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Form

a type of something the particular way in which something appears or exists a shape of someone or something

Keely
"If matter without form preceded creation of energy, it was only when life was given that the atoms became grouped in individualities through their intrinsic properties. The hypothesis of Macvicar and demonstrations of Keely pivot on the law of assimilation "providing at once for the free and the forced ... for mind and matter, and placing them ... in relationship." This law is summarized as "Every individualized object ... assimilates itself to itself in successive moments of its existence and all objects tend to assimilate one another." In its own nature, matter is wholly plastic or devoid of fixed innate properties wholly assimilative - both with respect to its own portions and to surrounding objects, as well as its position in space and insofar as it is capable, to the mind of its Creator. In the ether are constructed groups of ethereal elements generating material elements." [Snell Manuscript - The Book, page 2]

Keely believes that the form of energy known as magnetism, not electricity, is to be the curative agent of the future. Fifty years ago Prof. Keil, of Jena, demonstrated the susceptibility of the nervous system to the influence of the natural magnet and its efficacy in the cure of certain infirmities. [Snell Manuscript - The Book, page 3]

"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]


Ramsay
she is found to have produced the Chromatic scale of twelve semitones, derived from her own vital operations; so that there are no anomalies. It is a degradation of the mathematical primes to apply them to the getting of the semitones of the chromatic scale, as even Euler himself mistakenly does. The mathematical ratios lead the way in getting the notes of the diatonic scale, and that is all that is required of them. The true praise to the ratios is that they have constituted an organic structure with form and life-powers adapted for self-development. It would be little credit to the mother if the child required to be all its life-long pinned to her apron-strings. As the bird when developed so far leaves the shell, and is afterwards fully developed in new conditions; so the System of music when developed so far leaves the law of ratios, its mathematical shell, and is afterwards fully developed by other laws. Music has an inspirational as well as a mathematical basis, and when mathematicians do not recognize this they reckon without their host. [Scientific Basis and Build of Music, page 35]

When the major scale has been generated, with its three chords, the subdominant, tonic, and dominant, by the primary mathematical ratios, it consists of forms and orders which in themselves are adapted to give outgrowth to other forms and orders by the law of duality and other laws. All the elements, orders, combinations, and progressions in music are the products of natural laws. The law of Ratio gives quantities, form, and organic structure. The law of Duality gives symmetry, producing the minor mode in response to the major in all that belongs to it. The laws of Permutations and Combinations give orders and rhythms to the elements. The law of Affinity gives continuity; continuity gives unity; and unity gives the sweetness of harmony. The law of Position gives the notes and chords their specific levities and gravities; and these two tendencies, the one upward and the other downward, constitute the vital principle of music. This is the spiritual constitution of music which the Peter Bell mathematicians have failed to discern: [Scientific Basis and Build of Music, page 37]

It has been found impossible in this first edition of his work to publish in extenso the musical elaboration of the Chromatic system through all its forms and progressions; this would make the volume fully twice the size it is. We must be content meanwhile to publish the musical doctrines of Ramsay, with illustrations, and leave the music for a further edition and a future time. [Scientific Basis and Build of Music, page 49]

The scales march on following each other methodically, whether they be written with sharps or flats, and

"Not a step is out of tune, as the tides obey the moon."

The most natural, because the genetic, way to write the scales is to make the major scales all in sharps, after C, because the major genesis is upward in ratios ascending; and to make the minor scales all in flats, after A, because the minor genesis is downward in ratios descending. Let the young student, however, always keep in mind that the sharps and flats are simply marks to show how Nature, at whatever pitch we are taking the scales, is securely keeping them in the same form as when they are first generated; and in their birthplace no sharps or flats are needed. [Scientific Basis and Build of Music, page 90]

The relations which music has to mechanics, the sphere of centers; to geometry, the sphere of measures; and to arithmetic, the sphere of numbers, show how deeply seated music is in the nature of things, and how independent it is of the will or choice of the musician. His composition may take any form his inspiration may suggest; they are subject to him; but as to the nature of music and its laws, he must keep himself subject and obedient to them. Music is of the aesthetic; but the aesthetic is of the nature of things. [Scientific Basis and Build of Music, page 92]

When Plate XIII. is divided up the middle of the column, as in Plate XIV., so as that one side may be slipped up a fifth, representing a new key one-fifth higher, its subdominant made to face the old tonic, the two new notes are then pictorially shown, the second being altered one comma and the seventh four commas. The key at this new and higher pitch is by Nature's unfailing care kept precisely in the same form as the first; and wherever the major scale is pitched, higher or lower, the form remains unaltered, all the intervals arranging themselves in the same order. The ear, and the voice obedient to it, carry Nature's measuring-rule in them, and the writing must use such marks as may truly represent this; hence the use of sharps, flats, and naturals; these, however, be it observed, are only marks in the writing; all is natural at any pitch in the scale itself. All this is equally true of the minor mode at various pitches. These two plates are only another and more pictorial way of showing what the stave and the signature are usually made to express. [Scientific Basis and Build of Music, page 114]

In the festoons of ellipses the signatures are given in the usual conventional way, the major F having one flat and minor E having one sharp. The major and minor keys start from these respective points, and each successive semitone is made a new keynote of a major and a minor respectively; and each ellipse in the festoons having the key shown in its two forms; for example, in the major F, one flat, or E#, eleven sharps; in the minor E, one sharp, or F♭, eleven flats. Thus is seen all the various ways that notes may be named. The four minor thirds which divide the octave may be followed from an ellipse by the curved lines on which the ellipses are hung; and these four always constitute a chromatic chord. [Scientific Basis and Build of Music, page 115]

SYSTEM OF THE THREE PRIMITIVE CHROMATIC CHORDS.

