noun: freedom from activity, non-activity, inaction, neutral (without motion or polarity).
noun: a pause of a particular length in a piece of music. For example a breve rest is the length of a breve. [see Time]
noun: inertial position, non-motion, balance, neutral, peace, consonance, harmony, unison, depolar, pause (music).
"Science admits that nature works with dual force, though at rest she is a unit. "Nature is one eternal circle". Keely's discoveries prove that the doctrine of the Trinity should be set down as an established canon of science - the Trinity of force. All nature's sympathetic streams - cerebellic, gravital, electric and magnetic - are made up of triple currents. The ancients understood this dogma in a far deeper sense than modern theology has construed it. The great and universal Trinity of cause, motion and matter - or of will, thought, and manifestation - was known to the Rosicrucians as prima materia. Paracelsus states that each of these three is also the "other two; for, as nothing can possibly exist without cause, matter and energy - that is, spirit, matter and soul (the ultimate cause of existence being that it exists), we may therefore look upon all forms of activity as being the action of the universal or Divine will operating upon and through the ether, as the skilled artificer uses his tools to accomplish his designs; making the comparison in all reverence." [True Science]
Different writers have put forth different views of what constitute a musical vibration, but their various views do not make any difference in the ratios which the notes of this sound-host bear to each other. Whether the vibrations be counted as single or double vibrations, the ratios of their relative motions are the same. Nevertheless, a musical vibration is an interesting thing in itself, and ought to be correctly defined.
A string when vibrating musically is passing and re-passing the central line of its rest or equilibrium with a certain range of excursion. Some writers have defined a vibration to be the passage of the string from one extreme of its excursion to the other, while some have preferred to define it as the passage of the string from the one extreme of its excursion to the other and back again. D. C. Ramsay has been led in his researches to define a vibration as the movement of the string from its central line of rest to the extreme of its excursion on one side, and back to the central line of rest; and from the central line of rest to the extreme of its excursion on the other side, and back again to the "right line," as he calls it, as a second vibration. His reasoning on this will be seen in what follows. (See Fig. 3, Plate IV.) [Scientific Basis and Build of Music, page 21]
"While the ratio of 1:2 corresponds to rest, and to the force of gravity, the ratio of 2:3 corresponds to motion, and to the centrifugal force. The prime 2, by any of its powers, never produces a new note. The prime 3 always produces a new note, and on this account its powers are limited to the first power, the square, and the cube, and each of these powers of 3 produces one new note." [Scientific Basis and Build of Music, page 27]
The mathematical scales, if followed out regardless of other laws which rule in music, would read like a chapter in Astronomy. They would lead us on like the cycles of the moon, for example. In 19 years we have 235 moons; but the moon by that time is an hour and a-half fast. In 16 such cycles, or about 300 years, the moon is about a day fast; this, of course, is speaking roughly. This is the way seemingly through all the astronomical realm of creation. And had we only the mathematical ratios used in generating the notes of the scale as the sole law of music, we should be led off in the same way. And were we to follow up into the inaudible region of vibrations, we should possibly find ourselves where light, and heat, and chemical elective motions and electric currents are playing their unheard harmonies; or into the seemingly still region of solid substances, where an almost infinite tremor of vibrations is balancing the ultimate elements of the world. Music in this case would seem like some passing meteor coming in from among the silent oscillations of the planetary bodies of the solar system, and flashing past with its charming sound effects, and leaving us again to pass into the higher silence of those subtle vibrations to which we have referred, having no infolding upon itself, no systematic limit, no horizon. But music is not such a passing thing. Between the high silence of these intense vibrations, and the low silence of oscillating pendulums and revolving planets, God has constituted an audible sphere of vibrations, in which is placed a definite limit of systematic sounds; seven octaves are carried like a measuring line round twelve fifths; and motion and rest unite in placing a horizon for the musical world, and music comes [Scientific Basis and Build of Music, page 39]
