The concept of the Chakra Energy Centers is a concept of great fascination and enlightenment indeed. I am just about ready to post a full chakra-chart I’ve compiled from various sources of information and share what I love about the study and meditation of the chakras. But, in preparation, I’ve stumbled across some very meaningful studies I was eager to share first!
The importance and value of the seven main chakra centers stems from the concept of wave frequency and vibrational influences on each of the chakras, which in turn influence our lives and existence in each their own fashion. Interestingly, both types of vibrational forms (sound and light) are said to influence our beings, each related to the chakras’ purpose.
It is said that our body contains hundred of chakras that are the key to the operation of our being. These “spinning wheels” draw-in coded information from our surroundings. Coded information can be anything from a color vibration to ultra-violet ray to a radio or micro wave to another person’s aura. In essence our chakras receive the health of our environment, including the people we are in contact with (that’s why other people’s moods have an affect on us!). As well our chakras also radiate an energy of vibration.
It is also believed that we have seven main chakra centers and that each main center is connected to our being on several different levels: physical, emotional, mental and spiritual. On the physical level each chakra governs a main organ or gland, which is then connected to other body parts that resonate the same frequency.
Every organ, gland and body system is connected to a chakra and each chakra is connected to a color vibrational frequency….
In the study of the anatomy of the aura it is important to understand the significance of the chakra system and the language of colors expressed in the aura. —www.chakraenergy.com
On the other hand:
Emotions and mental states also have their own optimum resonance and with the recognition that every organ, and every cell, absorbs and emits sound, we can therefore understand how specific sounds and frequencies can be used as powerful healing tools. —www.hypnosisaudio.com
Thus, we all tend to lump sound waves and light/color waves into the same “chakral basket,” and understandably so. It makes sense, on the surface. A wave is a wave, right? But what I love about science are the moments it reminds us of what we learned once, and suddenly reveals a truth more complex and beautiful than what we may have first anticipated… This is what I experienced through my delving deeper into the concept of the vibrational influences of the chakras.
Firstly, the most fundamental problem with this automatic synthesizing of the two wave forms is that light waves and sound are simply and fundamentally different:
There are two main differences between sound waves and light waves. The first difference is in velocity. Sound waves travel through air at the speed of approximately 1,100 feet per second; light waves travel through air and empty space at a speed of approximately 186,000 miles per second.
(You’ll see this striking difference in numbers when I release the soon-coming chart I mentioned above….)
The second difference is that sound is composed of longitudinal waves (alternate compressions and expansions of matter) and light is composed of transverse waves in an electromagnetic field.
Although both are forms of wave motion, sound requires a solid, liquid, or gaseous medium; whereas light travels through empty space. The denser the medium, the greater the speed of sound. The opposite is true of light. Light travels approximately one-third slower in water than in air. Sound travels through all substances, but light cannot pass through opaque materials. —above quotes from…
…sound cannot travel through a vacuum. If there are no molecules to vibrate, then there will be no sound. Sound can only travel through a material… On the other hand, a light wave is not made of vibrating particles. It is a wave of changing electric and magnetic fields which can exist in a vacuum. —quoted from…
…But, here is from where the temptation to yet consider the two forms ultimately one-and-the-same stems….
Frequency affects both sound and light. A certain range of sound frequencies produces sensations that you can hear. A slow vibration (low frequency) in sound gives the sensation of a low note. A more rapid sound vibration (higher frequency) produces a higher note. Likewise, a certain range of light frequencies produces sensations that you can see. Violet light is produced at the high-frequency end of the
light spectrum, while red light is produced at the low-frequency end of the light spectrum. —quote from…
Here’s the kicker (for me, at least)! Biologically, our eyes and ears have evolved enormously differing processes in the handling and conceptualizations of these two (ultimately different) wave forms. Therefore, we find that, at even our most basic and intuitive level, we interpret color/light differently than sound.
Enjoy this lengthy snippet from two mind-blowing articles on the subject of wave comparison from MathPages; these quotes have really struck me!
….Arguably our physio-muscular imaginations can conceive of something cycling 200 times a second, but the frequencies of light are far outside any macroscopic physiological processes we can viscerally imagine. It’s also worth noting that while the frequency range of audible sound covers a factor of 1000, (about 10 octaves), the range of visible light covers only a factor of 2 (just one octave).
The differences between our mechanisms of perception of sight and sound are also quite striking. For example, although there is a rough analogy between the pitch of a sound wave and the color of a light wave (since both are related to the frequency of the wave), our perceptual mechanisms for discerning pitch and color are very different. Most people are capable of distinguishing two different accoustical tones, and deciding which of them has the higher frequency, but almost no one can hear an isolated tone and identify its absolute frequency in terms of the corresponding musical note. (This ability is called perfect absolute pitch, and is extremely rare, even among trained musicians). In contrast, nearly everyone has perfect “absolute pitch” for optical frequencies, in the sense that we can be shown a red object and identify it as red, without the need to compare it with any reference color. In other words, we aren’t limited to making comparative evaluations of light frequencies, we experience each color as an absolutely identifiable sensation, with no direction sensation of higher or lower light frequencies. If people are asked whether red has a higher or a lower frequency than blue, they probably don’t know (indeed they might guess red, because red seems like a “hotter” color), and yet they can very accurately recognize red and blue as absolute sensations.
