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...

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

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?

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

Here is an mp3 sample for those without Mind Workstation.

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

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

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.

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.

Quote:

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Originally Posted by neuroasis

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.

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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

Quote:

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Originally Posted by neuroasis

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.

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Yes... i'm beginning to understand about how and why we need a shifting, flowing set of patterns
in order to evoke the colors...and keep them from shifting to grey.

AND.... yes, about the blue.... I'd working on using the Kasina for an insomnia program
and bright blue lights in the morning ... especially using the blue sky outside
... there seems to be a consensus emerging in researchers
that blue light in the morning is THE best way to reset the sleep cycles,
though that research is confined to patients with some very specific sleep disorders...

Quote:

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Originally Posted by neuroasis

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.

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I am waiting with baited breath for Studies in Yellow,
because I want to use a mainly yellow palette in some sessions,
and for the way I can learn for other colors... especially orange, indigo and violet....

This is just brilliant stuff Scott...
and... I think.... something that's really needed....

We can all pretty easily adjust the tones ... and the entrainment...
but the spectacular colors and color patterns available in the Kasina
are really pretty much out of reach of most of us....
.... so your work on this will have, I believe, a really great positive effect on the Kasina community.

Quote:

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Originally Posted by neuroasis

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.

.

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Ironic isn't it, that blue really does simulate night well in AVS
but that our brain uses the blues of a morning sky to calibrate and re-set our sleep cycles,
so that sleep researchers and therapists get their patients out early in the morning,
looking at the blue of the morning sky....

Thanks for your wonderful work, Scott!

==>Jim

On blue, it is indeed ironic. It is the softest hue in closed eye AVS and at times gives nice movement and background which is well suited for relaxation session. It is why I remained unconvinced for a long time that for closed eye use it had an impact. That is until I saw recent studies that specifically looked at blue light exposure with closed eyes and measured the change in melatonin levels. Ultimately regardless of our 'artistic' preferences we need to factor in the science.

Unfortunately, red for many people is not so relaxing with the color associations... blood, fire, etc.

Here is a 2 minute session demonstrating how that red can easily be seen as violet when contrasted with green. Notice that it seems to get more intense as you view it. I am using the Phase control to place the tracks out of sync to allow the contrast and a bit of overlap.

Also, the blue track is mostly on and has it's frequency set to 10 times less than the main entrainment track. This creates subtly changing colors with even hints of yellow making an appearance in between the violet and green.

These screenshots show how Blue is set up as it is a bit hidden and I have not yet touched on this technique in training materials.

Attachment 801

Attachment 802

Attached is the MWS session and an mp3 file for those without it.

Thanks Scott.... once again I REALLY love the work you are sharing.

Please tell me, suppose I have a 20 minute guided imagery session (I do)
with an implicit violet theme etc..... (based on the crown chakra) ... etc..
that ramps down to Schumann (7.83)...

I would like to use this piece of work as the color part of the re-made session.

Should I just have MWS expand this 2 minute session
with the expand thingey that you taught me in another thread?

OR .... How would you suggest I best use this piece in my 20 minute violet guided imagery session?

If you wanted it to cover the whole duration then you could just change the time to 20 minutes and drag a selection around the 3 tracks and then pull them to the right to fill. You could also use those time expansion tools I showed earlier because there are no nodes in these tracks (nodes would pull out too long with such a long expansion otherwise)

I also want to say that with this technique there is a slow breathing rhythm at play that I find deeply entrancing and fascinating. After it runs for a bit you will begin to notice it. The colors breath in and out and your body responds well to it. Usually around 0.5hz seems to be a sweet spot.

Quote:

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Originally Posted by neuroasis

Here is a 2 minute session demonstrating how that red can easily be seen as violet when contrasted with green. Notice that it seems to get more intense as you view it. I am using the Phase control to place the tracks out of sync to allow the contrast and a bit of overlap.

.

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Ok.... I wonder... can I just make an intro area,
and then repeat the mp3 ... using it to encode the kasina via MWS?

would that be a sensible way to make a simple violet-based session?

==>Jim

Hi Jim,
There are a few other steps. If you just import the SS mp3 then it gets filtered out. I have to make some material on how to do this. Also, I would not suggest using an mp3, rather a wav file which is uncompressed. Are you finding it difficult to adjust the session to your liking. You might want to spend a moment learning about Content Blocks in the MWS help files. They are overlooked by most people I think (at least advanced usage) but they are a key component of creating SS sessions for which you need sections and shifting light settings.

Check it out and I will make some instructions on using audio effects files with MWS.

Quote:

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Originally Posted by neuroasis

Hi Jim,

You might want to spend a moment learning about Content Blocks in the MWS help files. They are overlooked by most people I think (at least advanced usage) but they are a key component of creating SS sessions for which you need sections and shifting light settings.

Check it out and I will make some instructions on using audio effects files with MWS.

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Ok... deal!
I'll check out content blocks this evening...

Thanks for all the fine help

Wow this are very interesting aspects of colorcreating I'm looking foreward for more of this very helpful hints and tutorials
Thaaanks Scott

Quote:

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Originally Posted by neuroasis

Hi Jim,
There are a few other steps. If you just import the SS mp3 then it gets filtered out.


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Oh... I was only referring to the mp3 files you made with the color coding in them, and using just those in MWS ....
i make all my own audio in protools, garage band, or reaper on the pc.

So, as i understand, importing your spectrascope light-programming mp3s into MWS just doesn?t work... is that correct

Yes, I understood which file you were referring to. Again, I would not suggest using the mp3 with color coding. I mean you can and it will work but you are just further compressing an already compressed file when you are outputting the full session (mp3 is compressed), so it can degrade the light signal. It is best always to start with uncompressed sources like a wav file.

Importing light tracks will work but it is a special feature of MWS (put in at my request, thanks Adam!) and requires explanation. I am working on docs and they will be up today.

Ok... I was under the mistaken impression that only mp3 tracks could carry SpectraStrobe audio... but that is not correct?

It's that the Kasina only uses mp3 ...
but until we have the session ready for final export to Kasina
keep all the audio... including the audio designed for the "light clips" we will ultimately get... keep all that in .wav?

Have I got in now Scott?

==>jim

No, really any audio track can carry SpectraStrobe if the bit rate is high enough, the codec of sufficient quality, and the 'lossiness' not too severe. For instance FLAC, OGG, and AAC work well for SpectraStrobe. But the Kasina can only playback mp3 and wav files. This is due to the fact that as a manufacturer you have to pay royalties to the standard body for the audio codec. So we pay for mp3 as it is the most common. The open source ones FLAC and OGG use too much of the processing power or memory of the controller in the Kasina (as one reason).

So, the Kasina can take SS as mp3 or wav.

But, it is a standard production technique to strive to maintain the highest quality audio/video/graphics until the last and final step in the output. You do not want to risk losing valuable data in between transformations. That is why for audio you should always keep to wav files (or AIFF on Mac) and then in the final step make the mp3.

Thanks for this clarification Scott...
most appreciated.

I'll go to mp3 only in the last step... onto the Kasina...

OR... are you suggesting we can use MWS to mix together
the guided imagery audio tracks, entrainment, light driving tracks...etc....
and then export to KASINA in the slightly superior WAV form?

That is really unclear in both MWS and Kasina documentation....

==>Jim

Scott, tremendous support and help that I'm going to find extremely useful in my work with MWS and my Kasina. Thank you much for all you do. It is MUCH appreciated.

Chet