It's definitely interesting...the only thing I'm unsure about is when the author talks about "octaves of time"...sound octaves are measured on a logarithmic scale...that is, the higher in frequency one goes, the farther apart the notes are...to go one octave higher in the musical scale, you have to double the sound frequency...but the "time octaves" that are being advanced here are measured on a linear scale.

 

Actually, there is something else...in the discussion of "color octaves", there is no mention of colours outside the visible spectra...infared and ultraviolet are completely left out...why?

 

It is difficult to compare light, sound, and time in the way this author does because there are fundamental differences...differences that this author chooses to leave unexplored...possibly in favour of making the disparate pieces fit together into a nice package with all kinds of emergent parallels.

 

Cycles occur as time advances, but the cycles are generally periodic on a linear scale.

Sound waves cycle through octaves as the pitch increases, but the frequency distance between notes is measured on a logarithmic scale.

Light waves increase and/or decrease much the way sound waves do, but don't cycle through visible "octaves" the way sound waves cycle through audible "octaves"...light gets "more red" as the frequency increases and "more violet" as the frequency decreases...humans have evolved receptors that split light into "component" frequency bands of red, green, and blue...the clashes between colors opposite each other on the color wheel are due to this aspect of human vision, not because of some fundamental property of the light itself.

 

Yes, a lot of what is discussed here is definitely interesting, but it seems (to me, at least) to be somewhat artificially organized in such a way that the author's point seems obvious when it might actually not be obvious at all, if all the facts are taken into consideration.

 

-- Sasquatch the Cynic  ;o)

On the other hand, I'm not quite sure what the authors point is, seems to vary around a bit. One also has to remember always, always, always, (get my point?) that the scales, notes as described here are only one form of music. Eastern music does not limit itself to these notes as does western. There is quite a bit of sound between the notes. When I read these types of articles where the typical western scale is played as some key to the magical universe, I never see that acknowleged. I generally do not subscribe to an all encompassing theory to life. I mean, yes two notes on a piano played 6 positions apart, does sound dischordant, but that meaning the assignment of 666 to the devil is somehow related seems a stretch. I don't think there's any doubt that certain combinations of notes evoke certain moods. I have yet to see an indepth study of this.Major chords evoke happy feelings for example, while minor chords evoke melancholy, or sad feelings. Then there's the secrets of sound engineers.....I'm learning a bit of this now. Some of it is pretty funny in a manipulative sort of way. For example 50 Hz.  Humans can not really hear 50 hz, it's too low. And few bands of the average bar scene can produce 50 hz. You need a really good PA system, with high end subs.... But, something that seems to be sworn to by every sound man I've come across is that 50hz, will cause people to dance, especially women. It's felt somehow in the body and the response is movement. I've heard it said that it makes the difference between a really great band, and "they were pretty good, but we left early" band. I've actually seen sound guys running a 50 hz sine wave through the system at low volume the entire show, this belief is so strong. There's lots of things like that!

 

Could be a good research paper.....