Frank Visser thinks so and he’s put out his second article on the topic over at Integral World. Interestingly, Frank’s wheel is almost identical to the wheel I used for my Kronology art in 2007, except I used hyphenated color names for secondary colors (e.g. Red-Orange instead of Vermillion, etc.). So obviously I think it has a lot going for it.
It’s hard to explain why I moved away from the old color scheme for my current scheme of token/stations in The Kalendar without writing a full-length article, and I’m thinking about doing so in late June. But is it really necessary to explain one’s art in such a fashion? I would rather just establish artistic credibility and then let people interpret why they think The Kalendar’s colors either work or don’t work.
Here’s a hint: in the decade since my first color wheel design, I started to look at approaches to describing stations that were influenced not only by light but by sound and symbol and number. So I’m not really interested in debating approaches to station description that only use one of these metaphors. If you’re only looking at light as a metaphor and nothing else, sure, you might select different colors than mine, especially if you conceive of Integral Spirituality as a linear developmental process (like a scale) and not something more organic (like a coral reef or other living ecosystem).