Harmony of the Cosmic

Discussion concerning the first major re-evaluation of Dewey B. Larson's Reciprocal System of theory, updated to include counterspace (Etheric spaces), projective geometry, and the non-local aspects of time/space.
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bperet
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Harmony of the Cosmic

Post by bperet » Tue Oct 04, 2016 10:40 am

Some interesting developments have been made from the RS2 research group here in Salt Lake on understanding the influence of the Cosmic sector on the Material.

What we have found is that we perceive the material sector, 3D space and clock time, geometrically. Larson took this approach by trying to stick with Euclidean geometry, even though "scalar motion" is decidedly not Euclidean. Nehru and I extended the straight-line geometrics into rotational systems (angular velocity), which Larson uses the device of "equivalent space" to explain. Now, some of the new folks that have a musical background have made an interesting discovery--the effects of the Cosmic sector, 3D time with clock space, are perceived as harmonic relationships--not geometric ones.

I do not have much of a musical background (just piano lessons when a child), so I had to do some digging to understand what they found... let's examine Larson's atomic displacement system, starting with the inert gases (like Larson does when he begins to build the atomic series).

Larson (and most of us) use geometry to explain atomic rotation by treating the two magnetic rotations as creating a sphere (such as 2-2-0, neon). When a magnetic rotation is increased (3-2-0, argon), the sphere becomes oblate having a larger diameter on one axis. Larson uses the laws of balance to prevent 3-2-0 from becoming 4-2-0, which is more erratic and instead goes back to the sphere of 3-3-0.

One of the things that is obvious, but usually missed, is that the two magnetic, double-rotating systems of the atom interact with each other--as a ratio, just like everything else. In music theory that spherical, magnetic structure is called unison, which has a ratio of 1:1 (does not have to be 1, but any ratio that reduces to 1, such as 2:2, 3:3, 4:4, etc).

Remembering that in the material sector, the magnetic rotations are in the time region--a region of 3D time and should therefore express harmonic relationships. If we look at the "spherical" magnetic rotations of inert gases:

2-2-0 Neon
3-3-0 Krypton
4-4-0 Radon

we find that they are all magnetically in unison. But what of the others?

2-1-0 Helium -- an octave, 2:1
3-2-0 Argon -- perfect fifth, 3:2
4-3-0 Xenon -- perfect fourth, 4:3

Even if you accept element 118, Oganesson, as being valid, it has displacements of 5-4-0, a third, 5:4. It seems that the noble gases are following a harmonic series that parallels music theory.

This is actually from a series of ratios of overtones... the left side being the overtone and the right being the ratio between consecutive overtones:

1
-- 2:1
2
-- 3:2
3
-- 4:3
4
-- 5:4
5

And the Noble gas series of magnetic rotations exactly parallels the overtone series:

1 (deuteron)
-- 2:1 (helium)
2 (neon)
-- 3:2 (argon)
3 (krypton)
-- 4:3 (xenon)
4 (radon)
-- 5:4 (oganesson)
5

This is just the "tip of the iceberg" regarding the harmony of the cosmic relationships. We are currently working on extending these relationships to the electric rotation and atomic properties--and getting some fascinating results--which curiously parallel the "vibratory physics" of John Worrell Keely. It seems that chemical compounds are not based on "charge valence" as understood by conventional chemistry, but by harmonic relationships of the nature just described.

For those with a musical background, I would be interested in hearing your ideas on this, as I am still digging through basic music theory.
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Re: Harmony of the Cosmic

Post by dave432 » Tue Oct 04, 2016 4:18 pm

This is really amazing. I don't have the background yet on Larson's system of notation, but the associations with the harmonic series are very exciting - practically jumped right out of my chair when I read your post. I just finished studying a DVD course called "How Music and Mathematics Relate" by David Kung and I recommend it to anyone who wants to get a tutorial on the harmonic series from the ground up in a step by step manner. He covers how the harmonic series is derived mathematically by using the Fourier transform. He says the math is quite involved but the main point he wants a student to understand is that the harmonic series is used in many areas of study. He goes into the atom, but he's not coming from an RS perspective. I'm just going to keep going trying to apply musical ratios to RS concepts. The thing is, I'm not particularly gifted in the sciences but I'm enthralled by harmonic relationships in the Universe and by the RS.

