Sympathetic Vibratory Physics

Roots of the Vibratory

Etheric Tree

Dale Pond
1997.

“My system, in every part and detail, both in the developing of this
power and in every branch of its utilization, is based and founded on
sympathetic vibration. In no other way would it be possible to
awaken or develop this force, and equally impossible would it be to
operate my engine upon any other principle.”
John Keely, 1888

Copyleft & Copyright 1997 Delta Spectrum Research. All rights reserved. This material may not
be published, broadcast, rewritten, or redistributed.

© Dale Pond, 1997 - 1 of 23

 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.
Keely’s 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 us-
ing 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 dy-
namics associated with rotation from a purest standpoint; i.e., the seemingly ceaseless and effort-
less rotation of atoms, molecules and planets. It was believed at the onset of this project that Kee-
ly 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, con-
struction and graduation of the Dynasphere we were brought face to face with a myriad of ques-
tions 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 polari-
zations. These refer to specific polar states of a scalar quantity. (See fig. 1.) The negative polari-
zations are attractive to the center of the vibrating aggregate and medium while the positive pola-
rizations 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

Fig. 1 - Law of One. Idealized pattern of the three modes of a vibration. The Positive radiates outward which is represented by
the positive phase of a waveform (see fig. 4) while the Neutral is the zero line (shown here as the central circle) and Negative
is the downward phase curve. View as a spiral from the end and the small central circle is the cross-section of the zero line.

© Dale Pond, 1997 - 2 of 23

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 Keely’s work) that these funda-
mental scalar states are either one or the other and not random as sometimes postulated in vari-
ous views of quantum electrodynamics. Not only are they definable but they are predictable, en-
gineerable 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 ex-
ternal 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 prop-
erly 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 Man’s manipula-
tion of levers and fuels. It occurs whether we are involved in the process or not. The very exis-
tence of a longitudinal or transverse wave train gives rise in a natural form a third vibratory com-
ponent 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 rain-
bow 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.

Fig. 2 - Triune Modes. Three modes of a vibration: Longitudinal as straight-line or back and forth; Transverse or zig-zag 90°
to the first and Raleigh or Love waves 90° to the first two modes and which are circular or vortexian and manifest primarily as
elliptical or apsidal in shape. None of these modes can exist independent of the other two.
Keely: "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 Na-
ture. Were it not for these triple vibratory conditions, change of polarity could never be effected, and consequently there could
be no rotation."

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Fig. 2.1 - 3D Image of Vibratory Modes. These modes manifest in three perpendicular directions. The straight-lined is Lon-
gitudinal; the radial from the center line to the spiral is the Transverse or Shear waves; the spiral is the Raleigh, Lamb or Love
wave. When any one of them is present they are all present. Magnitude may vary for each. Superimposing opposite phases will
make the energy scalar or latent. Wave forms can be misleading. There are actually no waves per se. Energy moves as a polari-
zation vector. What we see as a wave isactually the result of other forces acting on subtler and higher levels of causitive ac-
tions.

One of the prime areas of difficulty is in the definition of a vibration. Before the turn of the cen-
tury 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 cy-
cle 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:

Table 1 - Nomenclature of the Triple States of Polarization

+ - ±
Positive Negative Neutral
Male Female Neutral
Enharmonic Harmonic Dominant
Red Blue Yellow (white)
Odd Even Prime
Expansive Contracting Balanced
Expressive Receptive Quiet
Adam Eve God
Radial Attractive Neutral
Explode Implode Latent
"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 vibrato-
ry conditions, change of polarity could never be effected, and consequently there could be no ro-
tation. 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

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Fig. 3 - 3D Image of Vibratory Modes. These modes actually manifest in all three vector directions and modes simultaneous-
ly. Therefore each of the three modes are actually a triune association of the three from three different orientations. Therefore
there are actually nine modes simultaneously which manifest as One Unity. These must be described mathematically using
three different sets but never with a negative number. This can be done using music notation. See fig. 11.

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 posi-
tive or the negative zone (figure 3.1). It will either become a positive quantity or a negative quan-
tity. 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 num-
ber 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 Dif-
ference) 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 usea-
ble system of engineering. When the two phases are merged or summed they become compli-
mentary and One With each other to form the third mode; i.e., scalar or neutral. Thus the charac-
terisitcs 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

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Fig. 3.1 - Pendulum Swing as Vibration. According to the more accurate definition of a vibration what we consider as one
vibration is really two which are mirror images of each other. One is positive or male (Positive-Positive and Positive-
Negative) while the other is negative or female (Negative-Positive and Negative-Negative).
A pendulum swings to and fro. On the left side is the Negative phase with the Positive phase on the right. When swinging to
the right the action is expanding to the Positive. So the motion is a Positive-Positive one. After reaching the full extent of its
swing it begins to collapse back to the Neutral line. This is a negative motion (to the center) so it is a Positive-Negative phase.
Just the opposite occurs on the left and Negative phase side. The conventional two phases of a vibration are in actuality four
phases. See fig. 4 where a sine wave is illustrated showing this dramatic difference and understanding.

