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combination

Keely
"The famous Keely motor, which has been hovering the horizon of success for a decade, is but an attempt to repeat in an engine of metal the play of forces which goes on at the inmost focus of life, the human will, or in the cosmic spaces occupied only by the ultimate atoms. The engineer with his mallet shooting the cannon-ball by means of a few light taps on a receiver of depolarized atoms of water is only re-enacting the role of the will when with subtle blows it sets the nerve aura in vibration, and this goes on multiplying in force and sweep of muscle until the ball is thrown from the hand with a power proportionate to the one-man machinery. The inventor Keely seeks a more effective machinery; a combination of thousands of will-forces in a single arm, as it were. But he keeps the same vibrating principle, and the power in both cases is psychical. That is, in its last analysis." - [George Perry, The Fountain Head of Force]

In all molecular dissociation or disintegration of both simple and compound elements, whether gaseous or solid, a stream of vibratory antagonistic thirds, sixths, or ninths, on their chord mass will compel progressive subdivisions. In the disintegration of water the instrument is set on thirds, sixths, and ninths, to get the best effects. These triple conditions are focalized on the neutral center of said instrument so as to induce perfect harmony or concordance to the chord note of the mass chord of the instruments full combination, after which the diatonic and the enharmonic scale located at the top of the instrument, or ring, is thoroughly harmonized with the scale of ninths which is placed at the base of the vibratory transmitter with the telephone head. The next step is to disturb the harmony on the concentrative thirds, between the transmitter and the disintegrator. This is done by rotating the siren so as to induce a sympathetic communication along the nodal transmitter, or wire, that associates the two instruments. When the note of the siren becomes concordant to the neutral center of the disintegrator, the highest order of sympathetic communication is established. It is now necessary to operate the transferable vibratory negatizer or negative accelerator, which is seated in the center of the diatonic and enharmonic ring, at the top of the disintegrator, and complete disintegration will follow (from the antagonisms induced on the concordants by said adjunct) in triple progression, thus: First thirds: Molecular dissociation resolving the water into a gaseous compound of hydrogen and oxygen. Second: sixths, resolving the hydrogen and oxygen into a new element by second order of dissociation, producing what I call low atomic ether. Third: ninths, the low atomic ether resolved into a new element, which I denominate high or second atomic harmonic. All these transmissions being simultaneous on the disturbance of sympathetic equilibrium by said negative accelerator. [Snell Manuscript - The Book, page 4]

"Given that force can be exerted by an act of will, do we understand the mechanism by which this is done? And if there is a gap in our knowledge between the conscious idea of a motion and the liberation of muscular energy needed to accomplish it, how do we know that a body may not be moved without ordinary material contact by an act of will? Keely contends that all metallic substances after having been subjected to a certain order of vibration may be so moved. "Scientists are verging rapidly toward the idea that immense volumes of energy exist in all conditions of corpuscular space. I accept Prof. Stoney's idea that an apsidal motion might be caused by an interaction between high and low tenuous matter, but such conditions, even of the highest accelerated motion are too far down below the etheric realm to influence it sympathetically, even in the most remote way. The conception of the molecule disturbing the ether, by electrical discharge from its parts is not correct... the highest conditions associated with electricity come under the fourth descending order of sympathetic conditions. The conjecture as regards the motion being a series of harmonic elliptic ones, accompanied by a slow apsidal one, I believe to be correct... The combination of these motions would necessarily produce two circular motions of different amplitudes whose differing periods might correspond to two lines of the spectrum as conjectured, and lead the experimenter, perhaps, into a position corresponding to an ocular illusion. Every line of the spectrum, I think, consists not of two close lines, but of compound triple lines; though not until an instrument has been constructed, which is as perfect in its parts as is the sympathetic field that environs matter, can any truthful conclusion be arrived at from demonstration." [Keely] [FORCE - Snell]

"These are aptly described as solid, liquid and gaseous crystals. Keely does not claim their existence but his data indicates the effects of their combinations. They caused him considerable difficulty during certain stages of his experiments. [Snell Manuscript - the book, MOLECULAR AGGREGATES]

"The normal brain is like a harp of many strings strung to perfect harmony. The transmitting conditions being perfect, are ready, at any impulse, to induce pure sympathetic assimilation. The different strings represent the different ventricles and convolutions. The differentiations of any one from its true setting is fatal, to a certain degree, to the harmony of the whole combination. If the sympathetic condition of any physical organism carries a positive flow of 80 per cent on its whole combination, and a negative one of 20 per cent, it is the medium of perfect assimilation to one of the same ratio, if it is distributed under the same conditions to the mass of the other. If two masses of metal, of any shape whatever, are brought under perfect assimilation, to one another, their unition, when brought into contact, will be instant.'' [Keely and His Discoveries, Chapter 7] [Assimilation]

