"The physical organism (through the medium of celestial radiation) is a trinity, both in regard to its visible form and the invisible sympathetic streams which govern it, in its individual and combined movements. The visible includes the molecular, the atomic and interatomic in combination; while the invisible, or spiritual, includes the etheric, interetheric and luminous in combination, each of which is essential to the proper completion of the combined action, comprising as it does every minute law governing the celestial and terrestrial universe." [Newton of the Mind]
Keely stood, fourteen years ago, on the wrong side of the abyss which separates conjecture from fact. "The bridge of mist" he writes, "which spanned the chasm between the two is gradually resolving itself into one of granite, which the nations of the earth may safely traverse, stretching between the two centers; the celestial and terrestrial. The visible one is the one of mist: the invisible one is the one of granite." [from Keely and His Discoveries]
"Energy is a sympathetic condition inherent in all forms of aggregated matter, visible and invisible. It is ever present, in its latent condition, and is aroused by the sympathetic disturbers of its equilibrium. By this conservation it becomes transferable. The sympathetic correlation of will force in the cerebral convolutionary centres transfers its energy to the physical organism." [Vibratory Physics - The Connecting Link between Mind and Matter]
Ramsay The sympathy of one thing with another, and of one part of a thing with another part of it, arises from the principle of unity. For example, a string requires to be uniform and homogenous to have harmonics producing a fine quality of tone by the sweet blendings of sympathy; if it be not so, the tone may be miserable ... You say you wish I were in touch with Mr. Keely; so do I myself ... I look upon numbers very much as being the language which tells out the doings of Nature. Mr. Keely begins with sounds, whose vibrations can be known and registered. I presume that the laws of ratio, position, duality, and continuity, all the laws which go to mould the plastic air by elastic bodies into the sweetness of music, as we find them operative in the low silence of oscillating pendulums, will also be found ruling and determining all in the high silence of interior vibrations which hold together or shake asunder the combinations which we call atoms and ultimate elements, but which may really be buildings of wondrous complexity occupying different ranges of place and purpose between the visible cosmos and Him who built and evermore buildeth all things. The same laws, though operating in different spheres, make the likenesses of things in motion greater than the differences. [Scientific Basis and Build of Music, page 87]
This diagram shows pictorially the open in the spiral of the mathematical scales, in which, if written in sharps only, B# is seen a little, that is, a comma and the apotome minor, in advance of C, and as the first scale of the new cycle; for it is a violation of Nature's beautiful steps to call it a thirteenth scale of this order, since every scale in the order is 31 commas in advance of the preceding, whereas B# is only one comma and a small fraction in advance of C. If the scales be written in ♭s and #s for convenience of signature, then G# is seen a comma and apotome in advance of A♭; while the whole circle of keys advancing by fifths are each 31 commas in advance of the preceding. We may therefore cast utterly from us the idea of there being more than twelve mathematical scales, and view the so-called thirteenth as simply the first of a new round of the endless spiral of scales. There is, however, in this note a banner with the strange device, "Excelsior," for it leads us onward into ever-advancing regions of vibrations, and would at last bring us to the ultimate and invisible dynamic structure of the visible world. The tempered system of 12 keys, as in Fig. 1, is by causing the G# and A♭ to coalesce and be one, as the two D's are already literally one by Nature's own doing. [Scientific Basis and Build of Music, page 118]
The tones between the seven white notes of keyed instruments, and the tints and shades between the seven colours, cause the multequivalency of colours and of tones; consequently every colour, as every musical harmony, has the capability of ascending or descending, to and fro in circles, or advancing and retiring in musical clef. It is a curious coincidence that Wünsch, nearly one hundred years ago, believed in his discovery of the primary colours to be red, green, and violet; and in this scheme, red, answering to the note C, must necessarily be the first visible colour, followed by green and violet, but these not as primary colours, all colours in turn becoming primaries and secondaries in the development of the various harmonies. To gain facts by experiment, the colours must be exactly according to natural proportions—certain proportions producing white, and others black. In this scheme, green and red are shown to be a complementary pair, and therefore (as Clerk Maxwell has proved) red and green in right proportions would produce yellow. The same fact has been proved in Lord Rayleigh's experiments with the spectroscope. Yellow and ultra-violet, [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies3, page 20]
Christ Returns - Speaks His Truth
"I realized there was nothing solid in the universe, everything visible was manifesting a differing 'state of consciousness' which determined the composition and form of the 'shimmer of motes'.
Therefore, all outer form was an expression of the inner consciousness." [Christ Returns - Speaks His Truth, Letter 1, page 11]
"Visible things are but a manifestation of specific frequencies of vibration in consciousness which produces a 'SHIMMER OF MOTES OR PARTICLES' giving an appearance of solid 'matter'.
Each visible substance possesses its own unique vibrational frequency. A change in the rate of vibration produces a change in the appearance of 'matter'. As consciousness energies change so do the appearances of 'matter' change." [Christ Returns - Speaks His Truth, Letter 3, page 19]
The primary comprehensive nature of CONSCIOUSNESS is AWARENESS.
It is not possible to have consciousness without possessing awareness.
All that you see, all that you touch, hear, feel, know is
"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.
BONDING - REJECTION
Pull towards>>>>>>>> the self<<<<<<<< Push away
otherwise known as
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