For ages it was believed that the lunar phases were central to the moon, not the sun. It was Parmenides, the pre-Socratic Greek philosopher and founder of the Eleatic school of philosophy, who first broached upon the possibility of the moon appropriating, or deriving, its light from the sun — with the moon phases being inherent to their position relative to the sun and earth. He explained that the moon was “itinerant” about the earth, while “always gazing towards the rays of the sun.” His credo placed the moon in a valid astronomical framework — with its phases seen as interactive properties with the sun. Today, this is all far too obvious, not rocket science — just like the emergence of quantum physics and particle correlations.
You’d think of the colour prism as a simile, a metaphor, in the context too. To cull an example — what has orange colour in a pencil got to do with its intrinsic, or communicating, property? The answer, by way of reflex, would be intrinsic, primarily because any colour appropriates by, and to, itself. However, the crux of the matter is different — colours gel well together, or they don’t. What does this connote? That colours are not just stand alone entities. They interconnect, or associate, in harmonious or disagreeable modes. This corresponds well with our everyday moods and also experiences — in the larger context, our moods, like the tones represented by colours, are ricocheted through the colour principle that connects, or opposes, each other. You’d think of the disposition that you sport on a given day — one that is in harmony with your feelings, or in stark contrast by way of a toxic emotional outburst.
Long before the advent of modern science and the quintessential physics of the colour principle, the philosopher Johann Wolfgang von Goethe articulated that there was a rational underpinning for the manifestation of colour in the environment. He thought of colours as the “the deeds and sufferings of light,” all right, thanks to his supreme intellect and sublime power of perception. He argued that this “dance of the shadows” was a revelation of light and gloom. He also observed that such a “ballet of shades” was a reflection of light and darkness — a growing canvas that expressed and submerged human feelings and experience.
While Sir Isaac Newton perceived colours as autonomous building blocks that upturned their affiliation to colourless light and made them elemental, not light and dark, Goethe suggested that this may be true in a restricted sense. He said that it just did not celebrate the full saga of colour in all its natural resplendence. You’d think of either idea as too introductory, if not fragmentary, to the whole credo of human experience, or freedom of expression.
When you analyse such a philosophical alignment through Goethe’s perceptive lens, it again opens up a thought-provoking visage for our mind-body connect, also synchronisation, between our vision and the world. This has got nothing to do with intelligence, or knowledge — it is, in simple terms, the world expressing itself, while speaking directly to us and vice versa.
You’d think of this perpetual rendezvous as a mirror-like entity that exists between us and our natural milieu too. One that is creative to our thought processes and equally receptive — of a two-way high road to a “divine connect” between us and the cosmos. This upholds a philosophical precept and also percept — of the primal idea of balance and harmony of light, darkness and the spheres — a lyrical celebration of the fundamental link between light and darkness that jazzes-up the cosmos and life on our living planet too.