“I’ve also studied deeply in the philosophies and the religions but cheerfulness kept breaking through.”
Leonard Cohen

Christopher Alexander on Color Properties of Inner Light

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This post is an except from an extensive chapter about color. As I was reading through the chapter and excerpting from it the subject of relationships was on my mind and in my heart. When I speak of relationships between people, especially between myself and people close to me, things tend to get personal(!). However when I speak about colors things are inherently less personal … it doesn’t even cross my mind that red likes or dislikes yellow or that green is angry at purple while pink loves it. This is a spirit with which this chapter met me. It has subtle insights into relationships (between colors) and how these relationships conjur up an experience of inner illumination. I kept projecting these realizations about colors into reflections about people, about how I relate and how others relate to me.

Again, where possible I have included images that are included in the original text. One image has been selected in the spirit of the text because I couldn’t find an image from the text to include. Sections where a sample is missing are due to the subtly of colors which are carefully replicated in the printed book, but not clearly visible in online images. In these cases, poor digital replicas would do injustice to the ideas being discussed.

“subdued brilliance and inner light only occur when certain definite things are happening in the color field. These ‘things’ … are very similar to the fifteen geometric properties described in Book 1 … whatever we do intuitively to make light happen, we find these eleven color properties coming, of necessity, into our work where we are trying to induce the inner light.

1. HIERARCHY OF COLORS (levels of scale)

… to make inner light occur, we are led to use unequal amounts of different colors … inner light is caused first and most strongly by a rule of proportion among colors which creates a clear hierarchy of relative size among the areas of different colors in a picture.

… a succesful composition in which there are equal areas of several different colors is extremely rare.

 

Henri Matisse: Arab Coffeehouse

Henri Matisse: Arab Coffeehouse

2. COLORS CREATE LIGHT TOGETHER (positive space / alternating repetition)

… Suppose we have a swatch of color. I look at it and ask myself what second color will produce light if I bring it towards the first … This is the fundamental experiment of all color work, and of all painting …

There are four main variables involved: What is the hue of the second color? How much of it is there?How light or dark is it? How grayed is it?

… In many cases the light comes from colors which are roughly complementary … But … there are also much more sophisticated cases where one color is made to shine by something quite near it …

All we know is that sometimes colors together create a glow of life … one color is made more intense as a center by the other color. The field of centers becomes intense; the feeling and unity increase. there is no reliable mechanical rule which can predict just what color is needed … The possible colors that are needed are objectively and experimentally defined.

Henri Matise: Madame Matisse

Henri Matise: Madame Matisse

3. CONTRAST OF DARK AND LIGHT (contrast)

… One of the basic things we have to do while we are making something colored is to squint at it, half close our eyes so that we see only grays, and see if the inner light is still there … if it isn’t visible in the dark-and-light pattern of what is in front of me alone – then it will never be there when I open my eyes fully again and the colors come back in. We have to work out the overall pattern of light and dark as if the colors weren’t even there in order to get them right.

… If we take a black and white picture of that colored pattern, the pattern of the dark and light alone (without the color) will still be beautiful.

In the world of black and white, where things are monochrome, the vital importance of contrast is obvious … But because color is so fascinating, it is easy to become mesmerized by hue and to forget about dark and light

In making a painting (or in placing colors in a building, which is ultimately my main concern). I find it useful to make a thumbnail sketch in black and white – just to see if the basic composition of light and dark  has life in it … The black and white come to life when they dom something similar to the way the yin-yang symbol works. The two establish a polarity in which each is something solid and established in its own right, and where the two together create a sort of electric tension.

In shape, the two things, black and white, must each form a positive space … the quantities and ratios of dark and light must be enough to electrify each other.

Fra Angelico - Shipment of Grain

Fra Angelico – Shipment of Grain

4. MUTUAL EMBEDDING (deep interlock and ambiguity)

Imagine, if you like, that you have a color composition half worked out. You struggle towards making more light in the picture. You seek harmonies which tie things together. At this stage, you will often find, that the thing you have to do to make more light in the picture is, in effect, a process in which you put one color inside another … Immediately a connection is formed, and the field becomes more unified …

We may say that each major entity in a living structure must contain references (shapes, structures, colors, motifs, reflections) of the other major elements, so that each element is somehow also within the other elements.

