Newton's Gravimeter of Emotive Discourse

You may be familiar with Isaac Newton from such inventions as calculus and the law of universal gravitation. What you may not know is that he was also an avid "chymist," or alchemist. In fact, Newton actually wrote roughly a million words about alchemy and his experiments with it — as Indiana University science historian William Newman has noted, Newton probably spent more time doing alchemy than he did on any of his other scientific pursuits. See: Incredible videos recreate Isaac Newton’s experiments with alchemy

I spent a while developing an internal recognition of what can be constituted as the outside being the inside, meaning that if we construct a model of apprehension of understanding as to what these auras mean from a psychological standpoint,  then,  one develops this sense of seeing what thoughts will develop according to that color construct. I used baser emotions to be represented at the base of the model pyramidal constructed, and from a earth standpoint I wanted to develop this gravity model according to how the gravimeter detect variances in the gravity model of earth.
 
All the while these are materialistic demonstrations of the geology in color correlation, I sought to develop the model toward how free we can become of these materialistic tendencies, according to those thought processes.

 What is color? It seems like a simple question at first, but when you think about it, the reality of what we're seeing is a pretty complex situation. Our human eyes sift through a small piece of the vast electromagnetic spectrum and translate it into every color of the rainbow. But there are other animals that see these same wavelengths in different ways, or even see colors beyond what we can perceive! And not all color is dependent on wavelengths of light: the brains of certain people, called synesthetes, work in ways that let them see colors tied to music, words, or other stimuli. Watch as host Alan Alda takes you on a surreal, scientific tour of the spectrum with the help of vision researcher Jay Neitz, along with neuroscientists David Eagleman, Kaitlyn Hova, and Bevil Conway. What is Color?

If you consider the experiencing states of the person, as to the physical, the mental, the intellectual and the spiritual, these then in the one sense help to align a developmental understanding of the person. As you see certain colors, these will exemplify these consciousness states?

While examining the relationship to a schematic underneath our everyday experiences, I saw the the inner most point of this circle in a sense applies to the outer most spiritual extension we might see in relation to the consciousness of the individual. By becoming in tune with that point, all extensions physically manifesting as a evolving individual one would see correlative expressions of the colors of that spiritual life. Still, emotive and intellectual manifestations of colors are still part of the overall picture. If heavily tune toward intellectual pursuits, then dominant associative colors would be exemplified in the person's aura demonstration.

The understanding is, that all spiritual manifestations regarding the evolving consciousness already exists as to the potential of expression and sits right next to the person. It is by finding that center and understanding you are becoming in tune with that center does one realize that the spiritual is manifesting in those aura colors, along with development regarding the physical, emotional and intellectual.

In regard to Ganzfield?

In complete dark, there seems to me to be an overt expression of the outward? Why they refer to hallucinations, light sensory activation of the perception. On another level does these help to direct focus on the internal?

To convey this experience, I sought to understand what takes over when faced with such blackness. Not like when you close your eyes or purposely cover your eyes, but to let another part of oneself, to help intuitively guide to get to another location. In this sense lost in the bush at night and arriving at another point of safety. Their are no visual cues, but this other part which seems to be able to see and work independently of our conscious intrusion of opinion and action to any situation.

  Quote

The Ganzfeld effect has been reported since ancient times. The adepts of Pythagoras retreated to pitch-black caves to receive wisdom through their visions,[7] known as the prisoner's cinema. Miners trapped by accidents in mines frequently reported hallucinations, visions and seeing ghosts when they were in the pitch dark for days. Arctic explorers seeing nothing but featureless landscape of white snow for a long time also reported hallucinations and an altered state of mindhttps://en.wikipedia.org/wiki/Ganzfeld_effect

I wanted to also help with information to understand Plato Cave analogy with regard too, the absence of light. Others, with regard to hallucinations. This in contrast to help also understand illusions. Not totally sure here but to understand this relationship as if a normal healthy individual who is experiencing...and how to understand both?