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 de-
rived 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 conceptu-
alizations. Therefore Mind plays an important role as well and will be touched on hereinafter.
Keely said rotation arises “by giving control of the negative attractive or enharmonic current of
the triple flow.” 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 (enharmon-
ic, 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 polariza-
tion 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: “rotation arises from the harmonic interaction of the dominant and enharmon-
ic elements of the flow 1/3 part to 3rd and 3rd to 9th.” This seems to contradict the first state-

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 Fig. 4 - Four Phases of a Wave. This image reflects a more comprehensive view of a wave form and its four phases. The Pos-
itive-Positive radiates away from the Neutral Line. The Positive-Negative is on the positive side but reassociates to the Neu-
tral. The Negative-Positive radiates away from the Neutral Line and the Negative-Negative reassociates to the Neutral. The
Positive expands outward while the Negative conctracts towards the center. The Law of One is not violated. See fig. 1.

ment. 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 "In-
deed, 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.” Bearden, various
speeches and articles.

The Dominant (neutral) polarization is the same as what has been called by Bearden the “scalar
potential” of which he says: “We 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.

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 Fig. 5 - Wave Form Componenets. All wave forms are really a composite of discrete, unseen or occulted forces acting in
concert. Graphic shows four different complex waveforms as being the result of other discrete forces. These forces being de-
fined by frequency and amplitude. By a process of FM and AM Additive Synthesis these discrete and manipulatible elements
can be arranged and re-arranged to form any desired waveform.

"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 com-
bining 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 random-
ized 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 sub-
structure - 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 magnet-
ic 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 longitu-
dinal 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 accu-
rate definition of Keely’s Dominant or Neutral third leg of the polar forces. (This third leg is
also similar to mystic/scientist John Dalton’s 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 ener-
gy may manifest as Bearden quotes in his last sentence: “they may be used to generate mass and inertial
fields directly.” I would like to add that since they can generate these types of fields they can also

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Fig. 6 - Quaternions - aliquot parts. All wave form vectors are really a composite of unseen or occulted forces acting in con-
cert. Graphic shows the standard Hamiltonian method (above right) of describing vectors using Newtonian calculus and the
more natural way (on the left) using Quantum Arithmetic and ellipses as opposed to squares which always have inherent inac-
curacies. Using X-Y coordinates can at best be only approximations of the truth. See fig. 11.

generate these fields’ 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 subsequent-
ly 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 virtu-
ally unlimited torque - at least for any practical demonstration. How is this unlimited energy de-
rived 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 ve-
locities 90° to each other. Given the principles of gyroscopic motion and inertia it can be under-
stood 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 dyna-
spheres. This is accomplished by using Amplitude or Frequency Modulation of the eigenfrequen-
cies 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

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 Fig. 7 - Feynman’s Morphology. Feynman was not happy with the conventional view of orbiting electrons around a central-
ized nucleus. Just prior to his passing he conceived and published this “new” idea of what he thought was a better representa-
tion of the truth. See fig. 8.

our vision, which is limited by persistency, could follow the intermolecules in their rapid oscilla-
tions 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 in-
teratomic, 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 Keely’s 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 re-
search we can see this state of affairs is generally acknowledged: “In 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 parti-
cle of the electromagnetic field. Essentially every field is so visualized, hence the name quantum field theory. In sca-
lar 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.” See Charles W. Misner, Kip
S. Thorne, and John Archibald Wheeler, Gravitation, W. H. Freeman and Co., San Francisco, 1973, p. 1191. Un-
derlining is mine and if one were to substitute Keely’s word of polarization with the word con-
figuration we could begin to see Keely’s 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 signature’s discrete components.
Here again we have confirming research as to the quantizations of this virtual energy domain al-
ways residing in a latent state: “Fixing 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 dimen-
sionlity of the vacuum structure. The normal 3-space, however, exchanges discretized flux with the vacuum substruc-
ture 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.” Col. Thomas E. Bearden,
Analysis of Scalar/Electromagnetic Technology.

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 Fig. 8 - Keely’s Morphology. Keely developed this idea in the 1880s - years before the electron was officially accepted in
1893. His concept bears near identical resemblance to Feynman’s idea pictured above. Unlike Feynman, Keely went on to de-
velop an entire science and applied technology using this paradigm. (See fig. 7.)

