There are strict natural laws governing human visual perceptions and
visual artistic activities. The way in which these laws govern is
equivalent to that of the laws in natural sciences.
My study has indicated that the natural laws in color perceptions are
completely isomorphic with the natural laws in music: the entire visual
perception and visual artistic activities take place on the bases of
temperament, keys, harmony, cantus counterpoint, and
other components. Visual perceptions and visual artistic activities
are not only perfectly isomorphic with the current theoretical structure of music, but also
have striking similarities with all the details such as harmony, progression of melody, rules for making connections, shifting keys, and even various changing cords, and color decoration; very cord in music including some unusual ones, often play specialized and irreplaceable roles in visual perceptive activities.
Though there is an isomorphic similarity between music and visual art, music is one-dimensional: time, while color perception takes place in three-dimensional space. These rules’ roles in the visual perceptive activities inevitably involve totally different constructive logic. Consequently, visual logic is the main subject of our study.
After more than ten years' observation and research, I have been able to give
qualitative and quantitative descriptions of the entire process and functions of the natural logic of temperament, keys, harmony, cantus, and counterpoint and so on, in constituting visual perceptive activities in three-dimensional space, using strict and accurate methods.
After tests and experiments, I find that all the conclusions can be repeated and operated. Using the equal temperament color laws, I can accurately determine the color distribution in quantitative terms of a painting (including all the combined color points), and I can also
explain most of the colors in classical art works by masters of color paintings.
In this system, from the temperament, keys, key groups, of the whole art work, to details such as harmony, cantus, counterpoint, various changing chord，and various accents, everything is the combination of various types of quantum-like frequency. Every frequency combination acts as a specific visual language, which is highly specialized, even uniquely representing specific visual object and its meaning. In visual art, when visual languages is in accord with the visual object it expresses, there is harmony. On the contrary, there will be tension.
The "equal temperament color system" is established on the basis of
observations and quantitative studies (without theoretical contemplation or
subjective analogy). It emphasizes the concrete process. It has well-tested
practical implications now through decade's repeating tests. It is not merely a theoretic inquiry.
The equal temperament color system can explain quantitatively any static process of cognitive perceptions in terms of wave-like – quantumized information. It has practical value in visual perception psychology, artificial intelligence, and information technology.
In visual art, this system enable artists and color designers to rely less on sub-conscience. Anyone with a short training can make color combination that matches the natural logic by using the temperament color laws to calculate the distribution of colors.
Music art and visual art have the same media--wave, and the natural logic in both are isomorphic (not partly isomorphic, nor similar to a certain extend), which forces me to consider: is the natural logic common to all subjects that have the wave-field nature?
In ten years’ studies, I have collected many clues that indicate that all subject matters with wave-field characteristics in natural sciences (such as quantum physics, constitutes of matter, life phenomenon, etc) has certainly shown important relevance to the natural logic of music. Bases on a series of clues, I have reasons to believe that visual perception and visual art is not the only subject whose natural logic is isomorphic to that of music: all natural subjects with wave-filed nature are too. On the basis of these findings, I put forward
another theory: "the equal temperament field theory."
"The equal temperament color law" is a strictly logical language system that uses wave and frequency to describe, quantitatively, the three-dimensional world. It can express any
three-dimensional state of cognitive perception. Since the universe is four-dimensional (temporal and spatial), I believe, there must exist a natural logic of temporal cognitive perception in addition to the three-dimensional cognitive perception natural logic.
(Of course, if we want to confirm this, we need to accomplish quantitative expression.) If so, the natural logic of music and visual art will be a ready-made expressive system of temporal and spatial cognitive perceptions. My own research has given such a system has a rudimentary shape.
My research has benefited from ancient Chinese monist cosmology based on the "dao," the way. All observations and data that I have collected tend to support the"heterogeneous isomorphic cosmology" ,developed in the German form psychology, and the "field being philosophy" developed by Lik Kuen Tong of Fair Field University in the U.S.
All these observations and research findings described above will be explained in details in my new book, the Twelve Equal Temperament Color Law and Equal Temperament Law of Visual Perceptions.
Lik Kuen Tong Professor of IIFB Fairfield University put question to The ET colorsystem & ET field system
Mr lixiaohong introduce The ET color system & ET field system in Fairfield University 6th Symposium on field-being and the NonSubstantialis-tic Turn.
