CONCEPT ET PHILOSOPHY OF THE WORK COULEUR - RÉSEAU
Original texts of Fred Forest
Couleur-Résau constitutes a generic title.
The Internet site "Colour-Network" is composed of six CN (colour-network) : (blue, the red, the yellow, the green, the orange, the purple) and of two non-CN (the white and black) which is installed online.
CN is not without relationship with MC (the mental colour), but it is up to each one to discover it and to live it: visually, psychologically, through computer and spiritually. Intended for the origin to constitute a global site and indivisible, and intended to be acquired in this form, the site "Colour-Network" will be able to possibly make the object of a sale, colour by colour or not-colour. In which case, each colour or not-colour sold with the public biddings will include a specific electronic address, accompanied by the other pages of the site. The note (see below) have any kind of utility for all those which, with the greatest relevance, will have wisdom to take place at the screen of their computer, where they will be satisfied to await quite simply the appearance of announced CN (colour-network), to be completely penetrated and impregnated of it. Indeed, all technical and scientific information, in spite of their intrinsic interest concerning the colour in general, that we will take care not to dispute here of course, will be of a quite poor help to apprehend the criteria which define CN (the colour-network) and all its indescribable and fundamental specificity. Arbitrary specificity which concerns the decision even of the artistic gesture which always has as a first and intrinsic function to transgress established standards, for a better discovery of the world under a different way. The physical and objectives factors which however constitute it, and that it would be absurd to deny here, are not determining for us. They should rather be regarded as factual " data " which do not condition, nor expresses of nothing, the own identity of each colour as we hear it. The latter raising rather of the "significant" factors, of a psychological nature, to see spiritual, in the broad meaning of the word, and of data at the present time fix quotas for various, still unknown for its "inventor" itself, your servant. ("Inventor" with the legal meaning of the term: that which found the object).
What makes CN (colour-network), still, a whole mystery, potential of inexhaustible pleasure, which it is up to each one to elucidate and interpret in the extatic silence of its active contemplation on the network. It is what we propose today on Internet for the collectors which will have the means of offering the rare and refined luxury of it, hoping that in a dash of generosity they will make some profit to the whole humanity, by revealing publicly the access code, what we invite them urgently to do, without being able to have the legal means to force them.
The colour, everybody knows except the imbeciles and the hypocrites, depends on the light. In painting, the light was initially illustrated in a illusionist space as coming from the outside of the framework, then the artists in XXe century, resorting to the pure colour, will give the impression to produce their own light, finally starting from the monochromic painting of the Fifties, the artists work space with neon tubes, cathode screens and fluorescent lights... Today, this slow advance finds a natural development when the colour knows through the diffusion of the networks a quasi "mental" light where the retinal point of application is nothing any more but the ultimate result, starting from a given source, of a planetary route, sometimes erratic. The intermediate way, from its source to the arrival retinal point of application, being carried out in a perfect ocular invisibility, which can only add to its intrinsic and irreducibility mystery.
When Yves Klein in the body of the pictorial matter gives live to the I.K.B., I am satisfied, for my part, to activate, operate by remote control or to program remote electrons on cathode screen or plasma, sometimes by producing them since the other end of the world... so that, at the reception point, the eye is bathed of this fluorescent light, fixes quotas for, produced on screen of computer..
I have the feeling that with my way, I renew the experiment of my predecessors by pushing it further by creating CN (the colour-network), i.e. the "green-network", the "blue-network", the "yellow-network", "red-network" and so on and also the NCN (the not-colour-network) the "black-network" and the "white-network".
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1 - As each one knows it, the pallet of colour offered by the screen of the computer multiplies and diversifies in million and million of nuances and combinations. What constitutes for the man, because his impossibility of retinal control, true in fact, an inexhaustible source of CM (of colour-mental).
2 - CN (the colour-network) dependent already on the ambient light at the reception, thus presents the additional characteristic to be variable from one screen to another because of different technical standards and of adjustments each flexible from each equipment. Far from being a disadvantage, this fundamental data constitutes a "remarkable" specificity of CN (the colour-network). Indeed it makes possible to introduce the participation of the receiver, with the possibility of intervening directly in a parameter which itself is already composed of a multitude of non-controllable factors for the consumer lambda. What in any event increases, unbounded, by at the same time assumed and induced relativity, the field of aesthetic perception. An indefinite field which, as each one still knows, is and remains, causa mentale !
Like we had already the green véronèse, the I.K.B. of Klein, the red of Vlaminck, the white of Utrillo, of Rymann or Malévitch, there will be from now, starting from its purchase on public sale (functioning like an aesthetic validation of economic origin): red, yellow, green and blue... black and the white : network !
Additive note for those seeking to include/understand since always the "miracle" of the colours and are not rejected by instinct with considerations of para-scientist command...
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The object of our text, here and on Internet, is not to make you undergo a course on the colour. I would be of it however in theory competent since I was recruited, without help that year, by contest as professor, to teach it at the National School of Art of Cergy, where I prevailed twenty years lasting... Nevertheless owing to the fact that we claim here to create colours of a new " type " and to impose the intrinsic statute of it, it is a question of pointing out some information which constitutes basic knowledge. Knowledge necessary to "the honest man" of the third millennium, without to be however, I agree on it readily, essential for him... But to consider the things in perfect honesty, does exist truly essential things in-outside eating, drinking, sleeping and Internet ?
