Red and Blue

Red and Blue
(courtesy University of Science and Philosophy)
(click to enlarge)

The red side or lower half of the light spectrum. These frequencies pertain to heat and thermism. The infra-red frequencies, at the extreme lower end of the red frequencies, is used (among many other things) as a heat source. See Blue. In terms of function the red side is the syntropy side. [See genero-active, gravity, compression.]

"One of the greatest errors in reactor construction is the use of aluminum tubes for uranium containers. Aluminum would become charged with radioactive death very quickly in comparison with silver, gold or any other metal on the blue side of the spectrum. Steel is on the red side, but its density is so much greater than aluminum that it is a better metal than aluminum for that purpose. Nickel would be better than steel, for nickel is on the blue side." [Atomic Suicide, page 17. See Thermism, Differentiation, spectrum]

"In the radium octave these pairs of efforts are detectable on the red side of the spectrum, but not on the blue side, for reasons which would occupy too much space to tell here, and not sufficiently necessary to this story. As a part of it, however, take note that all of the worst radio-active killer metals are on the red side." [Atomic Suicide, page 38.]

"The great unexplained mystery of melting points is the fact that the red side of the carbon octave reaches high melting points because of the fact that two of them are dense solids. On the blue side all three are gases and have melting points as low as 223 degrees below zero. Fluorine reaches this point while its mate on the red side, which is lithium, reaches 186 degrees above zero.

It seems strange that this octave of the highest maturity has three below zero elements on its blue side and high ones on its red side, when the dying elements have very high melting points on the blue side and less than half of those points on the red side. It is more strange still to metallurgists that many of the elements in the radio-active half of the chart are heavier and much more solid than carbon, the heaviest element on the living side of the chart. Tantalum, for example, reaches 3,400 degrees, while its close neighbors on the blue side, reach 2,900, 2,700, 2,250, 1,750 and 1,063. The answer to this is also more clearly defined later, but, very briefly, the reason is that the red side of the spectrum represents the fatherhood of Creation, which seeks the inside of forming spheres where the fires of Creation are centered, and the blue side represents its motherhood and seeks the outside to fashion bodies in her womb, and cool them into form. In the first half of the electric creating process the blue half is compressed out of the generating body, by exploding from within, while the red half gains its center, by compression exerted from the outside. In the second half the situation is reversed. All Nature is constantly reversing, and in doing so is constantly turning inside out and outside in. This conspicuous and obvious fact of Nature has not yet been sensed by observers. [Atomic Suicide, page 43-44]

"Sodium seeks balanced unity in chlorine. It does not seek it in aluminum, phosphorous or silicon. Nor do any of the elements on the red, alkaline side of the spectrum, seek union with each other, nor do those on the blue, acid side seek union with each other." [Atomic Suicide, page 84-85]

"Suffice it for here to say that all mates which are approaching each other for union are electrically forced to approach each other from the outside. They are not 'attracted' together from the inside. They cannot help being forced. They are being wound up together electrically in spiral vortices. They must inevitably collide and become one even as a threaded screw is forced to interpenetrate an oppositely threaded nut. This simile is a good one in other ways. It exemplifies the red and blue of the spectrum and the red and blue of sex division. The red interpenetrates the blue in all elements up to carbon. Beyond carbon the blue interpenetrates the red. This is also an unknown basic characteristic of the creative process, for no text book of science even mentions it." [Atomic Suicide, page 86]

"The inner core is the red of its heat and the outer layers are the blue of space into which the red core projects its heat to expand it. The outer layers then cool it and thus create imprisoned bodies whose sole desire is to escape imprisonment. Beyond carbon the inner core reverses to blue." [Atomic Suicide, page 94]

"To more fully comprehend this omnipresent radar universe of reflecting light mirrors and lenses, take one of the eight reflectors out of a cube, or make one composed of three mirrors placed the way they are shown in the corner of Fig. 62. If you analyze this shape you will see that it is half a cube cut through its diagonals. If you now slowly insert an object on the end of a long needle, toward the apex of that pyramid you will see it reflected three times, and those reflections will grow ever closer as your object nears that apex. That illustrates the multiplication, or compressive power of Nature. It also symbolizes centripetal force and higher potential. It also represents three of the octave elements on the red or blue side of the whole octave, of which the three mates are in the reverse corner reflector." [Atomic Suicide, page 258]

