Journal Entry – Language Through the Spectrum By Jonathan Olvera

 

Journal Entry – Language Through the Spectrum

By Jonathan Olvera

Today I found myself observing how the body, the etheric globe within us, and the polarity of positive and negative terminals might hold the key to a new invention: a way of generating both color spectrum animation and language notation.

I began with the physics of polarity. A prism can split light into measurable spectra. When paired with a live power input—positive and negative terminals—the prism’s effusion seems to behave differently. This behavior may reflect not only the atomic presence of helium and gravity but also the subtle constitution of the body itself: skin, bone, and the cellulose that carries electrical conductivity.

From this point, I started sketching a language of color. Imagine the alphabet expressed not only as letters, but as hues, frequencies, and polarities. Each terminal contact, when measured across the spectrum, becomes a letter-shape. North and South cardinal notations form the grid. The etheric constitution becomes the ink.

For example, the alphabet could be arranged as a lattice of repeating sounds and tonal measures:

       A     B     C     D     E     F     G     H
      ile   ile   ile   ile   ile   ile   ile   ile
      st    st    st    st    st    st    st    st
R      r     r     r     r     r     r     r     r
o      i     i     i     i     i     i     i     i
e      v     v     v     v     v     v     v     v

This “spectrum alphabet” does not stop with letters. It extends into syllables, vibrations, and colors, weaving sound and light into one continuum. Each sequence, when animated, produces not just text on a page but living rhythm—an animated spectrum of language.

In medical terms, I am reminded of how electrical polarity influences the skin and bones. Nerve terminals fire in patterns much like prisms splitting light. Language could be mapped this way: not simply written, but observed as physical effusion, the body’s ether reflecting its communication.

The idea becomes clear: a device or interface that converts electrical polarity into spectrum-based animation, which then translates into a universal language notation system.

Such a device could serve art and medicine alike:

• In animation, it creates colors and forms tied directly to sound and word.

• In medicine, it could visualize nerve conductivity and polarity changes in the body.

• In language, it could standardize sound, light, and vibration into a universal code.

This is the foundation of what I will call Language–Color Spectrum Notation. It begins with the prism, with the positive and negative terminals, with the etheric body we all carry. From there, it stretches outward—into light, color, and a new way of writing the human voice.