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Thread: Roy G. Biv and the Kasina - A full spectrum suggestion

  1. #1

    Default Roy G. Biv and the Kasina - A full spectrum suggestion

    Hey Scott....

    I watched your fine video two-part series on the complexities
    of getting different colors from the Kasina, through our eye-lids and into our brains ....

    I think it would be useful,
    and a lot of people would use it...

    If you could suggest some KASINA + MWS presets for
    the seven basic colors of the spectrum....
    -- just the simplest, most basic listing of settings on MWS would be splendid --

    Red - Orange -- Green -- Blue -- Indigo -- Violet

    ==>Jim
    PS... yes, I know these are an abstraction,
    and not particularly precise distinctions, etc...

    But helpful in creating sessions based on color, spectrum, etc...

  2. #2
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    Default Re: Roy G. Biv and the Kasina - A full spectrum suggestion

    Ok, I will do it. It is needed that I make some supplemental sessions for the video series and this will be a good thing to do. With the caveat that they will only be approximations within the limits of the medium. I'll do it tomorrow.

    Best,
    Scott
    If you know something I don't, speak up! If maybe I know something you don't, ask away!

  3. #3

    Default Re: Roy G. Biv and the Kasina - A full spectrum suggestion

    Oh ... Wow.... you're stepping into that phone booth
    and taking off your mild mannered Clark Kent clothes...

    I sense a super-series from SuperMan....

    ==>Jim
    PS.... I understand these are approximations...
    and besides, we are all seeing them slightly (or not so slightly) differently anyways...
    and that's not even considering the hallucinated colors and patters each unique mind makes...

    PPS.... Mr. Biv is going to love this... or should we be less formal and call him Roy?

  4. #4
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    Default Re: Roy G. Biv and the Kasina - A full spectrum suggestion

    Ok Jim,
    Here is a MWS session that rotates through the color spectrum over 5 minutes. It gives a good representation of the range of colors viewable behind closed eyes. At least when they are fairly static and adjusted to my perception. I will let you check it out and then explain a bit of the tricks used. It is mainly based on my SpectraStrobe color system but I also pumped up the pure colors in the right places and used some phase and persistence of vision techniques.

    Indigo, yellow and purples are the hardest.

    There is no audio just SS.

    Best,
    Scott
    Attached Files Attached Files
    If you know something I don't, speak up! If maybe I know something you don't, ask away!

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    Default Re: Roy G. Biv and the Kasina - A full spectrum suggestion

    Here is an mp3 sample for those without Mind Workstation.
    Attached Files Attached Files
    If you know something I don't, speak up! If maybe I know something you don't, ask away!

  6. #6

    Default Re: Roy G. Biv and the Kasina - A full spectrum suggestion

    Wonderful Scott... now we have the "paint" to color our sessions...

    I really, REALLY appreciate this...

    A few questions if I may... just so I can understand better...
    my subjective experience was wonderful... every color worked splendidly,
    including indigo... though violet was not intense... it was good.

    1. why did you start the way you did? Are you just easing into the session.

    2. on Red, Green and Blue, why not just set the LED's as all-red, all blue, all green?

    3. can I just add a node somewhere as a marker for that color? Does that even make sense
    to do so I can copy the settings?

    4. and now the most practical (for me question)
    I can now just copy the settings for each color, and use those settings in sessions? is that right?

    Apologies if these are dumb questions,
    but the light stuff boggles me,
    working with all the other stuff on MWS seems pretty straighforward...

    And finally.... SCOTT -- YOU TOTALLY ROCK !!!

    ==>JamesTheAppreciative

  7. #7

    Default Re: Roy G. Biv and the Kasina - A full spectrum suggestion

    Oh wow... the more I play with revealing all the settings,
    the more I see how complicated it is..
    (and how splendid your work is Scott).

    Can you suggest to me how I could sensibly
    take the settings out to a new session...

    For example... an all-red session for 20 mins
    all orange...

    etc.... for each of the colors?

    This really is GREAT Scott, thank you sooo much for this

    ==>BlownAwayJimmy

  8. #8
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    Default Re: Roy G. Biv and the Kasina - A full spectrum suggestion

    It is a bit more complicated I think than we would all like it to be, that much is true. In fact sometimes mixing colors for closed eyes is even counterintuitive. I'll address your questions and explain what I can.

    What I wanted to do first was show the range of colors that one could expect when they are presented along a morphing spectrum.

    The whole basis of the system starts from the chained tracks as laid out in my videos. The MWS session included puts this into practice with some 'tweaks'. Essentially I can pick the colors from the Master Spectrastrobe track by right clicking on it and using the color picker in Windows. With the adjustments I make to the other tracks (as described in the videos) this gets pretty close. So every 30 seconds or so I create a node and pick one of the colors... ie ROY G BIV.

