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Topic: Dale Pond
Collected Articles Section: Roots of the Vibratory Etheric Tree part 1 Table of Contents to this Topic |
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Roots of the Vibratory Etheric Tree or the Creation, Transmission and Reception of Vibrations Dale Pond, March, 1997 In getting to the root of the cause of useable energy from vacuum, zero-point or The Continuum is of course a fundamental issue and of grave importance. It will be shown how finding and releasing this energy was accomplished in no small way as early as the 1880s by John W. Keely. Later some of this work was replicated by Tesla using electromagnetics and possibly others such as Moray and Russell. KeelyÕs original work is being mirrored today by various researchers and in various ways. Some are using acoustics and etheric (subtle) energies but for the most part this field is being re-opened via electromagnetics following leads from Tesla, Whittaker and Bearden. This paper will demonstrate the base from which this work was originally done and how it is being reworked and reinvented today. It will also show a comprehensive, understandable and useable model for future endeavors whether using acoustics or electromagnetics because the connection between the two will elegantly be shown to be vibration and vibration physics. During the development of the Musical Dynasphere Project1 we are confronted with a multitude of dynamics and issues not referenced in the general literature per se. However, most of these principles can be found scattered throughout many diverse fields of science. These portend to dynamics associated with rotation from a purest standpoint; i.e., the seemingly ceaseless and effortless rotation of atoms, molecules and planets. It was believed at the onset of this project that Keely had developed the answers to these enigmas of nature and left a remnant of information from which we hoped to re-discover these elusive principles. By working through the design, construction and graduation of the Dynasphere we were brought face to face with a myriad of questions for which we required answers. This paper is a result of twelve years of searching for these answers and 18 months of hands-on mechanical problem solving with the physical construction of the Musical Dynasphere as a scientific instrument. It is felt a large portion of these answers have been found. One clarification should be presented at the beginning. Several quotes from Keely are presented wherein reference is made to negative (attractive) and positive (radial) vectors, forces or polarizations. These refer to specific polar states of a scalar quantity. (See fig. 1.) The negative polarizations are attractive to the center of the vibrating aggregate and medium while the positive polarizations become radial or radiate away from the center of such a point source and medium. These are qualified characteristics of infolded scalar phenomena or latent attributes of the scalar state. There are also quotes wherein scalar phenomena are referenced as random and without qualification as to polarization; i.e., whether these are positive or negative or whatever. The point being that it is a stated belief of this author (as evidenced from KeelyÕs work) that these fundamental scalar states are either one or the other and not random as sometimes postulated in various views of quantum electrodynamics. Not only are they definable but they are predictable, engineerable and useable. It should be mentioned that Bearden, in his more recent work, does differentiate these states. "Note also that, if one rhythmically varies all the individual summation vectors in the substructure by the same factor, one produces pure potential stress waves - scalar waves - without ever creating external electric and magnetic fields. These are pure waves of spacetime, and they are oscillating curvatures of space-time itself. They are pure waves of compression and rarefaction of the massless charge of spacetime, and are properly represented as longitudinal waves rather than transverse waves. Thus they are non-Hertzian in nature. Among other things, they may be used to generate mass and inertial fields directly." Bearden, various articles and speeches. In Figure 2 we can see that rotation is a natural phenomenon - not dependent on ManÕs manipulation of levers and fuels. It occurs whether we are involved in the process or not. The very existence of a longitudinal or transverse wave train gives rise in a natural form a third vibratory component that easily and effortlessly rotates about and with the longitudinal and transverse wave trains. Should we be able to understand these three forms of vibration and their inter-relations we would be in a better position to 1) de-emphasize the first two while 2) giving preponderance to the third mode which would result in pure rotary motion without the need for complex levers and expensive fuels. The question then is: What is a vibration and how do we gain control over its three modes? This is the essence of SVP - understanding