Metabolismo cromático del cosmos

noviembre 23, 2009

ENGLISH VERSION (PART ONE)

Filed under: Uncategorized — cromacosmos @ 1:05 pm

” There is few relation – he said to me-, between your senses and the explanation of these mysteries. You imagine that what you cannot understand is spiritual or not to exist by no means, but this conclusion is false and the proof that there is in the universe a million things that, to be known, they would need that you have a million totally different organs. “

Excerpt from “Voyage to the Moon”  by  Cyrano de Bergerac.

 

Why do we always have to set off from a particle to look for the origin of the universe?
That the physics of particles is a consequence of the universe does not prevent it from being also the possible cause.
Perhaps could the origin of this consequence not be been about a state totally foreign to what is postulated in the quantic physics?
It would not be of less to analyze other sensations that we can perceive in our environment?
Einstein said that the reasoning is limited and that the imagination includes the entire world.
Reasoning or understanding: here is the question.

CROMACOSMOS: PART ONE

THEORY OF THE CROMATIC RELATIONSHIP

Complete resume as a prologue:

And whether it was a chromatic metabolism that activated the gear of the universe?
If we did not see really at all, we would not see even the darkness itself…

When I look at the universe in the night I see a black bottom splashed by a few white puntitos that they confirm with the above mentioned bottom.

The black for nature is absorbent, the white emanante, or that are opposite, and nevertheless they complement each other, it is as if one was giving raison d’être to other one.
And if the cosmos was working equally?
An absorbent black of indefinite and unlimited form against a few white puntitos with definite and limited forms.
If emanante little by little becomes exhausted (all the stars have a limited life), since consequence the black bottom is increasingly dark, his tonality is more intense and due to it his absorption increases.

If everything what is consumed is limited, the darkness would be imposed sooner or later.
The black blackground, to the most intense being, absorbs more rapid: in consequence the galaxies separate increasingly fastly.
The photons increasingly stumped product of the forms emanantes already emaciated, they are limited to a speed limit: that of the light.
The dark absorption might overcome the speed of the light, the relativity does not affect since this absorption depends neither on the matter nor of the energy but on his own chromatism.

It would be a force produced by his own chromatic contrast of absorption opposite to other one totally objected of emanation. Consequence, all the following correlations that belong to each one, also have to be opposite.
A photon emanante with limited speed has to be of effects opposite to the bottom that absorbs it; since objected the absorption does not have to have speed limit.
If the bottom is more rapid than the photon the light that it issues does not propagate, since it would run slower, it would be issued but it would not propagate. From here in the universe the darkness would be imposed.
But a dark bottom by the mere fact of dark being cannot stop being absorbed with regard to if same, the galaxies expand due to his absorption, not because they move.

The chromatic absorption has to possess a tone, shade and intensity and as consequence also a saturation.
If the dark black bottom was managing to saturate, that is to say that was not admitting mas color due to an intensity very raised of his own darkness, what would happen with the remaining absorption?
Might one produce a pressure of the saturation against the absorption?
Any pressure generates heat. A dark unlimited bottom with black saturated tonality, where he reigns a cold but almost absolutely, would produce a pressure against his own absorption, would condense the temperature being reactivated in heat.

It would be a Big Bang in the whole space and not in a point of the space, it is absurd to exploit in a point of the space when the whole space is had to do it.
Due to this process the universe can be purified against the entropy or scattering of the limited matter, on having faced against his own contrast, this infinite and unlimited space and that better represented that his own darkness.
The darkness demonstrates before us without spending energy, we pay receipt of light but not of darkness, but it consumes does not spend as consequence of it can be eternal.
In a dark quarter we lose the notion of the form, try of giving him a volume to the darkness: the result is infinite.

The universe consists of two parts, objected and complemented: one like infinite and unlimited condition an absorbent disgusting darkness to the gravity, and another emanante with finite and limited elements, matter – energy affected by the gravity.
The fact of being purified respects 2 º law of the thermodynamic one since it is not the same thing that to be destroyed.
Apart from it forces fundamental that govern the cosmos, we would solve many doubts if we bore in mind the force of the chromatic contrast that takes place in him. The gravity could be a consequence of this chromatic absorption and not of a quantic particle (boson of Higgs).
The color performs independent from the matter and from the energy. It is tone, intensity and satuación. It is a chromatism.