Law of Molecular Synthesis and Combination - Organic
"The molecular pitch must be a derived harmony of the radicals.
Scholium: Reconstruction of electric units to represent pitches and amplitudes." [Keely, 1893, Law of Molecular Synthesis and Combination - Organic]


Schauberger
forces from the lower temperature group B, which enforce the gravitation of all that cannot be uplifted. This duality therefore involves a rhythm within a rhythm - a sort of four-stroke motor, in which upward, downward, inward and outward impulses can rhythmically take place on a common developmental axis. A perpetual state of turmoil is constantly created in an epicentre of commotion, leading to continuous fission and fusion (separation and combination), whereby what matters is which metabolic process predominates. In other words, in this primordial battle between the ur-feminine and the ur-masculine, whether the re-destructive or the re-creative is victorious. The one that triumphs is the one that is able to drag its opponent into the middle of this gigantic wrestling match, there to encircle, bind, consume and digest it. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

(c) the fabrication of naturalesquely designed water turbines, pumps, etc. (see figs. 11-13) with about a 90-fold increase in output and performance under otherwise equal conditions through the combination of both components of motion (pressural and suctional forces in a reactive state) on a common developmental axis. [The Energy Evolution - Harnessing Free Energy from Nature, The Practical Application of Cycloid-Space-Curve-Motion arising from Processes of Cold Oxidation]


Ramsay
together on radial lines from the center they appear grouped in various chords and combinations, dropping out and coming in in such succession as to constitute what Ramsay, whose genius was given to set this thus before us, calls "Nature's Grand Fugue." Beginning at F in the center at the top, and moving either to the right or to the left, after a run of 7 notes we have 4 consecutive Octaves, and then comes the Minor fifth, A-E, followed by the Major fifth, G-D; and this by another Major fifth, F-C; the combinations keep changing till at the quarter of the circle we come to F, A, C, E, G, a combination of the subdominant and tonic Major; and after another varied series of combinations we have at the half of the circle the elements of 2 minor chords, D, F, A and A, C, E, and one Major chord, C, E, G; at the third quarter we have a repetition of the first quarter group; and the various chords and combinations dropping out and coming in, fugue-like; finally we return to where we began, and end with the three-times-three chord, in which the whole 25 notes are struck together, and make that wondrous and restful close of this strange Fugue. No one can hear the thrice-threefold chord of this close and ever forget it; it is "the lost chord" found; and leads the saintly heart away to the Three in One who is the Lord of Hosts; Maker of Heaven and Earth, and all the host of them. [Scientific Basis and Build of Music, page 103]


The primitive laws of any science should be capable of succinct statement, but in combination with others they become more complex and delicate, and error is proved if in the developments they do not echo each other. If, therefore, musical harmonies are correctly gained, the same laws will develope harmonies of colour, and will agree with the colours of the rainbow, the circle of which is divided by the horizon. All who are interested in the laws which regulate these two sciences will doubtless know the interesting lectures delivered by W. F. Barrett (Professor of Experimental Physics in the Royal College of Science, Dublin), and the article written by him and published in the Quarterly Journal of Science, January, 1870, entitled "Light and Sound; an examination of their reputed analogy, showing the oneness of colour and music as a physical basis." I will quote shortly from the latter for the benefit of those who may not have met with it. "The question arises, Has all this æsthetic oneness of colour and music any physical foundation, over and above the general analogy we have so far traced between light and sound? We believe the following considerations will show, not only that it has some foundation, but that the analogy is far more wonderful than has hitherto been [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies1, page 18]

"All theory must be founded on one great fact—harmony; for harmony is the chief beauty of two or more sounds heard together. There may be figure, schemata, and all other niceties of succession and combination; but if no harmony, the music is not beautiful. It is dim, dull, and disagreeable." [Harmonies of Tones and Colours, Fragments from the Last Note-book, page 50]

See Also


first combination of the three primary ratios
first comparison and combination of motions
first comparison and combination of quantities
harmonic combination
Law of Molecular Synthesis and Combination - Organic
LAW of PERMUTATIONS and COMBINATIONS
second combination of the three primary ratios
second comparison and combination of the three primary ratios
sympathetic mechanical combination
third combination of the three primary ratios
third comparison and combination of the three primary ratios
three combinations of the three primary ratios

Created by Dale Pond. Last Modification: Tuesday November 22, 2022 00:18:24 MST by Dale Pond.