and controlling vibratory phenomena. There are ways to gain control and even ways to differentiate a wave train or ray into its constituent parts. A rainbow is a natural example of how a Full Harmonic Chord of tones can be differentiated into the myriads of its components or frequencies. This process of differentiation is akin to refraction whereby discrete frequencies can be isolated from a scalar or phase conjugate assembly of tones. This is similar to how harmonics and notes of a scale are derived from a fundamental tone. One of the prime areas of difficulty is in the definition of a vibration. Before the turn of the century a vibration was considered in a different light as we now do today. In Figure 3.1 we can see this difference. Conventionally (Figure 4) we count the oscillation back and forth as a single cycle or vibration. But using a clearer and more definite interpretation of natural phenomena we see, in actuality, two distinct yet opposite vibrations where orthodoxy sees but one. Under our studies we see three distinct vibration modes or types of vibrations: 1) Longitudinal or straight-line; 2) Transverese, Shear or zig-zag; 3) Lamb, Love, Surface, Raleigh or vortex waves. Each of these vibration forms are composed of the three polarizations of positive, negative and neutral phases or states of a vibration. These have been and are being referred to in a number of ways and with differing terms: "The human ear cannot detect the triple chord of any vibration, or sounding note, but every sound that is induced of any range, high or low, is governed by the same laws, as regards triple action of such, that govern every sympathetic flow in Nature. Were it not for these triple vibratory conditions, change of polarity could never be effected, and consequently there could be no rotation. Thus the compounding of the triple triple (see fig. 3), to produce the effect, would give a vibration in multiplication reaching the ninth, in order to induce subservience, the enumeration of which would be folly to undertake, as the result would be a string nearly a mile in length to denote it." Keely3 When a vibratory amplitude departs from the Neutral Line it is either proceeding into the positive or the negative zone (figure 3.1). It will either become a positive quantity or a negative quantity. These two phases are mirror images of each other and are not mathematical positive and negative quantities. However we have used these mathematical terms in our work. This use of a negative quantity has been misleading. Work from Embleton2 and others has substantiated the fact that the negative phase is not a negative quantity but is a real thing possessing real power and has real effects on its environment. Likewise the Neutral is a real quantity - ZERO. But zero implies nothing while the truth of the concept is this zero-point or neutral is actually a merging of the Positive and Negative quantities. If we use a negative number matched to a positive number possessing equal but reverse amplitude from zero we have a null quantity or zero. This is where zero-point comes from but the premises of its definition are in error and lead our work and research into error. The actual nature of the zero-point or as I prefer to call it Neutral state is a merging (Sum or Difference) of the Positive and Negative as distinct and positive quantities. By using a system of math inherently positive and working with positive concepts we can define and develop a useable system of engineering. When the two phases are merged or summed they become complimentary and One With each other to form the third mode; i.e., scalar or neutral. Thus the characterisitcs of each become latent all the while retaining full individuality and potency. They each can be awakened or disturbed from this cozy arrangement by acoustic modulation with a pitch discordant to their chord of unition. These pitches and tones are all defined mathmetically. In music there exist a plethora of terms, arithmetical constructs (numbering and computational systems) and concepts defining these and other conditions of vibratory (sound) phenomena. There are expansive chords, quiet chords, chords having gravity and lightness, etc. These are derived from the specific construction and use of simple and compound tones (vibrations of given waveform structure). Why is music so key and important? Because unorganized sound or vibration is noise while organized sound is music. The ordering is done by the Mind of Man using arithmetic, geometry and quantifiable conceptualizations. Therefore Mind plays an important role as well and will be touched on hereinafter. Keely said rotation arises Òby giving control of the negative attractive or enharmonic current of the triple flow.