The data stream is not a "external focus," or "opened eyes" in the dark. But "open eyes" on the internal. Illusions to me, we are not effectively in control of the experience, as we are "inside" the experience. When using "internal" perception, an observer is watching the "internal" experience. No will is internal experiencing....without will, but that is not the same observer who watches the experience. In an "observer mode" you can bring back information regarding the experience....is a willful action.

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See Also: 

• History Displays Newton's Optics and Organic Chemistry?

What's a Color?

 What is color? It seems like a simple question at first, but when you think about it, the reality of what we're seeing is a pretty complex situation. Our human eyes sift through a small piece of the vast electromagnetic spectrum and translate it into every color of the rainbow. But there are other animals that see these same wavelengths in different ways, or even see colors beyond what we can perceive! And not all color is dependent on wavelengths of light: the brains of certain people, called synesthetes, work in ways that let them see colors tied to music, words, or other stimuli. Watch as host Alan Alda takes you on a surreal, scientific tour of the spectrum with the help of vision researcher Jay Neitz, along with neuroscientists David Eagleman, Kaitlyn Hova, and Bevil Conway.

See Also: “What Is Color?”

Applying Color to the Real World

Spectra are complex because each spectrum holds a wide variety of information. For instance, there are many different mechanisms by which an object, like a star, can produce light - or using the technical term for light, electromagnetic radiation. Each of these mechanisms has a characteristic spectrum. Let's look at a spectrum and examine each part of it. Introduction to Spectroscopy 

•  -Ultraviolet/Visible Spectroscopy 

•  -Infrared Spectroscopy 

• -Mass Spectrometry 

• -Nuclear Magnetic Resonance Spectroscopy

 

Image Credit: NASA/JPL-Caltech/STScI/CXC/SAO

This stunning false-color picture shows off the many sides of the supernova remnant Cassiopeia A, which is made up of images taken by three of NASA's Great Observatories, using three different wavebands of light. Infrared data from the Spitzer Space Telescope are colored red; visible data from the Hubble Space Telescope are yellow; and X-ray data from the Chandra X-ray Observatory are green and blue. See: Image of the Day

Why might one suggest spectroscopy and it's ramifications?

 While studying the question of how any of us may exist as emergent beings how might one find them self expressed as matter participants of this reality? What would have began first as to suggest that we used more then the typed neurons(stem cell) to shift the constructive nature of our constitutions as revealed in our DNA structure, as the forms in which we take? So there is already a pattern established in nature that we must look for?

What began as the motivation for expression as to insight that such energy is more then, is described as, is a continue change and expression of the evolutionary distribution of what we have become?

The crystalline state is the simplest known example of a quantum , a stable state of matter whose generic low-energy properties are determined by a higher organizing principle and nothing else. Robert Laughlin

What was that motivation then?

This image depicts the interaction of nine plane waves—expanding sets of ripples, like the waves you would see if you simultaneously dropped nine stones into a still pond. The pattern is called a quasicrystal because it has an ordered structure, but the structure never repeats exactly. The waves produced by dropping four or more stones into a pond always form a quasicrystal.

Because of the wavelike properties of matter at subatomic scales, this pattern could also be seen in the waveform that describes the location of an electron. Harvard physicist Eric Heller created this computer rendering and added color to make the pattern’s structure easier to see. See: What Is This? A Psychedelic Place Mat?

See: 59. Medieval Mosque Shows Amazing Math Discovery

See Also:

• Colour and Sound

Colour and Sound

Sounds and colors are "metered measures?" It is something we have designed in order to account for communication of certain facts? While I present some quotations here for consideration, it is also in the quest to understand what illusion and reality can mean when not all parts of the consensus can agree on what constitute what.

To “hear” the data we can map physical properties (The Data) to audible properties (The Sound) in pretty much any way we choose. For a physicist, an obvious way to do this might be to map speed to pitch. I think this is obvious for a physicist because both of these things are measured “per second” (pitch or frequency is measured in Hertz, which means vibrations per second). But we don’t have to do the obvious, we can map any physical property to any audible property. In this example I’m going to map speed to the pitch of the note, length/position to the duration of the note and number of turns/legs/puffs to the loudness of the note. Now I have to choose starting positions and ranges. When I do this I have to consider that:How to make sound out of anything.

