Dual, Duality, Dual Motion, Polar, mate-pairs, or Tendencies

"The positive vibrations are the radiating or propulsive, the negative vibrations are the ones that are attracted towards the neutral center. The action of the magnetic flow is dual in its evolutions, both attractive and propulsive. The sound vibrations of themselves have no power whatever to induce dissociation, even in its lowest form. Certain differential, dual, triple and quadruple chords give introductory impulses which excite an action on molecular masses, liquid and gaseous, that increase their range of molecular motion and put them in that receptive state for sympathetic vibratory interchange which favors molecular disintegration, then, as I have shown, the diatonic enharmonic is brought into play, which further increases the molecular range of motion beyond fifty percent of their diameters, when molecular separation takes place, giving the tenuous substance that is necessary to induce progressive subdivision. This molecular gaseous substance, during its evolution, assumes a condition of high rotation in the sphere or tube in which it has been generated, and becomes itself the medium, with the proper exciters, for further progressive dissociation. The exciters include an illuminated revolving prism, condenser, and colored lenses, with a capped glass tube strong enough to carry a pressure of at least one thousand pounds per square inch. To one of these caps a sectional wire of platinum and silver is attached; the other cap is attached to the tube so screwed to the chamber as to allow it to lead to the neutral center of said chamber." [Snell Manuscript - The Book, ANSWERS TO QUESTIONS, page 6]

This is a table of seeming opposing states, conditions, motions or vectors. For dualities of state, condition or cause and effect see Table of Cause and Effect Dualities. [See Celestial and Terrestrial Domains]

"Applying these fundamental laws to an explanation of the universe, as it is brought to human cognition, all manifestations of force may be treated as modes of vibrations. The essential differences give rise to three modes of vibration:

I. The Radiating: called also the "Dispersing", the "Propulsive", the "Positive", and the "Enharmonic".

II. The Focalizing: called also the "Negative", the "Negative Attractive", the "Polarizing", and the "Harmonic".

III. The Dominant: called also the "Etheric", or the "Celestial".

"These, it will be noted, correspond to the three laws of being. It is not to be understood that any one of these three modes of vibration can exist independently. Each by itself is called a "current", and all three must be present in every "stream" or "flow" of force. The relations of the currents in every flow are expressible in thirds, and it is experimentally demonstrable that the relation of the three are in the order named: as 33 1/3 : 66 2/3 : 100. [KEELYS PHYSICAL PHILOSOPHY - Snell]

Syntropy Entropy
The Focalizing The Radiating
Absorbing Emanating
Accumulating Dissipating
Plus Minus
Affinity Disunity
Affinity to Neutral Center[2] Affinity to Celestial[2]
Amperage Voltage
Anode Cathode
Appearance Disappearance
Assembling Distributing
Assimilation Dispersion
Association Dissociation
Attracting Repulsing
Attractive Propulsive
Attractive Repulsive
Center seeking Center fleeing
Centropy Entropy
Centralizing Decentralizing
Charging Discharging
Composing Decomposing
Concentrative Dispersing
Concordant Discordant
Condensation Ionization
Contracting Expanding
Cooling Heating
Decreasing volume Increasing volume
Density Evaporization
Distinctness Nebulousness
Earth Heaven
Electricity Magnetism
Endothermic Exothermic
Fast revolution Slow revolution
Fast orbit Slow orbit
Focalizing Radiant
Generating Degenerating
Genero-active Radio-active
Gravitation Radiation
Gravity Magnetism
Hardness Softness
Harmonic[1] Dominant[1]
Harmonic Enharmonic
Health Disease
High melting point Low melting point
High pressure Low pressure
Increasing Pressure Decreasing Pressure
Integrating Disintegrating
Inhalation Exhalation
Induction Conduction
Life Death
Male Female
Massive Tenuous
Negative (Keely) Positive (Keely)
Order Chaos
Order Disorder
Point Circumference
Polar Propulsion[1] Polar Attraction[1]
Polarization[2] Depolarization[2]
Positive Negative
negative vibration[1] positive vibration[1]
Polar Depolar
Receptive Propulsive
Red Blue
Rising potential Lowering potential
Slow rotation (spin) Fast rotation (spin)
Slow spin Fast spin
Solidity Tenuosity
Solution Dissolution
Storing Leaking
Sympathetic Anti-sympathetic
Centripetal Centrifugal
Terrestrial Celestial