This theory is valid if was admitted that the color was independent from the brain and not a sensation created inside he.
The evolution does not admit creations. To case would not it be egocentric to say that the color is alone an exclusive creation of the brain? As the matter, the energy and the emptiness, why cannot it form a part of the universal heritage?  Acting consequently not only for us, but for the entire universe.

APPROACH TO THE WORKING OR COSMOLOGICAL METABOLISM THROUGH THE OPPOSITE CHROMATIC PHASES

FOLLOWED BY THE EXPLANATION OF A CYCLIC BIG BANG THROUGH A SYSTEM OF ABSORPTION AND EMANATION OF THOSE CHROMATIC TONES

COLOR AND OBSERVER

The fact by which the color appears to us like a pure sensation simply responds to a system or a method through manifest itself before the vision. In other terms, color and the sensation of looking at it are different things.
The color is a fact itself because it could act independently from an observer. The reason of conceiving it as a reality or an illusion depends always of us, not of the color. The color as a STIMULUS, is produced by the OUTSIDE to the brain. Then, the INNER function of the brain is to PERCEIVE IT, not to CREATE it.

With regard to that and to avoid a maximum of controversies I wanted to make a comment as example; on a sort of “Analogy of the salad”: Let’s imagine a field in which there are spread tomatoes, lettuces, carrots, radishes… now let’s imagine the first person who has the occurrence to join all these elements in a container and to feed more comfortably without moving, instead of eating them up walking through all the field; due to that when joining them he has invented the salad. Through generations that will keep reconstructing the salad in an every time more tempting and better seasoned way, even to arrive to the utmost chef in culinary arts that exponent of the palate re-reconstructs the salad to the utmost. Think that all this display of creativity sensitivity i, has been formed by building and reconstructing in an every time more refined way this salad, similar to a stalactite that little by little to has been taking better form.

Every production or creation does not stop being a reconstruction of a series of already built elements; we observe that the salad ALREADY EXISTED BEFORE BEING INVENTED, the only difference is that its elements were first spread instead of being joint, we saw the elements of the salad but did not conceive them as such a salad.

The elements of the salad would be the stimuli that the brain receives and all its production or creativity does not stop being a reconstruction on what has been built with the elements of this salad. Before conceiving it as salad, it has perceived the elements but it has not joint them in the form of this salad. That means that they already existed, the stimuli already were there before being saw, the problem is of the brain, since to be adapted and to be able to survive or to persist in the reality of its environment, has to perceive it such as it is, this could not survive if it created or invented a reality, partially or totally different to it.

The same happens with the color, it is there, to be left see, the effort is of the brain to view it. That two or more observers see the same color indistinctly, it is a problem of them not of the color. If we were checking the visual quality of each one of them and the point from where they observe, they will appreciate physiological differences (quality of vision). Besides physical differences (situation, distances, luminosity etc.).

The brain constructs from external stimuli, since without them it might not interact. For that it needs to photo-receive through the view the chromatic stimuli that are produced from the exterior, these transmit the external information for the neuronic conducts; these drive the transmitting energy excited in the form of electrical impulses, taking and propagating the information, up to the visual crust where it piles up. It is processed in the form of three-dimensional screen, ordering and situating the specific chromatic tones according to the direction, situation or distance in which the stimuli have been perceived. Considering that in the brain millions of bits are transmitted, arriving to the visual crust just some hundreds, that does not imply that the perception spoils the reality. We have to think that all the nature evolves following its imperfection, since if it were perfect, it did not lay out need to evolve. The same happens with the brain, it is already implicated in this evolution. The evolution neither creates nor invents, but it is reconstructed based on combining the elements dividing on bases already established by randoms or circuntancias of the above mentioned combinations. Any production does not stop being a reconstruction on already constructed elements or establacidos in the above mentioned situations.

THE COLOR IS NEITHER LIGHT NOR DARKNESS, IS NEITHER MATTER NOR ENERGY, BELONGS NEITHER TO THE ABUNDANCE NOR TO THE EMPTINESS. Though it is transmitted and is interrelated in and for all of them, the color is A CHROMATISM, it wants to say that it acts as an INDEPENDENT CONDITION with regard to the same ones. THE CHROMATIC BASE is characterized not for having matter or energy, but for having a TONE, a SHADE, an INTENSITY and a possible own SATURATION, which they affect directly to the color independently of the matter and of the emptiness.

