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overunity

"A term used to indicate that the ratio of output power to input power is greater than one." (Fox, Hal; Discussion Topics for Models and Theory Workshop; Fusion Information Center, Inc. P. O. Box 58639 Salt Lake City, UT 84158) see coefficient of performance

"Calling the intensity of the fundamental tone, in each case, 100, that of the second harmonic, when the string was simply pulled aside at a point 1/7th of its length from its end and then liberated, was found to be 56.1, or a little more than one-half. When the string was struck with the hammer of a pianoforte, whose contact with the string endured for 3/7ths of the period of vibration of the fundamental tone, the intensity of the same tone was 9. In this case the second harmonic was nearly quenched. When, however, the duration of contact was diminished to 3/20ths of the period of the fundamental, the intensity of the harmonic rose to 357; While, when the string was sharply struck with a very hard hammer, the intensity mounted to 505, or to more than quintuple that of the fundamental. (OVERUNITY X 5)

"Pianoforte manufacturers have found that the most pleasing tone is excited by the middle strings of their instruments, when the point against which the hammer strikes is from 1/7th to 1/9th of the length of the wire from its extremity. Why should this be the case? Helmhotz has given the answer. Up to the tones which require these points as nodes the overtones all form chords with the fundamental; but the sixth and eighth overtones of the wire do not enter into such chords; they are dissonant tones, and hence the desirability of doing away with them. This is accomplished by making the point at which a node is required that on which the hammer falls. The possibility of the tone forming is thereby shut out, and its injurious effect is avoided." (Tyndall, John; Sound)

“Worlds and planets are the products of the pre-existing cosmic ether or space, and not the ether the products of the planets! The same fundamental law evidently exists in all departments of nature, manifesting itself differently according to the difference of conditions under which it acts. Universal forces are bound into forms, and the forms dissolved into forces. Every form, on giving up its ghost, renders to the universal storehouse that which has been entombed in the form, but no more; in the same sense as steam, cooled off into water and frozen into an icicle, will, if heated, produce the same amount of heat again. The universal forces exist not merely in the form, but also in the universal storehouse in nature. By means of a glass lens we may collect the heat which exists in the light of the sun-rays and set a piece of wood on fire. No heat exists in the wood; it is merely a certain motion of the ether, which has been latent, and which is rendered free by the process of burning. As in heat, so in sound. No sound exists in a fiddle; it is the ether in the atmosphere which is transformed into vibration of sound by the instrumentality of the fiddle. No light exists in the fire; it is merely the ether which, by the process of combustion, is transformed into certain vibrations which ultimately produce the phenomenon called light. No magnetism exists in iron; but ether, in a certain state of vibration which we call magnetic, acts through the instrumentality of the iron. No life is produced by a vegetable or animal organism; but they are instruments through which the universal element may manifest itself as life. No thought is created with the brain; but the brain is an instrument through which the universal mind operates. No love, will, faith, or any other spiritual power is created by the soul; but the soul is an organism through which these eternal and self-existent powers may become manifest. There is before me a little electrical instrument, invented by a well-known Austrian inventor, which collects and produces electricity directly from the ether of the atmosphere without any friction of solid corporeal substances and without any chemical agency. Moreover, the amount of electricity produced by it is far greater than that produced by a great engine with friction; a continuous stream of electric fire proceeds from it five to seven inches in length. It clearly proves that the electricity does not reside in the substance by means of which it is produced, but in the ether contained in the atmosphere, from which it is collected by means of the instrument and rendered perceptible to our senses. It also shows that electricity (i.e., the ether in that state of atomic vibration which we call electricity; as this is Keely's definition of electricity, it should not be attributed to Hartmann) “is something substantial, for it produces an electric gush of wind similar to the vapour produced by an atomiser; or still more resembling the cold gushes known to the spiritualist, and which often occur at the beginning of some so-called spiritual manifestation. ”If we had any means to induce certain vibrations of ether in the air, or in the ether of space, by producing in them some substance able to communicate them, to the ether of space, we might set the whole atmosphere, or even all the ether of space, into certain vibrations, and exercise a power whose limits cannot be estimated by our present comprehension.“ On the material plane we can only deal with those powers which we can insulate or store up in a form. We can store up heat, light, electricity, magnetism, and motion; but we cannot store up ether in its original form, because it pervades all known substances. There is nothing which offers any resistance to it. We can, therefore, deal with ether only when it becomes manifest to us through the instrumentality of a substance or form; that is to say, we can deal with it when transformed into heat, electricity, etc. Then it has entered into a state which renders it capable to be insulated by certain substances which offer resistance to it. We must, therefore, conduct our physical experiment with ether stored up in material forms. Everybody knows that a note struck upon an instrument will produce sound in a correspondingly attuned instrument in its vicinity. If connected with a tuning fork, it will produce a corresponding sound in the latter; and if connected with a thousand such tuning forks, it will make all the thousand sound, and produce a noise far greater than the original sound, without the latter becoming any weaker for it. Here, then, is an augmentation or multiplication of power, as it has been called by the ancient Rosicrucians, while modern scientists have called it the law of induction. If we had any means to transform sound again into mechanical motion, we would have a thousand-fold multiplication of mechanical motion. It would be presumptuous to say that it will not be as easy for the scientist of the future to transform sound into mechanical motion, as it is for the scientist of the present to transform heat into electricity. Perhaps Mr. Keely has already solved the problem. There is a fair prospect that in the very near future, we shall have, in his ethereal force, a power far surpassing that of steam or electricity. Nor does the idea seem to be Utopian if we remember that modern science heretofore only knew the law of the conservation of energy; while to the scientist of the future, the law of the augmentation of energy which was known to the Rosicrucians will be unveiled. As the age which has passed away has been the age of steam, the coming era will be the age of induction. There will be a universal rising up of lower vibrations into higher ones, in the realm of motion, emotion, and thought. Mr. Keely will, perhaps, transform sound into mechanical motion by applying the law of augmentation and multiplication of force known to the ancient Rosicrucians; and we will apply the same law in the realm of thought, and induce people to think. Thus matter will become more subject to the action of the finer forces of nature, and the minds of men will become less gross and easier to be penetrated by the light of Divine wisdom. All this has been predicted eighty-eight years ago, at the beginning of the century.” Keelys Secrets - Part 2 - One Phase of Keelys Discovery in Its Relation to the Cure of Disease

See Also

1.23 - Power of Harmonics through Summation Tones
3.04 - Power Accumulation via Fibonacci-like Patterns
Cavitation
Continuous Motion
Exchanging Time for Power at Center or North
Figure 4.2 - Russell Directions of Power Accumulation and Dispersion
Figure 12.01 - Russells 4 Power Centered Scale
Free Energy
Heaviside energy flow component
Heaviside Component
Karl Kellner
Keely - Electricity from Space
Keelys Secrets - Part 2 - One Phase of Keelys Discovery in Its Relation to the Cure of Disease
Integrating Power at Center or North
Monochord
Perpetual Motion
Scalar
Scalar Potential
Sound Power
Tesla - Electricity from Space

Page last modified on Monday 25 of November, 2013 02:40:04 MST

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