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.

BACKGROUNDS	THEORY	ANIMATIONS

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 intuïted, 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 oriënted 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 oriëntations or the primary tetra in the dodec encode three primary differential angles (P1, P2, P3) - circle is top view of toroid	12 lateral oriëntations 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. Below animation shows a cross-section of the two interacting toroids only. Look at the point where the positive central axis touches the surface of the colour-coded incoming photon. Now grab the red ball to dial your colour. Animations instructions, email and browser settings here.

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 intuïted by artists of all times..

Reference colours and wavelenghts; CIE - Chromaticity Diagram

source: http://de.wikipedia.org/wiki/Bild:CIE-Normfarbtafel.png

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

Below gallery of platonically nudged relative tiltings is only a tool to gain insight and memorize the primary, secondary and tertiary tilting angles. The oblique view of the dodec is just helpful but has otherwise no specific meaning. Top left is an animation, where the rainbow toroid is represented by its circumference only, along with the circumference of the Dodec's toroid. The challenge is: try to REPRODUCE the colour-coding platonic tilting angles, using your mouse to control the animation. Please note that most tilting angles in the gallery are skewed (except P1 and L2) as a result of the tilted viewing point. TIP: the animation has a built-in algorithm which smoothly guides you through the key rotations. Controls: Click-left + drag to rotate the complete figure; double-click to start / pause the animation; right-click + drag R<>L to scroll through the frames (notes: do this when animation is paused; do not drag down as this will whipe-out the model!). Manually step through the animation until all vertices click together, estimate the colour-coding angle between the dodec-toroid and tetra-toroid and move on to the next! TIP: the rotation axes of the dodec and tetra are tilted (the tilting angle is arctangent (1/V2), like that of the circumradius of a cube). Challenge: try to find the rotation axes of the dodec and tetra and put either of them e.g. vertically or toward you - this will give a better idea of their relative rotation. It should be advised that this animated "scrolling through colour angles" ONLY serves as a teaching tool - i.e. it is not meant to represent any real physical dynamics; also the angles / colours are not touched in the order of the spectral sequence.

Controls: Click-left + drag to rotate the complete figure; double-click to start / pause the animation; right-click + drag R<>L to scroll through the frames; more instructions, email and browser settings here

How the spectrum for the animated "colour donut" was created

The spectrum is mapped, starting from the centre, 360° around the toroidal circumference, from red (700 nm) to the higher octave "ultra red" (350 nm) with green (apprx. 525 nm) at the equator. Curiously, the spectrum progress "c" is naturally proportional to the relative tilting angle "a" as per given formula. Therefore, a 180° tilting range precisely and proportionally covers the 360° spectrum ring.

PLATONIC ANGLE VS. WAVE LENGHT GRAPH AND
HEXADYNAMIC WAVELENGTH FORMULA

INTELLIGENT DESIGN

Duane Whitlock's publisher was probably lacking the facilities to put anything on paper beyond the capacity of a mechanical type writer, which has not quite created the Vantage point one might expect for such an exceptional work. So here we present - free of charge - Duane's model of intelligent design as reflected in Nature's true design of the visible spectrum, and which according to Duane, applies throughout the electromagnetic spectrum and in all of Creation:

Duane's key point is that the standard idea that colours are linearly created by frequencies is totally mistaken, and should be replaced by what he calls a universal "hexa-dynamic" intelligent design. It is a part of physics subtler than matter and energy, but having a profound impact on creation, especially of life. It explains the reason why the colours coming out of a prism existed only in Sir Isaac's mind. This could be the subtitle for the splash art at the top! One main aspect of hexa-dynamic theory is reflected in the way primary colours mix to form secondaries. One critical note here though: Duane in wrong, or rather inaccurate to state that "blue" and "yellow" "additively" mix to form green. This is incorrect, and applies only to - litterally - mixing water paint colours, using a lighter, cyanish blue (I vividly recollect the moment my art teacher told me..), i.e. closer to the cyan used in subtractive mixing for printing. The possible culprit(s) are seen in above "Origin of Colour" graph: two "extra" platonic angles and their corrsponding wavelengths, which are called tertiary T1 (yellow-green) and T2 (cyan) in this system. Dragging the hue of blue a bit in the direction of cyan will turn the mix from black into (dark) green. Clear green however cannot be created, as with pure substractive mixing (cyan + yellow). So clearly, allthough the complete 180° geometric spectrum as a whole is perfectly symmetrical around 90° / 530nm / green, its system of primary (resp. secondary) colours is definitely not (and neither is the human visible part of it..). Nevertheless Duane's system is perfectly in order with the platonic tilting angles of geometric colour code. It can be conjectured that species who see into the "IR" (snakes) or "UV" (bees) actually may see colours unknown to man, but only insofar the small dark band (from 135° / 350nm / violet to 180° / 350 nm / ???) resp. its lower octave are added.

ref: The Search for Intelligent Design, Duane Whitlock, Vantage Press, Inc. New York

SOLITON PHYSICS and PERCEPTION

Below is meant for discussion and anticipates the further work on ../fiatlux.

