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White

The color white is sometimes referred to as 'clear' or transparent as in no visible color because clear/white is undifferentiated (not refracted). In the Russell materials and in Hughes' Harmonies of Tones and Colors white is considered the central or source color within the visible spectrum.

Russell
The division of sexless Oneness into pairs could not be a part of Nature's process without also dividing the Oneness of Light. God's Magnetic Light is white because it is still. It has no tensions or strains in it, for it is not divided. It is invisible to the senses because it has no motion in it. The moment motion begins the Light of the Creator's energy is divided into pairs which multiply their red and blue intensities in the ratio of their extension from their cathode beginnings, just as electric potential multiplies its intensity for the same reason. [Atomic Suicide, page 92]

"The master-tone of each octave is the inheritance of the original motion of the thinking process of Mind. These master-tones are the "inert gases" which are classified in the zero group of the Mendeleef table.

The state of motion of these inert gases is that of motion-in-inertia."

"Motion-in-inertia is that state of pressure equilibrium which lies between any two masses.

"The inertial line, or plane is that dividing line, or plane, toward which all masses discharge their potential.

"It is the line, or plane, of lowest potential of two opposing areas of potential, where opposing pressures neutralize. This is the plane of minimum pressure of two opposing areas.

"The master-tones which represent a state of motion-in-inertia and are the inert gases, bear the same relationship to the elements that white bears to the colors. They are a registration of them all. White is not included in the spectrum, it has no place there. The inert gases should not be included in the elements. They have no place there. Of this more shall be written later in its proper place." [Russell, The Universal One]

The explosion of accumulated gravity occurs when the orange-yellow and green-yellow of the color spectrum collide and become "short circuited" by their union with white. [Geometry and Mathematics of Octave Waves]


Hughes
On colours developing by the same laws as musical harmonies
—The physical properties of light and darkness briefly considered
—If the laws are correctly gained, harmonics of tones and of colours will agree
—Quotation from a lecture by Professor W. F. Barrett on the order of sonorous and luminous wave-lengths
—Fountain of musical harmonics, E root of B; in colours yellow and ultra-violet, being tints and shades of white and black
—All harmonics of sound and colour condense into a primo springing from the fountain
Multequivalency of tones and colours
Wünsch's views nearly one hundred years ago
Clerk Maxwell's, Lord Rayleigh's, and [Harmonies of Tones and Colours, Table of Contents1 - Harmonies]

The eighteen tones of keyed instruments veering round and in musical clef below, the twelve seen that develope major keys
—The seven colours answer to the seven white notes
—The use of the two chasms, the key-note C and its root F rising from them
—A major key-note complete in itself, embracing the eighteen tones
—In the whole process of harmony there is limit, every key-note having its point of rest, and yet it is illimitable, . . . . . . . 22 [Harmonies of Tones and Colours, Table of Contents2 - Harmonies]

The difference in the development of a major and a minor harmony
—The twelve developing keys mingled
D♭ shown to be an imperfect minor harmony
E♭ taking B♮ as C♭ to be the same as D#
—The intermediate tones of the seven white notes are coloured, showing gradual modulation
—As in the diagram of the majors, the secondaries are written in musical clef below the primaries, each minor primary sounding the secondaries of the third harmony below, but in a different order, and one tone rising higher, . . . . . 34 [Harmonies of Tones and Colours, Table of Contents3 - Harmonies]

I had for a long time studied the development of the harmonics of colour, and believed that I had gained them correctly; but I saw no way of proving this. The thought occurred—Why not test the laws in musical harmonies? I wrote down the development of the seven major keys of the white notes in keyed instruments. I was perplexed by the movement as of "to and fro," but the development of numbers explained this point, and I found that the method of development in colours, tones, and numbers agreed. I remembered the keys with sharps, but had forgotten that B♭ belonged to the key of F, and here I thought that the laws failed. But I found by reference that all were correct, the eighth being the first of a higher series, the laws having enabled me to distinguish between flats and sharps, [Harmonies of Tones and Colours, General Remarks on Harmonies of Tones and Colours, page 12]

The fountain or life of musical harmonies and colours is E, or yellow; the root B, or ultra-violet: these being, in fact, tints and shades of white and black. Ascending, they partake more of white; descending, of black: the former drawing tones and colours higher, the latter lower. [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]

being also a complementary pair, would produce white, as experimentally proved by Helmholtz. [Harmonies of Tones and Colours, The Arabian System of Music, page 21]


Cayce
The perfect color, of course, is white, and this is what we all are striving for. If our souls were in perfect balance then all our color vibrations would blend and we would have an aura of pure white. Christ had this aura, and it is shown in many paintings of Him, particularly those which depict Him after the resurrection. You recall that He said at the tomb, "Touch me not for I am newly arisen." He meant that as a warning, I think, for the vibration of His being must at that time have been so powerful that anyone putting a hand on Him would have been killed - shocked as if by (a) live wire. [Auras - An Essay On The Meaning Of Colors; A.R.E. Press, 67th & Atlantic Ave., Virginia Beach, Va. 23451, 1972]

See Also


Color
diatonic
Figure 20.11 - White Interior Treatment
Light

Created by Dale Pond. Last Modification: Wednesday February 17, 2021 04:28:16 MST by Dale Pond.