If such ennobled water is drunk, which accumulates normally insoluble trace-elements in a 'released' state and binds its oxygen content up to a maximum of 4%, then the dissolution of normally insoluble sediment accretions takes place, enabling sclerosis, encrustation of the blood, sap and lymph vessels to be healed. The organisms thus treated regain their metabolic functions as well as their reproductive abilities. In this way senile men almost fully recover their virility. After extended consumption of regenerated drinking water, even people who wear glasses can use weaker ones, because the capillaries of the eye, which supply it with high quality nutrients, will be purged of deposits. Rheumatic disorders are cured within a short space of time, for through this general detoxification the joints move freely and painlessly again and are provided with a film of essential oils. Kidney and gall stones also dissolve after only a few weeks of drinking such healing water and are passed out in gravel-like form with the urine. All those suffering from cancer can get relief from their tearing pains almost immediately, because the almost oxygen-free water binds the excess oxygen in the blood, thus eliminating dangerous hyperacidity. It is therefore not only possible to prevent cancer in this way, but even to cure this dreadful disease, if this all-healing water is drunk in good time. The healing of rheumy eyes with the aid of gold earrings also occurs in a similar way. Situated in the earlobes - the coolest location, they function bio-catalytically and make any form of water secretion impossible. If one burns one's finger, then almost intuitively one grasps the earlobe, where the relatively strongest falling temperature gradient prevails, and an almost instantaneous relief from the burning sensation is felt. Catalysts in the form of the emanations from gold and silver not only function oligodynamically (they kill pathogenic bacteria), but also build up apathogenic bacteria, as happens in the vicinity of high springs. Having recognised this, a very open-minded doctor, the director of the old peoples' home at Lainz near Vienna, attempted to cure the sclerotic symptoms of seriously rheumatic W.W.II soldiers by administering the finest gold and silver dust. He only achieved a partial cure, however, because this can only be done with the infusion of precious metals in an organic state.
 This is slightly equivocal and can be interpreted in two ways: Either 4% of the 100% oxygen content is bound, or, up to 4% of the 100% oxygen content is bound, namely 96%. In view of what has been stated in "The Liquefaction of Coal by means of Cold Flows" on p. 95 of this book, it would appear that the latter interpretation is what is intended here. — Ed.
 The free oxygen radicals are bound. — Ed. [The Energy Evolution - Harnessing Free Energy from Nature, The Catalysts]
Eight hundred million people, i.e. about one third of those alive today , will be mercilessly condemned to starve, if at the final hour it is not possible to produce the practical examples necessary to open the eyes of those who do not perceive the differences between different current-sources, from which, depending on the choice of trifling starting impulse - life or death originate. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]
Christ Returns - Speaks His Truth
Every single person who realises that from their eyes is radiated potent life-force to those at whom the vision is directed, can know that their glance, that penetrating look, that smiling gaze has benefited the one who received it.
For everything we - yes, you and I, the CHRIST, think and do is an act of consciousness - and consciousness is life-force. With the activity of our minds, yours and mine, we shape our consciousness, our life-force into different forms which will bless or curse the environment." [Christ Returns - Speaks His Truth, Letter 4, page 8]
"Let us now take the plane and the projectile out of the tubes, which they centered. We refer you to the two cyclone diagrams again - figures 51 and 52. There is nothing there, whatsoever, which is materially objective at their center. There is only the stillness which we call the eye. There is but an explosion of hot air there, which causes expansion from the inside outward where cold air compresses it from the outside to inner density. Nature has made her two-way "gun" that way - a measure of desire-energy is at its center. The eye is a shaft of gravity. Gravity is omnipresent. What difference whether there is a plane, or bullet there, or not? If there is a plane there, its changed position in one direction is voided by an equal change in the opposite polarity direction. [Atomic Suicide, page 292]
The Greeks most probably constructed their musical tetrachords in a symmetrical order in analogy with their sculpture, and showed the ear identical with the eye in its love of symmetry. With them, therefore, the Dorian mode would have a certain pre-eminence. Beginning this mode on D, without knowing the musical mystery that resides in D, they had two tetrachords with the semitones symmetrically in the middle in one mode; it was next possible for them to arrange in pairs, symmetrically, the other tetrachords.
[Scientific Basis and Build of Music, page 45]
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]
When these representative dots are arranged on these six Octaves of lines, at regular distances marked out by the proportionate degrees of the circle, they present to the eye this beautiful symmetrical picture of the Diatonic System of Musical Vibrations. They represent all that mathematically belongs to Music. When the notes are strung [Scientific Basis and Build of Music, page 102]
Fig. 1 - The pendulums in this illustration are suspended from points determined by the division of the Octave into Commas; the comma-measured chords of the Major key being S, 9, 8, 9, 5; T, 9, 8, 5, 9; D, 8, 9, 5, 9. The pendulums suspended from these points are tuned, as to length, to swing the mathematical ratios of the Diatonic scale. The longest pendulum is F, the chords being properly arranged with the subdominant, tonic, and dominant, the lowest, center, and upper chords respectively. Although in "Nature's Grand Fugue" there are 25 pendulums engaged, as will be seen by reference to it, yet for the area of a single key 13 pendulums, as here set forth, are all that are required. It will not fail to be observed that thus arranged, according to the law of the genesis of the scale, they form a beautiful curve, probably the curve of a falling projectile. It is an exceedingly interesting sight to watch the unfailing coincidences of the pendulums perfectly tuned, when started in pairs such as F4, A5, and C6; or started all together and seen in their manifold manner of working. The eye is then treated to a sight, in this solemn silent harp, of the order in which the vibrations of sounding instruments play their sweet coincidences on the drum of the delighted ear; and these two "art senses," the eye and the ear, keep good company. Fig. 2 is an illustration of the correct definition of a Pendulum Oscillation, as defined in this work. In watching the swinging pendulums, it will be observed that the coincidences [Scientific Basis and Build of Music, page 104]
There are seven differential and eleven proximate periods all differing in their degrees of complexity according to the individual character of the ratio; and they illustrate to the eye what is the effect in the ear of the same ratios in the rapid region of the elastic vibrations which cause the musical sounds. [Scientific Basis and Build of Music,page 106]
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]
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]
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]
Eye of Ra
Figure 11.09 - Eye of Horus - Egyptian Arithmetic
Secret of Thoth and the Missing Volume of the Wedjat Eye
Shaft of Gravity
still eye of the cyclone