The color is characterized for carrying two tones which emission propagates in extreme, opposite and inversely opposite conditions, they are characterized in that more extreme when they are, better they intergesticulate and better they complement each other mútuamente: one is absorbent related to the tandem blackness – darkness and other one is of emanation or emanativo related to the whiteness – luminosity; these EXTREME TONES are the causers of the variants of INTENSITY and of the differences of CONTRASTS between them two, reverberating in addition between the intermediate tones understood between the white and the black, so much chromatic, since achromatic.

The chromatic stimuli are characterized porqué come to the brain by means of the photons if they are emanantes or with lack of them if they are absorbent, on it it depends from that the clear tones come to us and the dark ones, that is to say the photons transmit the clear colors and the absence of them transmit the dark colors. A photon is not a color but yes the way of transport of the clear and luminous colors, as well as the absence of photons allows the transmission of the dark colors.

The sense of vision can grasp the color deppending on the observer’s position in several situations or circumstances defined by factors as climatology, specific distances or concrete brightness. By this way, we can constantly discover infinite tonalities. The use of the brain and the vision in order to perceive the color shows a function that belongs to our metabolism to detect it, not for invent it. these EXTREME TONES are the causes of the variants of INTENSITY and of the differences of CONTRASTS between the two of them, having effects besides among the comprised intermediate tones among the white and the black.The color invents itself  before us through its own metabolism, that is, through the interaction between lightness and darkness with the emptiness and the full of matter and energy.
We use our system to see the color, while this uses its own for showing itself. The need of the observer of using the brain and the vision to see the color is an internal question of the observer himself, not of the color.
If there’s no vision there’s no color for a concrete observer, but however the rainbow will keep existing even the observer has stopped existing. This is because the interaction between lightness and darkness with its environment keeps taking place and processing.
To see a concrete color even if we not always see the same is a product of being able to stay in a given moment and in a specific situation of our experience in the face of that color. We perceive the chromatic result in its process through the brain and the vision, but the functioning of this process is independent of the metabolism of the observer.
Vision and color, even if they have a relation, are different systems.

BRAIN AND VISION = metabolic process of the physiology of the observer
LUMINOUS INTENSITY = interactive process of matter and temperature
COLOR PERCEPTION = process of contrast between chromatic absorption and emanation

COLOR AND COSMOS

If we declared the color as an independent state of the observer we could deduce from it other qualities beyond that of being a mere effect or chromatic illusion related to this observer. In fact, the color is stablished as a product or creation of the brain. Although this, we could imagine or search a direct or an indirect relationship due to a possible gear or functioning of a UNIVERSE considered from a CHROMATIC point of view and perceive and relate the forces that are produced in it whith the CONTRAST OF OPPOSITE TONES. Both would be related also to the interaction between matter and emptiness that takes place into the cosmological space; and even we could relate the color with the form attending to the LIMITED and to the INFINITE.
We could also dare to suppose that cosmological expansion of DARK ENERGY is due to a CHROMATIC CAUSE and its acceleration to the INTENSITY OF ITS ABSORBENT DARKNESS TONALITY. The galaxies don’t move way by themselves, but the one that separates them is the EXPANSIVE ABSORPTION. How does the expansive absorption takes place?
We’ve defined that the absorbent emission differs from an emanative one in which the first is shown with DARK TONES and the second in LIGHT TONES, both acting as OPPOSITE STATES, and because of that being complemented respectively.

OPPOSITE STATES

1) LIGHTNESS = emanative and luminous propagation produced in the spaces full of light

The matter and the energy, in its cosmological aspect, works expanding themselves as a LIMITED state, due to both have a beginning (born of galaxies and stars)
That is: everything begins with the birth of a focus or a ignition point till its complete thermal exhaustion, subordinated also in its energetic displacement (photons) to a GRAVITATORY CONTRACTION (light curvature)that limits its speed to a specific maximum.
When contracting due to the attractive force of the mass density, the temperature and energy increases according to its gravitatory potential. Heat emits light producing then the emision of chromatic as well as achromatic colors and this process allows us to differentiate, by the luminous contrast, the absorber colors from the emanative ones.

2) DARKNESS = absorber propagation and non luminous in spaces lacking in light

In the emptiness as well in the matter that takes up the cosmological space an absorbent expansion takes place in an unlimited way, without beginning or end, besides an acceleration without expansive speed limit and every time faster.