Pierre Bonnard, Dining Room on the Garden

Pierre Bonnard, Dining Room on the Garden

5. SEQUENCE OF LINKED COLOR PAIRS (gradients, the void)

.. colors essentially work in pairs … When inner light is present, the colors in the hierarchy have a definite spatial sequence, so that the eye moves through the thing from color to color, up and down the hierarchy. In each case, the spatial sequence is built out of linked pairs … The pairs themselves are linked, and the network of linked pairs or arrows forms the sequence … the actual path of the sequence … is also important. When the path has a beautiful feeling, it jumps in an interesting way – in a cascade, or in a circling motion moving inward …

6. BOUNDARIES AND HAIRLINES (boundaries)

… You will often find that you can intensify colors by making boundaries between them … As one tries to reach inner light, one is in effect trying to create a deep kind of unity … Where two colors meet, there is an imperfect unity just because the two colors, by being different create a divide. To bridge this divide, it is helpful in the vast majority of cases to have a third color, much smaller in extent and carefully chosen in color, which forms a link across the boundary. That is why hairlines and boundaries originate.

… In general the boundary color must be to do the same as any good geometrical boundary does: that is, to both unite and separate the two colors on either side of it.

henri_matisse_odalisque_in_red_trousers

Henri Matisse : Odalisque in Red Trousers

7. FAMILIES OF COLOR (echoes)

… to achieve inner light … develop a family quality among the different colors we are using. This unifies the space.

The simplest way in which colors become members of one family is similar to the process of mutual embedding. If we want to place a read near a green so as to produce inner light, it is necessary that very small amounts of the read are mixed into the green, and that very small amounts of the green are mixed into the red. This softens the contrast and allows the piece to glow …

Sometimes this family exists simply as a feeling, which is complex and not easy to explain at all. I work on the palette, and I can tell when I am making colors of the same family: but they are not necessarily related in obvious ways at all.

 

flight-into-egypt

Giotto: Flight into Egypt

 

Meister_des_Book_of_Durrow_002

Page from the Book of Durrow

8. COLOR VARIATION (roughness)

Inner light also requires a certain roughness of individual color, a lively variation within the field of a single color … In colors which have light, there are rarely areas of perfectly flat color, the inside of these areas vary immensely from point to point so that the overall color is created from blending or interaction of many slightly different hues.

Both in paintings and in buildings, I have found that this color variation comes about most easily from a process in which you mix the colors on the thing itself, not on the palette.

… Sometimes I do the same thing more geometrically. If we have a particular color, say light red, and we mix black with it, we get brownish dark red … These colors may easily become muddy. But suppose that instead of mixing … we put a fine black tracery of points, dots, lines and curves over the lighter red. This has the same overall effect on the red … but it leaves it far more brilliant, with sparkle …

This is really how, and why, the variation of roughness works: by creating a mixture out of purer colors, so that we keep the purity of the component colors and their interaction.

9. INTENSITY AND CLARITY OF INDIVIDUAL COLORS (strong centers / good shape)

Here is an almost paradoxical ambiguity. Clarity of color is something inherent in the individual color. Yet, its effect is also created by the color interactions and by the impact of other colors on the individual color. Both are true.

… When you are in the middle of painting, you can often concentrate only on the color you are mixing, and with great care and concentration, make that color by itself carry meaning, and be as beautiful as possible … Is the color you find … itself really a quality of the individual color by itself? Or is it a quality of this color in the interaction with its surroundings?

… it turns out the two ideas are interwoven. As I begin to master the idea of trying to make colors fuse together and glow with inner light, I find out one thing which is rather surprising: to do it, I am really trying to make each color shine out as strongly as possible, itself.

… In centers, a strong center is one which stands strong by itself, and yet makes other nearby centers strong … Just so, a color which shines strongly is a color which makes other colors nearby shine strongly, too.

10. SUBDUED BRILLIANCE ( simplicity and inner calm / non-separateness )

… Let us imagine that at a certain stage in the development of a colored thing … we have gained a wonderful bright feeling where the colors work together, they are brilliant. But they are perhaps too bright, too vulgar, not profound … We have to subdue the influence of the whole thing. We quieten it, gently. We quieten it a little more. Then. when we are just to the edge of feeling that we have taken away its brilliance, we put something back – and all of a sudden the color really shines, and the deep meaning shows itself.

