With the aid of computers colour has lost its permanent form and has become as transient as sound. The need for some system of notation has become increasingly pressing. In my two previous papers, ‘Orphics: Computer Graphics and the Shaping of Time with Colour‘, and ‘Orphics: Computer Graphics and the Temporal Dimension of Electronic Colour‘, I discussed some ideas and techniques for the fluid articulation of color in space and in time, without relying on a preferred colour model. The possibility of defining a colour theory of a fundamental colour tuning, comparable to the harmonic theory and tempered scale in music, remains an open question. The object of this writing is to articulate the above question by discussing the nature of a preferred colour model in which the laws of colour creation are intimately interwoven with the principles of colour classification.
- Edward Zajec (Italy/USA), Syracuse University, USA