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): “A quaternion has four parts – 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 composi-
tion. 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 summa-
tion. 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 mathemati-
cians 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.” Col. Thom-
as 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, indi-
vidualities and potentialities?
By using a positive number system for each of the three states we manage to stay within the
realms of dynamical forces. This numbering system must address all parameters within the state
itself and must also cross-over or hook into the other two states. Quantum Arithmetic can do this
and music arithmetic can do this. (While neither of these two disciplines fully addresses all the

© Dale Pond, 1997 - 11 of 23

 Fig. 9 - Fibonacci Spiral. Radial components are an integral part of all waveforms. These manifest according to music (see
fig. 11) which is an organized system of vibration and arithmetic. The center of this spiral is infinite in that it can never be
reached mathematically. The numbering begins with One (not zero) and has no culmination or completion in its out-growth se-
ries.

issues found in SVP I believe a synthesis of the two and others are required to more fully express
and understand the vibration work at hand.) The point being is that each of these states of posi-
tive, negative and neutral are distinct and discrete states unto themselves. They must be treated
philosophically, scientifically and mathematically each one separately within a numbering sys-
tem that is capable of expressing opposite quantities and dynamic qualities without using nega-
tive (fictitious) entities. This can be accomplished in music notation by using keys to develop
unique and integral series (qualifications or qualities of forces) and chords (vibration signatures)
to differentiate dynamics, phases shifting, etc.
It follows then that the sound vibrations of this peridocially oscillating scalar medium is com-
posed of a variety of aliquot parts functioning as a whole or having a whole effect. One set of vi-
bratory parts (discrete tones or notes of the vibration signature) manifests as an attractive force
(focalizing to the center) which periodically interchanges with the enharmonic state of radiation
or possessing a radial component. The differences between the first harmonic state and the sec-
ond enharmonic state are the individual tones, notes or components of the vibration signature of
the chord of mass (in this case volume of air). Therefore by changing one or more of the compo-
nent notes the resultant chord characteristic is changed from negative to positive and back. Thus
it is possible to change an harmonic wave to an enharmonic wave by simply changing its aliquot
parts. A quote from Keely shows how he went about doing just this: "Setting the instrument to the
proper triple introductory positions will induce either attractive focalization or positive radiant dispersion, resulting
from the relation of these vibrations to the mass chord. This is disintegration induced by intensified oscillations of
the combined interatomic and electromagnetic waves." Keely, The Snell Manuscript. This quote also shows
that Keely recognized and developed machinery operating on principles which matched, merged
and delineated relations between acoustic (sound as compression and rarefaction waves) and
electromagnetic waves. But he did not use electromagnetic waves per se; he used the cause of
these which being accomplished through manipulations of photons making up electrons which in
their interactions we perceive as electricity, magnetism, etc. These substates or aliquot parts are
what is quantified, referenced and systemitized via the so-called quaternion mathematics. It is
perhaps becoming clear why music is so important as it greatly simplifies that which was need-
lessly made complicated.

© Dale Pond, 1997 - 12 of 23

 Fibonacci Series is Music
1 : 1 : 2 : 3 : 5 : 8 : 13 : 21 . . . .

The Fibonacci series has a base in music. Here we have the series going up
which breaks into a smooth series of even musical intervals.
1 : 1 Unison
3 : 2 Perfect 5th When the numbers are going in reverse order we can see the spontaneous
8 : 5 Minor 6th generation of odd or enharmonic musical intervals.
21 : 13 Minor 6th
∞ : ∞ Harmonic 6th The two series will progress to infinity always attempting to form an Har-
21 : 13 Minor 6th monic 6th which does not exist in music or nature because the Harmonic 6th
13 : 8 Minor 6th signifes perfect unity or harmony or equation of forces. Should this happen
5 : 3 Major 6th the forces then become latent and non-perceptable.
2 : 1 Octave
This is symbolic of an endless seeking for perfection in whatever terms that
may apply.

Fig. 10 - Fibonacci Is Music. Even the simplest series can be set to music and accurately reflects pure musical tones. These
tones and numeric sequences are the root of vibratory phenomena and Sacred Geometry. Thus the four Great Studies are: Ge-
ometry, Music, Arithmetic, Astronomy - after the ancient Greeks.

When I say manipulating photons to cause electron(ic) effects I am referrring to manipulating the
cause or aliquot part or that which makes up the sub-structure of the electron. Quantum electro-
dynamics recognizes the electron as a triplet of photons after Feynman. (See figures 8 & 9.) This
triune structure was first mentioned by Keely in the 1880s and forms the base of all his subse-
quent research. The fundamental idea is always the same: it is far easier and economical to insti-
gate (high frequency) force as modulation upon the substructure (quark, photon or electron) in
order to derive a lower frequency manifestation of the grosser outer structure (atom or molecule).
This means putting a little quantum energy in and getting a lot of Newtonian effects out. In this
manner these structures can be manipulated with perfect safety as long as the proper laws are ac-
knowledged and employed. Transgressing these laws, on the other hand, will cause immense and
uncontrollable releases of energies of a destructive nature. How may we be permitted to accom-
plishing these manipulations? By developing the existing paradigm into a more comprehensive
one. We can begin with a cosmological view afforded by an indepth portrayal of Keely’s vibrato-
ry philosophy and science. We best begin this expansion by illucidating a few misunderstood
words and the concepts they are to illustrate a finer perception.
There exists a confusion concerning the true nature and meaning of resonance and sympathetic
vibration. It is this imperfect discernment between these two ideas that prevents a greater under-
standing and use of Keely's Sympathetic Vibratory Physics. Resonance and sympathetic vibra-
tion are two entirely separate and different phenomena. I feel this confusion has held back sci-
ence and applied sympathetic vibration technology for a long time.
What is the difference between Resonance and Sympathetic Vibration? By way of answer we
must look to a greater paradigm and cosmology than usually considered because universal princi-
ples cannot be isolated but are in fact integral parts of a Greater Whole of interrelated natural
phenomena.
Initially a view of this larger concept is reflected accurately by Keely's first of forty Laws of
Sympathetic Vibratory Physics. This is the beginning of matter as deriving from force or ener-
gy in motion. The energetic or force fields will be discussed further on under the Law of Force.
We will see how a number of other interesting laws are intertwined into this whole.

