INDEX

"BIOSONIC"

I-CHING IN THE SCIENCE OF LIGHT AND COLOR
By Marysol González Sterling, authorof the book "I-CHING and Transpersonal Psychology" published by Samuel Weisser Publishers.

 LIGHT-PIGMENT RELATIONSHIP

 The argument has always been if green is the color complementary of red or is it cyan?.  To experiment with light complementary is rather simple, look at an intense red for one minute and then turn your eyes to look at a white surface, there you will see appearing the same shape of the red object in a slightly fluorescent cyan.  Or project a spectrum from a prism on to a white wall, if we put in front of the projected rainbow colors a red filter the portion of blue cyan of the spectrum will disappear or putting a cyan filter the red portion of the spectrum will disappear. Instead if we put a magenta filter the portion of green will disappear, so it is relatively simple to know that cyan and red are complementary, as well as green to magenta in the radiant light principle. It is not as easy to find out this complementary color in the pigment absorption quality of color.  Whenever we mix three color pigments together we reach black, meanwhile whenever we mix three coloured lights we reach white coherent light.  If we mix green light with red light we get yellow going to white, meanwhile if we mix a red pigment with green pigment we get brown, going to black.
 
 

 Red, green and blue violet (RGB) are the primary colors and their combinations will become white of light, transparent and coherent.  Cyan,  magenta and Yellow (CMY) are the secondary colors and their combination will become black of  pigment, matter and incoherence. We can see how three lights of the primary colors become white light where they mix together and if we place an object or whatever physical object in the centre of this white light, in this case a small round platform, the combined colors of light will have a shadow composed  of the three secondary colors. We can see the positions of the polarities, the red light will give a cyan shadow, the green light will give a magenta shadow and the blue-indigo light will give a yellow shadow, the exact complementaries cyan-red, green-magenta, blue-indigo-yellow.  Also the mising of the 3 secondary colors will finally give the dark black shadow.  This demonstrates that the primary colors go towards white coherent light and the secondary colors go towards blank incoherent pigment.

The shapes of the wavelengths are also complimentary when cyan goes down, red goes up, the same for violet and yellow and magenta and green, going up and down being the colors composed by the two yin and yang rays.

 According to Johann W. Goethe  using a concave and convex mirrors  observed the halo of colors that would come out in the rim of projected color and it is interesting when we conpare it to the yin yang theory. Also, he explained how the prismatic colors are divided into two rays, one cyan-violet as YIN, cold.  alkaline, they separate, move away, and open up centrifugally.   The other ray is red-yellow as YANG, warm, acid  they hold together, move closer and concentrate centripetally.  Each ray opens up appearing orange in the Yang ray, and blue in the Yin ray, as the principle of separation and radiation . They also fuse together giving green and magenta, as the principle of union and absorption.  The eight colors of the octave are red-orange-yellow-green-cyan-blue-violet and magenta to become the next octave, and they are also represented  by the eight trigrams of the I-Ching, the ancient book of the Chinese Taoist.   Always the Yellow expands not seeing where it ends on a white background and is the most Yang of the Yang ray, Red is comes out from a black background in the Yang ray so it is the darkest and more Yin of the Yang ray.  Then Cyan is next to a white background in the Yin ray so it is the most Yang of the Yin ray, and Violet is next to a black background and expands not being able to distinguish when it ends and fuses with the black,  it is the most Yin of the Yin ray.

     The law of refraction teaches us that red and violet always come out where black is placed and that yellow and cyan where the white is placed.  When we see through a prism the refraction of a dark object on one side we will see the cyan-violet ray and in the other the red-yellow, in such a way that in the darken area the red and violet fuse together and become magenta.  When we see a  llight object surrounded by darkness, by the light object the yellow and the cyan of both rays fuse making green. That is another reason that the secondary colors Cyan, Yellow, Magenta  (CMY) are the principle of the absorption by the darkness of matter, and the primary  Red, green, Blueindigo (RGB) are colors are the radiation of light. Looking at this graphic we can actually see and sense the opening of the RGB colors over the dark background and the closing of the CMY colors over the light background. This law of refraction allways occurs unless another light source radiation from the object itself  tints the radiated color to something else. Like this we can explain why the sky is blue in daylight and why it becomes red at dawn  and sunrise when the light source of the sun is behind the darkness of the earth.

To arrive from sound to color we have to progress octaves multiplying by two, starting off in the number of cycles per second of the perfect divided scale of the seven  main notes.  From 261.60 cycles per second of the note C, DO, we arrive at 575 trillion cycles per second closest to the vibration of the color green  Then C is equivalent to green in the light radiation spectrum, but for an object to be seen as red there has to be green light that is absorbed and then red is radiated from the material object.  If we have one octave and a half we would have twelve colors, the same as the twelve musical notes,  seven notes and five sharp notes.  We know that F#, Fa# is red, its radial complementary.