Ó Does this mean gaining control of either the radial/enharmonic or attractive/harmonic currents? or both? (See Table 1.) Controlling the negative attractive (harmonic, female) and/or the positive propulsive (enharmonic, male) phases of the three fundamental modes is a feat postulated among the roots of applied Sympathetic Vibratory Physics. The control of these will result in the control of the Neutral or Dominant (scalar) which is the desired end technique. It is surmised these two states of polarization are nothing other than chords of specific tones. The differences being found in the aliquot parts (individual notes) that comprise the vibration signature (chord). Keely further says: Òrotation arises from the harmonic interaction of the dominant and enharmonic elements of the flow 1/3 part to 3rd and 3rd to 9th.Ó This seems to contradict the first statement. This is at the root of our work in the field. (If it is possible to define the three flows in terms of notes (cps or pitch) this would greatly help to make the matter more understandable.) I do not see the second quote as a contradiction. The actual quote is: "Rotation arises through the harmonic interactions of the dominant and enharmonic modes of vibration, in the ratio of 3:9. To produce and control rotational force or commercialized energy, we must control through its properties, the negative attractive or enharmonic current. This will solve the problems up to any limit of power." The positive and negative are naturally a balancing act - the ancient Dance of Shiva. By destabilizing either one or the other its counterpart reacts in a mirroring fashion. An analogy of a see-saw is not inaccurate. By manipulating either harmonic or enharmonic phases one can get an opposite (mirror) effect in the other. Bearden references this manipulation as "Indeed, we assume total primacy of scalar potentials, after the work of Whittaker, holding that all the effects of present electrodynamics can be produced by utilization and interference of two or more scalar potentials.Ó Bearden, various speeches and articles. The Dominant (neutral) polarization is the same as what has been called by Bearden the Òscalar potentialÓ of which he says: ÒWe first define scalar electromagnetics as the quantum mechanical effects and influences that can be accomplished by electrical and magnetic scalar potentials, even in the absence of electric and magnetic fields, or - in other words - that can occur even in otherwise zero-E (electric) and zero-B (magnetic) force-field regions. Note that this definition includes as subsets both the ordinary classical EM field approach and the more fundamental approach of quantum electrodynamics. In the latter approach, one replaces the fields E and B in modern theory with the O (electrostatic scalar potential) and A (magnetic vector potential), with the view that these potentials create E and B fields in the first place. (See fig. 3.) The Bohm-Aharonov effect shows that the E and B fields can remain zero, and yet the potentials can still cause physical effects. "Thus scalar electromagnetics encompasses two cases: (1) the normal case, in which the potentials are viewed as first creating the fields E and B, and these force fields in turn produce physical effects on charged particle systems; and (2) the case in which fields E and B are zero, yet potentials still exist and produce physical effects on charged particle systems. (As shown in fig. 3.) "Indeed, we assume total primacy of scalar potentials, after the work of Whittaker, holding that all the effects of present electrodynamics can be produced by utilization and interference of two or more scalar potentials. "Note particularly that one may deliberately create the zero-field, pure potential condition by opposing magnetic and or electric fields so that they sum to zero. That is, the "zero-fields" can be resultant vector zeros, where the combining vector components still exist. In this case one creates a deliberate, artificial scalar potential which contains all the energies of the separate infolded [Bohm's term] vector fields used to make the resultant vector zero. All this infolded energy has been transformed to stress of spacetime, or pure potential. However, it does not have a randomized substructure as is usual in quantum electrodynamics, but has a determined, known substructure consisting of the constructed infolded E and B field vectors. "Conceptually, a magnetic pole is such a spatiotemporal stress potential - but usually with a randomized substructure - as is an electrical charge. "Note also that, if one rhythmically varies all the individual summation vectors in the substructure by the same factor, one produces pure potential stress waves - scalar waves - without ever creating external electric and magnetic fields. These are pure waves of spacetime, and they are oscillating curvatures of space-time itself. They are pure waves of compression and rarefaction of the massless charge of spacetime, and are properly represented as longitudinal waves rather than transverse waves. Thus they are non-Hertzian in nature. Among other things, they may be used to generate mass and inertial fields directly." Col. Thomas Bearden, Various Articles & Speeches. Please note the underlining above. Compression and rarefaction waves are SOUND WAVES!!! For our work we only need to substitute into the above acoustic waves and we have a very accurate definition