Universal law never befo.., p.34
Universal Law Never Before Revealed, page 34
Speaking of polarity, it is the female polarity or negative attractive that causes densification and then crystallization. As density increases transmission increases and as crystalization increases transmission decreases. It is the male polarity or positive propulsive that lessens density - as density decreases transmission decreases. Positive polarity also increases temperature thus lowering transmissions as well.
Music: A Vibration Analysis Shortcut
by Dale Pond
Attempting to isolate an experiment from influential factors is for the greater part a waste of time and leads to false findings. For instance, is a hard vacuum really empty? It is empty of molecules and atoms but what about photons and electrons and other subtler particles? Because we can see through a vacuum indicates it is full of photons and because we can send and receive radio waves to and from interplanetary probes indicates it is also full of electrons. It is this type of unrealistic and incomplete data that hinders modem science and technology. Another false truth or incomplete paradigm based on incomplete analysis is that aspect of wave or vibration analysis based on isolating frequencies from a complex waveform. Nothing, absolutely nothing, can exist of and by itself anywhere in the universe. How then can a vibration be separated from its fellow vibrations and be taken to be meaningful? As Einstein pointed out the obvious in his Law of Relativity: everything relates to something else and it is this relationship that gives value to each of them.
This principle of relativity is perhaps the single most important discovery Keely1 left us. His laws use this principle as a given fact and not something viewed extraordinarily. If you get no other thought from this article you should get this one: RELATIVITY. Not as Einstein stated: E=MC2 but simply that everything is dependent on everything else and all things can only have value when considered relative to another thing. This principle is embodied in music intervals found throughout Keely's charts and writings. A musical note sounded by itself is simply another vibration. But when a number of perfectly tuned musical notes are sounded together concordant chords, motions up and down, and a whole meaningful host of acoustic phenomena begin to manifest. Musical renditions can play upon human emotions demonstrating a connecting link to human psychology and physiology2. Music can cause inert concert hall walls to vibrate in resonance, armies to march, babies to sleep and lovers to react. Vibrations when set to fixed intervals of frequency and time are indeed powerful forces in our world.
There appeared in the November 1989 issue of Sound Vibration3 a very interesting article on Chladni wave plate modes. The capable author used the latest and best technology in his effort to decipher this intriguing phenomenon. He set out to find the various frequencies and modes of a vibrating square plate.
Approaching his study with an idea of finding the interrelationships in the vibratory activities he found, I have prepared a table below of the actual frequencies and modes as he found them in these plates. I then determined the musical intervals4 of the various modes and frequencies. It is very interesting to see that the frequencies compared one to another all fail very close to known musical intervals (boldface items).
Taking just two modes, "Mode 3" and "Mode 2," we see the difference between these two numbers is only 19/ l00ths greater than a Minor Third. The differences of some of the other numbers are even closer to the comparative musical interval. What this could mean to us as practicing technologists is that if we had 1207 vibrations per second in the Mode 2 pattern and desired to achieve the Mode 3 pattern at 1472 cps all we'd need to know and do is to increase the 1207 cps by a musical third . There would not need to be a complicated mathematical derivation of this new frequency. The art of music would win out in its simplicity. In other words, the right brain simplicity would succeed easily over the left brain complications. Even more significant is the grasp we would weld over a complicated subject. We should know the results even before we complete the experiment. Thus instead of finding a series of unrelated numbers we find a highly relative and organized phenomenon taking place before our very eyes.
This study is very significant in our effort to understand Keely's work and his devices. He used a variety of wave plates in his work most notably circular disks to which are made many references in the literature5. The diagram above shows the square wave plate Mr. Lang used in his experiment. The nodal lines and their relative motions are clearly shown of each mode as are the resultant frequencies. It is assumed the progressive mode generation would be different for circular plates as would be the frequencies.
