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error

Mistaken assumptions, illusion, superstition, belief.

"Since the days of revelation, in fact, the same four corrupting errors have been made over and over again:
submission to faulty and unworthy authority;
submission to what it was customary to believe;
submission to the prejudices of the mob; and worst of all,
concealment of ignorance by false show of unheld knowledge, for no better reason than pride." [Roger Bacon]

"Political language. . . is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind." [George Orwell]

"It is easier to perceive error than to find truth, for the former lies on the surface easily seen, while the later lies in the depth, where few are willing to search for it." [Johann Wolfgang von Goethe]

"ERROR IS ALWAYS ERROR. IT IS NO THING." [Mary Baker Eddy, Science and Health pg. 554:8]


Schauberger
We are here concerned with bacteriophagous[9] threshold substances, which are first animated at a later stage of development. For this reason the view that this relates to viral entities released by water, sap and blood, is an error of the first order. It is the intermixture of the diffuse substances mentioned earlier that first makes fertilisation possible. It is the way in which impregnation takes place that determines whether the emergence of pathogens results or not. [The Energy Evolution - Harnessing Free Energy from Nature, The Biological Vacuum - The Optimal Driving Force for Machines]

Here we are concerned with the consequences of a tragic error inasmuch as it is generally believed that the earthly remains of life, which relapse into the womb of the Earth, purposelessly decay into dust and ashes when the soul is supposedly separated from its former body after its physical vital functions have ceased. [The Energy Evolution - Harnessing Free Energy from Nature, Cadaverine Poison in Ray-Form - Ptomaine Radiation]

A small error in motion therefore suffices to provoke a general susceptibility to cancer in what has created everything we can see around us or are otherwise aware of. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

The crowning law of today's technology is therefore no natural law, but the biological consequence of a tragic error of contemporary science. For if the naturalesque metabolic process is initiated through equally naturalesque impulses (il primo movere), then as the velocity increases owing to the additional input from the inwinding rotary current, the power increases by the square. The outcome of this developmental process is an almost cost-free, development-promoting mechanical power - the evolving water (viz. the atomised water vapour). [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

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]

This is to be compared with the tragic error in motion made by today's technologists, hydraulicists and dynamicists inasmuch as they produced the reversed motive impulse in all machines, whether for systems of conveyance or for the generation of light and temperature. In place of the invigorating suctional component they allowed the pressural component to prevail and predominate, which has a fatiguing effect on the moved mass. [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism - Electricism]

Up to now we have therefore been forced to use flowing electricism for the purposes of generating low-grade power, light and temperature (heat). As a result, the essential formative and uplifting force - magnetism - was relegated to the subordinate role of providing the resistance necessary for all motion. That this resistance to motion must increase by the square of the initiating rotational velocity that produces it, is readily understandable because it concerns the development of metaphysical fuels, for which the force of resistance required for the acceleration must increase concurrently and proportionally. For this reason the 'crowning law" (the Conservation of Energy Law) of today's technology is fallacious inasmuch as the supposedly quiescent magnetic resistance to motion can be transformed into a 'flowing' magnetic motive force and conversely, pernicious electricism can be transformed into the aforesaid supportive force (resistance). The means to achieve this is the Repulsator (see figs. 24-26) or the Repulsine (see figs. 30-33), which have hitherto remained unknown. [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism is the Function of Levitism and Electricism is the Function of Gravitism]

To be able to appreciate contemporary science's tragic error concerning motion, the following must be stated: [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism is the Function of Levitism and Electricism is the Function of Gravitism]


Ramsay
"What we have thus said about the resolving notes to the major tonic has been allowed in the case of the minor. No one ever said that the second of the minor scale resolved to the root of the tonic. Notwithstanding the importance of the tonic notes, the semitonic interval above the second of the scale decided the matter for the Law of Proximity; and no one ever said that D, the root of the subdominant minor, did not resolve to C, the center of the tonic minor, on the same terms that two notes are brought to the center of the tonic major; with this difference, that the semitonic interval is above the center in the major and below it in the minor. The other two notes which resolve into the tonic minor are on the same terms as the major; with this difference, that the semitonic interval is below the root of the tonic major and above the top of the tonic minor. And the small tone ratio 9:10 is above the top of the tonic major and below the root of the tonic minor. If it has been the case that D resolved to the root of the tonic major, then, according to the Law of Duality, there would have been another place where everything would have been the same, only in the inverse order; but, fortunately for itself, the error has no other error to keep it in countenance. This error has not been fallen into by reasoning from analogy. [Scientific Basis and Build of Music, page 99]

"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]

