The Symmetry, Mechanism, and CAUSE of Color(Advanced)

Heart Coherence team

presents
a vision of Nature's angles of approach
by Frank van den Bovenkamp

Discovery of accurate (within 2%) correlation of platonic tilting angles with primary and secondary colour bands makes a strong case for the role of symmetry operations between 3-D phase-conjugate heterodyne wave packets in Duane Whitlock's Hexadynamic theory of colours, including clues to colour empathy and its gravitational connection.

COLOUR is a name for our archaic memory of how it FELT when charge was approaching in different angles. We associate "red" with "warm" and "extrovertive", and "blue" with "cool" or "introvertive", allthough technically there may be no compelling reason for it. Maybe we need, to some extend, honour our ancient algae ancestors for whom "light-empathy" was crucial to survive. Today, we are blessed with a rich garland of colours, rather than a mere prozaic gradient of colourless "lightness". Yet, as we will see, there may exist a deeper, universal clue to qualified colour perception, resulting from the pure geometric origin of light perception.

Important references to the subject of colour geometry include Duane Whitlock, author of "The Secret of Intelligent Design, who coined the term "quantum hexadynamics" and who devised a diagram in which gravity as a long range force is a used in catagorising the primary and secondary colours; Dan Winter (www.goldenmean.info), long time proponent of the role of Golden Mean wave recursion in gravitation creation, who pointed at a possible symmetry clue for colour perception and - at my suggestion - now includes a closely related type of wave physics for the "observer" side which is crucial for general "soliton" (incl. photon) creation. Last but not least Luke Gatto who carried on a life's mission to unveil some secrets which Newton and Keppler appear to have hidden. Luke proved a great motivator to work on the exciting and very profound subject of colour geometry.

Basic geometric and physics concepts
The 3-dimensional platonic symmetry operations facilitating the creation of photons (generally solitons) and which could provide a physics clue to the agreed-upon central primary and secondary colours, are not mere mathematical fancy. These geometries accurately reflect how 3-D spherical wave systems learned to become sustainable in the (electro-) thermo-dynamic ocean. This idea has been widely been spread by Dan Winter (www.goldenmean.info) and, with he sheer abundance of examples in nature, art, literature and sacred geometry, suggests beyond doubt that that Golden Mean ratio based wave geometries play a crucial role in the creation of gravity and (biological) life. The scientific name for this process is: heterodyne phase conjugation. In my paper "Why Phi" (www.heartcoherence.com/whyphi2007) I demonstrated for the first time how the Golden Mean ratio can be "reverse-calculated" based on a small set of fundamental wave physics equations. This paper also shows, by means of spectrum analysis of scale-invariant recursive heterodyne waves, that it creates fractally organised frequency patterns. Further, the paper gives a numerical proof of Golden Mean emergence (and other crucial ratio's) and briefly touches the subject of phase-conjugate heterodyning in soliton creation. This serves as pure geometric departure point for photon creation and a crucial part of the physics of colour empathy as discussed here.

What on Earth has gravity to do with colour perception?
Duane Whitlock came forward with the rather puzzling idea that gravity (one of the long range forces in the universe) plays a key role in understanding why colour perception is systematically organized. This paper greatly honours Duane's - truly colourful - perspective, but instead of plugging in "gravity" as the literal denominator for a specific colour, it is shown that the very same principle which creates gravity (as promoted by Dan Winter) is also responsible for the creation of the specific colour map as we perceive it.

The capacity of colour discrimination has both, as we say, a "subjective" and an "objective" aspect. In other words: there exist certain dedicated light frequency bands which for some reason pop-out of the complete spectrum, so that we feel compelled to give them unique names. This is so much an all-day phenomenon that we don't realise that from a standard physics point of view there exist no clue for systematic colour perception whatsoever. Definitely, the receptacles in our eye's retina (the "cone cell" light receptors) are NOT the cause. So it must be something created by our brain. In this paper we look at the universal principles employed by the brain which are the underlying cause of colour geometry. The "objective" or measurable aspect of colour geometry is well illustrated by how we can create the secondary colours, by mixing primaries.