Figure 2.12.1 - Polarity or Duality


"Within a cubic wave field, thought expresses outwardly from cubic centers and simultaneously inwardly from cubic planes. Sequentially, as the outbound thought wave reaches a Zero-curvature cubic wave field boundary plane it reverses to an inbound thought wave seeking the center from which it originated, and vice versa.

"The fundamental process is one of outbound thought waves from center Zero-points and inbound thought waves from cubic Zero-planes. The centers are pulsing with sequential waves of radiative thought, while the cubic planes are pulsing with sequential waves of generative thought. It is the interaction and interchange of the potential pressures generated by these two opposed, complementary forces within the cubic wave field that create the standing, resonant wave-events we identify as an atom, planet, star or galaxy. The resultant standing wave has the appearance of a particle or an atom. Or, on a different scale, it creates a gravity field of potential that accumulates atoms, molecules, dust and rocks into planets." Chester Hatstat

among the Greeks on account of having symmetry in itself. The primitive scale was doubtless that which is the model of all major music; and our minor model is its dual, as Ramsay has shown, which in its genesis indicates the duality of all the rest of the notes, although it is not probable that the Greeks saw the musical elements in this light. It is remarkable and significant that in their modes the Greeks did not lift up the scale of Nature into different pitches, preserving its model form as we do in our twelve major scales, but keeping the model form at one pitch they built up their symmetrical tetrachords, allowing the larger and lesser tones of the primitive scale to arrange themselves in every variety of place, as we have shown in the table of tetrachord modes above. Without seeing the genetic origin of music's duality they were led to arrange the modes by symmetry, which is one of the phases of duality. Symmetry is duality in practice. It may not always be apparent how symmetry originates in Nature; but in music, the art of the ear, duality emerges in the genesis of the minor scale; in the true mathematical build of the major on the root of the major subdominant F, and the true relation of the minor to it in the inverse genesis descending from the top of the minor dominant B. [Scientific Basis and Build of Music, page 46]

There was, then, something of truth and beauty in the Greek modes as seen in the light now thrown upon them by the Law of Duality, at last discerned, and as now set forth in the genesis and wedlock of the major and minor scales. The probably symmetrical arrangement of the modes, all unwitting to them, is an interesting exhibition of the true duality of the notes, which may be thus set in view by duality lines of indication. We now know that B is the dual of F, G the dual of A, C the dual of E, and D minor the dual of D major. Now look at the Greek modes symmetrically arranged:


Thus seen they are perfectly illustrative of the duality of music as it springs up in the genetic scales. The lines reach from note to note of the duals. [Scientific Basis and Build of Music, page 46]

The Dual Genesis of the Two Diatonic Semitones

[Scientific Basis and Build of Music, page 50]

By taking four minor thirds upward from G# or downward from A♭, we have the first chromatic chord in its twofold form. Its central note is D, the top of the dominant major, and the root of the subdominant minor, being its own dual, that is to say, its minor birth being dual to its major birth.1 On the keyboard it has the same order of keys above it and below it; this dual D [Scientific Basis and Build of Music, page 56]

being also the center of the diatonic triplet, B, D, F, which is the diatonic germ of the chromatic system. Four minor thirds upward or downward from C# we have a second chromatic chord, its central note being G. The dual1 of C# is E♭; and there is the same order of keys on the keyboard2 below C# as there is above E♭. Four minor thirds from E♭ upward or downward forms a third chromatic chord, the central note of which is A. The dual A, the center of the third chromatic, is G, the center of the second; and these two notes, by their duality, and by the duality of the two chords throughout, balance each other exactly on the keyboard on either side of the first chromatic chord, which contains all its own duals, and by this self-duality sits in the center, like the tonic chord among the diatonic three. [Scientific Basis and Build of Music, page 57]

