Sympathetic Vibratory Physics | cycle (original) (raw)

noun: a series of events that happen again and again in the same order or at the same times
noun: a set of things that a machine does as part of a process
noun: a set of poems, songs, or pieces of music on a particular subject
noun: a single complete execution of a periodically repeated phenomenon ("A year constitutes a cycle of the seasons")
noun: a periodically repeated sequence of events ("A cycle of reprisal and retaliation")
noun: a series of poems or songs on the same theme ("Schubert's song cycles")
noun: an interval during which a recurring sequence of events occurs ("The neverending cycle of the seasons")
noun: a wheeled vehicle that has two wheels and is moved by foot pedals
noun: the unit of ; one Hertz has a interval of one second
verb: pass through a cycle ("This machine automatically cycles")
verb: cause to go through a recurring sequence ("Cycle the laundry in this washing program")
verb: recur in repeating sequences

"If all cosmical action is cyclical, matter, when existing in the ether, must ultimately tend to dissolve into pure ether again, for, if the law of creation is as a cycle, in which, after and as its fruit, the last term gives the first, then has he grounds for his that in structure is necessary to the segregation of nervous matter, and the of a "myo-neuro-cerebral system" and that ether and matter, after developing a , as the mother and nurse of a soul or monad of a higher than the merely element, through or by this , complete the cycle of the of nature, and eventually touch upon the spiritual world again and contribute to it. This true , the ether, claims to ... liberate by vibratory machinery as the of a motive power, which he calls "sympathetic negative attraction." [Snell Manuscript - The Book, page 2] [cosmical action]

When Keely's discovery has been made known to scientists, a new field of research will be opened up in the realm of Philosophy, where all , , and truths are correlated; for Philosophy has been well defined by as the of that human thought which contains all human knowledges. He who possesses the structure of philosophic wisdom built up of all knowledges - grand and sublime - has a mental abode wherein to dwell which other men have not. Dr. says:- "The nearer we to the of being and of , the more magical must everything inevitably become, for that is pure volition. And pure volition, as a cause, is precisely what is meant by ; for by is merely meant a mode of producing a without appliances - that is, without that seeming continuity of resisting parts and that which satisfy our muscular and our , and bring the into the of what we call 'the natural' - that is, the of the , the gravitating, the into which the vis inertiae is alone admitted." In 's , as in Dr. 's "Sketch of a Philosophy," the of creation is not regarded as a of all in one , which is the popular , but as a cycle in which, after and as its fruit, the last gives again the first. Herein is found the by which the law of continuity is maintained throughout, and the cycle of things is made to be complete: - the which is missing in the popular of the day, with this very serious , that, to keep the break out of sight, the entire of spirit and the world is ignored or denied altogether." [The Fountain Head of Force]

"The of creation is not regarded in this philosophy as a theory of development all in one direction; but as a cycle in which, after development, and as its fruit, the last term gives again the first. Herein is found the link by which the law of continuity is maintained throughout - the link which is missing in the popular science of the day; with this very serious consequence that, to keep the break out of sight, the entire doctrine of spirit and the spiritual world is ignored or altogether denied". [True Science]

"Science admits that nature works with dual force, though at she is a . " is one eternal cycle." Keely's discoveries prove that the of the Trinity should be set down as an established of - the Trinity of force. All nature's sympathetic streams - , , and magnetic - are made up of triple currents. The ancients understood this in a far deeper sense than modern has construed it. The great and universal Trinity of cause, and matter - or of will, thought and - was known to the Rosicrucians as prima materia. states that each of these three is also the other two; for, as nothing can possibly exist without cause, matter and energy - that is, spirit, matter and soul (the ultimate cause of being that it exists), we may therefore look upon all forms of as being the of the universal or Divine will operating upon and through the ether, as the skilled artificer uses his tools to accomplish his designs; making the in all ." [Bloomfield-Moore, More Science]

