notes: March 24. 1995 12:15 PM. ANOTHER LOOK AT IMPACT VIBRATIONS It is entirely possible that in intermedia space, such as the solar system, there are super powerful high frequency and subliminal gravity waves that cannot be directly measured but whose effects can be directly seen. ... Let's look at the question of such a realm - the existence of super powerful high frequency and subliminal gravity waves that cannot be directly measured but whose effects can be directly seen. These waves may obey sonic principles and have sonic patterns in them. The sonic patterns would be built of interweaving interlinking geometrical cube and star patterns, as are ordinary sonics which produce accoustic sounds in a room from audio loudspeakers, from essentially, a matrix of spreading six sided stars in hexagrams These patterns essentially are like nothing less than gigantic snowlflakes, dinner plate sized in an ordinary room, solar sized in outer space. They can sit stationary, for instance in solar space, connected in straight line solid acting lines of interactive form to other star systems, kept stable through an actively re-enforcing mechanism called 'impact vibrations' through a solid constant pumping pulsating field of powerful gravity waves of very low to very high frequencies. Those frequencies that comprise a solar system manifestation would be a particular range of sonics, for instance the middle C scale of an accoustic bass fiddle in analogy, those select gangs of bass fiddle frequencies expanded to suitable gigantic cosmic proportions, still with the same constant understructures in ratios between parts comprising the frequencies. See file named: IMPACT.TXT in the ECLIPSE.HTM home page for more about 'impact vibrations' and how to test them. See also file named: MASTER.HTM for snowflake geometry principles. So is described; a model for intuitive conjecture. Such a model actually exists in the local environment of your very own home, in an instantly self evident way, once seen, never forgotten. Anyone who has ever taken the front cover off a large speaker enclosure, for instance a studio monitor sized Radio Shack stereo speaker, will have noticed two things occuring with the in and out piston driving of the loudspeaker's cone. Typically, the higher the volume, or stronger the bass range, the more the cone throws in and out as a furiously acting piston to drive the sound waves. Putting or pushing your finger against the cone causes your finger to also drive in and out in a tingling or scintillating vigorously vibrating manner, a risky experiment because if you push too hard, you can oop! oh my goDDD! push your finger right through the cone. Oops, sorry Moe, your best speakers' just been trashed by an, ahem, accident. Its' allright, Larry, Curly can fix it. But Larry, Curly, and Moe probably cannot do the next experiment. So be wise, think it through, concider the goal when successful, as follows: A second experiment is done by carefully moving the enclosure around until the hard driving piston action of the cone, furiously pumping sound waves, begins to subside. There are hot spots in any room room where the cone's energy will seem to diminish even as the fidelity and volume of sound sense seems to noticably increase slighty. If really lucky, ie a sufficiently hot spot in your living room or recreation room, with a loud speaker design of sufficient kind, that the two factors combine in such harmonically positive ways then the throw of the cone can seem to vanish entirely. To all extents and purposes, the giant cone can be seem to be sitting still even as you crank the volume, finding that you can now increase the volume beyond anything you could do before without suddenly turning the sound into a crashed dangerous sounding roar of chaos. You can lay the speaker on its back horizontally on the floor with its cover off in moving it around through the room looking for a suitable hot spot, within which the motion of the speaker cone seems to quit. At this point you are now looking at subliminal hard pounding recurring sonic vibrations which are invisible to the naked eye. Never the less it is not that the cone is now driving so fast that it cannot be seen, disappeared in a blurr of super fast motion, rather it is hardly moving at all, but each tiny motion has tremendous power behind it. You can sprinkle sand on the cone and see sand scintillate dancing in the air over the cone in super high frequency vibrations and excitement. You can carefully drop an object, like a small screw, on the cone and see it bounce right off through the air in a kick given by a solid punch you never saw. You can touch the cone with your finger. This time, instead of your finger tingling, moving up and down motivated by the thrusting drives of the cone pistoning furiously in and out, this time your finger will buzz for an instant, then a sudden catastrophic WHAPP suddenly lets loose from the speaker as the light touch of your finger tip, tips the whole dynamics of the sonic inter-reacting system into abrupt complete chaos. Now, you can instantly understand what impact vibrations are like, in terms of a new kind of power manifesting the excitement. It is a different plateau, a different state, in sonic sound source generation of energy, with no violation of fundamental physics principles whatsover, just, a dramatically improved overall efficiency mode of action. To wit: the minimum possible movement with the maximum possible power behind it, to give the greatest possible gain in steady state result. At the point of arrival, where just the lightest touch of the finger tip to the cone can trigger complete collapse into chaos, it will be