Yet, our system of colour geometry as we will see does not quite digress from Duane Whitlock's original viewpoint, as it is still shown that the principle which creates gravity, is more predominant in the creation of "blue" perception, the way he intuited, than it is in the other colours.

"primary" and "secondary" colours in different techniques

The printer's "primary colours" are (translucent) Cyan - Magenta - Yellow, with subtractive pigment mixing create all other colours; demonstrated here using a Photoshop filter only, quite accurate blue, red and green initial colours are created. Also, in subtractive mixing, two opposite colours like yellow and blue, always result in black..

A projector's or (TV-) monitor's primary colours are Red - Green - Blue, additively mixed like the RGB- monitor you are now looking at. The initially created colours cyan, magenta and yellow are digitally exact. Adding two opposite colours, like blue and yellow, creates white.

Finally, "water paint" type mixing is also a subtractive process. Therefore, the common idea that "red + blue = purple", "red + yellow = orange" and "blue + yellow = green" is not precisely true. Mixing the pure primary colours RYB subtractively would result in red, black and black resp. Above example using light cyanish-blue and light red instead yields a useable result.

From platonics to colours: Nature's angle of approach
In the science of geometric (hexadynamic..) colour coding, colours are frequency (resp. energy) related in the standard sense, but also follow a fundamental principle of colour partitioning, which is employed by the brain when it systematically engages in a vivid (vital) response to incoming photons.

Geometric colour theory proposes a new and fundamental description of colour generation based on 3-D heterodyne phase-conjugate physics and reveils a universal cause of colour empathy. The (photon) frequency resp. energy is not actually stored in the incoming photon itself, but is, per octave, determined by its tilting angle relative to its propagation angle, and from there, relative to the tilting angle of a receiving solition (i.e. cones in the retina, etc..). The propagation angle falls out of the equation and thus the (energy) coupling between the incoming photon and the receiver soliton, is a net function of their differential angle. This encodes the perceived photon's energy and thus its wavelength, and, biologically, its colour identity.

3 Primary colours are created by the 3 relative tilting angles of the primary tetra, controlling the toroid, in a dodec. These colours (psychologically) have an activating, or accelerating effect. The complete hexadynamic geometry of colour coding is based on the fact that the toroid if ori
Rnted by the tetra's "merkaba" complement, makes different angles with the dodec. This creates the 3 secondary colours, which have a rather calming or inhibiting effect.

12 pentagonal ori
Rntations or the primary tetra in the dodec encode three primary differential angles (P1, P2, P3) - circle is top view of toroid

12 lateral ori
Rntations of the secondary tetra encode three secondary differential angles plus two tertiary angles (L1, L2, L3 resp. T1, T2)

Now, the simplest way to find the three primary angles or colours is by rotating the primary tetra, along with its toroid, 120° over any of its vertex axes. This way, 3 primary angles can be found. To find the 3 other angles, rotate the tetra one time 90° over any of its orthogonal axes, and then again 120° over any of its vertex axes. This will generate all the geometric angles. Let's first play with a simple 2-D example.

Refer here to the original article for a helpful interactive - 2D javamation-to start your understanding of color as photons tilting torus.

In the real 3-D world this is a bit more difficult. A convenient solution is to correctly animate the 3-D platonic rotation to automatically scroll along all the geometric fits. This is how below animations work. But first some references and backgrounds on colour theory.

Duane Whitlocks model, as well as the geometric solution,
in fact are based on the same "colour wheel" of primary and
secondary colours as has been intuited by artists of all times..
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Reference colours and wavelenghts; CIE - Chromaticity Diagram

THE GEOMETRIC ORIGING OF COLOURS
- THE 3-D ANIMATIONS AND GALLERY -

-To be Continued-