noun: a statement explaining what someone can or cannot do in a particular system, game, or situation
noun: a statement or principle that describes the ways in which the words in a language can be used and combined
Keely
"All the forces of nature, writes Keely, proceed from the one governing force; the source of all life, of all energy. These sympathetic flows, or streams of force, each consists of three currents, harmonic, enharmonic, and dominant; this classification governing all orders of positive and negative radiation. The sympathetic flow called "Animal Magnetism" is the transmissive link of sympathy in the fourth, or interatomic, subdivision of matter. It is the most intricate of problems to treat philosophically; isolated as it is from all approach by any of the prescribed rules in "the orthodox scheme of physics." It turns upon the interchangeable subdivision of interatomic acting agency, or the force of the mind. The action of this etheric flow, in substance of all kinds, is according to the character of the molecular interferences which exist in the volume of their atomic groupings. These interferences proceed from some description of atomic chemical nature, which tend to vary the uniformity of structure in the atomic triplets of each molecule. If these groupings were absolutely uniform there would be but one substance in nature, and all beings inhabiting this globe would be simultaneously impressed with the same feelings and actuated by the same desires; but nature has produced unlimited variety. Since, as yet, has not made so much as an introductory attempt to solve this problem of "the mind flow," but has left it with the hosts of impostors, who always beset any field that trenches on the land of marvel." [Vibratory Physics - The Connecting Link between Mind and Matter]
Schauberger
No words suffice to castigate what nature-alienated individuals have perpetrated on their unsuspecting fellow human beings through ignorance or their desire to rule. There is only one thing to do: To point out the developments that we are experiencing today, namely the biological consequences of the disruption of Nature's water-balance through totally unnatural work practices. As a result, all those things, which that something that accompanies us faithfully and unselfishly from the cradle to the grave, requires for its coming into being and its original movement, will now have to travel the road to ruin. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]
destructive force. That is to say, there is no machine, no transport system, temperature or light generating plant, which does not make use of developmentally dangerous axial->radial impulses. The same applies to all the operational procedures of forestry, agriculture, water and energy supply. All the watercourses and drinking-water plants are being systematically destroyed not only by this development-disrupting motion, which activates electrolytic dissociative processes, but also by official rules and regulations. And if this were not enough, this nation-destroying motion and way of thinking is being enforced by law! [The Energy Evolution - Harnessing Free Energy from Nature, Magnetism is the Function of Levitism and Electricism is the Function of Gravitism]
Ramsay
Fig. 4 is a setting of the minor and the major chord-scales, showing how they stand linked by notes in common in their direct sequence from dominant minor to dominant major. To each of the six chords is placed the first chromatic chord, showing how it resolves in its three-fold manner by 1, 2, and 3 semitonic progressions in each mode, and by 1 and 2 notes in common variously in each mode; and here again the law of duality is seen in its always symmetrical adjustments. Duality, when once clearly and familiarly come into possession of musicians, will be sure to become an operative rule and test-agent in composition. [Scientific Basis and Build of Music, page 121]
The curved lines enclose the three chords of the major mode of the scale, with the ratio-numbers for the vibration in their simplest expression, counted, in the usual way in this work, from F1, the root of the major subdominant. The chords stand in their genetic position of F F C A, that is F1 by 2, 3, and 5; and so with the other two. The proportions for a set of ten pendulums are then placed in file with the ten notes from 1 to 1/2025 part of 1. Of course the one may be any length to begin with, but the proportions rule the scale after that. [Scientific Basis and Build of Music, page 121]
Hughes
Of course, true Art cannot be opposed to Nature, although all the rules of the musician are not the facts of Nature. Music, pure, natural, and harmonical, in the true and evident sense of the term, is the division of any key-note, or starting-point, into its integral and ultimate parts, and the descending divisions will always answer to the ascending, having reference to a general whole. The essence and mystery in the development of harmonies consist in the fact that every key-note, or unit, is a nucleus including the past, the present, and the future, having in itself an inherent power, with a tendency to expand and contract. In the natural system, as each series rises, its contents expand and fall back to the original limit from any point ascending or descending; we cannot perceive finality in any ultimate; every tone is related to higher and lower tones, and must be a part of an organised whole. It is well known how deeply the late Sir John Herschel studied this subject; and it was his opinion that there was some principle in the science of music which had yet to be discovered.[Harmonies of Tones and Colours, The Method of Development or Creation of Harmonies2, page 16]
The diagram begins with C, the third space of the treble clef, as being more convenient to write than C, the lowest note in the bass clef. The life of musical sounds rising from a hidden fountain of life is shown by the chasms of keyed instruments between B and C, and E and F; their great use will be strikingly manifest as the developments proceed. The fundamental key-note C and its root F rise from the chasms. B, the twelfth key-note, and E, its root, sound the octave higher of the fountain B. The generation of harmonies is by one law a simple mode of difference. Each major major key-note and its tones embrace the eighteen tones of keyed instruments which all lie in order for use. The power and extent of each are complete in itself, rising and developing, not from any inherent property in matter, but from the life communicated to matter. In the whole process of harmony there are limits, and yet it is illimitable. Its laws compel each key-note to follow certain rules within certain bounds; each separate key-note, being the fountain of its own system, has its own point of rest, and series after series rise and enlarge, or fall and diminish infinitely. [Harmonies of Tones and Colours, Diagram I - The Eighteen Tones of Keyed Instruments, page 22a]
See Also