Page 55 - Studio International - April 1967

rhythms started by one may be continued by the grids, curved or faceted reflectors, textured glass
other. Though there is considerable research and Perspex, lenses and polished Perspex devices.
material available on visual perception and on the The effect produced by one system is modified by
perception of sound it seems that there is a new the next. Imagery is produced this way rather than
area to be explored-that is, the combined effect of by being drawn or painted. By juxtaposing ele-
sight and sound upon man and the way in which ments moving at different speeds, protracted
these two modes of perception interact upon one sequences of images can be produced.
another. We are empirically exploring this in the A technique, in some ways comparable to paint-
creative field, and would also like to carry on this ing, is in colour mixing. This is achieved by two
work in a purely scientific way. rotating filters in front of a single light source.
Michael Leonard The resultant colour mix (subractive as with
pigments) involves loss of intensity. However, if
two colours from separate light sources are over-
Short-throw projection projected, the resultant colours are such as cannot
be achieved with pigments. A third colour-mixing
techniques Below. Sequences by units of LIGHT/SOUND
technique takes fragmented colour collected by a WORKSHOP: top row, left and centre, ultra-stellar
With short-throw projection techniques for light perspex device and then mixed on a diffusing scanner sequences-part of an overall projection
45 ft across in quarter circle; top row, right, and
boxes and back-projected murals, light is the screen. This results in unusual and subtle changes
bottom row left and right, projection sequences,
primary material. The elements for projection are of hue. part of an overall projection 15 ft high and
various types of light, revolving colour filters, Dick Woods 135 ft long in three-quarters of a circle