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.
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
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?
See:New Synesthete Character on Heroes