Sympathetic Vibratory Physics

noun: the beginning of something such as an idea, process, formation, institution, or nation
noun: the event of being born ("They celebrated the birth of their first child")
noun: the time when something begins (especially life)

Keely
"The luminous, etheric, protoplastic element, which is the highest condition of the ether, fills the regions of infinite space, and in its radiating outreach gives birth to the prime neutral centers that carry the planetary worlds through their ranges of motion." [Keely, Keely and His Discoveries pg 270]

"Nature has established her sympathetic concordants from the birth of the neutral centres of the planets. This is gravity; therefore gravity is fixed, inherent. There is no flight of gravity. The difference in the condition of the sympathetic nerve centres, and the variations in the chord aggregation of the masses, as established in the man or woman at birth, constitutes the molecular condition of the individual. The molecular state of animals, vegetables, and minerals, depends upon the aggregation of their chord centres. It is impossible to take two coins from one die the same in its molecular aggregation. The mere picking up of a coin and replacing it causes billions of molecules to be lost. This produces a change in the chord of mass of the coin. As this fact has only been developed by persistent progressive research, it is quite easy to comprehend the nature of the difficulties that lie in the way of perfecting devices for the guidance of artificers and mechanics, whereby they can bring a proper vibratory action into play to induce positive sympathetic transmission. In order to transmit my knowledge by demonstration it will be necessary to have much more perfect instruments than those crude devices which I first constructed for my researches. One of my perfected instruments shows to the eye, in the molecular effects produced by a certain order of vibration, when the chord of harmony is established between two neutral centres. Another, when connected with the sympathizer, denotes accurately, by the colour of a certain sound or combination of sounds the number of vibrations that are necessary to induce certain effects of mechanical combinations." [Vibratory Physics - The Connecting Link between Mind and Matter]

Russell
"Mother and father reverse their spectrum positions, however. The womb of the mother is on the inside and the father surrounds it by a ring, such as one sees in the Lyra Nebula. One can also see the birth of a new star in the very center of that great black cathode hole which the mother womb is. That is the way that God turns the anodes of His thinking inside out to rest, and outside in to again become anodes. God's process of creating bodies through sex interchange is based upon the sex urge of the divided color spectrum of light to void its color divisions and become the White Light of rest from which its tensions were extended." [Atomic Suicide, page 117]

Schauberger
Every organ is an aid or a means to an end that requires various supplementary energies in order to evolve. In its highest form, the developed product is a multiple of the ur-form, because the potencies in it have developed themselves. Potencies are nothing more than bipolar tensions, which de-stress one another and synthesise their desired form. This is the reason for the phenomenon of multiplication. The function of tensioning or de-stressing is heat and cold. The product is therefore a product of heat or cold. The impulse is produced by either a cold or warm mediatory process. The place of birth is the egg and the orifice. The fertilised eggs create orifices and conversely, eggs come into being from orifices. [The Energy Evolution - Harnessing Free Energy from Nature, Letter to Werner Zimmermann]

Radiation is the bipolar unity, the ur-information, which metamorphoses itself into proteins. Since information is also bipolar, then the space, the irtter-space and the shell come into being in this way. The energy evolving within the shell is space-energy, which like everything else is also bipolar. The heat-potential gives birth to the form and the cold-potential gives rise to dematerialisation. The latter is elemental motion and the former is the elemental envelope, that is, the multiplied soul and the multiplied body. [The Energy Evolution - Harnessing Free Energy from Nature, Letter to Werner Zimmermann]

