Monday, November 17, 2008

An Artistic Valuation of Science

"With the discovery of sound waves in the CMB, we have entered a new era of precision cosmology in which we can begin to talk with certainty about the origin of structure and the content of matter and energy in the universe-Wayne Hu

It is really hard for me to know where to begin here. I call this work less then a scientific point of view because it would have been deemed less then desirable measure of the reality around us. Yet, I would have it, that to think in this new way is a better reflection of the inside world that we live, and as a result, reveal the outer reality with which we face daily.

While I refer to the "background of information" what exactly am I saying? There was a move on my part to allow us to see the world of colour and sound in a new way. Bring the thoughts about science to bear on how this artistic valuation would imbue the thinking mind toward the way colour and sound reveal something unique about the space around us. The space inside of us.

Now in this exercise it is not necessary for you to have to check the validation of the proposal by science using this method, other then to see the conceptual framework I am pointing to thoughts and emotive valuations in life demonstrated as a bulk space. This implies that electromagnetic waves and gravity had been joined, and that such a things was in my mind to consider this under this artistic valuation I have assigned it.

So what has to happen here is that I bring some of the things that were instrumental in helping me to form this conceptual framework.

For example, in 1704 Sir Isaac Newton struggled to devise mathematical formulas to equate the vibrational frequency of sound waves with a corresponding wavelength of light. He failed to find his hoped-for translation algorithm, but the idea of correspondence took root, and the first practical application of it appears to be the clavecin oculaire, an instrument that played sound and light simultaneously. It was invented in 1725. Charles Darwin’s grandfather, Erasmus, achieved the same effect with a harpsichord and lanterns in 1790, although many others were built in the intervening years, on the same principle, where by a keyboard controlled mechanical shutters from behind which colored lights shne. By 1810 even Goethe was expounding correspondences between color and other senses in his book, Theory of Color. Pg 53, The Man Who Tasted Shapes, by Richard E. Cytowic, M.D.

It is important to realize that the way this post is to unfold has to maintain the consistency with which I was introduced, so that you understand that what I avail in the Colour of Gravity is elucidated upon.

Louis-Bertrand Castel.
L’Optique des Colours, fondée sur les simples observations, & tournée sur-tout à la practique de la peinture, de la teinture & autres arts coloristes. Paris: Braisson, 1740.

Like Goethe, Louis-Bertrand Castel (1688-1751) opposed Newtonian color theory. However, unlike Goethe, who had thought that Newton’s experiments were flawed, Castel rejected experimental science altogether. Castel supported the views of René Descartes, a French philosopher who distrusted sense perception and advocated science based on logical thought rather than on empirical observation. “Newton,” Castel complained, “reduced man to using only his eyes.”

Castel himself theorized that vibrations produced color, just as they produced sounds. He concluded, therefore, that colors and sounds were analogous, which led him to attempt to develop the “ocular harpsichord” described in this book. The harpsichord was supposed to display colors in correspondence with particular notes. He had originally meant for the harpsichord to remain theoretical, but the skepticism of his critics caused him to spend thirty years trying to construct such an instrument.

Before I made way to the views/world of scientists who had been travelling scientific routes, I was developing from a psychological standpoint, a "multiversal unconscious world" that did not make much sense? It may have seemed "not rational" to people and philosophically might be held in low stature with what we had wanted of any good scientist. And then, to have it linked with all the deficiencies of the uneducated lay person, without a proper foundation, and within context of those developing sciences. That was me.

Rimimgton's Colour Organ

Prof Rimington

A Wagnerian trumpet blast, he suggested, might be accompanied by intense orange effects, "which palpitates with the harmonic colours corresponding to a subordinate passage on some of the other orchestral instruments. The blast ceases; there is a faint echo of it upon the violins, while the screen pulsates with pale lemon and saffron hardly discernable. Again comes the blast of trumpets, and once more the screen flames with orange modulations".

