noun: (logic) a self-contradiction
noun: A tenet or proposition contrary to received opinion, or seemingly absurd, yet true in fact.
noun: a statement consisting of two parts that seem to mean the opposite of each other.

This whole concept (Russell Vortex Theory) is so different from what people usually conceive it is near incredible for many. Hence the difficulty in gaining acceptance of its decipherment. Yes, music a part of it but no music (as we know music) is not a part of it. Yes, there are spinning rings but they are also spirals in dynamic collapse and extension. Yes, there are points of their manifestation along a shaft but they are not points but loci of discrete function and dynamic. Yes, there are things but no thing exists. See how it can get unwieldy? We must move from considering "things" to understanding function and dynamic in their places. Ideas are beautifully simple and elegant. The implementation of them can be a complex nightmare. Much of this boils down to resolving seeming paradoxes. [Dale Pond]

"I have been repeatedly urged to repeat my disintegrations of quartz rock, but it has been utterly out of my power to do so. The mechanical device with which I conducted those experiments was destroyed at the time of the proceedings against me. Its graduation occupied over four years, after which it was operated successfully. It has been originally constructed as an instrument for overcoming gravity, a perfect, graduated scale of that device was accurately registered, a copy of which I kept, I have since built three successive disintegrators set up from that scale, but they did not operate. This peculiar feature remained a paradox to me until I had solved the conditions governing the chords of multiple masses, when this problem ceased to be paradoxical in its character. As I have said, there are no two compound aggregated forms of visible matter that are, or ever can be, so duplicated as to show pure, sympathetic concordance one to the other. Hence the necessity of my system of graduation, and of a compound device that will enable anyone to correct the variations that exist in compound molecular structures, or in other words to graduate such, so as to bring them to a successful operation." [Keely] [Snell Manuscript - The Book, MINERAL DISINTEGRATION, page 7]

"You can readily see why it is difficult to find adequate words to explain a so seemingly universal paradox, and why we must use another language than words. This we shall do step by step very briefly - but sufficient to explain why both ends of the cobalt atom in the experiment emit different sized particles around a center." [Atomic Suicide, page 287]

General remarks on the method of harmonies developing on all kinds of instruments, including the human voice
—Much paradox, but yet the scheme will admit of clear demonstration
—A musical note compared to a machine, the motive power not of our creation
—The imperfection of keyed instruments, from some notes acting two parts, attuned to the ideal of harmony within us
Macfarren quoted on the echoing power of a cathedral attuning the Amen
—Why music as an art precedes painting
—Philosophers and mathematicians have only studied music to a certain point
—Every key-note a nucleus, including the past, the present, and the future; no finality in any ultimate
—The late Sir John Herschel's views on the musical gamut alluded to
—The imperfection of keyed instruments adapts them to our present powers
—The laws will be seen to develope the twelve major and the twelve minor keys in unbroken sequence and in harmonious ratio; to gain them in geometric order [as] keyed instrument should be circular, the seven octaves interlacing in tones a lower and a higher series, . 15 [Harmonies of Tones and Colours, Table of Contents1 - Harmonies]

There is much paradox, and the scheme differs so much from any hitherto published on the subject, that I am aware that, if any link can be found to be wanting in the chain, the defect will immediately be seized upon. I believe, however, that it will be found to admit of clear demonstration. Anyone who has studied the subject knows the difficulties that arise on all sides. In the problem before us, we have to reduce large fields of thought to certain elementary truths. In my endeavour to do this, I have been entirely dependent upon the discovery of the laws of Nature, as my ear is not musical enough to assist me in the matter. "All mysteries are either truths concealing deeper truths, or errors concealing deeper errors," and thus, as the mysteries unfold, truth or error will show itself in a gradually clearer light. The great mystery of music lies in its infinite resources; it teems with subtle elements and strange analogies. A musical note may be compared to a machine: we touch the spring and set the machine in motion, but the complex machinery exists beforehand, quite independent of our will; the motive power is not of our creation, and the laws on which its operation depends are superior to our control. The complex work of harmony is governed by the laws which are originated by the Creator; every note performs what He has willed, and in tracing these laws let us not be indifferent about their Author, but ever bear in mind that the source or fountain of the life and activity of harmonies arises from the Power who created the machine, and who knows how it will act. Let us also remember that we understand this machine but partially, and govern it but imperfectly, as indeed the finite can only, in a small measure, grasp the Infinite; and in any [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies1, page 15]

THE term "key" in the minor developments must be taken in the sense in which it is understood by musicians, although it will be seen that it is only the seven of the harmony that are the relative minor keys of the majors, the scales with their chords sounding other keys. The grandeur, combined with simplicity, of the laws which develope musical harmonies are strikingly exhibited in the minor keys. Although at first they appear most paradoxical, and, comparing them with the majors, we may almost say contradictory in their laws of development, when they are in some degree understood, the intricacies disappear, and the twelve keys follow each other (with the thirteenth octave), all exactly agreeing in their mode of development. I shall endeavour to trace them as much as possible in the same manner as the majors, the lowest developments of the minor keys being notes with scales and chords, the notes always sounding their major harmonies in tones. Here an apparently paradoxical question arises. If the major keys are gained by the notes sounding the major tones, how are the minor keys obtained? Strictly speaking, there are no minor key-notes: the development of a minor harmony is but a mode of succession within the octave, caused by each minor key-note employing the sharps or flats of the fourth major key-note higher; and with this essential difference, it will be seen in how many points the developments of major and minor harmonics agree. I have carefully followed the same laws, and if any capable mind examines the results, I am prepared for severe criticism. I can only express that it was impossible to gain any other results than the seven of the harmony, the ascending and the descending scale and the chords combining three different keys. [Harmonies of Tones and Colours, Diagram VIII - On the Development of the Twelve Minor Harmonies, page 32]

See Also


Created by Dale Pond. Last Modification: Friday March 12, 2021 04:05:17 MST by Dale Pond.