"The aerial propeller has a sympathetic polar accumulator and disperser in one instrument, which is entirely distinct from any of the devices intended for terrestrial use; also other mechanical adjuncts not needed on land nor water.
All forms of non-sympathetic machinery have, associated with them, conditions of centrifugal force on the ratio of the velocity induced; the diverging power from the center of induction being governed specifically by its gravital weight according to the diameter it occupies in its circle of rotation.
In a sympathetic negative circuit this order of conditions is reversed; for the power of neutral attraction draws the molecules of any mass, no matter what the weight, toward the center of rotation (instead of toward its periphery) according to the intensity of the negative vibration that is induced upon that particular circle.
Our earth, in its routine of revolution, is governed by the same law in every particular; its mass tending toward its centre of neutrality with a force that is equivalent to the character and velocity of its rotation.(3) If its rotation were increased, the tendency of everything associated with it would be increased toward its centre of neutrality on the same ratio. That is, a pound in weight would, under certain conditions of increased velocity, become two pounds in weight. The laws governing the sympathetic rotation of vibratory machinery are the same laws that govern planetary suspension. To those who have not witnessed the operation of my devices, my theories must indeed seem wild; but the laws of nature are the same yesterday today and forever. They know no change; and sympathetic physics, demonstrated mechanically, must triumph over all ridicule and opposition in the end. To contradict the laws governing sympathetic rotation is to contradict the laws governing planetary suspension, as I am prepared to demonstrate.
If the earth were rotated on a shaft by mechanical force, the present condition of its rotations would be reversed; everything on its surface would fly off at a tangent, on the ratio of the velocity induced. The equilibrium of all things would also be changed.
The gyroscope reveals astounding facts in relation to this philosophy, even when operated mechanically. No other known device is so nearly associated with sympathetic vibratory physics.
The vitalization of the disks for the polar and depolar field is established on the ratio of thirds, sixths, and ninths; the ninths being the circuit occupied by the polar field, must represent, in the scale of vitalized focalized intensity, 100 in my system: sixths in the depolar field, or 66 2/3; and in the neutral field, or thirds, 33 1/3. The triplets must represent one true chord of equation. The sympathetic transmitter transfers any degree of intensity desired from zero up to disintegration; all the transfers being made above the line of the first inaudible, as associated with my resonating system of transfer. On the sixths and ninths, in the progressive triple subdivision of the elements (4) of water, the nearest sympathetic approach is made to the high luminous, which is the main sympathetic link to the earth's polar negative envelope, and the one whereby coordination is effected for commercial work. In short, this progressive condition establishes the necessary association between celestial radiation and terrestrial outreach, in regard to controlling the polar negative attractive force in mechanics; whether for aerial navigation or for terrestrial commercial work, in all its multiplied forms.
The atmospheric envelope of our earth owes its activity and its volume entirely to celestial radiating forces.(5) Reception and dispersion are kept up by atomic and interatomic conflict between the dominant and enharmonic currents of the triune polar stream. The harmonic and enharmonic current with the dominant (in the electric stream) by their sympathetic association evolve the energy of matter.