That is, it laks  of beginning point, because of the emanative energy arrives to a limit in which it stops producing due to the wear, whereas the absorbent energy, still containing intensity variations is constant. We pay the effort of the light, but darkness is free, nobody pays an invoice for the effort of being in darkness. We turn on the light or turn off it, but nobody turns on darkness or turns off it. In any case we iluminate darkness with regard to the light, but we don’t turn on or turn off darkness with regard to itself.

A CHROMATIC BIG-BANG

The process of FAST EXPANSION increases with the force of repulsion of the antigravity of its space without mass.
This repulsion is activated by the INTENSITY OF ITS ABSORBER DARKNESS, that takes up the rest of the space where everything that is emanative is emited. AS MUCH DARK, MUCH INTENSE IS THE ABSORPTION. Due to that its EXPANSIVE SPEED increases. But its intensity of tone is closer to a possible saturation, and to a possible conflict with its own absorption, since a dark tone will be more or less intense, but because of being dark it never stops of absorbing. Light is limited to a time and a space of propagation. That is a question: if by one hand the saturated dark tone does’nt admit more color intesity and by the other one can’t stop absorbing, then, what happens with the surplus intensity?

A luminous state emits photons subordinated to a speed in its propagation through the space. Due to this, although these photons will propagate themselves eternaly, they will always find with a non-covered background. On the contrary, if the dark intensity, as a state without light, has to complement itself as an OPPOSITE STATE, must lacking of this limit. If not, it would not be a real opposite state and they can’t complement themselves, being something similar to the complementation of particles of different charge, in which they repelled if they are from same sign, adding potentialy but without interaction of contrary effects.

When the expansive speed of the dark absorption surpass the emanative speed of light, the speed of absorption contains the light itself, producing the retention of its speed or at least of its propagation. That is, the light emits but no propagates, due to its environment is faster than it.
In another way, when a photon displaces emanatively with a limit in its speed of expansion, it does not arrive to anywhere. This is due to the absorbent emptiness advances, since the speed of expansion, unlimited, is faster than the speed of light. We have to consider that all the emanative nature is limited to the 300.000 km/s. When its environment is faster than the light, the emissions of light and emanative colors, as well chromatic as achromatic, are limited, favoring the expansion of the dark tones and the absorber colors, darkness prevailing then over the light (in the end of the emanative universe, the stars fade away and, even if the photons are displaced eternally and emit light, this does not propagate, since as we have commented on its absorbent dark environment in expansion, it can get to be much faster than it, from which it acts to us to run if our environment, is much faster than we)
As much dark intensity, more absorber emission and less emanative one. Heat propagtes less and, in the other side, cold is closer to the absolute.

If the EXPANSION ACCELERATES, due to an INCREASE of its dark and absorber tonality in the chromatic intensity, it could be that a space of almost absolute darkness got tobe saturated. But because of its darkness, it will no stop absorbing. In this case, the saturation could generate a conflict with its own absorber intensity, then a saturated absorber state would not admit more intensity of tone. Through a preassure in its saturated tonal intensity against its own absorption could altering the cold, low and almost absolute temperature that surrounds a practically totalm darkness, without any indication of heat. But since every pressure generates energy and consequently heat, the pressure produced  in a dark tone between the absorption and the saturation would’nt be an exception to this norm; it would break this saturation and because of this the chromatic absorber intensity would be lower, condensing the absolute cold, producing emanative energy and heat. Departing from this point, it will admite all the emanative emissions, as well as energetic as chromatic.

This system would be a PROCESS OF DEPURATION that would regenerate the wear of the matter and the energy, reactivating all the degenerative and enthropical process of all the emanative nature, due to its process is determined by the fact of having a beginning and an end. That is, it is limited, unlike the absorption that, saturated or not, is always constant and because of this UNLIMITED. As we’ve commented, the light will never cover all the darkness around itself, it would get eternal indigestion of darkness but it would never eat it at all.

The emanating emission occurs in states of light: the tones saturated tending towards clearing and more or less luminous emit themselves with no conflict and, because of this, there’s no interferences of pressure between saturation and emanation, because any luminous colour propagates outside itself.

That is different from a dark tone, in which the tandem saturation-emanation produces conflicts into its pressure because in this case the propagation occurs towards itself. Let’s imagine that the pulmonary cavity is the absorbent background: when the air is absorbed the lungs expand, arriving to a moment in which they do not accept more air any longer. Then are saturated and, from here, they expel all the stored air. The saturated dark background complies with the same process but its thoracic box, unlike our pulmonary cavity, is infinite or unlimited.