We know that colour is a psychophysical experience of an observer which changes from observer to observer and is therefore impossible to replicate absolutely. In order to quantify colour in meaningful terms we must be able to measure or represent the three attributes that together give a model of colour perception. i.e. light, object and the eye. All these attributes have been standardised by the CIE or Commission Internationale de l'Eclairage. The colours of the clothes we wear and the textiles we use in our homes must be monitored to ensure that they are correct and consistent. Colour measurement is therefore essential to put numbers to colour in order to remove physical samples and the interpretation of results.See:Colour measuring equipment

In the arts and of painting, graphic design, and photography, color theory is a body of practical guidance to color mixing and the visual impact of specific color combinations. Although color theory principles first appear in the writings of Alberti (c.1435) and the notebooks of Leonardo da Vinci (c.1490), a tradition of "colory theory" begins in the 18th century, initially within a partisan controversy around Isaac Newton's theory of color (Opticks, 1704) and the nature of so-called primary colors. From there it developed as an independent artistic tradition with only sporadic or superficial reference to colorimetry and vision science.See: Color Theory

CIE L*a*b* (CIELAB) is the most complete color model used conventionally to describe all the colors visible to the human eye. It was developed for this specific purpose by the International Commission on Illumination (Commission Internationale d'Eclairage, hence its CIE initialism). The * after L, a and b are part of the full name, since they represent L*, a* and b*, derived from L, a and b. CIELAB is an Adams Chromatic Value Space. The three parameters in the model represent the lightness of the color (L*, L*=0 yields black and L*=100 indicates white), its position between magenta and green (a*, negative values indicate green while positive values indicate magenta) and its position between yellow and blue (b*, negative values indicate blue and positive values indicate yellow). The Lab color model has been created to serve as a device independent model to be used as a reference. Therefore it is crucial to realize that the visual representations of the full gamut of colors in this model are never accurate. They are there just to help in understanding the concept, but they are inherently inaccurate. Since the Lab model is a three dimensional model, it can only be represented properly in a three dimensional space.See: CIE 1976 L*, a*, b* Color Space (CIELAB)

So in a sense we have developed "a method" by which application of color in this case would be used. Is it highly subjective in one's own case without some kind of metered measure and one would have to consider, by which consensus such a model would be applied(production of specific colours chemically induced for instance) to have a desired effect.

Evan Grant Making sound visible through cymatics 

I give this link above in order to establish that sound can have an architectural correlation in terms of a vibrational signature. Has a qualitative signature of sorts.So for me as I moved ahead in this blog format it was important for me to see how sound can be used.

Space, we all know what it looks like. We've been surrounded by images of space our whole lives, from the speculative images of science fiction to the inspirational visions of artists to the increasingly beautiful pictures made possible by complex technologies. But whilst we have an overwhelmingly vivid visual understanding of space, we have no sense of what space sounds like.Honor Harger: A history of the universe in sound

So while one might consider colorimetric space here one might convert such a space to what every point in that space represents in terms of a color? So you devise parameters.

Gravity is usually measured in units of acceleration. In the SI system of units, the standard unit of acceleration is 1 metre per second squared (abbreviated as m/s2). Other units include the gal (sometimes known as a galileo, in either case with symbol Gal), which equals 1 centimetre per second squared, and the g (gn), equal to 9.80665 m/s2. The value of the gn approximately equals the acceleration due to gravity at the Earth's surface (although the actual acceleration g varies fractionally from place to place). See: Gravimetry

It’s just a matter of lasers and mirrors, but using Michelson’s 19th-century techniques and LIGO’s 21st-century technology, scientists will soon “hear” a phenomenon first predicted by Einstein’s famous 20th-century theory.See: LIGO 02

Mirror Neurons

Neuroscientific evidence suggests that one basic entry point into understanding others' goals and feelings is the process of actively simulating in our own brain the actions we observe in others. This involves the firing of neurons that would be activated were we actually performing an action, although we are only observing it in someone else. Neurons performing mirroring functions have been directly observed in primates and other species, including birds. In humans, brain activity consistent with "mirroring" has been found in the premotor cortex, the supplementary motor area, the primary somatosensory cortex and the inferior parietal cortex.