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Fig. 10.1 - Music Intervals of a Triangle. Even the simplest series of geometrically derived numbers can be set to music and
accurately reflect pure musical tones. These tones and numeric sequences are the root of vibratory phenomena and Sacred Ge-
ometry. Thus the four Great Studies are: Geometry, Music, Arithmetic, Astronomy - after the ancient Greeks. From the tri-
angle we can extrapolate to many other forms.

Law of Matter and Force - "Coextensive and coeternal with space and duration [time], there
exists an infinite and unchangeable quantity of atomoles, the base of all matter; these are in a
state of constant vibratory motion, infinite in extent, unchangeable in quantity, the initial of all
forms of energy."
There is an infinity of "ultimate particles" or those centralized states of neutralized (equilibrated)
force/energy fields (sometimes reminescent of the ether of the ancients). (Negative attraction
causes the centralization.) Keely referred to these ultimate of all particles as atomoles. (Please
keep in mind Keely developed his science and its jargon in the 1870s and 1880s years before
even the simple electron was admitted to exist by orthodoxy.) Realizing that these atomoles
(quantum units of centralized force or the ancient ether) are infinite in quantity, they must be
very small indeed. However they themselves are divisible, Keely goes on to say, into atomolini a
yet smaller (ancient Æther) and more energetic "quantum unit of centralized force". These are
"ultimate units of atomoles, and when in a liquid state are the media for the transmission of gra-
vism. The illimitable divisibility and aggregation of matter is a logical sequence." In our conven-
tional orthodox terminology we refer to atomoles as leptons (positive, negative and neutral) and
atomolini as quarks (also positive, negative and neutral) - generally speaking. (See fig. 7, 8 &
13.)
These considered together form a vast colloidal type substance of infinite density permeating in-
finitely throughout all space and duration (time). Of what are these things composed? In their in-
ner depths and at the smallest conceivable level of substance they have the idealized form of a
rose bud without coloration. This symbolic rose bud pattern is simply a human consciousness
conceptualization. They are not really rose buds but the form helps us to visualize meaningful
dynamics. What is in these tiniest of things? The internal portion is Infinite Consciousness while
the outer form manifests as applied consciousness or what we would call intelligence (conscious-
ness made manifest through application via geometry, arithmetic, music and astronomy). The
forces engendered are definable via mathematical and geometrical formulations and expressions
of pure creativity in its actions of Creative Beingness.

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 Fig. 10.2 - Intervals from a Triangle set to Music. Even the simplest series can be set to music and accurately reflect pure
musical tones. These tones and numeric sequences are the root of vibratory phenomena and Sacred Geometry. Thus the four
Great Studies are: Geometry, Music, Arithmetic, Astronomy - after the ancient Greeks.

The aspect of the bud is such as to convey the concept of fertility, life, germination, flowering
and the whole host of concepts that indicate the fecund nature of these Cosmic Eggs or Cosmic
Buds. These creative points of infinity are the origin of the First Cause. They may well be one
with the First Cause and are as scalar causitive initiating forces in a latent state waiting to be acti-
vated by a simple thought. Nature is eternally creative, renewing, growing and constantly chang-
ing. It is these that are the seeds of materiality. These being infinite in number and location indi-
cates the infinite abundance of Nature literally at our Mind's beck and call.

What connects these infinite Cosmic Buds and our Minds together as one is what Keely referred

Figure 11 - Power of Beat Harmonics. A fundamental gives rise to overtones representing arithmetical propor-
tions of the fundamental. These overtones may be simple tones but are usually summations of harmonics and har-
monics of harmonics. Therefore they may show differing levels of energy.

© Dale Pond, 1997 - 15 of 23

Fig. 11a - Music of an Ellipse. Quantizing to One and using musical intervals as relative proportions results in a
natural development of geometry using arithmetic. This would be a scientific basis of sacred geometry and sacred
science. Vibration signature patterns, as does all life, make use of the Fibonacci Series and ellipses as a founda-
tion form. In the above figure the various dimensions of an ellipse are related one to another to determine their rel-
ative value. These ratios are presented as music intervals and show there is little chaos in the universe as all natu-
ral phenomena manifest via vibratory actions. These vibratory actions are resultants of vortexian or curvilinear or
circular motions. Dimensioning and numbering developed using Quantum Arithmetic.
Fig. 11b, Ellipse set to Music. Below, shows the above music intervals “set to music” on the appropriate note no-
tation position. This is beginning to resemble portions of Keely’s fabulous charts which can be found in Universal
Laws Never Before Revealed: Keely’s Secrets.

to as gravism which is "the transmissive form [of force] through a medium of atomoles in the
fourth state, or a medium composed of atomolini." (See fig. 12.)