It must be kept in mind that these musical intervals are the distances between the associated frequencies. An interval is the amount of change (Delta) between the measured frequencies. The frequencies can be set up as algebraic variables set to a given difference between them. It would then be easy to determine the resultant secondary frequencies and modes from this fundamental number by using the decimal values given above. In other words: when given a vibrating plate of these dimensions and characteristics it would be a simply matter to "predict" its vibrational behavior using these musical intervals. An in-depth, time-consuming and expensive analysis would not be required.
Music: A Vibration Analysis Shorthand
and modes from this fundamental number by using the decimal values given above. In other words: when given a vibrating plate of these dimensions and characteristics it would be a simply matter to "predict" its vibrational behavior using these musical intervals. An in-depth, time-consuming and expensive analysis would not be required.
Thus we can see that this premise is accurate in its execution and accurate in the information it gives us. As near as I can tell this process has not been used since Keely developed the process 100 years ago. At this point it is not well understood and the insights gained not yet fully appreciated. I have applied this method to several frequency analysis projects all resulting in formidable insight into that studied. This method may also be considered as a very accurate check on your work. The process is simple and because of its simplicity easily verifiable. It is hoped that those of you now doing scientific investigations will employ this method in your work that it may become more fully developed and comprehended.
It should be noted that this above related process can be successfully applied to any accurately derived series of numbers. A good example is the Fibonnacci number series revealing the reproduction rate of breeding rabbits. This number series is obtained by taking 1 adding it to the next number to derive the third number: 1:1:2:3:5:8:13:... An analysis of these numbers reveals them to be: Unison, Octave, Perfect Fifth, Major Sixth, Minor Sixth ...6
A difficulty exists in using this process however. That is the fact that the empirical musical numbers of the intervals is subject to evaluation at this point. There are as many systems of computing these intervals as there are musical systems. All the books touching on this subject are different from each other in one way or another. The numbers we now have are accurate enough for this type of projection but more work needs to be done in sorting them out.
Bibliography
1 Keely and His Discoveries Clara Jessup Bloomfield-Moore Delta Spectrum Research
P. O. Box 316 Valentine, Nebraska 69201 (402) 376-1523
2 The Science of Musical Sounds Dayton Clarence Miller, D.Sc.
The Macmillan Company New York, 1926
3 Sound Vibration magazine Acoustical Publications, Inc.
27101 E. Oviau Rd.
P.O. Box 40416 Bay Village, OH 44140 (216) 835-0101
4 Complete list of these intervals can be found in:
The Journal of Sympathetic Vibratory Physics
Volume V, Issue 2, page 16 Delta Spectrum Research P. O. Box 316 Valentine, Nebraska 69201 (402) 376-1523
5 A complete catalog can be ordered from:
Delta Spectrum Research P. O. Box 316 Valentine, Nebraska 69201 (402) 376-1523
6 The Journal of Sympathetic Vibratory Physics
Volume II, Issue 6, page 4, March, 1987
Delta Spectrum Research
P. O. Box 316
Valentine, Nebraska 69201
(402) 376-1523
Keely, much older in this photo, seated at his final motor. This machine operates via amplified gluonic bonding/repulsing forces as near as we can understand Keely’s explanations. See other photo on page 145.
Scale Of The Forces In Octaves
by John Ernst Worrell Keely
"First octave (unity of sound) is approximately the lowest frequency capable of producing waves of rarefaction and condensation in the air. The atomic aggregate oscillating at this pitch can be experimentally determined, and the aggregate vibrating at a pitch one octave higher will have a mass lying between 1/8 and the cube root of the mass of the first mentioned aggregate; the exact relation under varying conditions of gravity, magnetic saturation, and pressure, can be determined only by accurate measurements. But assuming a body of a size represented by x, with a pitch represented by 1024 per second, then a pitch of 2048 per second will be produced by a body having a volume of some mean between 1/8 of x and the cube root of x. By accurately determining the pitch of a volume of any metallic sphere capable of oscillating at the pitch of, e.g., the eleventh octave of sonity (1024 per second), under normal conditions of gravity, pressure, magnetism, and then successively diminishing its size by 1/8 of itself, we get the successive octaves of pitches higher and higher in period-frequency until we pass the domain of sonity and enter the domain of sono-thermity. The point where the one form of energy merges into the other lies approximately at the twenty-first octave, and this pitch also marks the point where the air is no longer capable of vibrating at that pitch in waves of transverse form. The first gamut of 21 1/2 octaves consists of three forms; viz. sonity, sound, and sonism. The following is a tabulation of the pitches of sonity in octaves from one vibration per second to where the next form of energy commences."
