?noun: the way in which two or more people or things are connected with or involve each other
?noun: the way in which two or more people or groups behave toward and are involved with each other
Keely
"If matter without form preceded creation of energy, it was only when life was given that the atoms became grouped in individualities through their intrinsic properties. The hypothesis of Macvicar and demonstrations of Keely pivot on the law of assimilation "providing at once for the free and the forced ... for mind and matter, and placing them ... in relationship." This law is summarized as "Every individualized object ... assimilates itself to itself in successive moments of its existence and all objects tend to assimilate one another." In its own nature, matter is wholly plastic or devoid of fixed innate properties wholly assimilative - both with respect to its own portions and to surrounding objects, as well as its position in space and insofar as it is capable, to the mind of its Creator. In the ether are constructed groups of ethereal elements generating material elements." [Snell Manuscript - The Book, page 2]
Hughes
Throughout the scheme seven tones and seven colours develope in every harmony. In the relationship between tones and colours the seven may be con- [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]
Christ Returns - Speaks His Truth
"I was also shown the LAWS OF EXISTENCE controlling the human ability to create new circumstances and environment, relationships, achievement or failure, prosperity or poverty.
- Whatever man profoundly BELIEVES himself to be, good or bad, that will he become.
- Whatever man FEARS others will do to him, so will they do.
- Whatever man HOPES that others will do to him, he must first do to them, since he is then creating a 'consciousness pattern' which will return to bless him to the extent he has blest others.
- Whatever disease man DREADS so will he become prey to it for he will have created a 'consciousness pattern' of the very thing he least wants to experience.
- Whatever is sent forth from man's mind and heart - returns to him in due course in some form or another, but remember that like always breeds like. Strongly emotional thoughts are 'consciousness seeds' planted within a man's own orbit of consciousness. These will grow, bearing a like harvest for his reaping.
These are the fruits of free will." [Christ Returns - Speaks His Truth, Letter 1]
This plate is a representation of the area of a scale; the major scale, when viewed with the large hemisphere, lowest; the minor when viewed the reverse way. It is here pictorially shown that major and minor does not mean larger and smaller, for both modes occupy the same area, and have in their structure the same intervals, though standing in a different order. It is this difference in structural arrangement of the intervals which characterizes the one as masculine and the other as feminine, which are much preferable to the major and minor as distinctive names for the two modes. Each scale, in both its modes, has three Fifths - subdominant, tonic, and dominant. The middle fifth is the tonic, and its lowest note the key-note of the scale, or of any composition written in this scale. The 53 commas of the Octave are variously allotted in its seven notes - 3 of them have 9 commas, 2 have 8, and 2 have 5. The area of the scale, however, has much more than the octave; it is two octaves, all save the minor third D-F, and has 93 commas. This is the area alike of masculine and feminine modes. The two modes are here shown as directly related, as we might figuratively say, in their marriage relation. The law of Duality, which always emerges when the two modes are seen in their relationship, is here illustrated, and the dual notes are indicated by oblique lines across the pairs. [Scientific Basis and Build of Music, page 106]
In the major system, when the tonic chord follows the subdominant one, there is one semitonic progression to the middle of the tonic, and one note in common with the root, so these two chords are linked together in different ways. When the tonic chord follows the dominant one, there is one semitonic progression to the root of the tonic, and one note in common with its top, so these two chords also are linked together in two different ways. When the tonic chord follows the compound dominant, i.e., the dominant seventh, there are two semitonic progressions, one to the middle and one to the root, and one note in common with its top, so these two are linked together in the same two ways; but the semitonic progression being double gives this resolution great urgency. And now we come to the two chords, the subdominant and dominant, which have no note in common, and must, when they succeed each other, be helped to come together. Nature teaches us how this is to be done by a process of borrowing and lending which will establish between them a similar relationship to that which keeps the continuity of the other chords in succession. We have seen that the top of the subdominant and the root of the tonic are a note in common to these chords, and so the top of the tonic and the root of the dominant also are a note possessed in common by these two chords. In like manner in this disjunct part, when the dominant follows the subdominant, the root of the subdominant is lent to the top of the dominant, and thus they come to have a note in common. The top of the [Scientific Basis and Build of Music, page 111]
See Also