THE FORCE OF THE CONTRAST

All the emanative nature PROPAGATES IN CONTRACTION due to the gravity that entails. This contraction allows that the emanative emission, in a limit of its speed,  limits itself in relation to the absorbent emission since it’s not subordinated to the gravitational contraction, doing unlimited its speed.
Everything entails a FORCE OF CONTRASTS as well physic as chromatic, since in the meeting of two opposite states, these can be complemented mutually. But if these were equal they would be added but not complemented, since both acted as the same way. There would be more added quantity but not interaction of constrasts. If they are opposed, one is justified with regard to the other one in its reason of being, since the difference allows that they interact in a way inverse and with a totally contrary functioning. This difference of contrasts justifies the existence of a purifiying system of absorbing and emanation in the evolutionary symbiosis of the life due to the asymmetrical and opposite relationship between a finite part of the Universe and another infinite one.

A completely opposite state must entail that the emanative expansion PROPAGATES WITH OR IN CONTRACTION or maybe in decreasing. On the contrary, the absorber expansion PROPAGATES WITH OR IN DILATATION or in increasing.

Related to the chromatic case, this would suppose that the expansive absorption INTENSIFIES its dark tonality as the saturation increases. This would provoke that the chromatic dilatation of the dark emptyness would be more and more accelerated and because of this the galaxies and the cumuli would be more and more distant.
If the expansive absorption moves all the emanative, it would be possible that in a future the humanity travel through the space using speeds higher than the one of the light without feeling the acceleration in their bodies, due what travels would be the environment and not themselves.
We’re used to inquire in the emanative forces, as which produce light and clarity, but not in the absorber force that comes from the darkness.

As well the galaxies as the cumuli of galaxies expands, not because the space or the emptyness increases in its extension (due to both  are static and inert states), but what really expands is the dark tonality that, by its own absorption, intensifies itself chromatically till arriving to a saturation point that, in conflict with its own absorption, could produce a pressure increasing the temperature and, due to this, reproducing emanating emissions.
While this process is producing in local or darker zones, to which arrives very few light, the expansion could be more accelerated than in the enlighted zones. The opposite forces of chromatic intensity contrasts could explain that the universe can be cyclic without being homogenic…

We investigate in you her force emanativas between them those who produce light and clarity, but little in the absorbent force that comes from the darkness. A possible FORCE OF CHROMATIC – COSMOLOGICAL CONTRAST, probably out the way…

Final note:

In the article published by Lineweaver, Ch. H, and Davis, T.M: “The paradoxes of the big bang” (Investigación y ciencia magazine, issue n. 344, Barcelona, 2005, Prensa Científica, pgs. 7-19), the authors talk about speeds of expansion higher than the light and about a Big Bang departing from all the space, and not just from a point of this.

EXPERIMENTAL NOTES

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Indications of the independence of the color:
Many years mixing colors brought me to think:
Why behind one-colored in a limited form I always meet another color background?
Why in every transparency I always meet a color background that delimits it?
Why I can conceive a color with or without defined forms; but never a form, defined or not, without color?
The answer to all that:
It is because the color is put first to the form?

That is, the forms would not exist without the contrast of the colors.
If that were true then in the natural evolution would the form be a consequence of the color?
That is, form and background are reciprocal but one as well as the other would have reason to be and to exist thanks to the color. The color can dispense with defined forms; the form can not dispense with the color.
1/ the observant can perceive a shapeless color defined, but never a form without color, so much in the reality as in the visual imagination. Try to make the exercise. The perception not allow us to view a form without color, even every transparent state entails a color background that limits it chromatically.

The transparency, as clear as it is, will always have a darker or lighter tone that it is put first as background. So much if we conceive a limited transparency as unlimited, the perception does not allow us to view it without a color background. Ex: if we look through a glass we will see the color of the background of the wall, if we look towards to the sky on a clear day this transparency will be delimited by a color background that delimits it for us chromatically. Try to see a transparency without a color background: ours perception does not allow us to it despite to the lots of transparency that we find around.

2/ Dark clothes are appropiate for the cold, due they absorb more heat.

3/ The same light focus propagated in a white room produces more luminosity than if it’s propagated in a identical black room.

4/ The absorber and emanative influences in the exercises of visual perception in “THE INTERACTION OF COLOR”, by Josef Albers, for example.

4/ The misterious relatioship between the form and the infinity commented in “The visual thinking”, by Rudolf Arheim, could refer to the color.