© Dale Pond, 1997 - 16 of 23

Fig. 11.1 - Neutrality is a Complex State of Balanced Energies. Taking the universe as a multi-dimensional interweave of
dynamics it is possible to picture triple waves acting at 90° to each to coincide at a point. This point is infinitely small, pos-
sessing infinite quantities of positive and negative polarizations - merged as a single Oneness - in all their latencies - in six dif-
ferent phases or directions of orientation, action, manifestation and beingness. These Infinite Points contain all there is or will
be - as pure potential.

To understand this we are obliged to review the Law of Force - "Energy manifests itself in three
forms: Creative, the vibrating aggregate; Transmissive, being the propagation of isochronous
waves [having a fixed time or period] through the media in which it is immersed; Attractive, be-
ing its action upon other aggregates capable of vibrating in unisons or harmony."
So gravism is the Transmissive form of force and it is this that binds the universe of atomolini to-
gether into a homogenous colloidal mass not unlike gelatin having an infinite density and it may
be added having a neutral polarization. The Law of Transmissive Vibraic Energy states: "All
coherent aggregates are perpetually vibrating at a period-frequency corresponding to some har-
monic ratio of the fundamental pitch of the vibrating body; this pitch is a multiple of the pitch of
the atomole." As these atomolini are infinitely small their frequency is infinitely high with an in-
finitely short wave length. These highest of high vibrations cause what is known as a standing
wave field (fig. 11.1). At the junctures of the waves is where these Cosmic Eggs/Buds reside and
have their existence. All of the above assumes a perfectly uniform and homogeneous field
strength, quality and total lacking of any localized disturbance. The period-frequency of the
creative wave forms synch with each other at discrete distances from their points of origin.
Synch points can be a high neutral state (scalar) when undisturbed. These synch points are al-
ways the same in all directions - unless the media is disturbed by an outside discordant (enhar-
monic) tone. Enharmonic here means relative to the medium’s chord of pitches. Walter Russell
illustrated his idea of these points in his work (Universal One, pg. 155 & 157) wherein sine
waves are superimposed inside of cubic spaces. These are but illustrations of the idea as fig.
11.1.
A standing wave field of this magnitude and density containing harmonic waves of this nature is
by virtue of the Law of Attraction - "Juxtaposed coherent aggregates vibrating in unison, or

© Dale Pond, 1997 - 17 of 23

Fig 12 - Relative States of Matter and Energy. There are realms or organizations of matter and energy based on vibratory
characteristics. On the first dimension we find the courser, heavier and lower frequency substances such as earth elements in a
solid form. The next higher realms are of semi-liquids and liquids then onto gases and plasmas on the third and fourth states or
dimensions respectively. The next level is the liquid ether which modern science is probing in many ways. According to an-
cients ether descends from æther or Akasha which originates from still finer sources. The finer/subtler energies descend to
lower realms - the lower realms are results of the higher. Spirit/energy preceed and define matter. To work with matter in new
and unique ways one must work the causitive forces of those First Cause forces. These are the aliquot parts, notes of the chord
or quaternions. Working on these subtler levels one becomes associated with the cause of matter.
harmonic ratio, are mutually attracted." It is assumed the higher the "Q" or degree of unison the
greater the degree of attraction and hence the greater the density. This may better be expressed as
a degree of sympathy. The greater the sympathy (coincidence or concordance) the greater the at-
traction.
A well-known and accepted property of infinite density is instantaneous transmission (infinite
rate of propagation) of vibratory phenomena such as sound or an impact or a thought. The stan-
dard rule-of-thumb is to the effect: the higher the density of the transmissive media the higher the
rate of propagation of a vibratory phenomena. Therefore gravism (possessing infinite density) is

© Dale Pond, 1997 - 18 of 23

 Fig. 13 - Molecular and Atomic Morphology. Vibrations will centralize into a coherent aggregate. This centralization force
(Negative Attraction) is a result of the aliquot chordal parts. Thus gravity. The only difference between a larger aggregate and
its aliquot structural part is the quantity and quality of the aggregating, centralizing vibrations. These projections are holo-
graphic fractals arithmetically derived in simple ratios and terms.