….if we are very familiar with the sight of a red apple next to a green leaf in full daylight, and if we then view this scene in the orange glow of a sunset, both the apple and the leaf reflect different absolute spectra, but to some extent our visual processing infers the shift in illumination and compensates for it, so that we still perceive the apple as red and the leaf as green, even though their spectra at sunset are quite different from their spectra at noon. It’s tempting to make an analogy with how we recognize a familiar melody played in a different key, but in the case of color perception we are not shifting the whole frequencies, we are filtering out a common spectral component from all the elements of a scene.
…..Of course, it’s not strictly accurate to say that colors correspond to frequencies, because most perceived colors actually represent a continuous spectral density profile with non-zero energy over the entire range of visible frequencies, …for typical profiles [of] light that is perceived as the colors blue, green, and red.
These three colors constitute an effective basis for many other colors of visible light, meaning that many (though not all) other color sensations can be induced by some linear combination of these three. By superimposing all of them in equal amounts we get a spectral profile with energy distributed more or less uniformly over the whole visible spectrum, so it is perceived as white light. Other combinations give different color perceptions….
…the spectral density profiles we perceive as pure colors are not, in general, monochromatic. A monochromatic wave has all of its energy concentrated at just a single frequency and wavelength. (In practice it’s impossible to produce a perfectly monochromatic beam of light, but we can come very close.) The dominant wavelengths associated with common sources of blue, green, and red light are 430, 530, and 670 nanometers respectively. Monochromatic light of these frequencies induces the sensations of blue, green and red, even though they don’t have the full spectral densities of typical light with those colors. Moreover, experiments have shown that if we combine three monochromatic beams with those frequencies, the result is perceived as white, even though the energy is not uniformly distributed….. For example, the sensation of pure yellow can be matched by superimposing pure red and pure green, even though this superposition is not “actually” monochromatic yellow.
….the three types of cones are effectively “tuned” to respond to certain absolute frequencies. Thus the signals sent to the brain do not consist of raw amplitudes in time, nor even of frequencies, but simply of the degrees to which each of the three types of cones have been stimulated. As a result, although we have no sense of frequency of optical waves, we can recognize absolutely a range of frequencies (and mixtures) based on the excitation states of the S, M, and L cones. It follows that our sense of color is essentially three-dimensional, i.e., every color we perceive corresponds to some combination of three scalars, representing the degree to which each of the three types of cones is being excited.
…..Given the smallness of these wavelengths and the slight variations between one color and the next, it’s remarkable that the tuning works so well, and is so uniformly accurate over our central field of vision. (Color perception is much less accute in our periferal vision, where rods predominate over cones.) It has been reported that humans can distinguish wavelength differences as small as 0.2 nano-meters. How is it that “red” receptors in one region of our retinas are so perfectly correlated with “red” receptors in other regions of our retinas, and from one eye to the other? And how is it that this tuning remains stable and accurate for decades, and in all different temperatures? It seems clear that psychological compensation processes (like the process to compensate for different illuminants) must be involved.
If our ears contained just a few individual sensing elements, each tuned to one particular absolute frequency, we might all be able to recognize the absolute “color” of audible tones just as well as we can recognize absolute red. However, the ear needs to respond over a much larger range of frequencies, and the dimensionality of the “space” of audible sensation is much greater, i.e., we can distinguish a much greater variety of spectral characteristics of sound than we can of light. Roughly speaking, the coiled cochlea of the human ear has a varying elasticity along its length, so it can be regarded as a series of oscillators of different resonant frequencies, and these perform a fairly detailed spectral analysis of incoming sound waves, transmitting to the brain something a 3000 point spectral profile. The detailed mechanics of how the cochlea responds to stimuli are very complicated, and the study of this function is hampered by the fact that the mechanical properties change significantly if a cochlea is removed for study. Nevertheless, it seems clear that whereas the spectral analysis of optical stimuli has only three dimensions, the spectral analysis of aural stimuli has at least 3000 dimensions. It is not surprising that we (most of us) don’t memorize the absolute sensations associated with tones over ten octaves. Instead, perhaps for more efficient processing, we rely on relative memories of frequencies. The rarity of perfect absolute pitch may also be due partly to a greater variability in the resonance characteristics of our aural sense organs than of our optical sense organs, whose reception frequencies are determined by fundamental atomic absorption properties of certain specific molecules. In contrast, the frequencies of the cochlea are determined by the fluid pressure in the inner ear, and many other factors that could be sensitive to temperature, humidity, barometric pressure, and so on.