"The question has long been asked by research scientists why it is that the inert gases will not mix, or unite with "any of the other elements." The first answer is that the inert gases are not electrically divided and conditioned elements, as all of the others in the nine octaves are. The inert gases begin in the first octave as invisible white fluorescent light of zero motion. They end at the 9th cathode in the 9th octave, as visible white fluorescent light, which has reached a speed of nearly 186,400 miles per second. Fluorescent light is that light which begins in the undivided electric spectrum. It is the beginning and end of motion. All motion is either red or blue, according to its sex. The end of motion at the amplitude of the 9th octave means that the divided spectrum has been united as one colorless, sexless light which has been under such high compression that it has reached its limit of conditioning by motion and must be transformed from the white light of visible motion to the invisible white Light of Magnetic stillness. The fluorescent light is that ending of electric power to divide motion into pairs, and to condition the pairs with the opposing sex tensions of electrically divided spectrum opposites. The inert gases are not pairs. They are not divided. Division takes place by light projected from them, but that projected light of spectrum pairs is the basis of the electrochemical elements, which have great volume and density in comparison." [Atomic Suicide, page 261-262]

"In the 8th there are thirteen pairs, but in the 9th the number is unknown, and at least twenty-one on the red side. The blue side fails to provide balanced mates for the six of the transuranium series, so all motion disappears into zero at that 9th octave position." [Atomic Suicide, page 264]

"This new knowledge of the Mind-universe, in its relation to the body-universe, would also help clarify the nature of radioactivity in its action upon organic bodies, and especially oxygen. As oxygen cannot co-exist with the free metals above the carbon octave upon the red side of the spectrum, radioactivity must not be allowed to change our atmospheric normality." [Atomic Suicide, page 265]

"The names of these particles is of no import here, but the fact that one end of cobalt atoms ejects big particles, and the other ejects small particles, is important. Also, the statement that it was never known before that one end of an atom is different from the other end is also important for it is not true. It has been known as long as electricity has been known that each end of a polarized body is different, and all matter is polarized. Each end of a balanced atom - which means equally paired - will emit the same sized particles from each end, because polarized, or divided pairs, are male and female and belong to the red and blue sides of the spectrum. The important fact that has been overlooked is the fact that an unbalanced particle of matter cannot emit equal potentials from both ends. [Atomic Suicide, page 274-275]

For more than a century it has been known that water emits ionising radiation, if it is discharged through a system of straight jets under pressure (see figs. 1-36). Hitherto unknown, however, was the following: If these rays are braked by a filter composed of fatty substances (paraffin wax) and conducted in bundled form into a vacuum-tube, then they incandesce on the inner surfaces, producing a dark red, strongly pulsating glow when the tube is earthed. This effect is similar to sheet-lightning. If these rays are amplified in Leyden jars and then conducted into inflammable liquids or gases, they ignite the latter. This is how the fire started in the Hindenburg, which was filled with hydrogen and became earthed when its ballast-water was released. The [The Energy Evolution - Harnessing Free Energy from Nature, The Biological Vacuum - The Optimal Driving Force for Machines]

If this current is conducted into vacuum tubes, then they emit a strongly pulsating blood-red glow horizontally along the elongated transverse axis and a dazzling, motionless, colourless and temperatureless radiance vertically up the elongated longitudinal axis, which fills the whole space. [The Energy Evolution - Harnessing Free Energy from Nature, The Life-Current in Air and Water]

suspected. Let us take as our standard of colours the series given by the disintegration of white light, the so-called spectrum: as our standard of musical notes, let us take the natural or diatonic scale. We may justly compare the two, for the former embraces all possible gradations of simple colours, and the latter a similar gradation of notes of varying pitch. Further, the succession of colours in the spectrum is perfectly harmonious to the eye. Their invariable order is— red, orange, yellow, green, blue, indigo, and violet; any other arrangement of the colours is less enjoyable. Likewise, the succession of notes in the scale is the most agreeable that can be found. The order is—C, D, E, F, G, A, B; any attempt to ascend or descend the entire scale by another order is disagreeable. The order of colours given in the spectrum is exactly the order of luminous wave-lengths, decreasing from red to violet. The order of notes in the scale is also exactly the order of sonorous wave-lengths, decreasing from C to B." [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies2, page 19]