If we view the Diatonic scale from the standpoint of their harmonizing, it is the first five notes of the octave which are the natural scale. The eight notes of the octave form a compound scale. So, in this view, in the octave of notes we have before us two scales; and this is true in both major and minor modes after their own dual fashion. In each of these two diatonic modes, the major and the minor, there are two semitones; but there are only two semitones altogether in the twofold system. When the major is generated by itself it has them both; and when the minor is generated by itself it also has both; but when the major and the minor are generated simultaneously, or as one great dual outgrowth, while the major in the ascending genesis is producing the semitone E-F, the third and fourth of its octave scale, the minor responsively in the descending genesis is producing the semitone B-C, the second and third of its octave scale. In this view of them, therefore, the semitone E-F belongs genetically to the major, and B-C to the minor; and this claim is asserted in the major tonic chord C E G, in which its own semitone is [Scientific Basis and Build of Music, page 64]

Another remarkable thing is that these dual numbers, when multiplied into each other, always come to 720. Now this number, as we see in the great genesis, corresponds to 1 in the major, being the point of departure for the development of the feminine mode, as 1 is the point of departure in the masculine mode. This 720 is the octave of 360, which is the number of the degrees of the circle, so divided in the hidden depths of human antiquity; and when F1 becomes F2, then B360 is the answering note and number in the dual system. All the notes in the masculine development are above F2; and all the notes in the feminine development are below B360. The unoccupied octave between F1 and F2 and that between B720 and B360 may be counted as the octave heads or roots of the two modes, and then F2 and B360 as the points from which the development of music's diversity begins; and it is noteworthy that the number of the degrees of the circle should be found in this connection. When was the circle so divided? Who divided it so? And why did he, the unknown, so divide it? Was Music's mystery known in that far-off day before the confusion of man's sinking history had blotted out so much of the pure knowledge of pristine days? [Scientific Basis and Build of Music, page 119]

See Also

15.16 - Controlling Ether by Will Force
3.17 - Magnetic Electric Poles
3.20 - Poles within Poles
7.8 - Matter and Spirit are Opposite Poles
circle of control
complementary pair
Controller of all action
curvature of gravity control
direction of gravity control
divided and extended pairs
Dominant as Controller
double pole
dual chord
dual force
dual genetic scale
dual note
dual sex condition
dual system
duality in unity
duality lines of indication
duality of D
duality of response
Figure 15.05 - Nine Pairs of Gravity Poles
Figure 18.04 - Two Minds - Split and Whole
Figure 18.05 - Two Power States of Mind Force
Figure 6.9 - Russell depicts his waves in two ways
Figure 7B.17 - Multiplying Force to Poles of a Bar Magnet
Figure 7B.18 - Four Poles of a Bar Magnet
gravity center of control
Law of Duality
Neutral Center
omnipresent gravity control
One Universal Controlling Medium
pair of fifths
Poles in Harmonies
Principle of Polarity
Ramsay - Duality as a Test-agent in Composition
Ramsay - Duality as in the Greek Modes
Ramsay - Mysterious Depth of Duality of Music
Ramsay - PLATE XXIX - Illustrations of the operations of DUALITY in various spheres
Ramsay - The Mystery of Duality
Sympathetic Outreach
three poles
two centers
two controlling points of stillness
two dividing poles
two lights of the spectrum
two opposed electric forces
two points of stillness
two poles

Created by Dale Pond. Last Modification: Thursday March 18, 2021 03:39:16 MDT by Dale Pond.