Indig points represent the degree of duality of mated polar forces. 1-1+ combine in least polarity while 4+4+ where polarity or duality is at its maximum tension in opposition. Combined with Russell's Indig notation we see he marks the Infinite Ninths (octave) position as having zero polarization where reside the Inert Gases. Thus supporting his contention the inert gases are not matter as considered within this system.
"The master tones which represent a state of motion-in-inertia and are the inert gases, bear the same relationship to the elements that white bears to the colors. They are a registration of them all. White is not included in the spectrum, it has no place there. The inert gases should not be included in the elements. They have no place there. Of this more shall be written later in its proper place." Russell, The Universal One, Book 1, Chapter 2, The Life Principle
This means the Indig points are derived from a Higher Power of Two multiplied times a small more harmonic multiplicand, ala Pythagoras (small number ratios are more harmonious than large numbers). In other words the Power of Two from a lower octave source is being increased (raised up) by virtue of the harmonic or higher powers of the multiplicand which is 2, 3, 4 or 5. This coincides with Russell's statements that elements are octave derivatives of lower octaves. The inter-indig numbers are all Prime Numbers of a higher value thus contributing to dispersion of harmonics (more superharmonic discord). They do not possess the harmonic assimilative force as much as the Indig number values and positions. Each polarity must possess some of the opposite polarity in its combinations.
The working value in this scale is not the whole number frequency. These frequency numbers are effects of the equations in the respective activities of the numbers and their operations of the equations whether powers, addition or multiplication. The equations, as shown in column F, are for increasing rates. When decreasing rates the operations are square root, subtraction and division. Energy is increased in the former operations. Energy is decreased in the latter operations - always reciprocal and proportional.
|Compound InterEtheric||16 Octave||C##/Dbb||512||16||2^9||0|
|15 Minor Ninth||C#||496||16||2^4 x 31|
|14 Major Eighth||C||480||16||2^5 x 3*5||1-|
|13 Minor Eighth||B#/Cb||464||16||2^4 x 29|
|Enharmonic||12 Major Seventh||B||448||16||2^6 x 7||2-|
|11 Minor Seventh||A#/Bb||432||16||2^4 x 3^3|
|10 Major Sixth||A||416||16||2^5 x 13||3-|
|09 Minor Sixth||G#/Ab||400||16||2^4 x 5^5|
|Harmonic||08 Major Fifth||G||384||16||2^7 x 3||4++|
|07 Minor Fifth||F#/Gb||368||16||2^4 x 23|
|06 Major Fourth||F||352||16||2^5 x 11||3+|
|05 Minor Fourth||E#/Fb||336||16||2^4 x 3*7|
|Enharmonic||04 Major Third||E||320||16||2^6 x 5||2+|
|03 Minor Third||D#/Eb||304||16||2^4 x 19|
|02 Major Second||D||288||16||2^5 x 3^2||1+|
|01 Minor Second||Db||272||16||2^4 x 17|
|Compound InterEtheric||00 Tonic||C##/Dbb||256||16||2^8||0|
11.11 - Explanations of the Scale of Infinite Ninths - The columns above in Table 11.01 are explained thusly:
B - Interval - The scale divided into 16 Steps associated with standard music nomenclature. In this scale each note/interval has and is composed of two equal steps.
C - Note - Musical note designation for each step as per standard music methods but with the addition of C##/Dbb as the octave.
E - Size - The 'size' (in cps) of the interval between notes. This quantity, of course, doubles (power of 2) every octave when going up and halves when going down. Demonstrating that as octaves increase so too does the Rate of Delta increase, encompassing or harnessing higher and higher Energy Densities when going up. This illustrates Russell's "winding speed into power" principle as also energy increase in vibratory rate parallels decrease in oscillatory rate (tightening of the spring).
F - 2^n X y - This column shows the number base of each note/interval. For instance, a Major Third, regardless of octave, is always expressed as "2^n X 5" where n equals the Root Octave of interest. These note equations are the same for all notes in all octaves and reflect the aliquot parts or component frequencies making up that note/interval. This demonstrates the SVP principle that each and every note/interval has its own unique character (when considered within its associated octave) and MUST NOT be considered as a simple frequency or number "just like any other frequency rate" or number. In other words note equations determine degree of harmonicity: relative proportions of harmonic (creating concordant overtones and consequently forming harmonies) and enharmonic (creating discordant overtones and consequently forming discords). Naturally, reducing ratios and proportions to a decimal approximation is (almost) never encouraged.
G - Indig - This column lists the appropriate Locked Potential number designation developed by Russell. (See Part 12.) We call this numbering system after Buckminster Fuller's use of that term because he explained the origin of these numbers which shows their origin and quantitative relationships. They are not just a convenient numbering system.
11.12 - Hidden Powers of Numbers
11.14 - Indig Numbers
11.15 - Indig Numbers - Inert Gases and Octave Position
11.16 - Indig Numbers and the Power of the Powers of Two
Part 11 - SVP Music Model
Table 11.01 - Scale of Infinite Ninths its Structure and Base
Table 11.03 - Roots Powers of Two and Indig Numbers