of KeelyÕs Dominant or Neutral third leg of the polar forces. (This third leg is also similar to mystic/scientist John DaltonÕs original work with the Law of the Triangle.) This neutral pole has within it pure (vibratory) energy in a potential state (neutralized, latent). This is a result of the perfect balancing of the two harmonic (= magnetic) and enharmonic (= electric ) flows. These two then, perfectly balance together - becoming One - is the Dominant, scalar or third point of the triangle. Further this may be further conditioned to augment its quiescent nature to allow access to and subsequent manifestation of literally unlimited energy. This liberated energy may manifest as Bearden quotes in his last sentence: Òthey may be used to generate mass and inertial fields directly.Ó I would like to add that since they can generate these types of fields they can also generate these fieldsÕ opposite states; i.e., less than zero to infinite mass and from less than zero to infinite inertia. In other words mass and inertia are results of these forces and may subsequently be manipulated by manipulating the aliquot parts of the these forces (chords of vibrations). And this is why I claim the Keely Musical Dynasphere will, once operational, demonstrate virtually unlimited torque - at least for any practical demonstration. How is this unlimited energy derived and from where? Reviewing Figures 2 and 3 we can visualize a dynasphere of force rotating around the periphery of an axis of a centralized vibratory complex (particle). This is much like holding a bicycle wheel by its axle while it spins rapidly. The rapidly spinning wheel resists motion contrary to its orientation. We know these modes always manifest in a triune configuration therefore we can further extrapolate this spinning shell as being three in number with each rotating at extreme velocities 90¡ to each other. Given the principles of gyroscopic motion and inertia it can be understood how these spinning motions will create substantial inertia and resist movement from their pre-established orientation. Considering these three axis are 90¡ to each other it can be imagined there is a tremendous inertia in three planes which resists motion in all directions with substantial inertia. This being the case - how can anything be moved? By modulating rhythmically the spin and precession of the axis of each of the spinning dynaspheres. This is accomplished by using Amplitude or Frequency Modulation of the eigenfrequencies via their aliquot parts as discussed elsewhere in this paper. This modulation of the spin and triple axis is the key to liberation of immense quantities of so-called Free Energy. Manipulations in other manners may easily be visulaized as to vary what are considered fundamental properties of matter and energy: mass, inertia, momentum, molecular and atomic weight, velocity, energy states, direction, etc. The manipulation of these properties is done by manipulating the aliquot parts of the vibratory signatures. Preservation of molecular structure is attained by manipulation of the higher realms such as lepton and higher. Looking into these higher dimensions Keely said in the Snell Manuscript: "Were our sight able to penetrate the interstitial spaces that exist inside the orbits of the oscillating intermolecules and analyze the conditions in those interstitial spaces, where dwells incalculable latent energy, we would be bewildered with amazement. And assuming our vision, which is limited by persistency, could follow the intermolecules in their rapid oscillations and the intermolecular etheric capsule as it revolves with infinite velocity like a transparent shell about the three component atoms that exist inside it, which in turn revolve in their orbits and oscillate with even a higher frequency than the intermolecules, we would still be only on the border gazing into the remote depths of the interstitial realms that stretch far down into the interatomic, etheric and interetheric subdivisions, and, within the interetheric subdivision at last arrive at the neutral center, the nucleus of everything we know as substance. This neutral center bears about the same relation to the etheric subdivision that the atomic subdivision bears to the crude molecular, in other words, its texture is as much finer than electrons as electrons are finer than coarse molecules." According to KeelyÕs ideas this neutral field or Dominant state is never really fully neutral. (See Figure 11.1.) It can be predominantly negative (harmonic) or positive (enharmonic). (See fig. 7.) This is the clue to controlling the Dominant and its manifesting phenomena. From the scalar research we can see this state of affairs is generally acknowledged: ÒIn present quantum field theory, the spin-2 graviton is taken to be the quantum particle of the gravitational field, while the photon is the quantum particle of the electromagnetic field. Essentially every field is so visualized, hence the name quantum field theory. In scalar EM, the graviton is envisioned as an averge over time of the constantly changing photon coupling/decoupling less than, equal to, or greater than two, according to whether local spacetime is negatively curved, flat, or positively curved. This is also consistent with the modern view of a field: because of vacuum fluctuations, rigorously one no longer speaks of "the" field, but of the probability of a particular field configuration.