barbara jansen - BADA

colour flow_part 2
Colour flow_part 2 is a first sketch, a first attempt at creating a composition
consisting of three parts. The three parts are variations based on the three
different colour orders and the four scenes (time-lines) created in colour
flow_part 1.
In the following, descriptions of the experiments, the metaphor of instrument
and composition will be used. Each textile structure (in this case a
woven structure) is understood as an instrument on which various compositions,
i.e. light sequences, can be played. A composition can consist of one or
several voices, one or several sections activated independently in the textile
structure. Thus, each voice can play its own melody or play in unison with
other voices.
Part one: scene one is a repetition of colour order 2 playing the rhythmic
structure of scene three, creating fluid, fine-graded changes of colour.
All three sections of the textiles are lit up simultaneously, using three LEDs
on the same side of the textile. As all three sections are playing in parallel,
displaying identical colour orders, they appear to be a single, monochrome
lighting surface (see e.g. next page, scene 1: step 3. LED four, placed on the
opposite side of the middle section of the structure, is not in use and remains
dark/silent = black line).
Part two: scene two uses a selection of colours based on those used in
colour flow_ part 1 accompanied by further randomly selected, contrasting
colours such as red, yellow, blue, green, etc. The smooth colour flow is now
broken up through contrasting “events”. The three sections of the structure
only occasionally light up in unison, as each of the sections or voices now
plays individually as well. Contrast and the feeling of movement are created
by movement up and down the structure (see e.g. next page, scene 3: step
11). As soon as the fourth voice is activated, voices two and four both play
their sequences on the middle section. This facilitates a multi-coloured effect
in this section and also opens up opportunities for further directions of movement,
e.g. from left to right and vice versa (see e.g. next page, scene 2: step
9). Whilst when only one side of the structure displays the colours, there is
always a monochrome colour effect at one “frozen” moment in time.
Part three: scene three further elaborates on the variations in scene two,
whereas voice four remains silent for the most part. Graphical representations
of all three parts can be seen both in Poster 1 and on the next page and
further visualizations of steps 3, 11 and 9 are found on page 44.
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