This is subdued brilliance.

It can take two different forms. The first form is quiet. Sometimes, to do it, I reduce the intensity of colors by making them more white or gray. Then the actual pigments are subdued, but I keep the overall brilliance of the field of color – only now somehow it is more profound. That is the first form.

meeting-between-the-queen-of-sheba-and-king-solomon

Pierro della Francesca: King Solomon receiving the Queen of Sheba

The second form is almost opposite. I have pigments which are intense, very bright. But in their interaction they become muted, because they are so carefully chosen, that they melt together and seem quiet even though, individually, as colors they are bright …

marthe_in_a_red_blouse

Pierre Bonnard: Marthe in a Red Blouse

Subdued brilliance, when it goes to the extreme, is both gloomy and brilliant, like a smoldering fire,embers glowing, other parts dark or dead, fire waiting to burst forth.

11. COLOR DEPENDS ON GEOMETRY (local symmetries)”

… behind all these color phenomena, it is the field of centers itself which is working to produce the life. The geometric structure of the field is necessary to produce the light within the framework of geometry.

… We can never achieve inner light when the field of centers is not present geometrically. And the reverse is true: We cannot achieve the unity of the field of centers geometrically, unless it is supported by wholeness of color and inner light.

… Thus the geometric wholeness is not merely beautiful in itself as an accompaniment to the beautiful color. It is essential, necessary, for the release of light. Color, far from being an incidental attribute of things, is fundamental to the living structure of wholeness. Inner light is not merely a phenomenon, but the character of wholeness when it ‘melts.’

… It is not so surprising that space has teh power to affect color. But that color affects space – that the two are somehow deeply interlocked – that is truly surprising, and poses many unanswered questions … It is as though the space and the color together create a world of structure, a type of structure, that we cannot define at all – as though the very oneness of space which we seek to define lies in the very inaccessible realm. It is this fact which makes me suspect that the color phenomenon itself is actually happening in the I.”

Christopher Alexander – The Nature of Order – Book 4: The Luminous Ground

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Yoga Practice Review with Paul – Spring 2016

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Following my periodic reflection I had another review with my teacher. Though my original intention was to focus on the pranayama sequence, the development of breath in asana and its relationship to pranayama called for some attention.

The following changes were introduced to the asana sequence:

  1. Adding parsva uttanasana in the standing sequence.
  2. Continuing structured breath development of lying twists while changing the cycle from s:1/2/3 to s:2/4
  3. Continuing breath development in maha mudra:
    Step1:

    8.0.12.0 x4br
    8.0.12.4 x4br

    Step2:

    8.0.12.0 x4br
    12.0.12.0 x4br
  4. Scheduling a followup review for September to consider a vinyasa of introducing back-bends to the practice.

Pranayama is  built around moving from a base inhale of 8 seconds to 10 seconds (a capacity that has been built up in asana). First with anuloma ujjayi – the same ratios I was using in my previous anuloma practice, then moving back to pratiloma focusing on increasing the length of step-up from 5 seconds to 10 seconds.

  1. 10.0.15.0 x6br anuloma ujjayi
    10.5.15.0 x6br anuloma ujjayi
    10.5.15.5 x6br anuloma ujjayi
    5.0.10.0 x6br anuloma ujjayi
    5.0.5.0 x4br ujjayi
  2. 10.0.10.0 x4br pratiloma ujjayi
    10.5.10.0 x4br pratiloma ujjayi
    10.5.10.5 x8br pratiloma ujjayi
    10.0.10.0 x8br pratiloma ujjayi
    5.0.5.0 x4br ujjayi
  3. 10.0.10.0 x8br pratiloma ujjayi
    10.5.10.5 x8br pratiloma ujjayi
    10.0.10.0 x8br pratiloma ujjayi
    5.0.5.0 x4br ujjayi
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Christopher Alexander on Inner Light

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This section of the book is filled with examples, including works of art, that demonstrate the qualities Alexander discusses. I looked up a few of these examples online and wanted to include them here, but the color rendering of low resolution images in heavily manipulated color pallettes on the screen is not true to the story being told here. So much so that I have preferred NOT to include them. Attempting to do this further demonstrated to me the powerful truth and subtlety Alexander is writing about.