When Leonhard Euler, the distinguished mathematician of the eighteenth century, wrote his essay on a New Theory of Music, Fuss remarks - "It has no great success, as it contained too much geometry for musicians, and too much music for geometers." There was a reason which Fuss was not seemingly able to observe, namely, that while it had hold of some very precious musical truth it also put forth some error, and error is always a hindrance to true progress. Euler did good service, however. In his letters to a German Princess on his theory of music he showed the true use of the mathematical primes 2, 3, and 5, but debarred the use of 7, saying, "Were we to introduce the number 7, the tones of an octave would be increased." It was wise in the great mathematician to hold his hand from adding other notes. It is always dangerous to offer strange fire on the altar. He very clearly set forth that while 2 has an unlimited use in producing Octaves, 3 must be limited to its use 3 times in producing Fifths. This was right, for in producing a fourth Fifth it is not a Fifth for the scale. But Euler erred in attempting to generate the semitonic scale of 12 notes by the use of the power of 5 a second time on the original materials. It produces F# right enough; for D27 by 5 gives 135, which is the number for F#. D27 is the note by which F# is produced, because D is right for this process in its unaltered condition. But when Euler proceeds further to use the prime 5 on the middles, A, E, and B, and F#, in their original and unaltered state, he quite errs, and produces all the sharpened notes too low. C# for the key of D is not got by applying 5 to A40, as it is in its birthplace; A40 has already been altered for the key of G by a comma, and is A40 1/2 before it is used for producing its third; it is A40 1/2 that, multiplied by 5, gives C#202 1/2, not C200, as Euler makes C#. Things are in the same condition with E before G# is wanted for the key of A. G# is found by 5 applied to E; not E in its original and unaltered state, E30; but as already raised a comma for the key of D, E30 3/8; so G# is not 300, as Euler has it, but 303 3/4. Euler next, by the same erroneous methods, proceeds to generate D# from B45, its birthplace number; but before D# is wanted for the key of E, B has been raised a comma, and is no longer B45, but B45 9/16, and this multiplied by 5 gives D#227 13/16, not D225, as Euler gives it. The last semitone which he generates to complete his 12 semitones is B♭; that is A#, properly speaking, for this series, and he generates it from F#135; but this already altered note, before A# is wanted for the key of B, has been again raised a comma [Scientific Basis and Build of Music, page 107]


Hughes
Helmholtz's experiments on developing colours shown to agree with the scheme
—The sounds of the Falls of Niagara are in triplets or trinities
—The Arabian system divides tones into thirds
—Two trinities springing from unity apparently the germ of never-ending developments in tones and colours
—Inequality of the equinoctial points; is the want of equilibrium the motive power of the entire universe?
—The double tones of keyed instruments, the meetings by fifths, the major and minor keys, so agree with the development of colours, that a correct eye would detect errors in a piece of coloured music
Numbers not entered upon, but develope by the same laws
Bass notes omitted in order to simplify the scheme, 18 [Harmonies of Tones and Colours, Table of Contents2 - Harmonies]

ALTHOUGH I am confident that the foundation on which I have been building is firm, and will never fail, I also feel that there are probably errors in raising the superstructure. "Truthful deductions must ultimately harmonise; like light, they will shine by their own effulgence." "If, however, we determine that we will not receive any truth against which objections can be raised, we shall remain in a state of universal scepticism, for against truths of every description objections have been and may be suggested." Appearances are often contrary to facts— "the straight stick looks crooked in the tide." And the question has always to be decided, whether the objections neutralise the positive evidences in favour of the truth of any assertion. [Harmonies of Tones and Colours, General Remarks on Harmonies of Tones and Colours, page 12]

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 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]

The inequality of the equinoctial points is a well-known fact. It will be seen how apparent this is in the developments of harmonies. From the moment that trinities depart from unity, the balance is unequal, and the repeated endeavours after closer union cause a perpetual restlessness. May not this want of equilibrium be the life or motive power of the entire universe, with its continuous struggle after concord, even to oneness? "Closer and closer union is the soul of perfect harmony." In tracing harmonies of tones and colours, the double tones of keyed instruments will be seen to correspond with the intermediate tints and shades of colours. The twelve notes, scales, and chords in the major and minor series, the meetings by fifths, &c., all agree so exactly in their mode of development, that if a piece of music is written correctly in colours with the intermediate tints and shades, the experienced musician can, as a rule, detect errors more quickly and surely with the eye than the ear, and the correct eye, even of a non-musical person, may detect technical errors. Although the arithmetical relation has been most useful in gaining the laws, it is not here entered upon; but numbers equally meet all the intricacies both of tones and colours. The bass notes have been omitted, in order to simplify the scheme. [Harmonies of Tones and Colours, The Arabian System of Music, page 21]

See Also


Belief
Belief System
blunders
Bonding - Rejection
cognitive dissonance
condemnation
crime
Discernment
Doctrine
Dogma
Ego
Illusion
mistake
Opinion
sensed-conclusion
Sin
Superstition
Truth
Wisdom

Created by Dale Pond. Last Modification: Thursday September 8, 2022 05:56:16 MDT by Dale Pond.