C rises from the fountain, and contains all tones within itself. Red also rises from the fountain, and contains all colours, with white and black.
D=the notes C and E mingled. Orange, red and yellow mingled.
E=the root of the fountain. Yellow, containing all colours, is white in its extreme.
F=the notes E and G mingled. Green=yellow and blue mingled.
G contains all tones. Blue, with more or less of black and white.
A=G and B mingled. Violet=blue, and all colours, inclining to black.
B, the key-note of the fountain. Ultra-violet=violet mingled with more black: a deeper shade of all colours—in its extreme, black. Orange, red and yellow mingled.
[Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies3, page 20]

Notes and colours are thus condensed into a pair springing from the fountain, and mingling with each other in an endless variety. Although yellow as a colour is explained away as white, it is, nevertheless, the colour yellow in endless tints and shades throughout nature, and proves to us that the three great apparent primaries correspond to the tonic chord of the scale of Ci.e., C, E, G = red, yellow, blue; or more correctly, C and G correspond to red and blue with the central fountain of E, white and black mingled, from which all tones and colours arise. [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies3, page 20]

The tones between the seven white notes of keyed instruments, and the tints and shades between the seven colours, cause the multequivalency of colours and of tones; consequently every colour, as every musical harmony, has the capability of ascending or descending, to and fro in circles, or advancing and retiring in musical clef. It is a curious coincidence that Wünsch, nearly one hundred years ago, believed in his discovery of the primary colours to be red, green, and violet; and in this scheme, red, answering to the note C, must necessarily be the first visible colour, followed by green and violet, but these not as primary colours, all colours in turn becoming primaries and secondaries in the development of the various harmonies. To gain facts by experiment, the colours must be exactly according to natural proportions—certain proportions producing white, and others black. In this scheme, green and red are shown to be a complementary pair, and therefore (as Clerk Maxwell has proved) red and green in right proportions would produce yellow. The same fact has been proved in Lord Rayleigh's experiments with the spectroscope. Yellow and ultra-violet, [Harmonies of Tones and Colours, On Colours as Developed by the same Laws as Musical Harmonies3, page 20]

IF we strike the twelve keys of harmonies in trinities, scales, and chords, as written in musical clef, beginning with the lowest C in the bass clef, this first development is linked into the lower series of seven octaves by the four lower tones sounded by C. If we follow with the twelve keys six times, at the seventh time they will gradually rise into the higher series. We obtain a glimpse of the beauty arising from musical notes in the Pendulograph. How exquisite would they be if they could be represented in their natural coloured tones! — as, for instance, the chord of the scale of C in red, yellow, and blue, with the six coloured tones rising from each, and harmoniously blended into each other. [Harmonies of Tones and Colours, The Twelve Keys Rising Seven Times, page 28a]

If we examine the line last quoted by the laws of life which regulate the foregoing scheme, we may compare it with the fundamental threefold chord of the scale of C and its relative colours,

C red rises

from the fountain key-note which contains in itself all tones. "Him first," the Son of God proceeding from the Almighty, and yet in Himself the Trinity in Unity. E, yellow or light. E is the root of B, ultra indigo, or black. "Him midst," the Almighty Father, the Fountain of life, light gradually rising and dispelling darkness. G, blue, "Him last," the Holy Spirit, proceeding from the Father and the Son, Trinity in Unity. The Son of God and the Holy Spirit are the complemental working pair throughout the universe; each containing "the seven spirits of life." Red and blue contain all colours in each. C and G are a complemental pair, C rising from the fountain key-note which contains in itself all tones, and C and G combine all tones in each. In Chapter III. it is explained that all varieties of tones and colours may be condensed into this pair, rising from and falling again into the fountain. [Harmonies of Tones and Colours, Reflections on the Scheme2, page 44]

See Also

blue light of the mother
colors of motion
Figure 12.03 - Scale Showing Relations of Light Color and Tones
Figure 4.16 - Break-out of Colors Tones and Attributes
Figure 4.17 - Musical Relationships of Colors Tones and Attributes
Figure 7B.01 - Colors Represent Relative Frequencies
Figure 7B.02 - Colors and Tones
Law of Sono-thermity
Music Note or Sound Colors
red and blue division
red light of the father
12.40 - Color

Created by Dale Pond. Last Modification: Thursday July 28, 2022 06:09:46 MDT by Dale Pond.