Professor Rimington's home demonstrations must have been unforgettable. The Colour Organ was some ten feet high, with a five octave keyboard which was similar to that of a church organ, being controlled by stops. A line of "colour keys" was situated above the conventional (sound) keyboard, and connected to a lens-and-filters system, so that "colour" was "played". Best effects were secured when the sound and colour were played from separate keyboards.

So it was hard for me to know how I was developing my "intuitive recognition of first principles" with seeing developing insights to the concepts. I moved ahead in science to "thread history" with the developed views we have of science today. I recognized the experimental association with "other things," that we might have compared to that particular experiment.

Toposense(Sklar) as some feature of the interaction of the inner and outer world constantly "exchanging information" but never really defining the line that can be called "the departure from each." This was aided in a psychological sense by understanding "liminocentric structures" that could identify consciousness within this aspect of the larger universal context. "Geometrically defined," as this point within the circle. Yet focused in "the centre" we lost track of the "wider universal."

How much do we all know already? This is a question that raises the idea of what already exists within the framework of the sensorium? As a multifaceted approach to recognition of any "condensible view" about which we see "in front of us" and not just as the objectively defined the human being reasoned. But as one whose memory had been induced at a "emotive level of recognition."

How were they to remember? All experience had to make an impression and how deep it was, to show us well, you were able to draw this to the surface as an immediate, without any time at all in recognition.

The Colour of Gravity

So as strange as it may seem, I was already looking for what Newton was trying to do even before becoming aware of what was unleashed by Richard E. Cytowic, M.D. in the paragraph above.

I was impressed by the "thought experiment" of Einstein's valuation of time in regards to the Pretty Girl and the Hot Stove. It was the the idea that duration of time could have ever been assigned to the experience of the observer, and it's effect on time. Now I have heard Sean Carroll not liking this comparison from what I understood from reading his opinion and may of thought it feeble in it's attempt? Looking at it from my perspective I couldn't help but see reality having a colourful disposition to it.

While the views above were "mechanistic attempts at joining colour and sound," the emotive views developed from experiencing were indeed "impressionable?" Now what source these physiological repositories and I would have gone one step further to marry the idea of the emotive state to "colour enhance experiencing" as a validation of the duration of time in living our realities?

So one saids that all the ideas of colour in it's sequencing would be of value and consistent if we were all the same? Then it would mean there was some consistency in how we could interpret this colour to mean....all emotive states of being will have there association? In the value of greed, hate, or love, happiness, and we would say how "pink love" is or how "blue the mood," or how black and dreary something could be?

Since the Lab model is a three dimensional model, it can only be represented properly in a three dimensional space.

All these emotive colours of gravity would then mean a vast difference in opinion from one person to the next, so what use? Just the fact maybe that every impressionable experience will make it's impact within the fabric of the brain? Will become your repository from which you will draw? Will become your value on life?

As we increase our knowledge of the genetic, neural and cognitive aspects of synaesthesia, we will find that we are beginning to understand the brain more completely. Researchers may wish that they possessed synaesthesia, but being able to explore a new and strange trait that may hold the answers to many fundamental questions is reward enough.

Yellow, Red, Blue
1925; Oil on canvas, 127x200cm; Centre Georges Pompidou, Paris
Kandinsky, himself an accomplished musician, once said Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul. The concept that color and musical harmony are linked has a long history, intriguing scientists such as Sir Isaac Newton. Kandinsky used color in a highly theoretical way associating tone with timbre (the sound's character), hue with pitch, and saturation with the volume of sound. He even claimed that when he saw color he heard music.

Over the past 35 years I have spent a considerable time doing my own research. Learning to express myself, has been very difficult to say the least.

It is while doing this research that things seem to "overlap" as I ventured forward and finding examples, as if "analogies in nature" has been the "metaphorical struggle" that I use in "word use and comparison."