The data revealed that even the most complex, abstract emotions—those that require maturity, reflection, and world knowledge to appreciate—do involve our most advanced brain networks. However, they seem to get their punch—their motivational push—from activating basic biological regulatory structures in the most primitive parts of the brain, those responsible for monitoring functions like heart rate and breathing. In turn, the basic bodily changes induced during even the most complex emotions—e.g., our racing heart or clenched gut—are "felt" by sensory brain networks. When we talk of having a gut feeling that some action is right or wrong, we are not just speaking metaphorically.

So, I'm saying the mirror neuron system underlies the interface allowing you to rethink about issues like consciousness,representation of self,what separates you from other human beings,what allows you to empathize with other human beings,and also even things like the emergence of culture and civilization,which is unique to human beings. See: VS Ramachandran: The neurons that shaped civilization 

  How important is the environment in that we might see the development of the conditions of "specific types of neurons" when the color can dictate the type of neuron developed? Can we say that the color(emotion) is an emotive state that we might indeed create in the type of consciousness with which we meet the world. A consciousness that that sets the trains of thought given the reality of our own perceptions. Or,  perpetuated thought processes unravelled in a world of our own illusions?

In a nutshell, what Karim showed was that each time a memory is used, it has to be restored as a new memory in order to be accessible later. The old memory is either not there or is inaccessible. In short, your memory about something is only as good as your last memory about it. Joseph LeDoux

Psychology professor Karim Nader is helping sufferers of post-traumatic stress disorder lessen debilitating symptoms—and in some cases, regain a normal life.Owen Egan See also: The Trauma Tamer See Also: Brain Storming IC: Why is this research so important? Karim Nader: There are a lot of implications. All psychopathological disorders, such as PTSD, epilepsy, obsessive compulsive disorders, or addiction—all these things have to do with your brain getting rewired in a way that is malfunctioning. Theoretically, we may be able to treat a lot of these psychopathologies. If you could block the re-storage of the circuit that causes the obsessive compulsion, then you might be able to reset a person to a level where they aren’t so obsessive. Or perhaps you can reset the circuit that has undergone epilepsy repeatedly so that you can increase the threshold for seizures. And there is some killer data showing that it’s possible to block the reconsolidation of drug cravings. The other reason why I think it is so striking is that it is so contrary to what has been the accepted view of memory for so long in the mainstream. My research caused everybody in the field to stop, turn around and go, “Whoa, where’d that come from?” Nobody’s really working on this issue, and the only reason I came up with this is because I wasn’t trained in memory. [Nader was originally researching fear.] It really caused a fundamental reconceptualization of a very basic and dogmatic field in neuroscience, which is very exciting. It is the first time in 100 years that people are starting to come up with new models of memory at the physiological level.

Part of the understanding for me is that in creating this environment for neural development the retention of memory has to have some emotive basis which arises from the ancient part of our brain in that it is associated with the heart response.



 Savas Dimopoulos

Here’s an analogy to understand this: imagine that our universe is a two-dimensional pool table, which you look down on from the third spatial dimension. When the billiard balls collide on the table, they scatter into new trajectories across the surface. But we also hear the click of sound as they impact: that’s collision energy being radiated into a third dimension above and beyond the surface. In this picture, the billiard balls are like protons and neutrons, and the sound wave behaves like the graviton. See: The Sound Of Billiard Balls

While these physiological processes are going on in our bodies the chemical responses of emotion trigger manifestations in the world outside of our bodies. Let us say consciousness exists "at the periphery of our bodies." What measure then to assess the realization that such manifestations internally are in the control of our manipulations of living experience? Are we then not caught in the throes of and are we not  machine like to think such associations could have ever been produced in a robot like being manufactured?

Of course this is a fictional representation above of what may resound within and according to the experiences we may have? The question is then how are memories retained? How do memories transmit through out our endocrinology system the nature of our experiences so that we see consciousness as a form of the expression through which we color our world?

Shifting the Way in Which We See

"Where in this day and age, does one go to ask the questions? Where does one go to find like "minded" people who are also seeking the answers?"What If We Could Ask The Big Questions?