Hypotheses / Discussion:
The photon is the elementary model of how phase-conjugate heterodyning transforms itself into (resp. facilitates) a sustainable charge domain (term coined by Dan) and from there into matter. The physical model and the functional model of the photon are given in below diagrams; the functional model can be applied on all scales, i.e. for all unitary phenomena (which are essentially alife) - atoms, dna, cells, organisms, ecosystems, planetary systems, galaxies.
Above sections on colour perception should be interpreted, not as a "subjective" phenomenon, but as real physics which can lead to what is called "subjective", and which is really a combination of life force and focussed awareness. Also quoting Duane Whitlock, this can give a profound insight in general creation physics, especially including electro-fractal gravity creation as promoted by Dan Winter.
It is a well-known fact that solitions keep themselves alife with help of non-linear effects. This idea is expanded into a more universal, as well as precise model of how a time-space wave is defined by the alternating charge (-"inertia" - DW) exchange between Phi based (charge-distributive) and Octave (charge correlative) based phase-conjugation. The charge-management of these complementary effects are beautifully seen in the Fractal Synth software so called heterodyne power scan (download Fractal Synthesizer here). One could also argue that a photon is the transition between stillness and dynamics.
Below included is a picture of Luke Gatto's visionary dream, in which he saw two pentacles aligned in an unusual way. This vision was extremely helpfull and appropriate in finding the uique geometric colour code as described here. However the "double inversion" could be interpreted in different ways. Firstly, it shows that, allthough we cleary adhere to a universal principle of "observer physisc" (term coined by Douglass White - www.dpedtech.com), in order to account for actual individual perception, an actual biological observer must exist. This creates a "double inversion" in the sense that there is an interaction between two complete "system" (the universe and the biological observer) who both have their own Phi- resp. Octave physics on board. This alone will solve a huge lot of philosophical and cognitive theory problems, and I believe this is the spirit in which Luke received his vision. Another interpretation is the purely physics double inversion of 1) going through the Planck scale wormhole between Octave and Phi phase-conjugate systems, and 2) going from sub-luminal ("matter") to super-luminal ("spirit",..).
This takes us back to the functional and physical models of the photon (see below diagrams), as the initial physical manifestation of these combined principles.
Further, a unique inter-digitation between the tetra's symmetry axes and an "ideal" is reprinted below. This I discovered a few years ago inspired by Dan's alphabet work. That time I discriminated the 7 "flame-strip" (electro-hydro-dynamic flux paths) as colours (../tetraphysics), but this would confuse above colour physics - hence only gradients are used here.

(shift-click left-drag U/D to magnify animation)

Luke Gatto's vision interpreted
(Luke never mentioned the tetra's but later said they were also there..!)

COLOUR EMPATHY

(discussion)

An Arch of Angles - a platonic relationship or a covenant
between Heaven and the Earth..?

photo courtesy: http://www.hietanen.typepad.com/photos/hawaii/rainbow.html

Epilogue: Free (-volous) Energy?
The best "free" energy resource candidate, with least environmental entropic impact is so called "black matter": electro-hydrodynamic gravitation domains in deep space like the Orion Nebula star nursery. There, things lie still open. It is conjectured that long-range, super-luminal phase wave alignment could tap such resources and build great civilisations. That is what nature does on daily basis anyway, in a gently way, and it gave her all the wisdom needed for intelligent design. It just needs the right, penetrating vision to locate the resources, just as we are now drilling for oil in other dark places.. That is to say, what we need is a galactic oil rig. Our friendly, colour-empathic algae ancestors (among others) did possess such a machinery, and as a matter of fact used it to create oil-reserves for their future less adapted generations to survive - those who tell school kids that it's just "stored sunlight", haven't grasped the basics of intelligent design!

© all rights reserved Heart Coherence team, 2007