 There are two principles in the Universe, one expanding Yin spiral that moves clockwise and the other contracting Yang spiral that moves anti-clockwise.  The gravitational resonance moves clockwise the same as the motion of the earth around its axis, the electromagnetic resonance moves anti-clockwise the same as we see the sun moving in the sky due to the clockwise motion of the gravitational earth during a day, also thunderstorms and hurricanes move in an anticlockwise direction,  it is the principle movement of the electromagnetic sky. Light comes into our bodies in a contracting anticlockwise movement, we absorb it in a clockwise movement and then we radiate it in an anticlockwise movement, to become a centrifugally clockwise movement in the reflection of color and sound in the perception of reality. Light has a coherent quality YANG becoming transparent when all its component colors radiate together, and sound is an incoherent quality YIN becoming rhythmically when all its components fuse together in harmony. YANG is the quality of the wave and of light that can also represent itself as a particle photon, YIN is the quality of the particle phonon and of sound that can also represent itself as a wave.  Sound is an expression  of matter in such a way that the astronauts hear the music when they are out of gravity, but they don't feel it, it doesn't move them in the same way, and does not provoke rhythm in their bodies.

The colors of Darkness EARTH are cyan-blue-violet and the Light HEAVEN are yellow-orange-red, and the Law of polarities and reciprocity is clearly used when we use the colors of the 3 octaves in the voice as a Trigram and the 6 octaves that will be seen as the harmonics in the FFT as the 6 lines of the Hexagram.  When we absorb one color we reflect the complementary color, that is the reason the octaves in the BioSonic program portray the colors in a reflection color of the trigram of Earth or of the conciouss body  belonging to the Trigram of the Earth that is Yin is reflecting the colors of Heaven, red-orange-yellow, and the Trigram of the Heaven that is Yang is reflecting the colors of Earth, cyan-blue-violet.  The meaning of the octaves in the trigram and how it relates to the octaves of the voice is a continuation of the research done on the I-Ching and it is portrayed in the published book by Samuel Weiser, I-Ching and Transpersonal Psychology by the same author as the BioSonic program.

Red BLOOD/CELLULAR Octave belongs to the subconscious, that influences us and we are not aware, many frequencies or points here calls our attention, because much energy will be happening at a cellular level.

Orange Main BODY/SKIN Octave belongs to the organs and the whole structure of the body that we are more or less conscious. All the analysis is taken from this octave that has the majority of hits of  frequencies and is what has most energy.

Yellow EMOTIONAL LIGHT/AURA octave belongs to the energy projection toward the external world and it is responsible for what we attract in our experience of relationships.

To have frequencies or points in the octaves above the Main Octave is interpreted as energy projections toward the outside responsible for our current reality, belonging to the vibrational expression of an organ or a cellular function of the 3 main octaves, or something very deep inside the persons aura or karmic inherited realm..

Cyan ASTRAL/EMOCIONAL Octave how the emotional body interacts with the external reality influencing in the emotions when generating the color green.

Blue MENTAL/INTELECTUAL Octave how the mental body interacts with the external reality, influencing the ideas and thoughts

Violet ESPIRITUAL/KARMIC Octave how the spiritual body interacts with the external and karmic past reality, influencing in our reality now and what we attract in life that in turn influences genetically to the octave of the blood, when generating the color Magenta..
Look at the OCTAVES page explanation.
 

According to Goethe's experiments when we project a light to a convex mirror the light reflection extends to a larger circle and in the rim appears cyan-violet the Yin colors and when projecting a light to a concave mirror the light reflection contracts to a small circle of light and in the rim appears yellow and red, the Yang colors. This fits perfectly with the theory of Yin expansion and opening, centrifugal clockwise spiral and the theory of Yang contraction and closing, centripetal anticolockwise spiral.

When deciding the colors that belong to each one of the trigrams, the theory of the 5 elements became alive. The metal is yellow and orange, the sky and the lake instead of white. The Fire and the water are always red and the cyan of the water before it was blue. The Earth has changed to the material darkness of the violet and the blue, of the Mountain, instead of yellow. And the Wood is those colors of the center and union of both rays, the green of the Wind, and the magenta of the Thunder. The green was always of the Wood and of the Liver. To the wood they belong the trigrams that transform the forces of the nature transforming it into biological life.

The elements that belong to the 12 acupuncture meridians:
The METAL, the Sky,  Lung, and the lake of the Large Intestine..
The FIRE, of the Small Intestine and Heart of the Day Fire, and to the Endocrine one and the Circulation of the Night Fire.
The EARTH, the Earth of the Spleen and the Mountain of the Stomach.
The WATER, of the Bladder and the Kidney.
The WOOD of the Wind of the Liver and the Thunder of the Gall Bladder.
 