Ask yourself could you have been shifted from the way you have always looked at the world.....is the world different then, or, did you not ever consider looking at the world in new way? Obviously you did. I see the trademarks of one pushing the boundary of one's own perceptions. Your asking others to do the same.

A Path with a Heart

I have told you that to choose a path you must be free from fear and ambition. The desire to learn is not ambition. It is our lot as men to want to know.

The path without a heart will turn against men and destroy them. It does not take much to die, and to seek death is to seek nothing.

We have solidify our places in the reality by our acquiescence to the way we have always looked at it. Some of the older folk might have read Carlos Castaneda as a  past time as much as your Pirsig,  questioned the truth of the experiences.... so let's say such a "tonal shift" could have shocked one out of, as all of your life in localization then what can be gained by using that new perspective?

Often, an increase or decrease in some level in this information is indicated by an increase or decrease in pitch, amplitude or tempo, but could also be indicated by varying other less commonly used components.. Sonification

There has to be a method by which others could see in the same way that another can, that it would allow inspection of the world around us together. It should be as if experimentally procedures,  so as to help us to look at a spectrum of definitions pointing toward another with such  a view of the reality in sameness too? How real is the world around as you look?

BBC article-Click on Image

See Also: LHC sound


This is important, in that what we have always been accustomed too, can be changed in the way the world may be measured in terms of it  being vibrant and harmonic, as if sounding in colourful ways. I mean we would want such a procession to be lawful and intelligently explained that there is no misconceptions as to the basis of such a journey as to seeing the world in that different light.

Understanding a Perspective About Color of Gravity

If we can help ourselves see the world in "new ways" why not allow ourselves such freedoms? See how it extends our views on what we have always "thought about" moves us beyond "the way" in which we have measured all things?

To “hear” the data we can map physical properties (The Data) to audible properties (The Sound) in pretty much any way we choose. For a physicist, an obvious way to do this might be to map speed to pitch. I think this is obvious for a physicist because both of these things are measured “per second” (pitch or frequency is measured in Hertz, which means vibrations per second). But we don’t have to do the obvious, we can map any physical property to any audible property.

In this example I’m going to map speed to the pitch of the note, length/postion to the duration of the note and number of turns/legs/puffs to the loudness of the note.

Now I have to choose starting positions and ranges. When I do this I have to consider that:How to make sound out of anything.

The Synapse of the Wondering Mind

Click here for Penrose's Seminar

While trying to organize my thoughts about the title of this blog entry, it becomes apparent to me that the potential of neurological transposition of electrical pulses is part of the function of the physical system in order to operate, while I am thinking something much different.

It is the idea of our being receptive too something more then a signal transfer within the physical system of pathways established through repetitive use, but also the finding of that location, to receive.It is one where we can accept something into ourselves as information from another. As accepting information from around us. Information is energy?

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Structure of a typical chemical synapse
Postsynaptic density Voltage- gated Ca++ channel Synaptic vesicle Reuptake pump Receptor Neurotransmitter Axon terminal Synaptic cleft Dendrite

In the nervous system, a synapse is a junction that permits a neuron to pass an electrical or chemical signal to another cell. The word "synapse" comes from "synaptein", which Sir Charles Scott Sherrington and colleagues coined from the Greek "syn-" ("together") and "haptein" ("to clasp").

Synapses are essential to neuronal function: neurons are cells that are specialized to pass signals to individual target cells, and synapses are the means by which they do so. At a synapse, the plasma membrane of the signal-passing neuron (the presynaptic neuron) comes into close apposition with the membrane of the target (postsynaptic) cell. Both the presynaptic and postsynaptic sites contain extensive arrays of molecular machinery that link the two membranes together and carry out the signaling process. In many synapses, the presynaptic part is located on an axon, but some presynaptic sites are located on a dendrite or soma.
There are two fundamentally different types of synapse:

• In a chemical synapse, the presynaptic neuron releases a chemical called a neurotransmitter that binds to receptors located in the postsynaptic cell, usually embedded in the plasma membrane. Binding of the neurotransmitter to a receptor can affect the postsynaptic cell in a wide variety of ways.

