PLUS SLITS - MINUS SLITS
                          By Jay Christopher,  P.O. Box 2851
                           Palos Verdes Peninsula, CA 90274

     Astonishment will great one who picks up a prism and looks through it as did
Goethe when first researching his 'Farbenlehre' (Color Theory).  Previous editions of
this Journal explained the genesis of color as light's dynamic interaction with
darkness (and matter).  Looking through the prism, the open-minded seeker will note
yellow, yellow-red, red or blue, indigo, violet depending on whether the prism
"folds" light over dark or vice-versa.
     Now the so-called "complete spectrum" is normally created by a narrow slit
admitting both spectral "edges" together.  Where they mix, blue and yellow create a
vibrant green -- and the "appearance" of a complete "earthly" (physical) spectrum.
This is what might be referred to as the 'plus' slit of light.  Counter to this we
might find an 'anti' or 'minus' slit exists.  This "obstruction" to light's passage
"manufactures" the etheric/counterspatial spectral phenomenon, consisting of red
crossing violet in the center, creating a glowing magenta, above and opposite the
earthly green on both Goethe's and Dinshah's color charts.
     Central to existing optical theory is an amusing term derived from geometric
models for light's action, namely "rays."  (Actually, who's ever really seen a "ray"
of light?)  Slits and prisms both fold the "light body" as a whole entity, to create
the dynamic effect known as color.  Light meeting matter and being slowed by it to
varying degrees is the real issue of what folds or "weaves" light and darkness,
dynamically creating color.  When a lens similarly admits the light body, its shape
--whether convex or concave--determines how the light body is deflected.
     Much the same as with a prism, color will result on the edges through the same
dynamics of "folding light and dark." The degree to which this effect to fold the
light body is annulled is the degree to which a fine lens delivers (manufactures)
"accurate" color and is free of so-called "chromatic aberration."
     From the above basics can one possibly imagine a model for the appearance of
space and counterspace?  Let's take a brief look at this here.  Plus and minus slits
will work as a lens in that a focal "line" will appear on the film, producing an
image similar to "fun-house" mirrors.  This so-called distorted (because our eyes use
focal "points") image will look normal when focussed by a pinhole to a focal "point."
(Normal, given a focal length also of similar perspective to how humans see.)  In
that point (or line) is folded (or woven) a complete and reversed image in every
detail.  Every point or line contains a potential "lens" to create a reverse image of
the other side of it!
     Several sources on homeopathy and color therapy report a reversal of therapeutic
effects when a certain point in the potentization curve is passed (through the
slit/pinhole darkly?).  Is this demonstration of the folding or weaving of light and
darkness by the light ether not a fair example of the intermixture of space and
counterspace--right before our eyes?
     Pursuant to the above line of thought, reverse spectrum imaging (photography)
ought to work with minus slits and holes, possibly a line and a dot on a transparent
slide or filter becoming reverse spectrum lenses, and creating counterspatial color
phenomena.  Experiments with the above are now in progress and the author would
appreciate comments and suggestions along these lines of thought, which might
contribute to developing or refuting these concepts.

REFERENCES
Brown, Tom - THE JOURNAL OF BORDERLAND RESEARCH, various 1987 issues, BSRF, CA
Goethe, Johann Wolfgang von - THEORY OF COLOURS, M.I.T. Press
Lehrs, Ernst - MAN OR MATTER, Rudolf Steiner Press, London
PINHOLE JOURNAL, Vol. 4, No. 1, Star Route 15, Box 1655, San Lorenzo, NM 88057
Proskauer, Heinrich  - THE REDISCOVERY OF COLOR, Anthoposophic Press, NY^Z