All birth requires fertilisation. Fertilisation, however, necessitates the disintegration of the original ur-form. All of which brings us to the fundamental question: What actually is motion? This question is answered by a free-falling droplet of water, from which a horizontally and vertically radiating energy-form springs forth, the power of the horizontal emission corresponding to about 12,000 seed-volts as measured with an electrometer. These are referred to as seed-volts here, because in this case we are concerned with a charge-bundle which contains about 12,000 water embryos in an energetic state. These are freed when a drop of water merely falls about 20 cm (8 inches). Naturally, special equipment is required to measure this capacity. To describe it in more detail here, would stray too far from the present theme, therefore clarification of the 'essentials' will have to suffice. [The Energy Evolution - Harnessing Free Energy from Nature, The Ennoblement of Water]

this energy-form is conducted into a glass bulb super-saturated with air containing oxygen, then about the same number of water-droplets appear as the seed-volts measured on the electrometer. With this we are already presented with the birth of water and the form of motion that induces it. [The Energy Evolution - Harnessing Free Energy from Nature, The Ennoblement of Water]

We are therefore not only faced with the birth of water, but also with the determination of the gender of the birth product. From the sum total of these experiments arose a discovery, whose implications first become evident, when we consider that it opens the way to produce water - the blood of the Earth - in any desired quantity and quality naturalesquely and in addition to pass on the desired properties to the evolutionally-older new-born entity. Water pipelines are therefore no longer necessary in order make what is nothing less than the most noble water available in the middle of treeless deserts or salt-water wastes. This not only ingeniously solves the problem of living space for a constantly increasing population, but also that of food shortages. [The Energy Evolution - Harnessing Free Energy from Nature, The Ennoblement of Water]

Ramsay
"lower effect than the fifth; the seventh, B, has a higher effect than the sixth; but the eighth, C, has a lower effect than the seventh. If the effects of notes or chords depended wholly on the mathematical primes by which they are measured and located, or the ratios inherent in them, then the effects of the tonic, subdominant, and dominant chords would have been alike, for these chords are measured by exactly the same primes, and have exactly the same ratios. It is the position of the tonic chord which gives it its importance and not any special primes by which it is produced, nor any special ratios inherent in it. Notes by the power of 2 have a pure unmixed and invariable character. Notes by the first, second, and third powers of 3 have different degrees of centrifugal force; and the character of the notes produced by the first power of 5 depends on the character of the notes from which they are derived. The final character of notes and chords is determined by the amount of force which they have acquired from the way in which they have been derived, and from their position in the system. And no matter where these notes may be afterwards placed, like chemical elements, they never lose their original forces and tendencies. What Tyndal says of the inorganic chemical elements of the brain is true of the inorganic notes of music, "They are all dead as grains of shot." It is the organic state which gives the notes and chords their gravities and levities, and these two tendencies, the one upward and the other downward, constitute the vital principle of music. It is true that the mathematical operation is required to give birth and life to music, and that the mathematical system gives the knowledge of causes down to the law of gravitation, yet the artistic effects are fully realised from the tempered system deriving its organic harmony from this vital principle of music. The centrifugal tendencies of the notes of the subdominant, are too strong to be at all disturbed by the system being tempered. The enormous power of these chords corrects the effect which might otherwise arise from tempering, as the enormous power of the sun corrects the perturbations of the planets." [Scientific Basis and Build of Music, page 29]

in their birthplace - F A C, C E G, G B D. Indeed in their birth not only is it so, but still further, the top note of the first chord is the root and generator of the third. They are linked in generative continuity. [Scientific Basis and Build of Music, page 49]

By taking four minor thirds upward from G# or downward from A?, we have the first chromatic chord in its twofold form. Its central note is D, the top of the dominant major, and the root of the subdominant minor, being its own dual, that is to say, its minor birth being dual to its major birth.¹ On the keyboard it has the same order of keys above it and below it; this dual D [Scientific Basis and Build of Music, page 56]

The simple natural scale is the fifth; the compound natural scale is the octave; the harmony scale, or chord-scale, is the three fifths; the great genetic scale is six octaves; for, like the six creation days, it takes the six octaves to give birth to the elements of which the wondrous structure of our music is built up; the birthplace of B, the seventh of the octave scale, is the sixth octave of the great genetic scale. The area of the twelve major and twelve minor scales is twelve fifths or seven octaves, the twelfth fifth being a comma and the apotome minor in advance of the seventh octave. This is a quantity so small that it can be ignored in real music; and the two notes, say E# and F, joined to close the circle of this horizon of our music world. E# is the top of the twelfth fifth, and F is the top of the seventh octave; and they are practically, though not exactly mathematically, the same note. Illustrations of this will be found among the plates of this work. [Scientific Basis and Build of Music, page 79]

