The Rays Are Colouring the Encounter of a Phenomenon
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The Rays are Colouring The encounter of a phenomenon Salome Egger A thesis submitted in partial fulfilment of the requirements of Nottingham Trent University for the degree of Doctor of Philosophy July 2017 Copyright statement This work is the intellectual property of the author. You may copy up to 5% of this work for private study, or personal, non-commercial research. Any reuse of the information contained within this document should be fully referenced, quoting the author, title, university, degree level and pagination. Queries or requests for any other use, or if a more substantial copy is required, should be directed to the owner(s) of the Intellectual Property Rights. 1 of 268 Abstract This doctoral research, fusing the fields of Art, Science and Technology, explores the physical colour phenomenon of metamerism, by offering a theoretical account and aesthetic experience of the impact of light on dyed and knitted textiles through a series of artistic scenarios. In the field of colour and colour management the focus of research has generally been on how to avoid ‘problematic’ metameric colours due to their shifting visual coherence in varying light sources. However, this ‘practice as research’ project investigates metameric colours through textile installations and performances, where the observer can experience the spectacle triggered by different spectra of white light, thereby revealing new opportunities for creative expression. Quantitative science methods have been applied to produce the metameric materials (yarn and knitted fabric) utilized within the study, while the creation and staging of installations and performances involved the development of an artistic, explorative and iterative approach. Observations and analyses of the developing artistic and scientific processes and outcomes have been informed by constant ‘reflection in action’. Yarn has been dyed using carefully calculated and rigorously tested, contrasting recipes so that the resulting knitted textile samples appear evenly matched in natural daylight, in the knowledge that they will appear different under incandescent or fluorescent light. These strategically dyed yarns, featuring alternating colours, were used for the creation of a series of knitted artworks, including a metameric dress used in green-green-green performances. The various performances and installations at once revealed and, through divers applied texts, embedded the phenomenon in the wider context of light, colour and perception. This investigation uncovered the beauty of the unexpected and demonstrated how light acts as a catalyst to provoke colour changes, thus breathing life into installations and performances. The offered encounters with the phenomenon of metamerism inspired thinking and astonishment and encouraged debates. Thereby a relocation of the ‘problematic’ physical colour phenomenon has been achieved, as the installations and performances affected a state of wonder within the observers and provided an appropriation and appreciation of its poetic. 2 of 268 Table of contents Copyright statement .......................................................................... 1 Abstract ............................................................................................. 2 Table of contents ............................................................................... 3 List of Figures .................................................................................. 10 List of accompanying material ......................................................... 15 Acknowledgments ........................................................................... 16 Author’s declaration ......................................................................... 17 Dissemination of Research & Publications ...................................... 18 1 Preparing the threads ................................................................. 19 1.1 Impetus, aims and objectives ................................................................. 19 1.1.1 The impetus of this research ................................................................................... 19 1.1.2 Aims ......................................................................................................................... 20 1.1.3 Objectives ................................................................................................................ 20 1.2 Background ............................................................................................ 21 1.3 Location and Overview ........................................................................... 23 1.3.1 Art and Science ....................................................................................................... 24 1.3.2 Composition of the research .................................................................................... 25 1.3.3 Trichotomy of art research categories ..................................................................... 26 1.3.4 Overview of Chapters .............................................................................................. 26 1.4 Methodology & Methods ......................................................................... 28 1.4.1 Literature review ...................................................................................................... 28 1.4.2 Trandisciplinarity ...................................................................................................... 30 1.4.3 Visualizing the journey ............................................................................................. 31 1.4.3.1 Writing ............................................................................................................... 31 1.4.3.2 Visual material .................................................................................................. 31 1.4.4 Practice as Research .............................................................................................. 32 1.4.5 Process of practice .................................................................................................. 33 1.4.6 Experimental set up ................................................................................................. 34 1.4.7 Struggles and detours within the journey ................................................................ 35 3 of 268 1.5 First and second phases ........................................................................ 35 1.5.1 First phase of the journey ........................................................................................ 35 1.5.2 Second phase of the journey ................................................................................... 36 1.5.3 Generating meaning, generating knowledge ........................................................... 37 1.5.4 Dissemination, dialogue and debate ....................................................................... 37 1.5.4.1 Informal feedback ............................................................................................. 37 1.6 Conclusion .............................................................................................. 38 2 Textile & Text ............................................................................. 39 2.1 Textile and Textile Art ............................................................................. 39 2.1.1 Textile Art ................................................................................................................ 39 2.1.2 Knit .......................................................................................................................... 40 2.2 Knit as a metaphor ................................................................................. 42 2.3 Writing as method .................................................................................. 45 2.3.1 Research journal ..................................................................................................... 45 2.3.2 Descriptive Writing ................................................................................................... 48 2.3.3 Writing for the dissemination of the research .......................................................... 48 2.3.4 ‘Performerly’ writing ................................................................................................. 49 2.4 Conclusion .............................................................................................. 49 3 Light, Colour and Metamerism ................................................... 50 3.1 Metamerism ............................................................................................ 50 3.1.1 Metamerism: problem or opportunity? ..................................................................... 50 3.2 Light, Colour, Metamerism and their connections .................................. 52 3.2.1 Let’s start to talk about light ..................................................................................... 53 3.2.1.1 Definition of used Illuminants ............................................................................ 55 3.2.2 Following light, let’s talk about colour ...................................................................... 58 3.2.2.1 Illuminant Metamerism ...................................................................................... 58 3.2.2.2 Creation of colours ............................................................................................ 59 3.2.2.3 Metameric colour pair and metameric colour series ........................................