"The names of these particles is of no import here, but the fact that one end of cobalt atoms ejects big particles, and the other ejects small particles, is important. Also, the statement that it was never known before that one end of an atom is different from the other end is also important for it is not true. It has been known as long as electricity has been known that each end of a polarized body is different, and all matter is polarized. Each end of a balanced atom - which means equally paired - will emit the same sized particles from each end, because polarized, or divided pairs, are male and female and belong to the red and blue sides of the spectrum. The important fact that has been overlooked is the fact that an unbalanced particle of matter cannot emit equal potentials from both ends. [Atomic Suicide, page 274-275]
"The master-tone of each octave is the inheritance of the original motion of the thinking process of Mind. These master-tones are the "inert gases" which are classified in the zero group of the Mendeleef table.
"The master-tones which represent a state of motion-in-inertia and are the inert gases, bear the same relationship to the elements that white bears to the colors. They are a registration of them all. White is not included in the spectrum, it has no place there. The inert gases should not be included in the elements. They have no place there. Of this more shall be written later in its proper place." [Russell, The Universal One]
The explosion of accumulated gravity occurs when the orange-yellow and green-yellow of the color spectrum collide and become "short circuited" by their union with white. [Geometry and Mathematics of Octave Waves]
suspected. Let us take as our standard of colours the series given by the disintegration of white light, the so-called spectrum: as our standard of musical notes, let us take the natural or diatonic scale. We may justly compare the two, for the former embraces all possible gradations of simple colours, and the latter a similar gradation of notes of varying pitch. Further, the succession of colours in the spectrum is perfectly harmonious to the eye. Their invariable order is— red, orange, yellow, green, blue, indigo, and violet; any other arrangement of the colours is less enjoyable. Likewise, the succession of notes in the scale is the most agreeable that can be found. The order is—C, D, E, F, G, A, B; any attempt to ascend or descend the entire scale by another order is disagreeable. The order of colours given in the spectrum is exactly the order of luminous wave-lengths, decreasing from red to violet. The order of notes in the scale is also exactly the order of sonorous wave-lengths, decreasing from C to B." [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]
"Now comes the important question—Are the intermediate colours of the spectrum produced by vibrations that bear a definite ratio to the vibrations giving rise to the intermediate notes of the scale? According to our knowledge up to this time, apparently not." [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]
This quotation on vibrations will be seen to agree with the laws which I have gained. The fact that six of the notes of keyed instruments are obliged to act two parts, must prevent the intermediate notes bearing a definite ratio of vibrations with the intermediate colours of the spectrum. I name the note A as violet, and B ultra-violet, as it seemed to me clearer not to mention the seventh as a colour. [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]