observed as you stand looking at your system, that the speaker cone has become efficiently maximally harmonized with sonic activities in the room and house, to become totally locked in impact vibrations. That is, that returning sound waves are impacting back on the speaker cone in such a harmonious way, that all external throws of the speaker cone in piston action becomes eliminated and the speaker cone escalates to the purest possible form of energy transfer - ie the minimum amount of motion met with the strongest power of enertially overcoming thrusts behind each mimimum motion results in the maximum amount of generated sound in its most pure and fidelic and loudest volume capability. Are you able to get the picture? It can be seen by you, if lucky with your kind of home stereo system, at once, once you see all visible motion of the speaker cone fall still, as if the cone is no longer working. The speaker cone is working even more energetically and efficiently indeed, then before. But in terms of space, it is indeed hardly moving at all. It is, in fact, now locked solid in a super efficient mode of 'impact vibrations'. These sonic patterns are maximized to manifest in impact vibrations rejuvinating in recurring ways back on the sound generating source. They are geometric and 6 and 12 sided matrixed and expand and constract in 6 and 12 sided star arrangements, all clearly modelled upon the self same images of ordinary snowflakes, easily tested by the simple expeciency of moving any 6 sided cube shaped object or star of David, and bring it into the room, and start looking around for sonic hot spots by the simple expediency of moving the object slowly around in the room, or on a table, and listen for dips and gains, peaks and valleys, that will now be audibly heard as you move the object around seeking a good hot spot for it in the sonically excited atmosphere of the room. When a hot spot has been found, move the object around in decrete small ways within the hot spot, and hear other effects noticable in the sound from your speaker. A quick hint; standing upright works better than laying on its side, even though the difference may not seem clear cut, at first. Objects laying on their side produce a slightly duller effect compared to any such object standing upright where possible. Descrete means just that. A move only a 64th of an inch can cause a part of the sound stream to jump or diminish in a noticable way. A slight tap of a fingertip on the object, even so slight that such a tap on a spider web will not activate the spider, can cause change, even to suddenly bring in more clearity or even volume in the lowest sound registers of a bass drum or tympani. This is true - that the tiniest move can effect your lowest bass. A whole range of sound frequencies, for instance midrange featuring trumpets and trombones, may suddenly clarify in a click so abrupt is the effect, just from a super light finger tap so slight it would not respond a sleeping spider in a web. What you are now seeing by these simple home tests are super articulated high frequency small space principles exactly on par with smaller waves associated with larger heavier particles in nuclear and fundamental partical physics, only of course, you are looking at same in a macrocosmic environment in your own home. The smaller wavelengths in containment of the impact vibrations, can embody the maximum powers, including low bass and volume, which results in your room and the whole environment of your house coming to life. It is in complete reverse to standard accoustic concepts in which bass waves can only result from longer propigating longtitudinal waves. In impact vibrations the area of size of the sound generating source is meaningless, and tiny positionings of accoustically disturbing objects, take over, to sort and distribute the longtitudinal waves in cross harmonic fashion. A 3 inch tweeter in a 25 year old mono TV set can be the only sound generating source, nonetheless, capable of producing bottom bass pounds and reverbs that can rattle windows and vibrate the floor, at full volume of the TV's gain without distortion. At this point, many, (say, several dozen, not just one), 6 and 12 sided geometrical objects and Stars of David will be needed to coax the sound stream into reproducing its latent stuff, the objects distributed in hot spots throughout your home, not just the living room. 5 sided geometries and stars are also matrixed into the fabrics of the sound patterns filling your environment however these, the 5 sided, have more directly to do with authentic stereo creation and recreation over long distances, then does the six sided matrixing have to do more directly with sound range and power and volume itself through the different frequencies. 5 sided objects need to be far away from the sound generating source, for instance way up at the far end of a corridor outside the main room. Close up they work for some aspects in the sound stream but induce other harmful effects that cannot be resolved. The 6 sided matrixes stablize the sound, and the 5 sided matrixes rejuvinate and enhance the cross harmonic excitements of the steady state stable sonics inputting into existence from the sound generating source, which can be anything, just a single 3 inch mono tweeter, it alone as the sound generating source can produce stereo and bass in your room. In fact (though not very loud or authentic) a single 3 inch tweeter hanging on its own by an elastic band from a laboratory stand, can produce stereo and bass in a room, using sonic objects (snowflake matrixes) carefully placed in the right hot spots in your home's environment. In which case ALL of the sound