“Reality, as we experience it is full of color, saturated by color … color is one of the few aspects of wholeness where we experience wholeness directly, because the sensations of color are not analyzable into parts. We are simply aware of the overall color quality of something as a whole.

Inner light is the color quality which arises as something comes to life, and as it approaches and reveals the I.

Possibly, the greatest examples of inner light occur in nature … In things which we have made, this quality of inner light us much more rare. But in certain cultures, at certain periods, it has also been understood and created intentionally and systematically by artists, who were intentionally seeking to do it …

In every case where it occurs, color which has inner light has a special kind of subdued brilliance. It is quiet, very quiet, yet bright at the same time. It is an overall single sensation, not a composition of colors, but a single overall color field – almost like a musical chord – which strikes simultaneously from all parts of the picture at once. It comes from the picture as a whole …

Wherever there is inner light we always see two phenomena simultaneously. One the one hand, the overall feeling of he color field is muted. It is not gaudy, or garish. It is calm, soft-toned, subdued. At the same time, the colors are usually quite intense and brilliant, they are not themselves subdued, or muted, tones fo gray with tints of color.

The combination of these two methods is very surprising: 1) the use of brilliant colors to produce a muted whole or an overall unity so profound that nothing stands out, everything melts together, and yet the actual colors that are used are brilliant; or 2) the actual colors are used are subdued, but everything together seems extremely brilliant …

Very often, when we look at nature, we experience a feeling of intense and lovely color. Even on a dull day, the colors we see are soft, varied and full of life. On a bright spring day the world seems filled with color. Yet objectively … the colors are extremely pale and muted if we compare them with the paint colors we consider bright – primary red, primary yellow, primary blue …

Like every other kind of life, inner light is created – always I think – by the unfolding process. The artist works at the whole which exists and then asks himself, at each step, what has to be done next, to intensify the light. The extraordinary thing is that while working, if we half close our eyes and look at the half completed work in a passive and receptive state, we can answer that question. That is, the color which will produce light comes to my eye by itself, presents itself to me autonomously, arrive in me without my effort. The only effort I need to make is to make myself passive enough to receive the color which will then come into my eye … We have the ability to see this color, partially formed, in our mind’s eye. Then we have to try and make the color. And then, with actual paint, I have to try and see if an amount of that color, in the place where I imagined it, really will create a more brilliant light in the thing.

This is an empirical matter … I am not looking for some superficial brightness. I am truly looking to see if the process I have just done, increases the inner light … does it increase the extent to which this thing I have made now seems to go deeper into the realm of I, make me more vulnerable, reaches further into the light behind all things.”

Christopher Alexander – The Nature of Order – Book 4: The Luminous Ground

 

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Christoppher Alexander on Windows to the Ground

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This (kind of?) makes up for my not excerpting sooner about centers … but without the previous, softer, experiental introduction, this may be harder to swallow ..anyways … here it is:

“I am going to start with the idea that the I exists physically, that there is some plenum, not part of the physical space and matter, as have modeled them in Cartesian science, but nevertheless there in fact, at every point of what we thing of as space and matter … This plenum is the ‘something’ which shall simply be called ‘I.’

however, I now add the idea that it really exists everywhere, it is single, underlying all things. It may exist in another dimension curled up in space, or it may exist in some other linkage we cannot yet imagine … It is not a metaphor. It lies behind, and inside matter and space, It is enveloped by them, and communicated with them, stands behind tem and beneath them. It is everywhere. Wherever matter is, this I is also there.

