noun: the state of being everywhere at once (or seeming to be everywhere at once); ubiquitous.
"All motion begins at a cathode point in space, which is all cathode. It cannot move out of that omnipresent position, however, without dividing its seeming energy into four radar-acting pairs in the wave, which is beginning to construct, nor can it do so without measuring out its own desire-energy into countless billions of other cathodes throughout all omnipresence." [Atomic Suicide, page 285]
"They are also mirrors which reverse all direction of motion, which impact against them to extend them into the next wave-field and radar them back to their point of beginning. When the world of science realizes that radar and polarization are one and the same effect it will greatly advance its mechanics, for it is by this principle that any happening anywhere in the universe happens everywhere. This principle is the whole basis of the telephone, radio, television, etc. [Atomic Suicide, page 289-291]
One purpose of this plate is to show that twelve times the interval of a fifth divides the octave into twelve semitones; and each of these twelve notes is the first note of a major and a minor scale. When the same note has two names, the one has sharps and the other has flats. The number of sharps and flats taken together is always twelve. In this plate will also be observed an exhibition of the omnipresence of the chromatic chords among the twice twelve scales. The staff in the center of the plate is also used as to show the whole 24 scales. Going from the major end, the winding line, advancing by fifths, goes through all the twelve keys notes; but in order to keep all within the staff, a double expedient is resorted to. Instead of starting from C0, the line starts from the subdominant F0, that is, one key lower, and then following the line we have C1, G2, etc., B6 proceeds to G♭ instead of F#, but the signature-number continues still to indicate as if the keys went on in sharps up to F12, where the winding line ends. Going from the minor end, the line starts from E0 instead of A0 - that is, it starts from the dominant of A0, or one key in advance. Then following the line we have B1, F#2, etc. When we come to D#5, we proceed to B♭ instead of A#6, but the signature-number continues as if still in sharps up [Scientific Basis and Build of Music, page 114]
Figure 2.9 - Omnipresence of One