synonomous with pure sympathy, love, thought, Mind and even Christ Consciousness.
This latter because thought released is instantly everywhere because as this medium transmits in-
stantly it may be said to be as a single solid monolithic substance evidencing the initiated and
transmited thought without time or discordant modulation (interference). Many if not all of the
psychic events occur in this medium which accounts for instantaneous thought transference and
spontaneous creation of ideas, thoughts and events. Even though it acts as if it were one limitless
thing in actuality it is an infinitly large collection of an infinite number of individual parts behav-
ing as One unit yet retaining their individuality. They are all perfectly sympathetic or concordant
one to another - pure love - and at-one-ment.
This simultaneous action and reaction is the result of the isochronous waves which are in reality
vibrations sympathetic to the original and the recipient nodes. These may also be referred to as
standing scalar waves reaching from one Cosmic Bud center to centers (synch points) around it.
Each Bud center is located at the center of one of the nodes formed by these waves as they form
outward propagating intereference patterns. Thus the centers are juxtaposed or equi-distant (or
equal aliquot harmonic divisions thereof) from each other, in all directions, and subsequent cen-
ters are likewise located at the subsequently developed node centers. So the end effect is place-
ment of centers at every harmonic wave interference point with relation to all centers simultane-
ously. This action is explained rather clearly in the Law of Transmissive Vibraic Energy - "All
oscillating and vibrating coherent aggregates create, in the media in which they are immersed,
outward propagated concentric waves of alternate condensation and rarefaction, having a peri-
od-frequency identical with the pitch of the aggregate. - Scholium: All forms of transmissive en-
ergy can be focused, reflected, refracted, transformed, and diminished in intensity inversely as
the square of the distance from the original source." So we can see that those waves of gravism
are sympathetic with/to its source as they are created by that source and received by another sym-

© Dale Pond, 1997 - 19 of 23

pathetic body by virtue of their inherent harmonic (being in tune) quality.
An analogy of this dynamic is an orchestra. As long as the players of the various instruments per-
form their toning in perfect or close to perfect tuning they will stay aggregated, associated and
perform beautiful music together as one unit made of many individual parts. If one or more
players sound discordant or enharmonic tones the cohesion will begin breaking down and disso-
ciation takes place. So integrity of the individual parts is paramount because the whole is not a
thing of and by itself but is in reality a c omposite of the individuals acting as one or in concert as
it is often said. Social implications of this dynamic are important.

These waves are also obedient to the Law of Harmonic Pitch - "Any aggregate in a state of vi-
bration develops in addition to its fundamental pitch a series of vibration in symmetrical sub-
multiple portions of itself, bearing ratios of one, two, three, or more times its fundamental pitch."
This, of course, describes the law whereby harmonics and partials are created naturally from a
fundamental tone. Harmonics are herein referred to as those self-generated tones multiples or di-
visions by 2 of the fundamental. Partials are all other arithmetic multiples or divisions such as by
3, 5, etc. Symmetrical sub-multiple portions refers to the arithmetic ratios as are used in music
math and notation. Figure 11 shows how proportionate numbers of a whole base number mani-
fest as symmetrical sub-multiple portions of a whole. These relative sub-portions are as real as
the originating creative vibrating pitch. These are a manifestation of the aliquot parts or so-called
quaternions. It is because of this law and the natural series of harmonics we may use to enter into
the highest realms of energy and matter with adroitness and purpose. These higher realms are un-
attainable in convention machinery, devices and science. However by using the appropriate un-
derstandings and principles as we are discussing here these realms can be manipulated as easily
as any other and with complete safety. The law simply implies that these realms can be manipu-
lated by a sympathetic acoustic impulse (sound) of the proper chord (wave form or signature pat-
tern) because of the sound’s inherent and self-engendered harmonic series.
Manipulation of a harmonic by using its fundamental is a straightforward concept. However it
can only be done by using sympathetic tones or vibrations. A portion of this work is already done
for us when using a sympathetic tone and allied constructs and therefore our “energy in” is less-
ened right from the start at the same time assuring greater response. Natural resonance (as op-
posed to forced resonance) of the participatory vibration source, vibrating medium and energized
target objects are factored in using terms of concord (conductance), discord (resistance) and sym-
pathy (inductance).

Resonance and sympathetic vibration are more often confused as each other than not. They are
most definitely NOT the same. For instance in McGraw-Hills's Dictionary of Scientific and
Technical Terms, 3rd. ed., 1984; we find these two very somewhat confusing definitions:
Resonance - [PHYS] 1. A phenomenon exhibited by a physical system acted upon by an external
periodic driving force, in which the resulting amplitude of oscillation of the system becomes
large when the frequency of the driving force approaches a natural free oscillation frequency of
the system. 2. In general, any phenomenon which is greatly enhanced at frequencies or energies
that are at or very close to a given characteristic value.
Sympathetic Vibration - [PHYS] The driving of a mechanical or acoustical system at its reso-
nant frequency by energy from an adjacent system vibrating at the same frequency.
As can be seen the two definitions are pretty much the same thing said with different words un-
less read with great discernment. These definitions are descriptive of the perceived result as
though each phenomenon was an isolated event. However we must make a distinction because
this distinction will be all important in the pursuance of greater understanding of vibratory phe-

