therefore cast utterly from us the idea of there being more than twelve mathematical scales, and view the so-called thirteenth as simply the first of a new round of the endless spiral of scales. There is, however, in this note a banner with the strange device, "Excelsior," for it leads us onward into ever-advancing regions of vibrations, and would at last bring us to the ultimate and invisible dynamic structure of the visible world. The tempered system of 12 keys, as in Fig. 1, is by causing the G# and A♭ to coalesce and be one, as the two D's are already literally one by Nature's own doing. [Scientific Basis and Build of Music, page 118]

This plate sets forth the essential duality of the musical system of vibrations. It is a remarkable fact that the numbers of the vibrations of the major mode are the numbers for the string proportions of the minor mode; and vice versa, the string proportions in the major are the numbers of the vibrations in the minor. We have, however, to see that we use the proper notes and numbers; we must know the secret of Nature. This secret rests in the duality of the notes, and begins from the two D's. The center of gravity of the musical system of vibrations is found in the comma space between the two D's as they are found in the genesis of the two modes. In these two D's the vibration number and string proportions are nearly identical. Starting from this point as the center of gravity in the [Scientific Basis and Build of Music, page 118]

dual system, as the strings are shortened the vibrations of course are more, and as the strings are lengthened the vibrations are fewer. This is household lore now; but the new insight and the deeply interesting order of Nature is that the major and the minor contain each other and respond to each other in this striking way; and while manifesting such diversity of character are so essentially one. [Scientific Basis and Build of Music,page 119]

Fig. 3 illustrates the way Nature teaches us by example how to compound so as to enable chords that are separated by the intervention of others to pass to each other. In the middle of the chord scale Nature gives the root of the one chord to the top of the other, and the top of the one to the root of the other; in compounding we are taught by this example to do the same, and the top of the separated dominant is given to the root of the [Scientific Basis and Build of Music, page 120]

"The time was when Science was cultivated only by the few, who looked upon its application to the arts and manufactures as almost beneath their consideration: this they were content to leave in the hands of others, who, with only commercial aims in view, did not aspire to further the objects of Science for its own sake, but thought only of benefiting by its teachings. Progress could not be rapid under this condition of things, because the man of pure science rarely pursued his inquiry beyond the mere enunciation of a physical or chemical principle, while the simple practitioner was at a loss how to harmonise the new knowledge with the stock of information which formed his mental capital in trade. The advancement of the last fifty years has, I venture to submit, rendered theory and practice so interdependent, that an intimate union between them is a matter of absolute necessity for our future progress." "It is to the man of science, who also gives attention to practical questions, and to the practitioner, who devotes part of his time to the prosecution of strictly scientific investigation, that we owe the rapid progress of the present day, both merging more and more into one class, that of pioneers in the domain of Nature." "These considerations may serve to show that, although we see the men of both abstract and applied science group themselves [Harmonies of Tones and Colours, Introduction2 - Harmonies, page 10]

in minor bodies for the better prosecution of special objects, the points of contact between the different branches of knowledge are ever multiplying, all tending to form pail of a mighty tree—the tree of modern science." "In this short work energy we find all the efforts in Natureenergy is life in action." "We shall thus find that in the great workshop of Nature there are no lines of demarcation to be drawn between the most exalted speculation and commonplace practice, and that all knowledge must lead up to one great result, that of an intelligent recognition of the Creator through His works."
F.J. Hughes [Harmonies of Tones and Colours, Introduction3 - Harmonies, page 11]

I had forgotten all the minor keys, except that A is the relative minor of C major; but although I had only faint hopes of success, I determined to try, and I gained the twelve keys correctly, with the thirteenth octave. I found also that E♭ was usually printed as a minor key-note, Nature's laws having shown that it must be D#. [Harmonies of Tones and Colours, Dr. Gauntletts Remarks1, page 13]

There is amazing grandeur, united with simplicity, in the working of Nature's laws in the development of harmonies of sound, so that the smallest conceivable point has its complementary and corresponding gradation, which renders it capable of development into its peculiar harmony, causing the "multequivalency of harmonies" in endless variety, whether veering round, to and fro, ascending or descending, or advancing and retiring in musical clef. [Harmonies of Tones and Colours, Dr. Gauntletts Remarks1, page 13]

"In every art or science, we expect accuracy according to the nature of the subject-matter, and the end which it is proposed to attain."
[Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies1, page 15]