The colour is a complex concept which uses objective data, such as the spectral radiant intensity of the light or the wavelength (in the vacuum), as well as subjective data, like the spectral response of the eye and its interpretation by the brain, which vary from one to another. In the spectrum of the rainbow, we indexes seven dominant colours. However, the colours are not reduced to those of frequency spectrum or the wavelength to which the eye is sensitive. If it were thus, we couldn't unfortunately define crimsons which are extreme combinations of radiations of the visible spectrum (red and purple). Moreover, we couldn't locate in the spectrum some colours like the brown, which is orange not very intense, or pink which is the red to which we have added white... And this gap would constitute in itself, you will be appropriate about it, an unbearable attack to the pleasures which offers to us the coloured charms of the life...
It is necessary to distinguish the colours which result from a source of light of those which emanate from the enlightened bodies...
In the case first, prudence leads us to establish, without expressing however an excessive reserve, that the colour of a source of light depends on the curve giving the variation of the spectral radiant intensity according to the frequency or the wavelength. Concerning the colour of the enlightened bodies, wee can distinguish two main categories.
The category of the colours by absorption and the category of the colours by diffusion. An object lit by all radiations which compose the electromagnetic spectrum to which the eye is sensitive "absorbs" some radiations selectively and "diffuses" the others. In the case of the sunlight diffused by the molecules of air, we show that these centers of diffusion behave as oscillators which privilege the diffusion of low wavelengths; thus Lord Raleigh in an access of lyricism interpreted the blue colour of the sky. There are well also colours by interference and polarisation but this aspect of the problem is in outside our subject such as we at least intend to treat it.
To return from there in what constitutes our fundamental concern, the digital processing of the colour and the image-colour, it is useful to specify for memory about the reproduction of the colours by synthesis, which we reproduce generally the colours in two ways: either by addition of three colours whose sum gives white, for example R, G, B (red, green, blue), or by addition of the three complementary colours to preceding C, M, Y (cyan, magenta, yellow) whose sum gives black. In the first case the synthesis is known as "additive", in the second it is known as "subtractive".
If your screen of computer consists of cathode ray tubes, it will be said there we have an application of additive synthesis of three colours. The sum of the three colours produces white, from where the choice of the primary colours: red, green and blue, RGB in summary. The luminous points are gathered by three (a red, a green, a blue) to form a triad called "pixel".
On the other hand, painting on paper or fabric implies the "subtractive" synthesis.
It appears useless to us, starting from these observations, to insist more longer on what makes the fundamental CN character (the colour-network), compared to what constitutes in the history of art, history of the colour itself, if we evoke the blue of Matisse, the yellow of Van Gogh, the red of Fauves painters or that of Cobra.
The depth of the colour determines the number of bits (binary digits) assigned to the coding of the colour.
X only one bit for black or white (it is always binary : with the 0 there is the white, with the 1 the black or the reverse !),
x- 2 bits for 4 colours,
x- 4 bits for 16 colours,
x- 8 bits for 256 colours,
x- 16 bits for 32000 colours,
X-24 bits for 16.000.000 colours.
The Netsurfer or the user of a cathode screen can take part somewhat in the personal manufacture of CN (the colour-network) insofar as it can intervene on an adjustment sometimes available, that of the "temperature" of the colour... The temperature of the colour is a physical concept translating a value of colour. In calorimetry, the temperature colour is regarded as the absolute temperature, in Kelvin degrees, for which it is necessary to carry the black body so that it produces the same chromatic feeling as the colour considered. A standard value is 9000°K. .
We will not tackle the difficult problems of luminance and chrominance, which we know that the effect for perception of the human eye is not equivalent. For memory, it is perhaps wise however to point out here that the eye detects only electromagnetic radiations of which the wavelength lies between 400nm (nanometers) and 750nm what will cut very superfluous polemic.
On the other hand, it would seem to us very light to tackle the questions about the creation of CN (the colour-network) without having specified that the ocular feeling of the colours depends on three parameters and that this trivariance must be allotted to the existence of three types of conical cells in the retina, respectively sensitive to the red (R), green (G) and blue (B).
We generally characterise a colour by the three following parameters :
- hue or chromatic tone, determined by the dominant spectral, i.e. the barycentre of the spectral curve;
- saturation or spectral purity, given by the relationship between the energy radiated by the vibration associated with the hue and the energy radiated by the all the spectrum;
- the luminosity directly connected to the luminance, which is the luminous power emitted per unit of solid angle and by unit of a normal area of emission.
It is possible to represent an unspecified colour by a combination of the three colours R, G, B, in suitable proportions, which makes it possible to index the whole of the colours.
In 1931, International Commission on Lighting (C.I.E.) adopted by convention a plane representation of the colours by imposing a constant value of the luminosity.
Seventy years later, in particular with the appearance of the CNG (colour-network generalised), we can ask if such data should not be called into question, quite simply for a greater accuracy of the tables of ocular feelings which require to be reactualized ?
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