In a musical air or harmony, i.e., when once a key has been instituted in the ear, all the various notes and chords seem animated and imbued with tendency and motion; and the center of attraction and repose is the tonic, i.e., the key-note or key-chord. The moving notes have certain leanings or attractions to other notes. These leanings are from two causes, local proximity and native affinity. The attraction of native affinity arises from the birth and kindred of the notes as seen in the six-octave genesis, and pertains to their harmonic combinations. The attraction of local proximity arises from the way the notes are marshalled compactly in the octave scale which appears at the head of the genesis, and pertains to their melodic succession. In this last scale the proximities are diverse; the 53 commas of the octave being so divided as to give larger and lesser distances between the notes; and of course the attraction of proximity is strongest between the nearest; a note will prefer to move 5 commas rather than 8 or 9 commas to find rest. Thus far PROXIMITY. [Scientific Basis and Build of Music, page 91]

The intervening chord between the Diatonic and Chromatic systems, B, D, F. - This chord, which has suffered expatriation from the society of perfect chords, is nevertheless as perfect in its own place and way as any. From its peculiar relation to both major and minor, and to both diatonic and chromatic things, it is a specially interesting triad. F, which is the genetic root of all, and distinctively the root of major subdominant, has here come to the top by the prime 2. D, here in the middle, is diatonically the top of the major dominant, and the root of the minor subdominant; and on account of its self-duality, the most interesting note of all; begotten in the great genesis by the prime 3. B, the last-begotten in the diatonic genesis, top of the diatonic minor, middle of the dominant major, and begotten by the prime 5, is here the quasi root of this triad, which in view of all this is a remarkable summation of things. This B, D, F is the mors janua vitae in music, for it is in a manner the death of diatonic chords, being neither a perfect major nor a perfect minor chord; yet it is the birth and life of the chromatic phase of music. In attracting and assimilating to itself the elements by which it becomes a full chromatic chord, it gives the minor dominant the G# which we so often see in use, and never see explained; and it gives the major subdominant a corresponding A?, less frequently used. It is quite clear that this chromatic chord in either its major phase as B, D, F, A?, or its minor phase as G#, B, D, F, is as natural and legitimate in music as anything else; and like the diatonic chords, major and minor, it is one of three, exactly like itself, into which the octave of semitones is perfectly divided. [Scientific Basis and Build of Music, page 101]

Six Octaves required for the Birth of the Scale

EXPLANATION OF PLATES.

[BY THE EDITOR.]

PLATE I.

"NATURE'S GRAND FUGUE."

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]

Hughes
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]

Cayce
"For all is born first in spirit, then in mind, then it may become manifested in the material plane... Thus to grow in grace and knowledge, one applies, one has, one uses one's spiritual self." [Cayce reading 3424-1]

Christ Returns - Speaks His Truth
"I was shown the following vivid vision.
First of all, I saw a new-born babe as 'light', a life-form of 'Creative Power'.
As the baby grew into childhood, then manhood, I saw the pure LIGHT of the 'Creative Power' gradually dimmed and then obscured altogether in him, by a dense wrapping of chains and thongs.
I questioned the meaning of the vision and there came to my mind a clear understanding which may be expressed in the following words:
'From birth to death - people believe and insist that their five senses of sight, hearing, touch, smell and taste, correctly predicate the 'reality' of themselves and the universe around them.
Therefore, because they draw their mind power direct from Divine 'Creative Power', it is done to them according to their beliefs. [Christ Returns - Speaks His Truth, Letter 1, page 17]

Sympathetic Vibratory Physics

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