Creating the Language

It has accumulated from that research and integration within myself. So it is like creating and learning a "new language," while most of the time I come across as not being understood. That has been "my struggle" to get people "to see" what I am seeing? I don't get "images" in my head, but the accumulation of everything has been transposed into the way I express myself here in this blog.

It is true without lying, certain and most true. That which is Below is like that which is Above and that which is Above is like that which is Below to do the miracles of the Only Thing. And as all things have been and arose from One by the mediation of One, so all things have their birth from this One Thing by adaptation. Sir Isaac Newton

If I may by example give here "the idea of perfecting the self" in regards to Sir Isaac Newton. If he were to have been a alchemist, and persevered in his "psychological struggles," then what form would all his "struggles in self" have exemplified, if he "accomplished those parts of himself."

The "colour" of his being, and the alchemical relation to psychological changes? These alway existed and "as yet" had no name?

So from whence comes all "this energy of expression", to have been displayed as it has? In all the avenues of our "selves," that our experience has allowed that energy to manifest "this way" and "that way," and we have this "unique individual" before us, as you, or I, and "the many?" You "control the color or not" or, is it a "consequence" of this physiological process?

Smilack says her synesthesia helps her create art, such as this piece, "Squid Row." Photo by Marcia Smilack
Smilack belongs to the group of one to four percent of people worldwide with synesthesia, the neurological mixing of the senses. No two synesthetes have exactly the same perceptual experiences. Many perceive each number, letter of the alphabet, or day of the week as a different color. For others, sounds from the environment are always accompanied by moving geometric patterns in their "mind's eye."

Smilack has a rare form of synesthesia that involves all of her senses—the sound of one female voice looks like a thin, bending sheet of metal, and the sight of a certain fishing shack gives her a brief taste of Neapolitan ice cream—but her artistic leanings are shared by many other synesthetes. Scientists estimate that synesthesia is about seven times more common in poets, novelists, and artists than in the rest of the population. (Some of the most famous examples include artists David Hockney and Wassily Kandinsky and writer Vladimir Nabokov.)

Marcia Smilack:
When you take a photograph of a reflection, you must compose your image upside down -- an odd and difficult task. Eventually, it is simply easier to give in and rely on other parts of your mind to compose the image. So, in an oxymoronic way, seeing in reflection "forces" you to let go, to trust what you feel.

Second, these images opened a unique window into the mind of the researcher. Remember the Heisenberg Uncertainty Principle that states every object observed is changed by the experience? Well, I am the voice from the other side, the voice of the object that was watching them the whole time they were watching me. I have learned that we change each other through our interchanges. And while it is hard for me to quantify what I have learned from them, it is a great deal. Their questions and responses provide a framework onto which I can project what I intuitively know but do not usually speak.

She has many wonderful links that I had accumulated, and more. Also check out the extensive amount of links associated with the Synesthesia Resource Center on Patricia Lynne Duffy's book web page.

Calculus, or Feynman's Toy Models?

Some, who possess what researchers call "conceptual synesthesia," see abstract concepts, such as units of time or mathematical operations, as shapes projected either internally or in the space around them

So, is it out of necessity that we can "create the language" necessary to view the reality around us as it is, and how shall we do that? Sir Isaac Newton created "Calculus."

So with this "unique perspective of synesthesia," how shall you give to the world from what began in self, and we have this "multitude of choices" as to the "fabrications" we may use from our "artistic creative design?" No choice, synesthesia just is?

Sometimes I relate the experience of reading a book, to what is "consumed one day" was by design, our place in the scheme of understanding things. Where we have "this experience" that we can correlate. So "it" makes sense. If a person with synesthesia was to read my blog, how much more would they take from my writing, then one without?

It is no different then our understanding of the science of things. Life can seem "mythic in proportion,", until, we understood the deeper part of the "design of reality?"


Nature, so endlessly creative, has managed things so that each of us, hosts of synesthesia or not, perceives a slightly different world... a world colored by our one-of-a-kind pattern of neurons and experiences" -- Patricia Lynne Duffy


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