by Maria Odete Madeira
The human brain reconstructs the color, from the luminous energies, reflected by the diverse colored surfaces. To that end, neural areas, specialized in the perception of the colors, are mobilized, as well as areas of the cerebral cortex specialized in the analysis of the forms, of the disposition in the space and of the motion (Changeux, 1994).
In the presence of the objects, the eyes capture the luminous radiations that these emit, converting them in electrical impulses that propagate themselves to the cerebral cortex, the place where an internal representation of the color is built.
The human eyes are sensitive to the electromagnetic radiations, in a band called the visible spectrum, in which are localized seven visible colors that distinguish themselves by their respective wave lengths.
The perception of the light takes place through the incidence of the luminous rays that penetrate to the retina that converts them in electrical signals, posteriorly transmitted, through the optic nerve, to the brain that interprets them, configuring an internal image that corresponds to the external image responsible for the emission of light.
The world, such as we see it, is filled with colored forms. Our physical perception of the objects involves the perception of the color. This perception is a dynamic act, that passes through the apprehension of external variables that implicate the spatialization of the color, as actualization of this same color, in a real and communicational time that relates the observed color with the observer.
We can, therefore, speak of an overcoding, associated with the color. If, on the one hand, in the spatial unfolding, the color unfolds, reflexively, the senses implicated in it, on the other hand, it folds the memories and experiences, subjectively triggered in the observer, as observer that is affected by the interpellation of the color.
In this sense, the color affects and is affected, in a reflexive nanodynamics expanded to proto-conscious levels that mobilize sets of neurons that enter in resonance with the overcoded senses, in the act of subject/observer and color/observed, intercrossing short or medium term memories, with those of long term, all of them interpellating coded and codifier living experiences.
The experience of the color is, also, and experience of light and gravity. Affections that fold and unfold, explicate and implicate, intercrossing perceptions and projections of light and gravity.
In a primordial dialogue of convincing and vanquishing, shaded and alchemical blacks are dramatically crossed by solid, material, measurable and quantifiable lights. Tensional spaces, geometrized by light and shadow are, thus, configured.
Black and crepuscular inquietudes alternate with swift, intense and extenuated whites, reflecting hybrid and undecided harmonies, chiseled of night and day, light and gravity.
White theories, objective and explicative, twist and turn through dissymmetric, bifurcating, faithful to Plato’s cave, molecular black flows, in the eternal and eternized struggle between white and black, light and gravity.
Between the cave and the sun, intersections of straight lines, planes, volumes, intervals, regions, translucid and empty white intuitions, shadows, secrets and senses triangulate themselves.
Limits that intercross, agitate, hesitate and ramify, in dissipating, metallurgic, prosthetic and projective webs.
Between the white and the black, between the light and the gravity, are the intersection, the shadow, the remain, the trace, the debris, the sense as pre-figurative energies.
We have disconnected ourselves, little by little, from the space of the land in which we live. Little by little, under our eyes, disappeared the space of the sunlight, of the agriculture, of the sacred, of the war, of the states, of the written page that geometry expressed in its intimidating purity (borrowing Serres, 1993).
Since then, a bundle of bodies, messages, knowings and light circulate. In a global land, a new communicational space installed itself in multiple and interlinked networks. A space of mixture, a shaded space.