"To aid in making such new thinking clear we will endeavor to express our thoughts by using the language of diagrams and familiar examples, which we will confine within one cycle of the electric current in principle. In thus confining our description of this new thinking within the demonstrable effects within one cycle of the electric current we sincerely hope that future thinking and reasoning will have a better basis upon which to form conclusions, which are not affected by the illusions of motion, that have for so long, and so disastrously, affected human reasoning." [Atomic Suicide, page 286-287]

"The universe of matter is a registration of the energy expended by in the effort of thinking. The exact energy of the of thinking is registered in the electro-positive charging systems, and the of the is registered in the electro-negative discharging systems. The systems are electrically dominated, centripetally closing, contracting systems. The systems are magnetically dominated, centrifugally opening, expanding systems. The low potential speed-time dimension of energy of the highest octave is gradually accumulated into the high potential power-time dimension of the fifth octave. When these two opposing dimensions equalize in the tenth octave the cycle is completed and begins again." [Figure 12.11 - Russells Locked Potential Full Ten Octave Gamut]

THE OCTAVE NUMBERS
Charging systems are positive systems. Positive systems are male systems. Male systems are 1+2+ & 3+. Discharging systems are negative systems. Negative systems are female systems. Female systems are 1-2- & 3-. Number four is equally a charging system and a discharging system. It is a bi-sexual system. It is . As the magnetic orbit of 4 is divided into two separate and opposing orbits, this maximum potential shall be doubly numbered as 4‡.
Two opposed tones = one .
Four units = one octave
Ten octaves = one cycle
+ THIS SYMBOL MEANS POSITIVE OR MALE.
- THIS SYMBOL MEANS NEGATIVE OR FEMALE.
‡ THIS SYMBOL MEANS EQUALLY MALE-FEMALE.
= THIS SYMBOL MEANS NEGATION. [Octave Numbers]

[7] To give a greater understanding of events at , that ancient Egyptian city in the Nile delta, The Secret Doctrine by H P Blavatsky relates: "...And how little could tell is confessed by himself when speaking of a mysterious tomb of an Initiate at , in the precinct of . There, he says 'behind the chapel is the tomb of One, whose name I consider it impious to divulge... In the enclosure there are large obelisks and there is a lake near, surrounded with a stone wall in a circle. In this lake they perform, by night, that person's adventures, which they call mysteries. It is well to know that no was so well-preserved and so with the ancients as that of their cycles and computations. From the Egyptians down to the it was held as the highest to divulge anything pertaining to the correct measure of time. It was for divulging the secrets of the Gods, that was plunged into the infernal regions; the keepers of the Sybilline Books were threatened with the death for revealing a word of them.' The Secret Doctrine, Vol II, page 396. While not directly related to the Seven Veils of Sais, the following quotation from The Secret Doctrine, Vol. III, p.132, may afford further insight into what was hidden behind them. "An impenetrable of was thrown over the Occult and Religious Mysteries, after the of the last remnant of the Atlantean Race, some 12,000 years ago, lest they should be shared by the unworthy, and so desecrated. Of these Sciences several have now become exoteric — such as , for instance, in its purely mathematical and physical aspect." Ed. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

Ramsay
"The ratio of 2:3 twelve times, in Fifths, is so near the ratio of 1:2 seven times, in Octaves, as to allow this cycle of the mathematical scales to be closed without losing any of its vitality. The reason why there are thirteen instead " [Scientific Basis and Build of Music, page 29]