being kicked into gear from the sound generating source, is in result to impact vibrations, because producing long bass waves from the cross section of a large woofer is impossible, with just one 3 inch cheap tweeter in use, (although a woofer, for instance a 12 incher hanging from a sturdy elastic band, will also work, with more volume once you start getting any sound to kock into the room from the woofer dangling in the open air, for instance out about a foot from a corner). Just look at a cheap 3 inch paper cone tweeter hanging on its own in the air dangling by an elastic band and you will know at once, in self evident truth, that cone size and accoustic chambers of an enclosure actually have nothing to do with recreation of recorded or broadcast sound. These (large cones and accoustic enclosures) are only conveniences to make it easy, commercially. Because one important proviso rules the experiment: the more that sound is coaxed from your delicate system using only impact vibrations and the whole enviroment of your room and home itself as the accoustic cavity, the more the 'entire' resulting sound stream can be subject to chaos. Just moving a coffe cup ergo its handle, or a pencil lying on a table in another room, can cause collapse of major ingredients in the sound. The misplacement of a single sonically exciting object can cause the whole of the sound to collapse into chaos which can be of various kind, the main kinds being a tightening up into a compressed squeezed effect with fidelities and stereo squeezed out, or even into collapse into total chaos, nothing but a rattling or roar the result. It is possible that gravity waves exist in space in a similar manner, super powerful, super matrixed, super harmmonic, pervading space and influencing matter into formations based on possible harmonics within the patterns arising through paths that are most harmonious, least chaotic, most resistent to change once stablized. In fact such a manifestation actually exists right out in the open in the solar system, in the manifestation of Jupiter, and its two trojan points which lay equidistance from Jupiter and from the Sun. This is one half of a full 6 sided cube. Expand it. Put an invisible Jupiter and 2 invisible Trojans on the opposite side of the Sun and you have a six sided cube (like a honeycomb) outlined in space. Draw a Star of David inside cube, each star point touching a point on the circumpherence where two lines meet (six points in all, and you have a geometry. Double the size of the Cube and you reach the orbit of Saturn, including it in the geometry. At this point the geometry is only shown as a conjectural idea built upon the fundamental existence of Jupiter and its two Trojans. At this point, it is wise to concider what you actually have in the forms of the solar system. There are two separate systems, that conjoin together to result in the resulting operating system. Bottom line is the matrix pattern, the geometry, that maps the fundamental structure and forms the distances of the orbits. Underneath that is the second structure, the dynamics, the orbital motions, the VELOCITIES, in other words. Now, it is obvious that velocities are a separate structure for two reasons, first is that velocities manifest in motions at right angles to the orbits, and secondly, that velocities vary according to how much mass is in motion in the same orbit - the more the mass the greater the velocity, in the same orbit. So now we have at hand enough insight to form a picture of how the solar system formed in progressive stages. It began with an underlying geometry pattern being conveyed and systained by super powerful gravity waves operating in sonic harmonic principles in impact vibration manners. Within this stable pattern (of possible orbital distance - just as if a super gigantic snowflake is sitting stationary in solar space) motion starts to occur in perfect circles at right angles to the pattern, in continuous motions around a strengthening gravitational source at the center of the newly forming conjoined hurricane system of a steady state matrix and its then emerging motional dynamics. Gravitation concentrations begin to form within the perfectly circular motions, and the gravity concentrations begin to read each other, causing perfectly circular fluid motions to transform into eccentric point source motions. Finally, the eccentric motions can only oscillate in and out only so far, in being found to occur in gaps between one strong boundry and another within the steady state underlying geometry matrix. And there you have it, our solar system. Greydon Moore. March 24, 1995, 2:25 PM. Ottawa, Canada. What is the geometric steady state matrix? Easily described in tedious step by step blow by blow developing words to unfold the larger picture. A video graphic set in motion by the push of one key, or a single click on the back of mickey la mouse, can display the matrix at its best. Lacking such ease, the tedious word by word blow by blow descripto has to be done so you can see the full picture for yourself, and marvel. If you can understand my careful writing. Here goes. Begin with that self obvious image of Jupiter again, in its self evident cube (six sided geometry manifestation called the Trojans). Instead of running a cube manifestation from the Sun out to Jupiter, the Sun at one point of the six sided Cube and Jupiter at the opposite point, put the whole Cube around the circumpherence of Jupiter's orbit with the Sun as the point of center within the Cube, so that Jupiter and its two Trojans form two visible points of six comprising the whole Cube, half of which is invisibly on the other side of the Sun. A