Cynde gave me a very beautiful drawing and quotation from Cheyenne Indians on it was a marriage in the north and a marriage in the south, and then the east and the west concepts that are really very moving take, there is no way for me to paraphrase them because it is so beautifully done itself, and I'll bring that out at the interim if other people would like to read it but in the marriage of the south, there is a marriage it is a different kind of a marriage a marriage with a sister. The, my grandson was on his 18th birthday, my grand daughter, who is a year older, I went into his room, his birthday, and she had on, she done little things on the wall, made a little drawing, but she had written these words:

"So many love you, as do I

Who do I thank on this day of your birth?

That you were born a part of me, that you were born my brother?"

I really felt that kind of a feeling, because I do find that, here I saw had watched these two young people during much skirmishing and kind of battling when they were young, but the sense of brother and sisterly love of those two, is a very beautiful thing to me. They seem to have grown up to it. There is no question about a love that is not a physical-baby-making love that goes on between human beings, and I feel this very strongly with my fellow-men, fellow-humans.

The first question. What can you say about coordinating the vibrations of music with those of light with the object of causing a healing effect in a person with disease dis-ease? For instance, music used to change moods, sounds to destroy, color to effect mood, combine all to effect healing maybe in conjunction with acupuncture. Points under pyramids domes.

I'm just going to say something technical about music, because this brings it up. You may remember that Pythagoras also discovered that we take a tensed string, we're dealing in tension and compression, and I think about the tensegrity. If you half the length of a tensed string you go up one octave. Octaves are related to "halvings" of unity. This is again, like quantum. You start with the whole, and you fractionate the whole. And that makes the octaves. Then, to discover, that when you third the strings, you get the "fifths" which give us then our keys going up up in the sharps and flats, all on those those are fifths but they are brought about by "thirding" the strings, and "halving" it, makes the octaves. That's really a very fascinating fundamental, and, when we get to such I don't like my use of the word fundamental. I'm conditioned reflexed. They're words that I have to try to get out, and I don't like "fundamental" because I don't think there are any foundations, and somebody asked me another question here about my use of I found I'd been using the word "package", and I think the word "package" is not quite as bad as "particle" but it is the same kind of a word it's a thing word, and I don't think, things I think verbs, and events, and so that I have to keep housecleaning my language. Even the word "house" is a bad one.

So, excuse me, from time to time, if in my spontaneous discourse I revert to the use of words that I would not use in writing a paper, I'll catch myself on paper, but just coming out, I'll often use ones that I do not approve of.

Now, coming back to the music, I wanted to have a feeling that when you get to something as absolutely simple as just "halving" that this makes octaves. This must be something very deep in all of us that we don't know about and if Pythagoras hadn't discovered it is so, which is very fascinating. There is a great deal written about what I'm talking about, and the man that I've dedicated by book SYNERGETICS to, Coxeter, I think is the greatest geometer of our time, has written some very important discourses on written out on Pythagoras' work and the relation getting into harmonics just so far as the number goes some simple things that could be of interest to all of you.

The now, in relation to what this music might do to people in various ways, and correlating the word music with light. I became fascinated with this subject at the time of the first Dymaxion House where I was trying to really develop a generalized be as generalized as I could and then reduce it to special case advantage for life and particularly the new life, and I determined to have everything that I had of a physical nature as close as possible to neutral, so that, like a piano that would be muted until you began to play it, I thought of it as a musical instrument, and the architecture, that is whatever you might get out in harmonics would have to be something the way you used your house, so I tried to have colors at neutral, and arranged, as I've shown you, there was a control where the light coming from the center of the house could become any color. I could make rooms different colors simply by introducing colored light, and then I tried to have the room as nearly neutral as possible. I went through just concepts of fog and the neutrality of fog and so forth, but fog isn't really quite that way and I found that aluminum colors, and just grays were not as neutral so, I found that the human eye really has things that it is accustomed to, it is really accustomed to a brown earth, and this has the most neutral effect, apparently, more so than if I tried to make a green floor or a black floor, or a white floor the earth colors seem to be just very, very excellent. So, the point was, I sought for the neutral tone if I could find it, but tried to arrange for humanity, then, to change things.

Then I found that, at the time I was doing the Dymaxion House there was, Wilfred was working on a color organ for the first time and this back in the twenties, and very interesting man. And I found that the it did not please me, and people were fascinated, but they didn't seem to use the word, they were not being particularly satisfied, they were interested or fascinated. I came to the conclusion that in relation to what I gave you the other day of our sensing, and the distances that you can sense, and that these were very different magnitudes, and I found, then, that in nature, as far as color goes, nature changes colors really quite rapidly from day to night she gives you blue skies, the clouds change really goes and we get immersed in a gray day and we feel gray. We don't get it's really hard for us to tell that the mood we're in on a gray day isn't the mood we're in on a blue day in a blue, clear sky day, because we don't move from one to the other fast enough. Yet, the colors do change fairly rapidly, getting up to lightening. The season colors change quite slowly. So we have the day and night, but day and night takes quite a lot of hours, and if the sky is clouding over that takes quite along time it begins to take, actually how long the scene is in and comes out, they are pretty large, they are not in seconds, and they are not in minutes they tend to be in hours.

And, then the season colors change, the snows and the green periods and so forth, those are quite slow. But then I found the sounds seem to change really quite rapidly. There are rushings of brooks and the birds notes, the frequency of sound change is very much more rapid than the frequency of the light change. Because we are accustomed to it that way, and so we can take very high beats in music and so forth, but if you get that in light, if it goes beyond a certain periodicity, it gets to be startling and shocking, and we do not freeze-on very rapidly. We can, if it is a shaped picture, there has been of course, a great deal has been done with computerization of moving pictures and doing some producing some very fascinating things that are the word fascinating. But I think they have to be designed, they have to have some transformational continuity, they can't be they have to be comprehendable not to be shocking.