FIBONNACI - THE MUSICAL VORTEX OF CREATIVITY
                          By Dale Pond, Editor,
               The Journal Of Sympathetic Vibratory Physics

     Around the turn of the century there was a great debate as to
whether atomic pitches represented harmonics of one another or not.
According to the available data the question was never resolved to
anybody's satisfaction.  I uncovered a paper in the Applied Spectroscopy
magazine wherein this harmonic relationship was alluded to by a more
recent writer when considering the Hydrogen and Oxygen components of
water.  The writer indicated he would explore this phenomenon in a later
article.  A later article was never found.

     Now, the issue died around the turn of the century because
scientists were looking for a HARMONIC relationship instead of a MUSICAL
relationship.  A harmonic relationship, according to the rules of music,
is a doubling or halving of the frequencies under study.  They were
looking for a 1, 2, 4, 8, etc. series of relationships.  This is well but
there are more relationships than this simple obvious series.  For
instance we have a relationship of a Perfect Fifth = 3:2 or a Perfect
Fourth = 4:3.  How do these relate to atomic frequencies?  What can they
mean?  We've pointed out in other articles that Pythagoras stated the
lower the numbers in the relationship, the greater the harmony between
the two frequencies.  According to Keely's scientific philosophy this
translates into greater bonding force or denser material aggregation.
The opposite happens with greater number relationships - separation.

     Now, in order to determine what the relationships are one must first
have the atomic frequencies which can be easily acquired from a table of
Nuclear Magnetic Resonances or spectra of the elements.  In the February
1987 issue of The Journal of Sympathetic Vibratory Physics was published
a table of musical intervals.  Match the two tables and you have the true
and proper relationships as spoken of by Keely in his laws and
philosophy.

I have assembled all the known musical ratios onto a Lotus 1-2-3
spreadsheet (IBM, MS-DOS or PC-DOS compatible) in such a fashion that ANY
numbers may be used on it and their respective relationship may be
determined.  I also have a great number of the spectra assembled though
more is lacking than I've been able to acquire.  The insights given about
elements when run through this spreadsheet is mind boggling!  Though
little is yet understood at this point, everything points to a facility
of being able to do things approaching on the magical.

     A fine example of what may come to light using this spreadsheet is
the example of the Fibonnacci series of numbers.  Currently we use PHI as
the derivative of this series but this number is irrational (never ending
series of decimal places), but once it is run through the  musical
spreadsheet we get WHOLE NUMBERS.  Exactly what we need to compute finite
quantities needed when working with Quantum Arithmetic.  Here is the
series and their musical intervals:

Fibonnacci Series: 1,1,2,3,5,8,13,24,etc.




Computed to PHI: 1.61803....

          1:1   = Unison
          2:1   = Octave (harmonic)
          3:2   = Perfect Fifth
          5:3   = Major Sixth
          8:5   = Minor Sixth
          18:8  = Major Sixth

     All subsequent ratios oscillate from a Major to a Minor Sixth,
always approaching what would be termed a Perfect or Harmonic Sixth.
What does this mean?  Keely maintained:

     "The rhythmic relations in which force acts are everywhere, under
all conditions, and at all times, the same.  They are found
experimentally to be universally expressible by the mathematical
relations of thirds."

     According to musical theory, a Third is the inversion of the Sixth.

     Keely worked for many years, without success, on the theory that
polar and depolar current actions were circular.  He found success when
he found and proved that these forces act with a SPIRO-VORTEX motion.
Since we can now see that spirals are governed by Sixths (inversion
Thirds) we begin to get an idea about his "Triune Polar Flow."

     We can now begin to understand why The Ancients could do things
eluded to by so many unexplained monuments, etc., and we haven't been
able to duplicate their feats.  They did it with simple WHOLE NUMBERS,
which can be calculated on the fingers, whereas we can't with our high-
powered computers trying to work with irrational unworkable numbers.  As
Iverson (Author of Quantum Arithmetic) has so long maintained, we can
skip all the heavy unworkable math when we work with whole numbers.  This
also helps us grasp why Keely was able to do so much with so little one
hundred years ago.

     This also opens the door to understanding why and how Tesla could
transmit and receive electrical force at a distance without having the
electrical force manifesting all over the place.  This point will be
explored in another future article.

     The Musical Spreadsheet template is available on a 5-1/4" floppy for
$50.00 from Delta Spectrum Research, Inc., 2100 Mediterranean Ave, Suite
16, Virginia Beach, VA 23451.  Though I haven't tested it, the template
should run on any IBM compatible system (MS-DOS or PC-DOS) using Lotus 1-
2-3.  There are limited instructions on it but no documentation, non is
needed.  If you have any proficiency with Lotus 1-2-3 on an IBM
compatible system you can easily use this spreadsheet.  Written inquiries
or questions will be answered by return mail.  If you are using an
incompatible system a printout is available for reconstructing this
spreadsheet, price $35.00.  Several hundred pre-ratioed NMR, light,
chemical element and other frequencies are avaialbe also, price $50.00.

     Those developing calculations from this spreadsheet are encouraged
to share their findings for the benefit of future work.  Just for fun you
will want to run the rainbow colors (use Fraunhofer lines) through this
spreadsheet!  You will be pleasantly surprised!^Z