Here we see why music, as a science, takes the priority of painting; for if music is good, it is perfected by natural laws which cause its tones to melt into each other in the most delicate gradations, while the painter who endeavours to represent the exquisite variations of tints and lights in the living landscape is dependent entirely upon his own resources. The early writers on music were philosophers and mathematicians on the broad basis of general science, not on that of music only. Mathematicians, for the most part, have only studied the subject of musical sounds up to a certain point, and have then left it. The musician must take the chromatic scale—not as it exists in Nature, for that offered by the mathematician, without the ordinary compensations of conventional theory, is of no use to the practical musician. [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies2, page 16]

Of course, true Art cannot be opposed to Nature, although all the rules of the musician are not the facts of Nature. Music, pure, natural, and harmonical, in the true and evident sense of the term, is the division of any key-note, or starting-point, into its integral and ultimate parts, and the descending divisions will always answer to the ascending, having reference to a general whole. The essence and mystery in the development of harmonies consist in the fact that every key-note, or unit, is a nucleus including the past, the present, and the future, having in itself an inherent power, with a tendency to expand and contract. In the natural system, as each series rises, its contents expand and fall back to the original limit from any point ascending or descending; we cannot perceive finality in any ultimate; every tone is related to higher and lower tones, and must be a part of an organised whole. It is well known how deeply the late Sir John Herschel studied this subject; and it was his opinion that there was some principle in the science of music which had yet to be discovered.[Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies2, page 16]

the artificial system must not be mixed up. The wonders of Nature's laws in the developments of harmonies, consist in the beautiful adaption of keyed and all other musical instruments to a range commensurate with human powers. The chromatic scale of twelve notes (the thirteenth being the octave) is not the scale of Nature. To construct a musical instrument upon real divisions of musical tones, each of them being in correct ratio with the others, it would be necessary to have a larger number of tones to the octave. In the development of harmonies on the natural system, we trace the perfect adaptation of means to ends, meeting the intricacies of every musical instrument, including that most perfect of all— the human voice. [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies3, page 17]

Notes and colours are thus condensed into a pair springing from the fountain, and mingling with each other in an endless variety. Although yellow as a colour is explained away as white, it is, nevertheless, the colour yellow in endless tints and shades throughout nature, and proves to us that the three great apparent primaries correspond to the tonic chord of the scale of Ci.e., C, E, G = red, yellow, blue; or more correctly, C and G correspond to red and blue with the central fountain of E, white and black mingled, from which all tones and colours arise. [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies3, page 20]

"Their music is of a style very difficult for foreigners to acquire or imitate, but the children very easily and early attain it. I low much the Arabs profited by the works of ancient Greek writers is well known."† As knowledge increases, may not the beginning of every physical science be traced first as a trinity springing from a trinity in unity, followed by a second partaking of the nature of the first, so as to unite with it in complementary pairs as here described in tones and colours, trinity in unity being the germ of never-ending developments? [Harmonies of Tones and Colours, The Arabian System of Music, page 21]


"Nature's universal law is progress with self-adaptation."
[Harmonies of Tones and Colours, Diagram II - The Twelve Keynotes1, page 23]

DIAGRAM III.—MAJOR KEY-NOTES DEVELOPING BY SEVENS. "Creation is the realization of Divine Thought."::

"The divine and spiritual are not unnatural, but the very soul of nature." F. W. Reynolds, M.A.
[Harmonies of Tones and Colours, Diagram III - The Major Keynotes Developing by Sevens, page 25a]


"Life implies this interdependence and harmonious interaction of parts, and the subordination of all to some universal plan." "Life and intelligence are powers, and rule; but Nature cannot create power, therefore life and intelligence are from a higher source."—J. W. Reynolds, M.A.
[Harmonies of Tones and Colours, Diagram X - Minor Keynotes Developing by Sevens, page 35a]


"No development can help anything which does not have corrective causes working with it; some power must shape the growth, and work correctively by laws impressed and authority maintained. The law of progress must be operated upon and moulded by guiding forces. That which acts, lives; and the universe lives as much by its soul as we do by ours."

"And what if all of animated nature
Be but organic harps diversely formed,
That tremble into thought as o'er them sweeps,
Plastic and vast, one intellectual breeze,
At once the soul of each and God of all?"—Coleridge.