    The more subtle colors however do not work as well in isolation. This is an interesting phenomena. You need to 'seed' these colors and then slowly fade into them. Yellow is a good example. I can give a pretty good perception of yellow if I start with reddish/orange and slowly introduce more green while fading out the red. Otherwise you really only perceive predominantly red until it gets very green.

    Red in isolation works fine, green in isolation in a deeper shade works fine, blue in isolation at a very deep shade works fine.

    Blue especially your eyes have to adjust to. That is one reason that I tend to leave it on all the time. What I do with it though is subtle. In the ranges of yellow and also violet/purple the phase on the blue is being adjusted to either lead the color or follow the color. This is a persistence of vision effect.

    When the lights are in phase they flash together. When they are 180 degrees out of phase then they flash in alteration. In between those they flash slightly out of sync. This is one way that you suggest one color and then quickly mix in another and our perception tends to blend them together and mostly see a composite color. If you do this too long though red usually wins and your vision becomes 'saturated' with it. You need to move to blue tones to keep the effect.

    I don't know if have noticed but sometimes if sessions aren't well designed then there is also a 'grey screen' effect where all sense of color is lost. It just appears as shades of greyness.

    It is interesting also to find out that if you place opposite colors against each other like fuscia/lime green you can create some very beautiful colors that you cannot create by themselves. You are fooling the eyes into synthesizing certain shades. Blue and orange/yellow is another example. I will make some sessions that demonstrate this.

    In the current session I want to point out indigo to demonstrate the 'seeding' technique. In it, I have moved out of a field of changing blues. I then pop in hints of red a couple of times before fading it in. Notice that this seeds the purple tones and when red is introduced more we tend to internally mix and keep a sense of blue.

    So I do hate to say but it is pretty complicated overall if you really want full control of your palette. They are lots of happy accidents to be had but when you really need a certain mixed shade then you have to learn a few things, and I have by no means mastered every aspect.

    I have come up with a better solution that will be revealed. I have a method for mixing colors and effects down to audio files that you import into your sessions. Thus, many of these advanced techniques will be available for people who are primarily interested in session audio and script design rather than complex light math. Of course I plan to continue to teach what I discover to those who are interested.

    Work on this is in progress.

    This post is long so I will review your questions and see what I might have missed and put it into another post.
    If you know something I don't, speak up! If maybe I know something you don't, ask away!

  9. #9
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    Default Re: Roy G. Biv and the Kasina - A full spectrum suggestion

    At the start of the session there it is a quick 'grey' screen with red flickering and fading to full intensity, but only for a moment. I think this excites our color sensors. You want to dip down a bit to a lesser brightness after this and allow the eyes to slowly adjust. In a full session I would do this intentionally and build over time.

    On your last questions I think the colors need to keep moving to have the most effect. That is not to say that every session has to 'Taste the Rainbow' but one color for a long period of time is going to tend toward greyness. This can be good if it is the intended effect. Otherwise, you want to keep thing slowly moving and use red when you can as your primary flicker. If not that then green. Blue I find is not very suited for fast flicker but very good as a baseline/background. Simulates night very well. It may effect melatonin so be aware of its use in late night sessions.

    I also I had an example I worked on today called Studies in Yellow that will demonstrate what I mean. It still need a bit of tweaking but I will upload when ready.
    If you know something I don't, speak up! If maybe I know something you don't, ask away!

  10. #10

    Default Re: Roy G. Biv and the Kasina - A full spectrum suggestion

    Quote Originally Posted by neuroasis View Post
    I have come up with a better solution that will be revealed. I have a method for mixing colors and effects down to audio files that you import into your sessions. Thus, many of these advanced techniques will be available for people who are primarily interested in session audio and script design rather than complex light math. Of course I plan to continue to teach what I discover to those who are interested.

    Work on this is in progress.

    This post is long so I will review your questions and see what I might have missed and put it into another post.
    Wow... thank you sooo much Scott.
    This is really wonderful... and I really appreciate your expertise and generosity ...

    You can put me down as a person who loves color,
    loves color in the Kasina, but who doesn't want to master
    the complex and challenging art and craft of creating complex light math etc...

    Those audio files you mention that we can import into our sessions
    that help create the colors desired.... that would be wonderful.

    Oh.... this post itself... with explanations of how you created the perception of yellow...
    and indigo were really fascinating!

    All the colors of the spectrum you created worked really well for me,
    including yellow orange and indigo. The violet was the only one that was not totally impressive...

    ==>Jim

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