"and goes within this range, with its wondrous infoldings which so charm the ear, and which symbolise so many spiritual mysteries. These twelve major keys with their twelve minors are the musical world, and motion in the operation of 3 is not much hampered by rest controlling it in the operation of 2; and what is lost of so-called "perfect intonation" is far more than made up for in the beautiful system within system, which musical science, when fairly and fully brought into view, presents for our contemplation, and the intellect feasts along with the ear." [Scientific Basis and Build of Music, page 40]
In a musical air or harmony, i.e., when once a key has been instituted in the ear, all the various notes and chords seem animated and imbued with tendency and motion; and the center of attraction and repose is the tonic, i.e., the key-note or key-chord. The moving notes have certain leanings or attractions to other notes. These leanings are from two causes, local proximity and native affinity. The attraction of native affinity arises from the birth and kindred of the notes as seen in the six-octave genesis, and pertains to their harmonic combinations. The attraction of local proximity arises from the way the notes are marshalled compactly in the octave scale which appears at the head of the genesis, and pertains to their melodic succession. In this last scale the proximities are diverse; the 53 commas of the octave being so divided as to give larger and lesser distances between the notes; and of course the attraction of proximity is strongest between the nearest; a note will prefer to move 5 commas rather than 8 or 9 commas to find rest. Thus far PROXIMITY. [Scientific Basis and Build of Music, page 91]
When a uniform dressed lath is held at the center of gravity and struck, it vibrates freely with a low tremor; when held at the center of velocity and struck at the center of gravity, it vibrates freely, and goes into large sections. But if it be struck at two-thirds of one-third from the other end, its own center of percussion, it has not the least tendency to vibrate. But if it be held at the center of velocity, and at its own center of percussion at the other end, and struck at the center of gravity, these two places will become points of rest, and the lath will move freely in all the other parts. [Scientific Basis and Build of Music, page 93]
"Stillness never can be motion, or become motion, but it can appear to be. Motion merely seems, but stillness always is. The universal equilibrium can never be other than its own balance but it can seem to be. The illusion which is motion springs from stillness and returns to stillness. This is a universe of rest. There is naught but rest in the universe." The Secret of Light, page 13
"This is a universe of waves within waves and waves without waves; pulsing waves of dual light, extending forever outward to the ends of mirrored space and reflecting back again to microscopic centers of rest from which they may again spring from rest to seek rest through dual motion, but never finding it." [The Secret of Light]
The following definitions of weight are in keeping with Natural Law.
Weight is the sum of the differences between the two pressures which act upon every mass.
Weight is the measure of the differences in electric potential between any mass and the volume it occupies.
Weight is the measure of unbalance between any mass and its displaced environment.
Weight is the measure of the force which a body exerts in seeking its true potential.
Weight is the sum of the difference between the inward pull of gravitation and the outward thrust of radiation.
Weight is the measure of intensity of the desire within all matter to express motion or seek rest from motion. [Walter Russell, The Secret of Light, pages 184-185]
The entire mechanical principal of Nature, by means of which its light illusions of motion are produced, is the consequent effect of such radial extensions. Because of it, the seeming multiplication and division of the universal equilibrium into the opposed electrical pressures of gravitation and radiation, which form the foundation of this universe of change, are made possible. (Fig. 3)
God's imaginings extend from rest to rest in His three-dimensional radial universe of length, breadth and thickness - to become the stage of space for His imagined radial universe of matter, time, change and motion. (Fig. 4)
Points of rest, further extended to other points of rest, form three reflecting planes of still magnetic Light which are at right angles to each other. (Fig. 4) From the center of these three mirror planes of zero curvature, God's givings are radially projected to six opposed mirror planes for reprojection as regivings, to unfold
and refold the forms of God's imaginings in the curved electric universe of His desiring. (Fig. 5)" [The Secret of Light, PART III: Omnipresence The Universe of Being Postulates and Diagrams, page 219-220]
"They are the intercommunicating nerves of the one universal body.