 

The colors that the Acupuncture tradition give to the 5 elements coincide in a 70% with this color theory,, we are not using white nor black, because one is all colors and the other is the absence of colors. When we use a real color for each element instead of black and white this new theory presented her is obviously the  correct one. Metal is white for the traditional acupuncture elements and here it is yellow and orange  as the most luminous color, Green is the element of Wood as well as Wind in this theory, Water os dark blue and black for the chinese, here it is cyan blue and green- blue.     Fire is always red for both theories, the element that is completely changed is earth that is yellow for the chinese acupuncture and it is the darkest and coldest color in this theory Blue and violet.

In the above graphic we see clearly that the way the 5 elements are placed is more similar to the World of the Senses, as it is the way vibration materializes in the elements of life. When one sees them in a circle  they  give life and strength to one another as the law of Mother-son, and when following it in the star direction it destroys and control each other.
In a Circle, FIRE produces  Earth,  EARTH produces minerals and metal, METAL enriches water,  WATER gives life to wood, and WOOD give life to fire.
In a Star, FIRE melts  metal, METAL cuts wood, WOOD breaks the earth with the roots, EARTH is flooded by water, WATER puts fire out.

IN ALL THE TRADITIONS FIRE AND WATER ARE THE TWO MOST IMPORTANT ELEMENTS, BECAUSE WHEN  FIRE BURNS INSIDE WATER PHOTOSINTHESIS OCCURRS AND LIFE IS CREATED, MEANWHILE IF FIRE IS ABOVE WATER LIFE MIGHT DIE.  THE WHOLE METAPHYSICAL QUESTION FOR ALL CULTURES IS HOW TO JOIN THE ELEMENTS OF FIRE AND WATER.

THE FOLLOWING THEORIES CAN GIVE US AN UNDERSTANDING WHEN WE STUDY OF THE PLACEMENTS OF THE I-CHING IN BOTH WORLDS, THE WORLD OF THOUGHTS AND THE WORLD OF SENSES. Understand more about this in the I-CHing page.

THE WORLD OF THE SENSES INSIDE OF THE WORLD OF THE THOUGHTS
The world of the thoughts is in a circle as the sky and the world of the senses is a square as the earth.
According to the PaKua, the movements of Tai Chi that express the energy of the trigrams of the I-Ching, are taken by placing the square world of the senses inside the circular world of the thoughts, and the movements  been circular becoming squared are to MAINTAIN, in the placements of the trigrams, below, to the right and to the left. While the square movements that become circles are to LIBERATE emotions and feelings not necessary in our life.

FIVE DEFINITIONS OF THE VOICE
The méthod to define the parámeters of the voice tone and the vocal chords, defining the physical state of the person.
SPIRALS
How to define the most important notes in weakness and excess.

PSYHOLOGICAL TYPES
How to define the psychological types from the voice.

OCTAVES
How to define the octaves of the physical body, the emotional octaves y and the celular octaves.

I-CHING THE VIBRATIONAL EXPLANATION OF THE UNIVERSE 
The dynamics of light and darkness describe the vibrational world of color and sound.

THE NOTES  AND THE COLORS
How to progress the notes through the octaves till one reachesl the frequencies of light.

COLOR ACUPUNTURE MERIDIANS AND KINESIOLOGY
How to use the information of notes and color from this program with acupunture meridians and treatment with sound, tuning forks and  with the  light with prisms or quartz crystals activated by a penlight with filters.

THE SPIRALS  AND THE COSMOS
How all in the universe progress through spirals.

THE SPIRALES  AND HUMAN BODY
How we see the spirals in the body.

THE IRIS AND THE BRAIN DOMINANCE
Some knowledges about Iridiology and how we can decide for Brain dominance of a person.


 
 




To learn more on COHERENCE and Voice Analysis contact the author of the BIOSONIC method and computer program Marysol Gonzalez Sterling Address: PLANET ART, Calle de la Fuentes 8, 3 izda. Madrid 28013, SPAIN.telephone; (34)91 5425597, e-Mail: planet.art@retemail.esAddress:e-Mail: BIOSONICA@aol.com







OTHER LINKS

COHERENCE
return to first page on Voice Analysis & Coherence.

BIOSONIC,
Sound Therapy with voice analysis and treatament of brain resonance with sound frequencies.

BIOSONIC CRANIAL WITH DOLPHINS
Sonic therapy with unwinding in the water accompanied by dolphins. Cranio- Sacral Osteopathy with tuning forks. Voice analysis of brain frequencies.

SACRO-CRANIAL THERAPY,
Energetic Osteopathy based on the movility of the cranium bones.

BIOSONIC CRANEAL,
Sacro-Cranial therapy with sound and tuning forks.

PHOTONIC
Diagnosis and therapy of the missing color with prisms and solar light.

SONIC TUNE UP,
Holophonic Recording as Biosonic Cranial Therapy private session.





 
 

Adress:


 
 
PLANET ART


Calle de la Fuentes 8, 3 izda.
Madrid 28013, SPAIN.
telefono; (34)91 5425597,
all year e-Mail: planet.art@retemail.es

Adress:
only summer e-Mail: BIOSONICA@aol.com

 

 



 

 




 

INDEX