• In an electrical synapse, the presynaptic and postsynaptic cell membranes are connected by channels that are capable of passing electrical current, causing voltage changes in the presynaptic cell to induce voltage changes in the postsynaptic cell.

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The Einstein-Podolsky-Rosen Argument in Quantum Theory

First published Mon May 10, 2004; substantive revision Wed Aug 5, 2009

In the May 15, 1935 issue of Physical Review Albert Einstein co-authored a paper with his two postdoctoral research associates at the Institute for Advanced Study, Boris Podolsky and Nathan Rosen. The article was entitled “Can Quantum Mechanical Description of Physical Reality Be Considered Complete?” (Einstein et al. 1935). Generally referred to as “EPR”, this paper quickly became a centerpiece in the debate over the interpretation of the quantum theory, a debate that continues today. The paper features a striking case where two quantum systems interact in such a way as to link both their spatial coordinates in a certain direction and also their linear momenta (in the same direction). As a result of this “entanglement”, determining either position or momentum for one system would fix (respectively) the position or the momentum of the other. EPR use this case to argue that one cannot maintain both an intuitive condition of local action and the completeness of the quantum description by means of the wave function. This entry describes the argument of that 1935 paper, considers several different versions and reactions, and explores the ongoing significance of the issues they raise. See Also:Historical Figures Lead Us to the Topic of Entanglement

When looking at Penrose's seminar and you have clicked on the image, the idea presented itself to me that if one was to seek "a method by determination" I might express color of gravity as a exchange in principle as if spooky action at a distance, as an expression of a representative example of colorimetric expressions.

Science and TA by Chris Boyd

Do we selectively ignore other models from artificial intelligence such as Zadeh's Fuzzy Logic? This is a logic used to model perception and used in newly designed "smart" cameras. Where standard logic must give a true or false value to every proposition, fuzzy logic assigns a certainty value between zero and one to each of the propositions, so that we say a statement is .7 true and .3 false. Is this theory selectively ignored to support our theories?

Here fuzzy logic and TA had served in principal to show orders between "O and 1" as potentials of connection between the source of exchange between those two individuals. I see "cryptography" as an example of this determination  as a defined state of reductionism through that exchange.

Stuart Kauffman raises his own philosophical ideas in "Beyond Einstein and Schrodinger? The Quantum Mechanics of Closed Quantum Systems" about such things,  that lead to further  ideas on his topic, has blocked my comments there, so I see no use in further participating and offering ideas for his efforts toward "data mining" with regard to his biological methods to determination.

I can say it has sparked further interest in my own assessment of "seeking to understand color of gravity" as a method to determination,  as a state of deduction orientation, that we might get from a self evidential result from exchange,  as a "cause of determination" as to our futures.

While I have listed here between two individuals these thoughts also act as "an antennae" toward a universal question of "what one asks shall in some form be answered."

Not just a "blank slate" but one with something written on it. What design then predates physical expression, as if one could now define the human spirit and character, as  the soul in constant expression through materiality? An "evolution of spirit" then making manifest our progressions, as leading from one position to another.

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See Also:

The Synapse is a Portal of the Thinking Mind

The Plane of Simultaneity

Colour of Gravity 3

Colour measurement

We know that colour is a psychophysical experience of an observer which changes from observer to observer and is therefore impossible to replicate absolutely. In order to quantify colour in meaningful terms we must be able to measure or represent the three attributes that together give a model of colour perception. i.e. light, object and the eye. All these attributes have been standardised by the CIE or Commission Internationale de l'Eclairage.

The colours of the clothes we wear and the textiles we use in our homes must be monitored to ensure that they are correct and consistent.

Colour measurement is therefore essential to put numbers to colour in order to remove physical samples and the interpretation of results.See:Colour measuring equipment

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A New Culture?

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Colour Space and Colour Theory

The CIE 1931 colour space chromaticity diagram with wavelengths in nanometers. Note that the colors depicted depend on the color space of the device on which you are viewing the image.