One thing he covers in the course is audio illusions. For example, when a man speaks on a cellphone, how is it we know we're hearing a man's voice? The cellphone isn't sensitive to the frequencies a man's voice produces. He explains how the brain supplies the missing fundamental lowest frequency as an audio illusion because the cochlea in the ear picks up the harmonic series being generated by the missing tones and then determines what the lowest frequency should be even though we're not actually hearing it. This same concept applies when a church doesn't have enough ceiling space to house a 32-foot pipe for the pipe organ, so they build 16 foot and 10 and 2/3 foot pipes to create the 2/1 and 3/2 harmonics, respectively, which tells the ear what the fundamental must be. You hear that low 32-foot low pipe even though it isn't even there.

Regarding the harmonic series, I just want to add something that I've learned over the years.The unison can be thought of as a 1/1, like you mentioned. 1/1 can be thought of as the first harmonic or the fundamental. The second harmonic (also called the first overtone) is 2/1, an octave higher. Now we've doubled the frequency and it's like starting over at a new home base. The third harmonic is a 3/2 (perfect fifth) above the 2/1. The fourth harmonic is 4/3, the fifth is 5/4, then comes 6/5 (minor third) and so on like this.

What I discovered are the actual pitches that are produced by the series itself. The system of determining the next ratio is multiplicative. I'm not talking about the next harmonic, but the next ratio that you get when going up the series. For example, from 1/1, the next harmonic is 2/1. 1/1 times 2/1 equals 2/1. So, 2/1 is the pitch produced by the second harmonic. It just so happens that the second harmonic is also 2/1 so this isn't the best example. From 2/1 you go up a musical "distance" of the next (third) harmonic: 2/1 times 3/2 equals 3/1. Musically speaking, 3/1 is a 3/2 but up an octave because 3/1 down an octave is 3/1 divided by 2. So, the only operation happening is multiplying the ratio you're currently on by whatever the next harmonic is. I don't know if this has a name or not but it has helped me discover some of the musical ratios of philotaxis (the ratio of how many turns a plant rotates around the stem before producing another leaf).


1/1 first harmonic produces a 1/1 (unison)
2/1 produces a 2/1 (octave) 1/1 X 2/1= 2/1
3/2 --- a 3/2 (perfect fifth) 2/1 X 3/2 = 3/1 in this octave, but the pitch is actually a 3/2
4/3 --- 4/1 (another octave) 3/1 X 4/3 = 4/1
5/4 --- 5/4 (major third)
6/5 --- 3/2 (another perfect fifth)
7/6 --- 7/4 (kind of minor seventh)
8/7 --- 8/1 (another octave)
9/8 --- 9/8 (major second)
10/9 --- 5/4 (another major third)

and so on...

You start to notice that the first occurrence of a new ratio always appears at an odd harmonic. All evens can be eventually reduced to an odd if you keep dividing by two. For example, the 40th harmonic, if you keep dividing by two: 20, 10, then 5. 5 is odd so you've reduced all you can. The fifth harmonic produces a 5/4 major third. So you know the 40th harmonic is also a 5/4 but it's up three octaves.

Hope this wasn't too all over the map. It would go so much better in person. Seems like what you've found is directly related to the harmonic itself. What I'm trying to present is the pitch or note (ratio) that the harmonic produces. Hope any of this was helpful.
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Re: Harmony of the Cosmic

Post by SoverT » Thu Oct 06, 2016 1:29 pm

Can you provide some insight as to how this knowledge might be applied?
More specifically, how did Keeley actually execute his techniques?

In trying to think through applications of atomic harmonics, I keep running into the problem that atoms are very small and fast, while our technologies are very slow and large.
My assumption is that, in order to create a magnetic field of a frequency that could modify atomic structure, you would have to have multiple magnetic field sources with slight phase offsets that would then create harmonics at the desired fequency.
I how no idea how you would implement that however.

