In 1827, when the world had not yet heard the roar of steam
engines in every city, a man was born in Philadelphia who
would attempt to rewrite the laws of the universe to the
sound of an invisible symphony. His name is John Worrell
Keely. By 1872, after more than twenty-five years of
experiments in his workshop, he announced the impossible: a
perpetual motion machine drawing energy from the very fabric
of space. His laboratory in Philadelphia became a place of
wonders, where leading engineers and scientists of the 19th
century were invited. They tested his machines and left in
confusion, describing what they had seen as phenomena beyond
the bounds of contemporary science. Here, metal wheels spun
without any visible source of power, heavy objects floated
in the air, and water seemed to vanish into nothing under
the influence of invisible forces. Keely called this the
"Physics of Sympathetic Vibrations." For him, the universe
was not a machine but a great symphony. All that exists -
from the smallest particle to the stars - existed in eternal
oscillation, in vibration. The harmonious exchange of these
vibrations he called sympathy, while dissonance, in his
conviction, generated repulsion. The science of the nature
of these phenomena was the key to unlimited energy. He
believed matter consisted of homogeneous particles -
atomoles - and their primary units - atomolines. By
manipulating sympathy - the harmonious resonance of their
vibrations - one could, in his view, control the forces of
nature. He radically redefined fundamental concepts:
"electricity" for him was the oscillation of atomoles within
the structure of the atom, and "magnetism" was the mutual
attraction of bodies vibrating in unison. The transfer of
energy associated with gravity he called "gravism." The
foundation of his theory became three types of vibrations:
rectilinear longitudinal, zigzag transverse, and complex
surface waves. Each of them, Keely claimed, possessed three
polarizations - positive, negative, and neutral. His main
goal was to achieve the "Neutral, or Dominant, State" - the
point of fusion of these opposing vibrations, which became,
in his words, the source of unlimited force that powered his
dynamo. His machines were not mere mechanisms; they were
instruments in the hands of a conductor of a cosmic
orchestra. The famous "Musical Dynasphere" - a construction
of rotating spheres, resonance tubes, and disks - could move
for years without stopping, powered, as the inventor
claimed, only by "a force absolutely new and distinct from
all known to mankind." He demonstrated the disintegration of
water and stone, the lifting of weights, and the spinning of
wheels, manipulating, in his words, molecular vibrations and
resonance. Over the years of his work, Keely formulated
forty laws of his physics, describing gravity, electricity,
and magnetism in the language of musical notes and
harmonics. Yet his ideas proved too complex for his
contemporaries, requiring knowledge at the intersection of
philosophy, mechanics, acoustics, and even occultism. The
world of science met them with skepticism and hostility.
Most contemporaries saw in him only a talented fraud.
Leading encyclopedias of the late 19th and early 20th
centuries branded him a charlatan, and later even removed
articles about him. Keely died in 1898, taking with him the
secrets of his devices, and his legacy sank into oblivion,
becoming a scientific curiosity. But the quiet symphony of
his ideas did not fall silent. In the 20th century, there
were those who heard in his theories the echoes of new
discoveries. His concepts of the vibratory nature of matter
found unexpected parallels in the emerging quantum
mechanics, and later in string theory. The American
clairvoyant Edgar Cayce in his "readings" mentioned Keely as
a conduit of higher knowledge. Researchers like Thomas
Bearden began to develop his ideas in the context of
alternative energy. Today, in America, there exists the
"Institute for the Study of the Creative Heritage of John
Keely." His works, once ridiculed, are now studied as a
bold, ahead-of-its-time attempt to find a universal
principle of energy. He remains a lone pioneer, a visionary
whose picture of the world - a "musical universe" governed
by the sympathy of vibrations - continues to intrigue and
inspire those who seek energy not in fuel, but in the
harmony of the universe itself. His story is a tale of the
power of an idea that, rejected by its time, continues to
vibrate in eternity, awaiting its hour for a new
understanding.

Source: gopher://shibboleths.org/0/phlog/296.txt

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