Fraunhofer Lines
"The Fraunhofer lines represent the silences, or the places of invisible pitches between the luminous pitches of rad-energy. They cannot therefore be conveniently used as data from which to measure the fundamental pitches of the atoms undergoing examination. When a series of sound-pencils are projected upon a screen, they undergo a combination of overtones and under-tones at the point of contact producing tones of a pitch either too low to be recognized by the human ear or too high to be called sound. The Fraunhofer lines are not therefore simply silences, but may be the higher invisible ultra-actinic rays. The fact is that some of the Fraunhofer lines are capable of producing a variety of chemical actions, when reflected and focalized. Observation thus far shows that these lines do not bear any definite ascertainable relation to the pitches producing them, but that they do bear some uniform relation from which the fundamental pitch could be determined cannot be doubted. The relation of the Fraunhofer lines to the luminous spectra are undoubtedly such as would enable one to compute the creative pitches producing them; but as yet no such determinations have been made. The accurate method of determining them is from the mutual relation of the harmonic pitches of the luminous spectra.
A table representing the harmonic overtones and undertones of simple vibrations, and the resultant harmonics of associate vibrations, will be of great convenience in making these determinations.
The natural unity of sonity lies above 1 per second, and below 2 per second, and for this reason the numbering of the octaves is accomplished by calling the end of the first octave No. 1 instead of No. 2. At the end of the twenty-first octave sono-thermity commences, and the bodies oscillating at this pitch are either correspondingly smaller by 1/8 than the preceding sonitic aggregates; or larger aggregates undergo vibration in submultiple portions of themselves. In either case the originating oscillation of sono-thermic pitch is that of an isolated or localized aggregation. This first class of forces, or first double gamut, is included within the range of about forty-three octaves. The bodies of the translatory pendulous motion and produce waves of the transverse form, while the bodies of the second gamut undergo internal nodal vibration and produce waves of a longitudinal form. Beyond the upper limit of the forty-third octave we reach bodies of a size (determined by the same method as in sonity) which we know to be about the size of an atom as approximately determined by various physicists to lie between eleven and twelve micromillimeters (hydrogen molecules), which gives the highest pitch of the known atoms, and from which can be roughly estimated the pitch of the heavier atoms. Starting with the approximate pitch of hydrogen as determined from its associate spectrum with oxygen, and working back to the size of the largest atoms, we again reach a pitch corresponding to the highest sono-thermic vibrations. Starting with the known temperature and pitch of a heated body, emitting definite rays of light, and working back to absolute zero, we again reach the pitch of the sono-thermic limit."