On a semi-related note, is it possible to create a local inverse magnetic field which effective cancels out the planets 1 unit magnetic ionization and allows element 118 to be stable inside the field?

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Re: Harmony of the Cosmic

Post by bperet » Thu Oct 06, 2016 10:16 pm

SoverT wrote:Can you provide some insight as to how this knowledge might be applied?
More specifically, how did Keeley actually execute his techniques?
Keely's system was totally mechanical using acoustics that he learned from his father's pipe organ tuning. Once you understand the concepts behind it, it is really quite simple. Take two strong magnets that are stuck together--it takes a lot of force to pull them apart. BUT, if you just twist them so N-S are no longer aligned, they come apart easily. The amount of energy to twist (the yin, angular velocity of RS2) is FAR less than the linear force required to pull bonds apart. (Larson never considered it because he ignored the yin component from his research.)

Both acoustics and electric current are basically pressure waves in a solid. When those pressure waves align correctly, you can change the orientation of the "poles" of atomic rotational systems, which are basically magnetic. It is not unlike a singer that can shatter a crystal glass with the right notes.

From what we reverse-engineered of Keely's work, he used a siren to stimulate vibrating rods. Crank up the siren (you have to remember, we're talking 1872 here...) and as it slows down, the frequency changes and different rods vibrate. By connecting his rod device to other things, he was able to determine the resonant frequencies (the notes that would shatter the bonds)--but it turned out it was NOT the frequency, but the phase relationship between frequencies--the harmonic ratio--that actually did the work. This is the bit that everybody misses.
SoverT wrote:In trying to think through applications of atomic harmonics, I keep running into the problem that atoms are very small and fast, while our technologies are very slow and large.
My assumption is that, in order to create a magnetic field of a frequency that could modify atomic structure, you would have to have multiple magnetic field sources with slight phase offsets that would then create harmonics at the desired fequency. I how no idea how you would implement that however.
You have a couple of misunderstandings here from premises in conventional science that are not applicable to RS2. First, atoms ARE magnetic fields--two dimensional. In order to orient a 2D plane (push it to a specific angle), you need a 1D pressure function--electric current--since there are only 3 dimensions to work with. Second is that the speed of atoms needs to be measured from the unit datum, not zero, which is the speed of light. That makes the atoms VERY SLOW when treated as a delta from the speed of light, and our technologies are actually "very fast." And the whole trick is that the frequency is irrelevant--it's the BEAT between frequencies that works, which is fairly easy to implement in electronics.

The problem, however, is that "tuning" is a "moving target." Keely had difficulty keeping his devices in operation for any length of time. In theory, once started they should run forever, but in practice, his longest run time was about 40 minutes. His system, based on mechanical vibration, was very easy to knock "out of tune" with any other nearby mechanical vibration, such as a train going by or just someone knocking at the door to his lab.

And I found it is a thousand times worse with electronic technology, because of all the stray currents and frequencies induced by the thousands of "wireless" devices surrounding us. It also appears to be sensitive to sunspot activity, but that's a different discussion. Right now, the knowledge is interesting--but not practical. (At least until I can devise a method to monitor the time region of an atom!)
SoverT wrote:On a semi-related note, is it possible to create a local inverse magnetic field which effective cancels out the planets 1 unit magnetic ionization and allows element 118 to be stable inside the field?
No, because the problem with element 118 is not one of mass, but one concerning the ability of the reference system (3D space, clock time) to represent it. With a 3D system, you have 22 x 22 x 23 = 128 possible orientations for three dimensions, containing two magnetic and one electric rotation. The existing systems of rotation account for unit speed, 10 subatomic particles and 117 elements (total 128)--all the possible combinations to express a 3D rotating system are already used.

Element 118 therefore cannot have a physical presence in a 3D space/clock time system. It can exist as a rotational structure for up to ONE natural unit of time, but then it will break apart because of the dimensional limitation (Larson's concept).