The mathematical scales, if followed out regardless of other laws which rule in music, would read like a chapter in Astronomy. They would lead us on like the cycles of the , for example. In 19 years we have 235 moons; but the moon by that time is an hour and a-half fast. In 16 such cycles, or about 300 years, the moon is about a day fast; this, of course, is speaking roughly. This is the way seemingly through all the astronomical realm of creation. And had we only the mathematical ratios used in generating the notes of the scale as the sole law of music, we should be led off in the same way. And were we to follow up into the inaudible region of vibrations, we should possibly find ourselves where light, and heat, and chemical elective motions and electric currents are playing their unheard harmonies; or into the seemingly still region of solid substances, where an almost infinite tremor of vibrations is balancing the ultimate elements of the world. in this case would seem like some passing meteor coming in from among the silent oscillations of the planetary bodies of the solar system, and flashing past with its charming sound effects, and leaving us again to pass into the higher silence of those subtle vibrations to which we have referred, having no infolding upon itself, no systematic limit, no horizon. But music is not such a passing thing. Between the high silence of these intense vibrations, and the low silence of oscillating pendulums and revolving planets, has constituted an audible of vibrations, in which is placed a definite limit of systematic sounds; seven octaves are carried like a measuring line round twelve fifths; and and unite in placing a horizon for the musical world, and music comes [Scientific Basis and Build of Music, page 39]

There are very few things in music which have not change written upon them. TWELVE and THREE, however, are stable. There is nothing that will disturb the propriety of the circle of twelve fifths, as in the tempered system of music; for, although the mathematical-intonation indulges in thirteen keys, the is simply the first of a new cycle of twelve.
The working model of three fifths is that which possesses musical life-powers; and these life-powers go with it wherever it goes, and they go with nothing else. [Scientific Basis and Build of Music, page 74]

The middle portion with the and lines are the chromatic chords, as it were 'd. They are shown 5-fold, and have their form from the right side, and their form from the left. In the column on the right they are seen in resolution, in their primary and fullest manner, with the 12 minors. The reason why there are 13 scales, though called the 12, is that F# is one scale and G? another on the side; and D# and E? separated the same way on the side. Twelve, however, is the natural for the mathematical scales as well as the tempered ones. But as the mathematical scales roll on in cycles, F# is mathematically the first of a new cycle, and all the notes of the scale of F# are a comma and the apotome minor higher than G?. And so also it is on the side, D# is a comma and the higher than E?. These two thirteenth keys are therefore simply a repetition of the two first; a fourteenth would be a repetition of the second; and so on all through till a second cycle of would be completed; and the to it would be just the first of a third cycle a comma and the apotome minor higher than the second, and so on ad infinitum. In the tempered scales F# and G? on the side are made one; and D# and E? on the side the same; and the circle of the twelve is closed. This is the explanation of the in any of the plates being called . The lines join identical notes with diverse names. The lines thread the rising which constitute the chromatic chords under diverse names, and these chords are then seen in , or the and sides opposites. The system of the Secondary and Tertiary manner of resolution might be shown in the same way, thus exhibiting 72 resolutions into Tonic chords. But the Chromatic chord can also be used to to the Subdominant and Dominant chords of each of these 24 keys, which will exhibit 48 more chromatic resolutions; and resolving into the 48 chords in the primary, secondary, and tertiary manners, will make 144 resolutions, which with 72 above make 216 resolutions. These have been worked out by our author in the Common Notation, in a variety of positions and inversions, and may be published, perhaps, in a second edition of this work, or in a practical work by themselves. [Scientific Basis and Build of Music, page 115]

This diagram shows pictorially the open in the spiral of the mathematical scales, in which, if written in sharps only, B# is seen a little, that is, a comma and the apotome minor, in advance of C, and as the first scale of the new cycle; for it is a of 's beautiful steps to call it a thirteenth scale of this , since every scale in the is 31 commas in advance of the preceding, whereas B# is only one comma and a small in advance of C. If the scales be written in ?s and #s for convenience of signature, then G# is seen a comma and in advance of A?; while the whole circle of keys advancing by fifths are each 31 commas in advance of the preceding. We may therefore cast utterly from us the of there being more than twelve mathematical scales, and view the so-called as simply the first of a new round of the endless spiral of scales. There is, however, in this note a with the strange device, "," for it leads us onward into ever-advancing regions of vibrations, and would at last bring us to the ultimate and dynamic structure of the world. The tempered system of 12 keys, as in Fig. 1, is by causing the G# and A? to and be one, as the two D's are already literally one by 's own doing. [Scientific Basis and Build of Music, page 118]