"In all things, in all natures, in the stars
Of azure heaven, the unenduring clouds,
In flower and tree, in every pebbly stone
That paves the brooks, the stationary rocks,
The moving waters, and the invisible air,
. . . . From link to link
It circulates, the soul of all the worlds."—Coleridge.
[Harmonies of Tones and Colours, Diagram XII - The Chords of the Twelve Minor Keys, page 37a]

"Thou art Thyself the secret of Thy works;
Thou art the key: Thine image bear they all,
Or more or less. And heaven-born music, as
Thine ordinance in air and ear, and in
The balance of the force elastic, with
The gravitating force that holdeth all,—
Music the statute is, which more than most,
Of all that stands on Nature's statute-book,
Image and superscription—Three in one
In interlacing monogram doth show of Thee!"
[Harmonies of Tones and Colours, Reflections on the Scheme1, page 43]

"Adore with steadfast unpresuming gaze,
Him, Nature's essence, mind, and energy." Coleridge. [Harmonies of Tones and Colours, Reflections on the Scheme2, page 44]

All the energies of nature are the results of Divine operations flowing from the fountain of life, and all the forces of nature are the forces of life. [Harmonies of Tones and Colours, Reflections on the Scheme3, page 45]

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]

As regards the tones from each note, the primaries rise from the left to the right, the secondaries from the right to the left. This, I believe, as true knowledge is discovered, will be found to be the "to and fro" throughout Nature. [Harmonies of Tones and Colours, On Keyed Instruments as considered Circular, page 56]

Christ Returns - Speaks His Truth
"After the Big Bang, the Father-Mother Creative Process was divided into two different energies, continually working apart and together, independent yet mutually constrained to work together having individual characteristics or 'natures' - and different functions. Therefore, their work load was/is different yet indivisible." [Christ Returns - Speaks His Truth, Letter 5, page 23]

“Help Nature and work on with her; and Nature will regard thee as one of her creators and make obeisance. And she will open wide before thee the portals of her secret chambers.” [H. P. Blavatsky, The Voice of the Silence, I.66-67]

Nikola Tesla
"Inside the Earth, there are energies of joy, peace, and love that are expressed for example through a flower that grows from the Earth, food that comes out of it and everything that makes it our home. I’ve spent years looking for ways that this energy could influence people. The beauty and aroma of roses can be used as a medicine and the sun’s rays as food. Life has an infinite number of forms, and the duty of scientists is to find them. All I do is look for them. I will not give up.

The Universe is alive in all its manifestations. The stone is a sensitive being, such as plants, animals, and people. A star that shines asks to be seen, and if we were not self-absorbed, we would understand its language and its message. The breath, the eyes and the ears of a human being have to fulfill the breath, the eyes and the ears of the Universe." [Nikola Tesla]

Part of your growth is to understand that if the technology that man develops offends or contradicts the Laws of Nature or the Universe, the Universe herself will make it right. So, along with technology, a chain reaction of events is established. If the thinking of the head alone is used to develop methods to meet challenges, the Universe is not being duly consulted, thus the implications rest upon the individual. There is Nature to answer to. If one uses the more harmonious thinking of the Heart in conjunction with the mental faculties, one becomes sensitized to far-reaching effects more keenly, thus avoiding typically unseen pitfalls. Until you feel that you can offer assurance that your technologic advances will not be misused and create more pain, you need to consult your Heart as a guide. By using your head, you engage in a realm of exercise that is an invitation to be altered by another’s thinking and perception of “need”. Are you willing to take on this responsibility? You must be more clever than I, if you answered in the affirmative. [Jesus, Good Heart]

"And know that nature is that from which man may take his lesson to learn of the Creative Forces..." [Cayce (5214-1)]

"Keep close to all of those things that have to do with outdoor activities, for it is the best way to keep yourself young - to stay close to nature." [Cayce (3374-1)]

"...stay close to nature. For you may breathe it into thine own soul, as you would a sunset or a morning sun rising." [Cayce 3374-1]

Johann Wolfgang von Goethe
"The time will inevitably come when mechanistic and atomic thinking will be put out of the minds of all people of wisdom, and instead dynamics and chemistry will come to be seen in all phenomena. When that happens, the divinity of living Nature will unfold before our eyes all the more clearly." [Johann von Goethe, 1812]

"Nature is an Aeolian harp, a musical instrument the sounds of which are keys of higher strings within us. All method is rhythm; if one has grasped the rhythm of the world, one has comprehended the world. Every human being has his own individual rhythm... Every sickness is a musical problem, and the cure is the musical solution. The briefer and more perfect the solution, the greater the musical gift of the physician..." Wikipedia, Novalis

See Also

Base 12
Laws of Nature
Natural Forces
Wheelwork of Nature
4.4 - Idle Wheels on Natures Machinery
11.04 - Nature Dances to a Natural Music Scale
15.19 - All forces in nature are mind forces

Created by Dale Pond. Last Modification: Friday September 30, 2022 07:20:09 MDT by Dale Pond.