The color sensation resulting from a combination of blue and red in equal measures is called magenta or purple. Not surprisingly, there is no such thing as monochromatic purple, because this color sensation results from the superposition of two frequencies at opposite ends of the visible spectrum. No single frequency will excite both the S cones and the L cones (except at very low levels), because the absorption spectra of those cones do not overlap very much. This accounts for our ability to conceive of a cycle of colors (a “color wheel”) even though the underlying phenomenon is a linear sequence of frequencies. If we naively believed colors mapped directly to frequencies, the existence of a cycle of colors would be paradoxical. The resolution of the paradox is that the “fictitious” color we call purple effectively “wraps around” from the high-frequency to the low-frequency end of the optical spectrum, enabling us to conceive of the color spectrum as a closed loop.
…..Just as we can conceive of a cycle of colors, there are also cycles with regard to accoustical pitch, but the basis for these cycles is completely different than for the cycle of colors. We do not have a fictitious pitch sensation (like an audible purple) to wrap around from the high to low end of the audible spectrum. If there were such a thing, we might conceive of a sonic wheel of tones….
Instead of this, sense of the “cycle” of audible tones is based on the harmonic relations modulo the octave. We associate each tone with its “equivalent” in other octaves. Since the range of audible frequencies covers ten octaves, each tone has ten audible “equivalents”. Placing the frequencies on a logarithmic basis, each octave is subdivided into the twelve tones of our traditional musical scale (so the frequency of each semi- tone differs from that of its neighbors by the factor 21/12), and then we place all the tones into equivalence classes modulo twelve (i.e., modulo one octave). It’s possible, by combining tones into a sequence of chords, to create the impression of an endlessly rising (or falling) loop. For example, there is a piano exercise consisting of a melodic line that leads naturally to a repetition of itself, but shifted four semi-tones higher in pitch….
It’s interesting that our optical senses cover almost exactly one octave, from 380 trillion Hz for the lowest red to 760 trillion Hz for the highest violet. If the color sensing elements in our eyes were analagous to strings with tensions and lengths tuned to certain frequencies, we might speculate that the red sensors would also have some propensity to absorb energy in the extreme blue/violet range, just as a string has a second energy mode at twice the base frequency. Of course, cones are not strings, but even in terms of the excitation levels of atoms we find simple arithemtic sequences of preferred energy levels, e.g., the Balmer and Lyman series for the absorption and emission frequencies of hydrogen atoms. However, these kinds of series do not generally favor frequencies rations of 2 to 1, so apparently the musical octave analogy is not valid for our sense of color. Nevertheless, it so happens that the “red” cones in our eyes actually do have a secondary response characteristic in the extreme blue end of the spectrum, which accounts for why violet is perceived to have a reddish tint…. This wrap-around characteristic of the red cones contributes to our sense of a cycle (rather than a linear sequence) of colors. —from…
The energy distribution as a function of frequency (i.e., the power spectral density) of a beam of light can be regarded as an infinite-dimensional vector, specified by the values of the density at each of infinitely many frequencies. In other words, we can associate the spectrum of any beam of light with a unique point in an infinite-dimensional space. However, from the standpoint of human vision, the space of visible light sensations is only three-dimensional, meaning that the visual perception of any beam of light can be characterized by just three numbers. One possible basis for characterizing a beam of light consists of the intensities of a matching combination of three primary colors (e.g., red, green, blue). Another possible basis consists of hue, saturation, and intensity. Regardless of which basis we choose, the space of visual sensation has just three dimensions, rather than infinitely many.
The reason our optical sensations have only three dimensions is that our eyes contain just three kinds of cones, each with a characteristic absorption spectrum….
Physically every color sensation discernable to the human eye can be produced by some combination of positive amounts of the pure spectral colors, i.e., the monochromatic lights corresponding to the curved locus RuGvB….
One interesting aspect of our sense of color is that although red is normally associated with the low end of the range of visible frequencies, the color violet (at the high end of the frequency range) has a reddish-blue appearance. This is because the predominantly low-frequency cones in our eyes also have some absorption at the very high frequencies.…
This wrap-around effect may be due to the “octave effect”, because the longest visible wavelengths are about 760 nm (extreme red) and the shortest are about 380 nm (extreme blue), which is a ratio of exactly 2 to 1. Thus the first harmonic of the extreme red absorption cones is in the extreme blue frequency range, so it isn’t surprising that the red cones resonate slightly in response to violet light. —from…
So, our chakra color system is built upon a system of wave-convergence and that which represents “a continuous spectral density profile with non-zero energy over the entire range of visible frequencies”; versus sound waves, which are immensely more specific and precise. Again, this is reflected in the hugely different numbering systems in the measurements of each vibrational form.
Where does all this leave us?
Ultimately, it’s some really meaty food to mull over and reflect upon in relation to the value of the chakras. 🙂
Perhaps, as with many facets of our experience and being, the chakra system provides a mythological picture of the integrated harmony and fellowship of the mind and body and consciousness: its emotions and behavior and outlook, and how we can relate to them and their functions on a particle-level, so to speak.
Or, perhaps this will lead us to re-evaluate how we utilize the traditional understandings of the energy centers, by way of integrating and valuing the differences in, not only the sound and color vibrations themselves, but in how we are naturally built to receive and interpret them.
Food for thought!