So by having defined the "frame of reference," and by introducing "Colour of gravity" I thought it important and consistent with the science to reveal how dynamical any point within that reference can become expressive. The history in association also important.

In the arts and of painting, graphic design, and photography, color theory is a body of practical guidance to color mixing and the visual impact of specific color combinations. Although color theory principles first appear in the writings of Alberti (c.1435) and the notebooks of Leonardo da Vinci (c.1490), a tradition of "colory theory" begins in the 18th century, initially within a partisan controversy around Isaac Newton's theory of color (Opticks, 1704) and the nature of so-called primary colors. From there it developed as an independent artistic tradition with only sporadic or superficial reference to colorimetry and vision science.

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See Also:

Cymatics and the Heart Song

We might object that the heart makes heart sounds and jiggles water in the pericardial sac. Stuart Kauffman

The Colour of Gravity2
The Colour of Gravity1

The Colour of Gravity

I am not sure how this post is to unfold, yet in my mind different exercises were unfolding as to how I should explain it. Can I come from an artist's perspective I wondered? Say "by chance" anything that seems relevant here in writing, and any relation to science "is" metaphorical by nature?

Yellow, Red, Blue
1925; Oil on canvas, 127x200cm; Centre Georges Pompidou, Paris

These free, wild raptures are not the only form abstraction can take, and in his later, sadder years, Kandinsky became much more severely constrained, all trace of his original inspiration lost in magnificent patternings. Accent in Pink (1926; 101 x 81 cm (39 1/2 x 31 3/4 in)) exists solely as an object in its own right: the ``pink'' and the ``accent'' are purely visual. The only meaning to be found lies in what the experience of the pictures provides, and that demands prolonged contemplation. What some find hard about abstract art is the very demanding, time-consuming labour that is implicitly required. Yet if we do not look long and with an open heart, we shall see nothing but superior wallpaper.

I underlined for emphasis.

Does one want to gleam only what is coming across in geometrical form as a painting without understanding the depth of the artist in expression? Some may say, why any association at all, and just leave science to what it knows best without implicating any theoretical positions with the thought pertaining to gravity here.

Yes that's why I selected the title of this post as thus, and why I am going to give perspective to what I may, "as artist in writing" see with these words, and then you decide whether it is useful to you.

The Field as the Plane

An ancient thought penetrated my thinking as I thought of "the field" that a society can work in agriculture, and yet, by definition it was the plane, "length and width" that was also appealing here. I did not want to loose it's "origination" while I moved any thinking to the "abstract of brane" and the like, without firmly attaching it to the ground.

But who was to know that this plane could be moved to any "fifth dimensional understanding" without having studied the relationship to dimensional thinking and the like. The physics elevated.

I allow this one time escapism to "other thinking" to demonstrate what use the colour of gravity implies while at the same time "theoretical positions" talk about it's place in the universe. If one did not accept the moves in science and the way it expressed itself to allow geometrical inclination, then how the heck could non-euclidean thinking ever make it's way into how we will discuss "the fields" about us?

It meant that a perspective "on height" be adopted? As an observer I was watching from a position. While in that sleeping/dosing state, I wondered how else to express myself as these concepts were amalgamating themselves into a "conceptual frame of reference?"

The picture of the field(I am referring to the ancient interpretation) continued in my mind, and "by abstract" I thought to introduce a line extend from the centre of this field upward. So here I am looking at this field before me. Now I had wondered off previous by bring "the brane" in here, yet is not without that sight I thought how the heck could any idealization so ancient make sense to what the colour of gravity to mean.

Title page of Opticks .... by Sir Isaac Newton, 1642-1727. Fourth edition corrected by the author's own hand, and left before his death with the bookseller. Published in 1730. Library call number QC353 .N48 1730.

So "an idea" came to mind.

While correlating Newton's work here and the "extra dimensional thinking," I also wanted to include the work of the "Alchemist Newton". "To expand" the current thinking of our "emotive states" as a "vital expression of the biological being."

Draw into any further discussion of the "philosophical or other wise," these views of mine which are a necessary part of what was only held to a "religious and uneducated evolutionary aspect of the human being."