FIRST CLASS Scale of Forces in Octaves Sonity, Sound, and Sonism begins
13th 8.192 Keynote Etheric Chord
12.000 Third Octave Heat (highest rate of)
14.000 Vibro-Atomic
14th 16,384 Lowest Molecular Vibration
20.000 Harmonic Thirds
15th 32.768 Disintegration of Water
42,800
16th 65,536
17th 131,072 TYans. of Odor in Molecules
220.000 Sympathetic Negative
18th 262,144 First Inter-Atomic Lowest
300.000 Full Harmonic Chord
19th 524,288 First Inter-Atomic Highest
780.000 Full Harmonic Chord
20th 1,048.576
1.620.000 Major 5th
21st 2.097.152
Major 5th 3.145.728 Ninths
Sono-thermity, Sono-therm, Sono-thermism
22nd 4.194.304
23rd 8,388,606
24th 16,777,216
25th 33 554 432
26th 67.108.864 Highest Molecular Vibration
100.000.000 Harmonic 3rds
27th 134,217.728
28th 268,435,456 Highest Inter-Molecular
300.000.000 Enharmonic 6ths Atmospheric
519.655,633 Highest made in air
29th 536,870,912 Atomic Vibration
900.000.000 Diatonic 9ths
30th 1,073,741,824
31st 2,147,483.648
32nd 4.294,967.296 Highest Etheric
8.100.000.000 Dominant Etheric 6ths
33rd 8,589.934.592
34th 17,179.869,184 Highest Inter-Etheric
24.300.000.000 Inter-Etheric 9ths
35th 34,359.738,368
36th 68.719.476,736
37th 137,438,953,472
38th 274,877,906,944
39th 549,755,813,888
40th 1,099.511.627,776
41st 2,199,023,255,552
42nd 4,398,046,511,104
SECOND CLASS Thermism, Rad-energy, Chemism
43rd 8,796,093,022,208 Dark heat begins
44th 17,592,186,044,416
45th 35,184,372,088.832
46th 70,368,744,177,664 Chemism begins
47th 140,737,488,355,328 Infrared (Light begins)
48th 281,474,976,710,656 Major 4th (above)
49th 562,949,953,421,312 Below Major 4th
50th 1,125.899,906,842,624 (Light ends)
51st 2,251,799.813.685.248
52nd 4,503.599,627,370,496 Limit Actinic Rays
53rd 9,007,199,254,740,992
54th 10,814,398,509,481.984
55th 36,028,797,018,963,968 Chemism ends
56th 72,057,594,037,927,936
57th 144,115,188,075,855,872 Full Ninths
156.057.552.198.220.000
58th 288,230,376,151,711,744
59th 576,460,752,303,423,488
60th 1,152,921.504,606,846,976
61st 2,305,843.009,213,693,952
62nd 4,611.686.018,427,387,904
63rd 9,223,372.036,854,775,808
64th 18,446,744,073,709,551,616 Major 5th
Major 5th 27,670,116,110,564.327,424 Limit of thermism
Electricity, Induction, Magnetism
65th 36.893.488.147.419.103,232
66th 73.786.976.295.838.206.464
67th 147.573.952.591.676,413.928
68th 295.147.905,183.352,827,856 Copper-zinc couple
69th 590.295.810.366,705.655.712
70th 1.180.591.620.733.411,311.424
71st 2,361,183.241.466.822.622.848 50.000 volts
72nd 4,722,366.482.933,645.245.696
73rd 9.444.732.965.867.290.491.392
74th 18,889,465,931,745,580,982.784
75th 37.778,931,863.469.161.965.568
76th 75.557,863,726,938.323.931.136
77th 151.115.727.453.875.647.862.772
78th 302.231.454.907.753.295.724.544
79th 604.462.909.815,506.591.449.088
80th 1.208.925.819.631.013.182.898.176
81st 2.417.851.639.762.026.365.796.352
82nd 4,825,703,278,524,052,731.592.702
83rd 9.671.406.557,048,105,463,185.408
84th 19.342.813.114.096,210,926,370.816
85th 38.685.626.228.192,421,852.741.632
86th 77.361.252.456.384.843.705.483.204
The limit of electricity and the beginning of atomolity.
Induction, Sympathy Resonance
by Dale Pond
Throughout electrical and electronic terminology there is constant reference to the function and use of induction as a means of attaining certain effects in electrical circuit applications. Induction is a curious thing: It is "The act or process of causing.'(1) When it is desired to cause or to induce a certain effect or to convey what is found in one object or system into another this process of induction used. It has occured to this author that induction and sympathetic vibrations are sometimes confused with one another as well as that other concept known as resonance. Perhaps we can explore these three concepts thereby gaining a new and more accurate perspective.