The mechanical proof of the correctness of my theories, in sympathetic or spiritual physics, is so overwhelming in its simplicity that it needs but to be witnessed to convince the most learned or the most simple mind that this system will place both science and commerce on a platform which will elevate each to a level far higher than those they now occupy." [The Operation of the Vibratory Circuit]
"Of all things or conditions of nature, the most remarkable quality is simplicity. Nothing is more simple than are the laws of nature, when once understood." - [Sinclair]. [Scientific Basis and Build of Music, page 33]
Helmholtz falls into a mistake when he says- "The system of scales and modes, and all the network of harmony founded on them, do not seem to rest on any immutable laws of Nature, but are due to the aesthetical principle which is constantly subject to change, according to the progressive development of taste." It is true, indeed, that the ear is the last judge; but the ear is to judge something which it does not create, but simply judges. Nature is the maker of music in its scales and modes. The styles of composition may vary with successive generations, and in the different nations of men; but the scientific basis of music is another thing. It is a thing, belonging to the aesthetic element of our being and our environment; it is under the idea of the beautiful, rather than the idea of the useful or the just; but all these various aspects of our relation to creation have their laws which underlie whatever changes may be fashionable at any period in our practice. If the clang-farbe of a musical tone, that is, its quality or timbre, depends on the number and comparative strength of the partial tones or harmonics of which it is composed, and this is considered to be the great discovery of Helmholtz, it cannot be that the scales and modes are at the caprice of the fickle and varied taste of times and individuals, for these partials are under Nature's mathematical usages, and quite beyond any taste for man's to change. It is these very partials or harmonics brought fully into view as a system, and they lead us back and back till they have brought us to the great all-prevading law of gravitation; it is these very partials, which clothe as an audible halo every musical sound, which constitute the musical system of sounds. [Scientific Basis and Build of Music, page 78]
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 artificial system must not be mixed up. The wonders of Nature's laws in the developments of harmonies, consist in the beautiful adaption of keyed and all other musical instruments to a range commensurate with human powers. The chromatic scale of twelve notes (the thirteenth being the octave) is not the scale of Nature. To construct a musical instrument upon real divisions of musical tones, each of them being in correct ratio with the others, it would be necessary to have a larger number of tones to the octave. In the development of harmonies on the natural system, we trace the perfect adaptation of means to ends, meeting the intricacies of every musical instrument, including that most perfect of all— the human voice. [Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies3, page 17]
Part of your growth is to understand that if the technology that man develops offends or contradicts the Laws of Nature or the Universe, the Universe herself will make it right. So, along with technology, a chain reaction of events is established. If the thinking of the head alone is used to develop methods to meet challenges, the Universe is not being duly consulted, thus the implications rest upon the individual. There is Nature to answer to. If one uses the more harmonious thinking of the Heart in conjunction with the mental faculties, one becomes sensitized to far-reaching effects more keenly, thus avoiding typically unseen pitfalls. Until you feel that you can offer assurance that your technologic advances will not be misused and create more pain, you need to consult your Heart as a guide. By using your head, you engage in a realm of exercise that is an invitation to be altered by another’s thinking and perception of “need”. Are you willing to take on this responsibility? You must be more clever than I, if you answered in the affirmative. [Jesus, Good Heart]
"Make thyself coordinant with the laws of God, with the laws of nature, with the laws of man, and ye will find that thy abilities will mean much." [Cayce 3544-1]
III. The Empress—L'imperatrice "You should before all other things study and understand the sacred laws of Nature. Discern the Father Spirit and Mother Spirit, and recognise the sex aspect of the two breaths, and the soul of their movements; learn how the black female seeks the caresses of the white male, and why the white male does not disdain the dark woman. The white man is Day, or the Sun; and the black woman refers to Night, and the Moon.
It is necessary to know the names and powers of the twelve precious jewels which are included in the crown of gold referred to the Sun, and the names also which are allotted to the chief of the powers of the Moon. You will then require to be familiar with the keys of the Fifty Gates, the secret of the Thirty-two Paths, and the characters of the Seven Spirits.
These Seven Spirits are, Michael of the Sun, Gabriel of the Moon, Samael of Mars, Raphael of Mercury, Zachariel of Jupiter, Anael of Venus, and Orifiel of Saturn. These govern the world in successive order, and the completion of their seven ages of ruling power constitutes a Week of the Time of God." [Eliphas Levi, Transcendental Magic]
14.09 - Brintons Laws of Being
John Worrell Keelys Forty Laws of Sympathetic Vibratory Physics
Keelys Forty Laws
Keelys Laws of Being
law of laws
Laws of Being - Annotated
Laws of Being
Laws of Electrolysis
laws of electromagnetism
Laws of Existence
Laws of Matter and Force
Laws of Music
laws of oscillatory and vibratory motions
laws of quantities and motions
Laws of Ratios
Laws of String Vibration
Laws of Vibration
Newton Laws of Motion
Ramsay - CHAPTER IV - THE FUNDAMENTAL LAWS OF MUSIC
Universal Laws Revealed: Keelys Secrets
Walter Russells Laws