"In this electric universe, sensation is the strain of resistance to the separation which exists between all separated masses. All matter is one. Separated particles desire to find that oneness." The Secret of Light, page 85-86
"All expressions of energy spring from rest, seek a point of rest and return to a condition of rest. The power of a moving lever is not in the lever nor in its motion. It is in the stillness of its fulcrum from which it borrows its ability to manifest the power of the fulcrum." The Secret of Light, page 114-115
"Waves of motion express the power of desire for unbalance and motion which is in Light at rest, and they also express the opposite desire for balance and rest which is in motion." The Secret of Light, page 115
"It is self-evident that all motion springs from rest and returns to rest for eternal repetition in sequences which we call electric frequencies. It is also self-evident that all motion springs from out of the dark in divided pairs and multiplies their gaseous beginnings into dense bodies of incandescent suns, then disappears into the dark through the gases of themselves." [Atomic Suicide, page 83, 181]
"It is a series of electrically projected pulsings of changing thought-patterns with black rest gaps between every change of thought-pattern." [Atomic Suicide, page 245]
"The two points of rest which are the fundamentals of every cycle are: the point of beginning at the wave axis, and the point of interchange between positive and negative opposites at the wave amplitude.
"When our senses tell us that a speeding bullet is not a direction of motion it is difficult to think of it as stillness which is centering fast moving motion. It might help to remold your concept by imagining a motionless, floating cloud which changes its position because of a wind. The direction of motion is not in the cloud.
It is in the spiraling of the wind. The cloud is still in the same position in relation to gravity even though its position has been changed by motion, which is outside of itself, for it is still floating at rest. Even the slightest change in its position of stillness causes a spiral motion to encircle it and spin around it at an angle of 90 degrees from its gravity shaft, which extends from the earth. It may be quite an effort to comprehend that stillness cannot change, but can seem to." [Atomic Suicide, page 285-286]
On harmonical parallel between tone and colour
—On the term of "rest," fifths, and the sympathy of music with life
—Relativities of sounds and vibrations of strings
—The doctrines of three pairs, six tones, and the law of "two and fro"
—The germ of the system probably to be found in the adaptability of numbers
—Sudden death of Dr. Gauntlett, . . . . . 48 [Harmonies of Tones and Colours, Table of Contents4 - Harmonies]
the present, and the future, developing in geometric progression; as the past retires, the future advances. The rests in harmony correspond with silence in the Scriptures, both limiting and illimitable. But there is this essential difference: musical instruments can only be tuned to a certain pitch, whereas the Bible will never need fresh editions or corrections, but as it always has unfolded, it always will unfold, as it is necessary to meet our higher mental powers. I believe that, eventually, scientific minds will arrive at the conclusion that all the energies around us arise from the laws which regulate the life of matter, and cause the continual development of trinities from unities. Continuity everywhere adapts simple laws to wondrous workings. If we evade the belief in the development of trinities, this scheme falls to the ground. We can conceive no grander idea of the power, wisdom, and love of the Parent of the universe than that of His following out His own characteristics, knowing that at any moment, if His life-giving power were withdrawn, all would crumble into dust. Let us link with this thought these glorious promises— [Harmonies of Tones and Colours, Scripture Compared with Scripture, page 47]
1867.—"Your plan of eliciting facts from Scripture (altogether new) interests me exceedingly." "To make out the scheme of harmonical parallel proper for the elucidation of your system, it will, if possible, run all true with the harmony of colour, and this has never yet been done, except in a way which has been met with serious objections. When I commenced the examination of your theory, I spent five days at the British Museum, and collated about forty volumes." "I am very glad to hear you have a probability of harmonising numbers by the same laws as light and sound." "What you call rest, I call the appearance and disappearance of a harmonical cycle." "Your series of fifths is quite correct." [Harmonies of Tones and Colours, Extracts from Dr. Gauntlett's Letters1, page 48]
The Minor Scales are the type of Creation developing, when no Sabbath (or Rest) was required; and we now see this re-echoed throughout the world around us, nothing resting on the Sabbath. A Minor Scale, therefore, cannot sound the [Harmonies of Tones and Colours, Supplementary Remarks and Diagrams, page 53]
The Major Scales are the type of Creation perfected—man being created, and the Almighty resting—every Major Scale developing the sixth and seventh notes, and the eighth the octave of the first. Therefore, every Major Scale includes the Sabbath, or Rest. [Harmonies of Tones and Colours, Supplementary Remarks, page 54]
central line of rest
Disturbance of Equilibrium
Disturbance of Rest
Ramsay - The Two D's - The Rah and the Ray
Ramsay - The Three Primes and their Genetic Operations
13.12.1 - Disturbance of Equilibrium