Sympathetic Vibratory Physics -It's a Musical Universe!
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Topic: John Keely's Laws of Harmony
Section: Law of Electro-Chemical Equivalents
Table of Contents to this Topic
"An atom vibrates sympathetically under the influence of electric energy, such undertones of which are absorbed are a harmonic or harmony of the electric pitch; the amount of energy absorbed being directly as the arithmetical ratio of the undertone of the fundamental electric pitch.

Scholium: A table of electro-chemical equivalents on the normal basis will indicate the electrical conditions and amount of chemical change."

Commentary September, 1988

Keely is emersing us deep into his philosophy with this law. It appears the entire premise of the above description comes from his ideas and understandings concerning the vibratory nature of atomic and subatomic structures and their respective energy flow patterns and characteristics.

He considered electric current or electricity as a flow of oscillating atomoles held within the atoms. He considered this energy a creative energy and is conveyed from atom to atom provided the size and weight are uniform. (This was explained in the 12/86 and 1/87 issues of SVP.)

It is assumed from the above that when the atoms are of varying sizes and weights interference to coincidental action is the result. Interference to coincidental action is akin to what we now call resistance or impedence.
Speaking strictly of electro-chemical equivalents, we are concerned here with the electrical state of the atoms. McGraw-Hill defines electro-chemical equivalency as:

"The weight in grams of a substance produced or consumed by electrolysis with 100% current efficiency during the flow of a quantity of electricity equal to 1 faraday (96,487.0 + -1.6 coulombs).

Then he goes on to say that a table of these values will indicate the atoms' relative state. Again McGraw-Hill defines an electro-chemical series as:

"A series in which the metals and other substances are listed in the order of their chemical activity or electrode potentials, the most reactive at the top and the less reactive at the bottom. Also known as electromotive series."

Keely's law then gives us an explanation of how and why the elements have the potential they have and hints at what it wouild take to bring a change in their respective states. Which ability to render change would prove of enormous value to the one able to master such a technique.

Basically he says that atoms are oscillating within themselves (an interior particle?) at the same rate and mode of the electric pitch. The electric pitch, we have already seen, is the rate of oscillation of the atomole (electron?) found within the atom. He has already stated that the atomoles are of uniform size and weight therefore we can assume that the rate and mode of vibration is consistent whether propagated in solids, liquids or gases.

This whole idea of electro-chemical equivalents brings to mind a series of objects each having absorbed a deferring quantity of water. Since water is common to each and every object one has the latent ability of changing the state of each object simply by injecting into or taking away water from each of them. Keely's law says that each object will absorb energy according to an undertone of the object or atom's vibration rate which forms a harmonic or harmonizes with a component of the electrical pitch. This relationship is directly dependent on an undertone of the fundamental of the electric pitch and can be expressed as a simple arithmetical value. Thus getting us back to arithmetic here and away from complex mathematics as is commonly found in today's quantum physics.

This very clearly demonstrates the value in studying music construction techniques. The manners and methods of relating vibration rates one to another is simple arithmetic and not the overpowering complexity of using unrelated values forced into compliance by over-complicated rules of so-called higher mathematics. This also illustrates the meaning behind Cayce's often overlooked references to the effect that "Music is the connecting link between God and Man or the spiritual and material realms." (paraphased).

This particular phrase is easily grasped when one considers energy (higher states of manifestation) as belonging to the spiritual realm and gross matter such as atoms or molecules representing the material realm. Keely even goes so far as to classify electricity as a creative force. God or the God-force is always considered as a creative force especially in Genesis which is the story of the creative process bringing a spiritual realm into materiality or how pure energy becomes pure matter - they are one and the same save for rate and manner of vibratory actions.

This is the beauty of Keely's philosophy - it ties these two seemingly separate and different realms of activity into ONE. Nowhere else and in no other system of science or philosophy is this so dramatically demonstrated. Here is a dramatic departure from the innane materialist's viewpoint that things are separate and unrelated. Here is a departure from the religionist's concept that all is spiritual giving little or no value to material things. The connecting link is that which governs music development. Here, at long last, is a middle ground from which the Darwinists and Creationists can meet and finally reconcile their bitter battle by uniting around that which bridges the two opposing ideas granting equal value to each - sympathetic vibrations. Vibrations being the material manifestation and sympathy being the connecting force or energy - undulating together in a coordinated and cooperative Cosmic dance of action and reaction.
See Also:

Dale Pond
Tulsa Seminar
Dale Pond and Atlin
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