A cosmologist may still say that such thoughts of Einstein used in this vain is wrong, but I could never tear myself away from the views of "durations of time."

Colour Space and Colour Theory

The CIE 1931 colour space chromaticity diagram with wavelengths in nanometers. Note that the colors depicted depend on the color space of the device on which you are viewing the image.

So by having defined the "frame of reference," and by introducing "Colour of gravity" I thought it important and consistent with the science to reveal how dynamical any point within that reference can become expressive. The history in association also important.

In the arts and of painting, graphic design, and photography, color theory is a body of practical guidance to color mixing and the visual impact of specific color combinations. Although color theory principles first appear in the writings of Alberti (c.1435) and the notebooks of Leonardo da Vinci (c.1490), a tradition of "colory theory" begins in the 18th century, initially within a partisan controversy around Isaac Newton's theory of color (Opticks, 1704) and the nature of so-called primary colors. From there it developed as an independent artistic tradition with only sporadic or superficial reference to colorimetry and vision science.

So you tend to draw on your reserves for such comparatives while thinking about this. I knew to apply "chemical relations" to this idea, and the consequential evidenced, by the resulting shadings by adding. I wanted to show "this point" moving within this colour space and all the time it's shading was describing the "nature of the gravity."

Adding a certain mapping function between the color model and a certain reference color space results in a definite "footprint" within the reference color space

By adding that vertical line in the field, the perimeter of my field of vision had to some how be drawn to an apex, while all kinds of thoughts about symmetry and perfection arose in my pyramidal mind.

All these colours, infinite in their ability to express the human emotive state, as a consequence of philosophical and expressed as function of the emotive being?

CIE 1976 L*, a*, b* Color Space (CIELAB)

CIE L*a*b* (CIELAB) is the most complete color model used conventionally to describe all the colors visible to the human eye. It was developed for this specific purpose by the International Commission on Illumination (Commission Internationale d'Eclairage, hence its CIE initialism). The * after L, a and b are part of the full name, since they represent L*, a* and b*, derived from L, a and b. CIELAB is an Adams Chromatic Value Space.

The three parameters in the model represent the lightness of the color (L*, L*=0 yields black and L*=100 indicates white), its position between magenta and green (a*, negative values indicate green while positive values indicate magenta) and its position between yellow and blue (b*, negative values indicate blue and positive values indicate yellow).

The Lab color model has been created to serve as a device independent model to be used as a reference. Therefore it is crucial to realize that the visual representations of the full gamut of colors in this model are never accurate. They are there just to help in understanding the concept, but they are inherently inaccurate.

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

Entanglement

the quantum entanglement would become so spread out through these interactions with the environment that it would become virtually impossible to detect. For all intents and purposes, the original entanglement between photons would have been erased.

Never the less it is truly amazing that these connections do exist, and that carefully arranged laboratory conditions they can be observed over significant distances. They show us, fundamentally, that space is not what we once thought it was. What about time? Page 123, The Fabric of the Cosmo, by Brian Greene

So many factors to include here, yet it is with the "idea of science" that I am compelled to see how things can get all mixed up, while I say emotive state, or Colours of gravity?

It gets a little complicated for me here, yet the "Fuzzy logic" introduced or "John Venn's logic" is not without some association here. Or, the psychology I had adopted as I learnt to read of models and methods in psychology that could reveal the thinking we have developed, and what it included.

Least I forget the "real entanglement" issues here, I have painted one more aspect with the "Colour of Gravity" to be included in this dimensional perspective, as we look to the models in science as well?

Working from basic principles and the history of spooky has made this subject tenable in today's world. A scientist may not like all the comparisons I have made based on it, I could never see how the emotive and mental statements of the expressive human being could not have been included in the making of the reality.

That I may of thought the "perfection of the human being" as some quality of the God in us all, would have granted sanction to some developing view of "religious virtuosity," against the goals of the scientist. So as ancient the views painted, there was something that may have been missed of the "Sensorium," and goes toward the basis of the philosophy shared currently by Lee Smolin.

This entanglement to me is a vital addition to our exploration of the universe. Our place and observation within it? It did not mean to discount our inclusion within it, within a larger "oscillatory perspective."