This subject touches the heart of the new cosmological model, in physics- as well as an empirical sense. As we learned in the above, the system of subtle vacuum fluctuations forms the physical and mathematical basis for all perceived waves, and therefore, in fact, all reality. These waves were thus proposed, in a slightly philosophical style, as an ectoplasmic vortex. This is the somewhat popular model, which is also visualized in the cakra’s, as lotus flowers etc. The more precise physical model is the torus, which in itself embodies, in three dimensions, the subtle vital and cognitive energy flows controlled by the Krta Purusa (synergetic equilibrium) and Jina Purusa (analytic equilibrium). Thus we can say, in a physics sense, that the torus is the primary, and in fact only blueprint of creation which emerges from the Vacuum, while sustained (encircled) by the coherent fluctuations of the Krta Purusa and Jina Purusa alike.
It is now proposed, again without too much detail at this point, that geometric coherence in three dimensions can physically be modelled by platonic bodies. These geometric bodies could be see as a model of a self-sustaining, three-dimensional standing wave pattern. This is the far deeper meaning of what became popularly known as “sacred geometry”. This way, synergetic coherence (“Krta Purusa”) is represented by a dodecahedron, whereas analytic coherence (“Jina Purusa”) is represented by a tetrahedron. A profound and truly verifiable proof that this is the correct approach, is the fact that this combined platonic geometry can be used as a recipe for (human) colour perception. This way, entirely in the spirit of Ba’ba’s clue, an omega of mathematics coincides with an omega of bio-chemistry!
How does this work? The colour spectrum of pure white light, for example as it comes out of a prism, is in fact continuous. That is, in the pure physics sense, there is no question of primary or secondary colours. Moreover, there is in fact no question of “colours” in the first place. There is only a continuous band of increasing wavelengths. Actual colour perception, and especially the system of primary and secondary colours which somehow stand out, is entirely a creation of the brain, or better, of the principle underlying the brain.
It was recently discovered and established, that the internationally agreed (best fit) central wavelengths of the resp. primary and secondary colours can precisely be calculated, and in fact predicted with the use of the aforesaid platonic symmetries. The details may be too much to relate here, but what can be said is that those relative angles between the dodecahedron (synergetic) and tetrahedron (analytic) which result in a best fit between the both (snapping together at their vertices) mathematically translate into those primary and secondary colours which every child recognizes in a rainbow.
What does this mean? We might interpret this “geometry of colour” in a sense that the combined cosmological model of Krta Purusa and Jina Purusa can be less or more ideally balanced. The stronger the overall balance, the more articulated the individual perception will be. In the case of colour perception, this means that certain wavelengths will be more articulated than others. This causes the primary and secondary colours.
A similar principle should also work for sound. Here we could think of a geometric recipe for the Samskrta sounds of Creation, as explained by Ba’ba’s. A different system is known for the Hebrew alphabet. But a geometric model yet needs to be developed, just as there exists for the colour perception.
Conclusively, we could say that the science of colour geometry offers an accurate and universally appealing proof of the physics interpretation of microvita cosmology. The profound revelation is that the very same principle which organises the planets and stars in the universe, also creates the actual perceptions of colour, sound, etc. for which science currently has no explanation. This is the universal synergetic faculty, the Krta Purusa.
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