© Dale Pond, 1997 - 20 of 23

nomena. In SVP we refer to a sympathetic vibration as a specific type of vibration and dynamic.
We do not consider it an end result of something else although these vibrations and vibratory ac-
tions are emitted from a source and are in actuality, in their introductory phase, a result of the
source's vibration. This is much like a baby that is the end result of it's mother's pregnancy. A lit-
tle later in its development it is considered as a causer of actions in its own right. In the defini-
tion of resonance it refers to a dynamic as: by an external periodic driving force. This external
driving force is the sympathetic vibration in its vibratory activity. The outside vibrating aggre-
gate does nothing to the resonating receptive body as there is no direct contact between them. A
media or method of contact is the vibrating media moving in a periodic fashion. This periodic
motion, when in synch with the causer and the receptor of the vibrations, is the sympathetic asso-
ciative mechanism through which propagate those vibrations sympathetic to the three vibrating
bodies: i.e., the creative aggregate, the transmissive media and the receptive aggregate.
For instance take two vibrating or oscillating objects. They are under self or natural resonance
(as are all objects) conforming to the Law of Harmonic Vibrations and produce a wave train as
described above under the Law of Transmissive Vibraic Energy. They are putting out a series
of harmonic waves arithmetically relative to their fundamental pitches. These waves radiate out-
ward according to the Law of Force. Therefore we have the first object in a state of vibration
creating a series of waves that speed outward establishing a modulation on the medium which
surrounds this object. These then, at this point are the Transmissive Waves as they propagate out-
ward. The second object by virtue of its natural resonance is therefore subject to modulation ac-
cording to the Law of Sympathetic Oscillation as mentioned above. Due to the fact that the sec-
ond object has vibrations synchronous with the waves being created and propagated by the first
we say it is sympathetic to the first. Therefore the vibrations traveling to and from each object
that are sympathetic to each other are sympathetic vibrations. The vibrations themselves are sym-
pathetic to the Creator object and the Attractor object. So where in the above definition there is
reference to the "mechanical or acoustic system" and "an adjacent system" being two systems -
in our more precise definition we acknowledge three discrete systems acting coherently as one
system. The missing third system is the peculiar vibrations sympathetic to both systems. The
third system is the vibrations themselves.
There are also, in this particular vibrating media, vibrations that are not sympathetic and may be
classed as antisympathetic, unsympathetic, anharmonic, enharmonic or discordant. These latter
ones being developed by the Law of Cycles. Why there are discordant phases or cycles that ap-
pear to spontaneously appear, merge, converge and phase away is explained in the Law of Cy-
cles - "Coherent aggregates harmonically united constitute centers of vibration bearing relation
to the fundamental pitch not multiples of the harmonic pitch, and the production of secondary
unions between themselves generate pitches that are discords, either in their unisons, or over-
tones with the original pitch; from harmony is generated discord, the inevitable cause of perpet-
ual transformation." Secondary unions are beat tones and are generally considered very enhar-
monic as also secondary harmonics may form discordant intervals with primary, secondary and
terciary generated harmonics. There are five sources of these terciary tones. They may be discor-
dant, harmonic or latent (scalar) and all derive from interaction among themselves. It is this inter-
action that is the sympathetic nature of the universe causing it to be what it is and what it does.
Beats may arise
1) Between fundamentals;
2) Between one fundamental and a partial (harmonic) of another;
3) Between overtones;
4) From the occurrence of Differentials; and
5) From the occurrence of Summation tones.
This plethora of derived harmonics constitutes the real inner nature of vibratory phenonema and

© Dale Pond, 1997 - 21 of 23

a properly tuned system will have a number of these harmonics identified and included in the
tuning process. These numerous harmonics account for why there is no such thing a simple vi-
bration or isolated and discrete dynamical phenomena. This arithmetic structure and dynamic of
tones is more fully explored in the HyperVibes Music Reference Stacks.4