Now I am going to say that some kind of tunneling can occur, to connect physical structures in our familiar physical domain with the single I-stuff of the plenum

The most common example of this tunneling would be the one which occurs in the experience of I and self which each person has. In a human body, which is at least in part a structure of matter alone, the experience of I or ‘self’ arises. In spite of various sociological attempts at explanation, this everyday experience of our own selves is not yet understood in a satisfactory way by physics. But it would be relatively easy to understand if we postulate the plenum of I, universal and general, linked to matter, and it if were a fact that the matter in a body, once organized, is able to make direct connection with this I. we would then experience the bridge or tunnel to the I as our own self, not realizing that it is in fact merely one bridge, of a million similar bridges, between the matter n different beings and the I.  That is to say, in such a conception the I which one of us experiences as his own self is not a private and individual thing, as most of us imagine it to be …

Now I am going to say, much more generally, that every living center in the matter of the universe … starts this kind of tunneling towards the I-stuff. And the stronger the center is, the bigger the tunnel, the stronger the connection of the matter to the I

What is the structure of this domain? Could it, for example, ever be given a coherent mathematical description? The answer is that it could not, in principle, for a very simple and fundamental reason. Of necessity, those things which we describe as mathematical structures … are not truly one. They are … necessarily made of of various elements with relationship between them … But what is achieved in an actual thing when wholeness occurs? It is not some multiple phenomenon of interacting structures but actual unity … This actual unity cannot be described as structure. Yet it s this actual unity which is the source of life in the things we admire

I assert that this domain exists as a real thing; that it is parallel to the material world, but that it is inherently incapable of having structure because it is pure ‘one’. But it is occasionally visible … this pure ‘one,’which may be like a blazing furnace or intense light, is partially available to our inspection …

What [then] is a center? If you go with me… Each center, then, would be a window on the eternal blinding light of this domain … Any center which appears in space, to some extent, opens a window to the I. If the center is a weak center, the window is tiny. If the center becomes more powerful, the curtain is pulled back a little more. If the center is very powerful, and has life, the window is bigger, and the center allows is to experience the I or self, permanently.

… each center which is formed is in essence a window to the ground … When we are in contact with a living center, in some degree the center itself enables us to see through to the domain of I, to blazing unity itself …

Now, I would go on to say further that the life of a center is a phenomenon in which the center, like a window, makes contact with the plenum of absolute unity. At the same time, because this plenum of absolute unity has a personal and self-like character, the center itself – when it is living – seems personal and full o feeling according to the degree of life it has ..

I suggest that, so long as space/matter remains undifferentiated, the I which stands behind it remains incommunicado, not reachable, not connected with the matter. It becomes connected with matter – and visible to us – only as centers form … In this hypothesis, a center is, in the last analysis, any zone of matter which to some extent opens a window towards this I, and so allows us – however partially – to see the I directly …

The proposal I am making here … partially reunites us, part of the way, not all the way, towards a world of spirit …

The plenum model of the Ground – the idea that the I is actually real in the universe, not only in the mind – is harder to accept. But in the rare moments when I dare to consider it, it helps me, because it enlarges my understanding. It also nourishes my mind and stimulated my inspiration. In this view we see the same ground – but we now think of it as a great thing in the universe, far beyond ourselves, haunting, otherworldly, ultimate in its beauty and light. It is reached only when a great walk breaks through to it …

When I do my work in this conscious spirit, then all that living structure which is so hard to reach does become slightly more attainable, slightly easier. It then seems to be within reach, as as a practical matter, it can then sometimes be reached.”

Christopher Alexander – The Nature of Order – Book 4: The Luminous Ground

 

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Christopher Alexander on Searching for Being

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“Many years ago I lived in India. In the village where I lived, at night especially, some sounds travel a long way … I remember walking around in the fields at night, and once hearing in the very far distance, very, very far off, a flute playing in the night. You could barely pick out the strains of that flute music. Twilight time; and there I was just listening, and trying to, trying to get that haunting melody; I could just hear it, and then I could just partially hear it. It was way, way off in the distance.

Searching for the being in a thing is rather like that, whether you’re searching for it in a building, or in a window, even in a windowsill. I get a glimpse fo something that is starting to happen. I hear something like this haunting strange distant flute. My feeling is like the quality of hearing such a sound. Then I look at the thing that I am doing – the building , or the window – and I ask myself: Is it in fact carrying that haunting sound, or not?

… It is hard work to see the wholeness. But if I do work hard, don’t take the thing for granted, don’t assume that I am doing the right thing, but if I do search for the wholeness, and keep assuming that there may be more to see, if I can only strain my ears a little harder, then I can move towards it, and gradually produce it more and more.

… I do my best to bring this half-heard whisper of a being out in the material.”

Christopher Alexander – The Nature of Order – Book 4: The Luminous Ground

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