Scheme:

OPPOSITE STATES:

(1) clarity = emanative heat = matter / energy = emitted by limited contraction = finite univers

(2) darkness = absorber cold = emptyness = emitted by unlimited expansion= infinite univers

(1)    is complemented by (2) as opposite states

Due to the clarity and the darkness, we can distinguish a force of constrasts through opposite colors. From this point we could deducing how would act the opposite states in a situation of maximum contrast, that is in a serie of elements i extreme or almost absolut states.

When (1) emanative stops emiting or propagating:

(2)    absorber decomplements itself from its opposite emanative state.
(3)    absorber become almost absolute.

An almost absolute state is an almost saturated state.
THE PRESSURE of the absorption could produce an increasing of temperature in an state without indications of energy and heat, plunged in an extrem darkness and surrounded by an almost absolute cold.

SATURATION
——————- = increasing of temperature = possible Big Bang emanative or explosion in all the absorber space.
ABSORPTION

THE COLOR: A REALITY OR AN ILLUSION

The color is not light, matter or energy; the color is chromatism. It manifests itlsef also in the full and the empty of any form and background.
Black is is valid as absorbent color and appears as complementary opposed of the emanating colors, is absence of emanating color but not of absorbent color.
The theory that affirms the color as an invention of the brain says that it is produced or created into it, due to a transduction of an outer energy -stimuled by the wave lenght- to another  inner. This journey to the interior of the brain appears through neurons by sparks until arriving to the visual cortex where the outer energy is translated into colors.
But, what if this transduction were a transmition instead of a transformation? Something similar to the passing away of a voice from a microphone that goes through a wire as electric current until arriving to a speaker in which the same voice will be propagated by an amplified way.

Even in case of that the color will be a product invented by the brain, we could also stablish a RELATIONSHIP of the causes that produce the external stimulus with the color we perceive. That is, the brain will just create blue color through lenght of short waves, and red color through lenght of long waves. This production or creation is subordinated to the way in which arrive this stimulus, due to the brain can’t produce blue color through long waves or red color through short ones.

Therefore, if the color created into the brain is a consequence of an outer stimulus, then a concrete tone A is related to a concret stimulus B.
If  A is a consequence of B, there will be a relationship between both.

If we stablish scientifically that outside of the brain our environment has no color and that the nature, appart from is physical components, is divided into light states and no-light states, the RELATIONSHIP will be:

1- A state without light will be related with darkness that the brain translates into dark tones and that in its maximum extreme is perceived by the visual cortex as a substractive mixture of total blackness whose chromatic intensity appears through its own absorbing emision.

2- A state with light will be related with lightness that the brain translates into clear and light tones and that in its maximum extreme is perceived by the visual cortex as an additive mixture of total whiteness, whose chromatic intensity appears through its own emanative emision.

A saturated state with no light, in regard with its own absorption and into a specific space, the stimulus will produce into the perception of the observer a color chromatically black and with an intensity almost absolute.

GRAFIC SCHEME:

In the figure A related to the figure B, if we look in a fixed way to the center of the picture, we can observe that in both grey circles –with the same tone-, because of they’re located into opposite brackgrounds, it takes place a variation of tones in regard to that grey.
The different grey tones are produced through the outer stimulus of inverted brackgrounds, that is, through the FORCE OF CONTRASTS into the perception.

In the figures C and B the FORCE OF CONTRAST allows that the white frame over a black background, due to be emanative, will be seen bigger than its black opposite. This one is seen more little because it absorbes itself in relation to a white emanative background.

This extreme and opposite estates are not repelled but they’re complemented in such a FORCE OF MAXIMUM CONTRAST. This force, in a cosmological way, could also unify the four basic forces of the universe, giving an explanation about the absorption of the black holes. But this would be another section…


Signed: Enric Rota Jovani; commercial designer  (10 / 02 / 09). Upgraded on (05-01-11)

Selected Bibliography:

-Albers, J: La interacción del color, Madrid, 1980, Alianza Forma.

-Arnheim, R: El pensamiento visual, Barcelona, 1998, Paidós.

-Hawking, S: Historia del tiempo; del big bang a los agujeros negros, Barcelona, 1988, Ed. Crítica.

-Lineweaver, Ch. H, y Davis, T.M.: Las paradojas de la gran explosión, published in Investigación y ciencia, n. 344, Barcelona, 2005, Prensa Científica, pgs. 7-19

-Sanz, J.C: El libro del color, Madrid, 1993, Alianza editorial

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