second Cube can be in fact drawn in the abstract, this time the Sun as one point, and Jupiter at the opposed other point, as first suggested. This time, the two Trojans of Jupiter will fall outside the Cube but this is no problem because the second smaller cube is being drawn inside the first. ---------------------- ... true enough that the orbit of the astroid named Ceres, the first discovered astroid, lies right in the place of an orbit suggested by Bodes Law which suggests an orbit for a missing planet that isn't there, I prefer to intruitively think of a buffer zone between outer solar reaches, and inner solar reaches, where gravitational relativistic influences due to the mass of the Sun, slight though they may be, are nonetheless strong enough to influence solar behavior, and the astroid belt is a buffer zone where the gravitational relativistic influences become too weak to have any effect. Slight chaos in the change of tides, within the astroid belt, so to speak, is the result, within that buffer zone. There was too much slight chaos in that buffer zone to allow a planet to form in the original perfectly circlar fluid motions that first appeared as VELOCITIES. Six and twelve sided cubes and stars have been suggested throughout. But there is no law limiting the formations of power to those two most simple of possible emodiments. 144 pointed stars are fully viable in matrix. Multiples of 6, and 12, and 5 and 10, are all fully viable. Concider the points called 'SPOKES' that appear in Saturn's Rings. They look to me like fully formed tips of, say, 144 pointed star formations. notes: March 22. 1995 Velocities are different solar critters, obviously, then orbits, but I can use velocities none the less to check out certain relationships in the same way that orbits are checked for symmetries, by the simple expediency of using the square of velocities, in which case ratios and relationships velocity to velocity fall into the same mathematics as do orbits. And so a very close scrutiny can be made to see if the apparent geometric undercores as seen amongst the orbits can also be seen amongst the velocities, the velocities being a particularly interesting question in that they include a planet's mass in results. As already first used, a simplified orbit and eccentricity scheme was used to first factor and indentify inter-planetary distribution patterns built upon hard core geometries of Cube and Sphere (6 sided) nature. Now to see if velocities for eccentricities, in which planet masses are in effect on each velocity, are also interlinked in the same under structure geometric schemes, more to the point, is the scheme more precise, or less, when seen under the scope of velocity dynamics. March 18/96 11:30 PM. The existence of multiple orbital/velocity coupling between planets is so borderline to being CRANK, that it is scary, especially if you have posted news in the form of an announcement to astronomers world wide on the InterNet, calling the coupling a 4th Keplerian Law. Until you start thinking about the coupling and realize that it is valid. What it does, in main advantage, is link the whole solar system into a single dynamic interlinked body of dynamics. Unlike the other 3 Keplerian Laws: which deal with each planet (and each single planet's eccentricity): the 4th law deals with all planets together at once as one single group of interdynamic bodies. The whole scheme almost falls apart again into crank nonsense, when it is realized that orbital/velocity couple can be equally achieved for a single planet, by the simple expediency of converting a planet's orbital and velocity magnitudes to Astronomical Units, using the same equation deemed 4th Law stuff for multiple planetary orbital/velocity coupling. In this case, one of the planets becomes simply substituted by the number 1, and every bbit of seeming new concept dissolves into self evident ratios, with a slight difference, in the form of a proviso. The proviso is that the simplest equations convert directly from orbit to velocity, without the mass of the planet being included as a basic component. In this instance, the resluting velocity is slightlyu out of whack with velocities calculated by using a planets mass, the Sun mass, and the universal Gravitational Constant. At first this seems like the worst kind of bad physics, until it is realized that the mass of any given planet (including Jupiter) is so low compared to the mass of the Sun, that the resulting ratios differ hardly from their pure orbital forms for velocities when calculating the velocity of an orbit the longer odious way using the mass of the planet. In this, instant new illumination replaces doubts, for it is quickly self evident that at hand is a simple, easily managed way, of handling inter body relationships between planets, in looking for a larger picture that has orchestrated the formation of the solar system. With the simple means of minimized mathematics at hand (in the form of single planet orbit-to-velocity ratios) to speed up all calculations and explorations, a major overstructure picture does emerge. In its simplest scopes the picture is very clear: that a major geometry construction underscores the solar system's present day formation. In exacting details, however, the picture is not absolute. Agreements occur between different parts of the master image to accuracies exceeding 4 to 6 significant digits. But in assuming that such a master image should be in all ways absolute, things fall apart, the master image cannot be defined to certain exact constants that are locked in as unchangeable and unquestioned in self evident truth. Otherwise, behold ! Greydon Moore greydon@look.com