All these spontaneous tones are arithmetically relative to each other. They are derived in a way
as used in fractal math and the result is always a multiple of some other set and or subset. These
configurations are therefore parametric in all cases and at all times. This is the beauty of music
notation. All notes of a scale, key and staff are parametric to all other notes. See figure 10.1, 10.2
and 11.) This explains why Keely used music notation so extensively in his work. For a full set
of his illustrations using music notation please see Universal Laws Never Before Revealed: Kee-
ly’s Secrets.5 There are other principles of music just as easily and importantly applicable to vi-
bration science.
To clarify even more we would state the second object is now in a state of forced resonance or
amplified resonance (entrainment) brought on by the sympathetic vibrations created by first ob-
ject and transmitted by the medium as an image or reflection of its own natural resonance. There-
fore resonance is an effect brought on by the modulating influence of sympathetic vibrations.
This is referred to in modern audio circles as Frequency Modulated Additive or Subtractive Syn-
thesis (as in FM radio) or at times it is Amplitude Modulated Additive or Subtractive Synthesis
(as in AM radio) . So for purposes of SVP we redefine and clarify the definition of:
Sympathetic Vibration - The vibrations themselves emitted from a vibrating body that are syn-
chronous to both their creative source (the emitting body) and another body's natural resonance.
This second body will naturally attract, absorb or assimilate sympathetic vibrations to itself. The
second body will not be attractive or sympathetic to discordant vibrations. According to research
already done(1) these attractive waves may have an effect many times greater in force than the
propulsive or creative waves.
You see, here is where the usual sledge hammer approach is demonstrated. Usually a transmit-
ting body is given tremendous power of amplitude to overcome the antisympathetic conditions it
is forced to operate in so it can create and then transmit sufficient "power" to literally pound or
force the nonreceptive or unsympathetic second body into resonance. Its “broadcast” or creative
energy must be pumped to tremendous levels to force a propagation through an unsympathetic
medium of transmission to weakly reach the target where it again must force compliance or obe-
dience to its tune. These concepts are universal as they are applicable universally. Force of Will
of despotic or tyrannical governments operate in the same way. If they would only use love in-
stead of force it would be a different world...
Usually the created waves are to be propagated through an unsympathetic media such as radio
waves through the atmosphere. Recently some military applications were developed whereby
certain lasers were being fine tuned to more easily transmit (propagate) through the atmosphere
with least interference (resistance). It was found that a certain discrete tone or frequency of a
blue laser light propagated with a greater degree of sympathy (less resistance) than others. As a
result of this work the weapon was able to deliver greater power on target than hithertofore ac-
complished. In other words a vibration tone was found that was sympathetic to a discrete vibrato-
ry component of the oxygen atom/molecule. This is the art or finesse. The art comes in as we
learn how to tune or graduate machines and devices in a multi-dimensional manner thus insuring
a more perfect concordant action/reaction (sympathy between the creative source, the transmis-
sive medium and the receptive target). SVP is concerned with the discovery, learning and appli-
cation of this art and science. SVP is not intended to be used or developed as military tools for
the controlling, killing, destroying or terminating of life. SVP is intended to inhance and improve
all aspects of a free and expressive life for all. Low uses of this technology can be used when de-

© Dale Pond, 1997 - 22 of 23

veloped imperfectly for less than perfect uses - such as killing.
However, a higher “Q” tuning of multiple harmonics of a chord signature and
closer approximation and unition of dynamics
precludes such destructive and ill-conceived uses.
We are just breaking into a deeper awareness and applicability with our SVP research. Work in-
volves 4th and higher dimensions as working units of the dynasphere device. Please see Chart of
Matter and Energy (fig. 12) which depicts these dimensions (realms) in a relative and under-
standable fashion. These lines fall in with the Keely intent-chi-Will factors. Our new machine is
designed to encompass and utilize these paramters.
Mankind as a whole is moving into realms of greater (higher?) awareness and abilities to use
such. Remote viewing (far-sight; far-seeing) is gaining a public forum and acceptance. This is
the ancient telegnosis used by alchemists and practioners of the mystical and occult arts. So the
name is changed to get acceptance of what used to be taboo and a one-way ticket to the burning
post. We no doubt will be seeing more of these cross-overs from the taboo taking place in the
near future. Isn’t this how Cayce derived a good deal of his conveyed knowledge - by visiting re-
mote persons, places (and times) while in trance? HPB used the same technique while compiling
her extensive works on etheric physics. The 4th dimension and higher do not operate within or
are predicated on materiality therefore these higher realms are supra-3-dimensional which also
includes TIME (being defined as the awareness of the progression of events). They are not su-
pra-natural or super-natural as some would have them. A true view of nature is not limited to 3
dimensions. Only a materialistic view is so limited or narrow. How many of those interested in
remote viewing realize they are taking up an ancient occult art?
According to my work, all 3-space has 4-space (and above) inherent in it. There is no other way
3-space can exist without this latent 4-space as it is derived from the higher planes which are en-
ergetic rhythmic periodicies. Energy preceeds matter or in other words, matter is a result of cer-
tain states of energy. These states of energy are derived from conditions of vibratory activity
which is to say number. Number applied to vibration is MUSIC. So at the very essence of matter
is an energy driven or guided by MIND (volition) as it is MIND that assigns dimensions or quan-
tization of perception (geometrizes). So it really is a musical universe!
When the three modes vibrate as One there is Pure Undifferentiated Sympathy or Love. This is
what Sympathetic Vibratory Physics is all about.

References
(1) Sympathetic Vibratory Physics & Vibration Research Institute & Laboratories web site: http://www.svpvril.com
(2) Embleton, T. F. W., Mean Force on a Sphere in a Spherical Sound Field I & II; The Journal of the Acoustical Society of
America, Volume 26, Number 1; January, 1954, page 40-50.
(3) Bloomfield-Moore, Clara; Keely and His Discoveries, Delta Spectrum Research, 921 Santa Fe Ave., La Junta, Colorado
81050, reprint of 1893 edition.
(4) Pond, Dale; HyperVibes™ Music Reference stack. Delta Spectrum Research, 921 Santa Fe Ave., La Junta, Colorado 81050.
(5) Pond, Dale; Universal Laws Never before Revealed: Keely’s Secrets. Delta Spectrum Research, 921 Santa Fe Ave., La Junta,
Colorado 81050.

© Dale Pond, 1997 - 23 of 23