Ó See Charles W. Misner, Kip S. Thorne, and John Archibald Wheeler, Gravitation, W. H. Freeman and Co., San Francisco, 1973, p. 1191. Underlining is mine and if one were to substitute KeelyÕs word of polarization with the word configuration we could begin to see KeelyÕs philosophy emerging. The field configuration can be manipulated by changing the aliquot parts of the vibratory chord or signature making up the field. The field is not primary as often thought but is instead the result of these primary chords or vibration signatureÕs discrete components. Here again we have confirming research as to the quantizations of this virtual energy domain always residing in a latent state: ÒFixing a frame and metric to the vacuum actually prescribes the behavior, characteristics, and structure assumed for the entire vacuum/spacetime of the universe. Properly, the characteristics (structure, intensity and dynamics) of the vacuum potentials must determine the frame and metric, not vice-versa. Further, we take the unorthodox modeling view that normal observer 3-space (i.e., mass) exists "outside" the dimensionlity of the vacuum structure. The normal 3-space, however, exchanges discretized flux with the vacuum substructure via virtual particle interactions which are hyper-dimensional a priori. The only common dimension between the unobservable vacuum and the 3-space of observable mass is time, which is taken to be fragmented and disintegrated into pieces, quite in contradistinction to Minkowski's continuous 4th (time) dimension.Ó Col. Thomas E. Bearden, Analysis of Scalar/Electromagnetic Technology. And from the same work we can see a further illucidation of these principles and how they are defined mathematically via quaternions which in music or SVP may be likened to the aliquot parts of a complex wave form (fig. 5 & 6): ÒA quaternion has four parts Ð three vector components, and an associated scalar component which itself may be a function of vectors. When the three vector components reduce to zero (by phase conjugation), the scalar component still exists, and may vary in both magnitude and vector composition. That is, when the three vector components of the quaternion are zeroed, the quaternion does not necessarily disappear at all. In modern vector analysis, however, the associated scalar component is not used; only the three vector components make up the vector. When the three vector components are zeroed, the entire vector disappears without any remaining residue being accounted for. In quaternions, for example, one could still remain, and could actually change if the sum-zeroed components were dynamically varying while yet maintaining their zero summation. In this manner, one could easily have the scalar function represent the stress of local spacetime, and could unite gravitation and electromagnetics on a local, engineerable basis. One could use infolded (zero-summed) EM force vectors to create gravitational scalar stress potential waves. A quaternion consists of a triple vector part and a scalar part and can readily take into account the stress and strain of the medium, including internal structuring of the stress or strain, whereas a vector (Heaviside's vector) consists only of the vector part. Quaternions are difficult, and even in the time of their founder, Hamilton, few mathematicians and scientists ever mastered them. When Maxwell's theory was transposed to its modern vector form many of the characteristics of this scalar part were effectively discarded and only the vector part was retained.Ó Col. Thomas E. Bearden, Analysis of Scalar/Electromagnetic Technology. Quaternions describe mathematically the structure of Keely's triple streams or concordant flows as he called them when harmoniusly balanced thus becoming his Full Harmonic Chord. This triple flow is then an undifferentiated flow as a scalar phenomenon. Keely onced mentioned that Maxwell was substantially correct and apparently went on to make full use of his mathematics but in a parametric fashion. Which is to say music notation as shown in his marvelous charts but only in its most rudimentary presentations. Quaternions are needlessly made complicated by the introduction of the negative numbers. In nature there are no negative numbers or quantities. We generally use the negative notation to indicate a reverse of a positive mathematical situation. In our current work we find a need and desire to work with three states of energy: positive, negative and neutral. In order to work with them we must confine ourselves to positive quantities. How are these to be presented mathematically all the while preserving each of their integrities, individualities and potentialities? |
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