Of course, this limitation applies only to "Level 1--inanimate" structures. If you move to Level 2-biologic," than the rotational combination limit is 65536, and 118 is well below that maximum. 118 can exist as part of a "living system," but will always self-destruct in an inanimate one.
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Re: Harmony of the Cosmic

Post by Horace » Fri Oct 07, 2016 1:39 pm

bperet wrote:but it turned out it was NOT the frequency, but the phase relationship between frequencies--the harmonic ratio--that actually did the work. This is the bit that everybody misses.
Mythbusters tried (and failed) to shatter some glassware with a single sine tone....even when using kiloWatts of stage speaker power.
The glass finally broke when they tried two tones and a circular aperture between the speaker and the glass - they were evidently surprised.
It is interesting to watch. I think it was the episode S03E11 or the "Brown Note" episode (I think also from S03).

Also, this YT video shows how much glass can be deformed by sound waves. You could never deform glass like this manually, e.g. in a vise.

duane
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Re: Harmony of the Cosmic

Post by duane » Fri Oct 07, 2016 2:58 pm

Birds and all that jazz

it seems that birds "do" music somewhat like humans
maybe they are picking up the same harmonics

http://phys.org/news/2016-10-birds-human-musicians.html

Research finds that birds behave like human musicians



I don't know if they're to the "smoking pot. wearing shades, and smashing guitars" stage yet......

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Re: Harmony of the Cosmic

Post by Sun » Fri Oct 07, 2016 3:02 pm

Fantabulous findings!! Always have the feeling that Larson is missing the vibrational technology, who knows the answer is implied in his atoms. That's how sound can be used as light. That's why taste is related to some kind of vibrational status in Ayurveda and TCM. What the ancients measured is "PHASE RELATIONSHIP" just like musicians measured sound. The "PHASE RELATIONSHIP" is changing all the time by the factors of date, time, latitude, longitude, altitude and individual condition. It explains a lot why sounds and herbs can be used for healing by the same principle. The modern prescriptions of herbal medicine is untuned, while the ancients always have a mystic tablet guiding their tuning process.
Horace wrote:
bperet wrote:but it turned out it was NOT the frequency, but the phase relationship between frequencies--the harmonic ratio--that actually did the work. This is the bit that everybody misses.
Mythbusters tried (and failed) to shatter some glassware with a single sine tone....even when using kiloWatts of stage speaker power.
The glass finally broke when they tried two tones - they were evidently surprised.
It is interesting to watch. Unfortunately I do not remember the episode number but it was years ago.
Horace makes me think about two tones working on crystals. Sounds like bridging infinite energies into the system.

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Re: Harmony of the Cosmic

Post by dave432 » Sat Oct 08, 2016 10:11 am

Horace wrote:
bperet wrote:but it turned out it was NOT the frequency, but the phase relationship between frequencies--the harmonic ratio--that actually did the work. This is the bit that everybody misses.
Mythbusters tried (and failed) to shatter some glassware with a single sine tone....even when using kiloWatts of stage speaker power.
Wonder if a computer-generated sine wave doesn't do it because there are no harmonics present. Maybe the fundamental frequency needs to be accompanied by the harmonic series in order to break the glass.
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Re: Harmony of the Cosmic

Post by tymeflyz » Sat Oct 08, 2016 11:11 am

just a thought or guess - the analog vs digital debate of years past, implies in the search for the "warmth" of analog appeared to be distortion / saturation created with the medium of using magnetic"TAPE " and or tubes ; as a side effect of overdrive at the input of both [tube & tape] causing i suspect a secondary naturally occurring harmonic overtone = increasing amplitude by cycle[s] . As the pure digital sine wave lacks the overtone[s] [my guess ] is fundamental nature of binary/digital manufactured from scratch computer vibration[s].

I have not researched this for empirical data, only my direct experience with = analog/tube vs solid state / digital computer equipment of 30+ years of experimentation.

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Re: Harmony of the Cosmic

Post by bperet » Sat Oct 08, 2016 11:11 am

dave432 wrote:Wonder if a computer-generated sine wave doesn't do it because there are no harmonics present. Maybe the fundamental frequency needs to be accompanied by the harmonic series in order to break the glass.
There are harmonics present--but the wrong series (computer-generated waves being a square-wave approximation). Now if you use analog components, such as tubes or transistors operating in the analog range (not saturated), then you get "real" waves.
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