The middle portion with the zigzag and perpendicular lines are the chromatic chords, as it were arpeggio'd. They are shown 5-fold, and have their major form from the right side, and their minor 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 major side; and D# and E♭ separated the same way on the minor side. Twelve, however, is the natural number 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 minor side, D# is a comma and the apotome 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 twelve would be completed; and the thirteenth 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 major side are made one; and D# and E♭ on the minor side the same; and the circle of the twelve is closed. This is the explanation of the thirteen in any of the plates being called twelve. The perpendicular lines join identical notes with diverse names. The zigzag lines thread the rising Fifths which constitute the chromatic chords under diverse names, and these chords are then seen in stave-notation, or the major and minor 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 resolve 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]

PLATES XVII. & XVIII.

These two plates show the chromatic chord resolving into the twelve major and twelve minor tonic chords of the twenty-four scales. There seems to be twenty-five, but that arises from making G♭ and F# in the major two scales, whereas they are really only one; and the same in the minor series, E♭ and D# are really one scale. C in the major and A in the minor, which occur in the middle of the series, when both sharps and flats are employed in the signatures, are placed below and outside of the circular stave to give them prominence as the types of the scale; and the first chromatic chord is seen with them in its major and minor form, and its typical manner of resolving - the major form rising to the root, and falling to the top and middle; the minor form falling to the top, and rising to the root and middle. The signatures of the keys are given under the stave. [Scientific Basis and Build of Music, page 116]


Christ Returns - Speaks His Truth
"By working together as a team, separately but inseparable, in the visible world, these twin impulses were the means by which the substance of 'matter' itself has been created out of the sublime 'UNIVERSAL CONSCIOUSNESS'.

One impulse of creativity is: the 'I'ness of ACTIVITY. This impulse of activity is universal and stems from only one source. 'Activity' is a movement in CONSCIOUSNESS, and CONSCIOUSNESS in movement. The other creative impulse possesses (figuratively speaking) two faces looking in opposite directions. They are:

BONDING - REJECTION
Pull towards>>>>>>>> the self<<<<<<<< Push away otherwise known as

ATTRACTION - REPULSION
Attract>>>>>>>> to - THE SELF - from <<<<<<<< Repel within CONSCIOUSNESS.

These are the ONLY means by which earthly existence has been achieved.

The entire universe is a manifestation of the 'Creative Power' active within these Twin Impulses of PHYSICAL BEING - creating 'matter' and individual form.
This is one of the fundamental 'secrets' of the universe.

I saw that the 'core' of the 'Personality' or 'ego' as it is now called, had been created
'GUARDIAN of PERSONALITY'
and was irresistibly imprinted with the magnetic impulse to ensure
PRIVACY and SURVIVAL.
For the protection of the individual 'I'ness
This was accomplished by using the two faces of the second Impulse of Being

BONDING - REJECTION to secure individuality.

[Christ Returns - Speaks His Truth, Letter 5, page 25]

See Also


3.10 - Vortex Motions result in Appearance of Form
3.6 - Differential Densities Begin to Form
5.1 - Vortex Formation
5.6 - Vortex Forming Spheres
5.9 - Vortices Form Linked Atoms
7B.04 - Triplets Form Larger Units of Unity
8.6 - Wave Form Components
9.31 - Oscillatory Motion creating Waveforms
Figure 2.1.5 - Russells Rings forming Spheres from Three Pairs of Reflecting Mirrors
Figure 2.19 - Matter formed from Dark and Light
Figure 3.16 - Idea Preceeds Manifestation in Material Form using Cubes and Cones
Figure 3.19 - The Observable forms from the Non-observable
Figure 3.26 - Formation of Spheres along Six Vectors of Cubes
Figure 4.12 - Keelys Formative Structural Dynamic Morphology
Figure 5.4 - Vortex and Gyroscopic Motion on One Plane then on three forming Sphere
Figure 7.2 - Step 2 - Vortex Formation about a Single Axis
Figure 7.3 - Step 3 - Sphere Forms Orthogonally Triple Compressing Shell Layers
Figure 7B.05 - Triplet Forming a Unity
Figure 7B.12 - Sympathetic Affinity Attraction forming Vortex
Figure 8.1 - Russells Painting of Wave Form Dynamics
Light Rings formed at 90 Degrees to Magnetic Center Line
Part 06 - Formation of Cubes
Part 07A - Origin and Formation of Matter
Part 07B - Origin and Formation of Matter
Part 22 - Solar Rings and Planetary Formation
Structure
Sympsionics
Table 14.03 - Ranges of Forces Vibration Forms Types and Governing Laws

Created by Dale Pond. Last Modification: Sunday January 17, 2021 03:11:28 MST by Dale Pond.