The main aim of the Harbour Light project is to research and experiment with how new technology and communication address the concept in the space of all Dimensions in a playful and intuitive way, with temporal expression and an unlimited use of many tools. The main aims with the projects are to present, examine and experience, not only how we can design the space and time around us, but also how the design by nature influence us.

I will present, discuss and exemplify how we use and experience the nature of light and colour in the atmosphere, bring it into design and art, as a material for better understand local nature and diversity and relationships between localities. How it can be reflected and influence our own design art processes.

With our temporal experiments, we want to encourage reconsideration and sustainable perception. 

 

 

- Light and Site.

This project is about refraction and reflection of light through atmosphere at the Site. 

1. In Sir Isaac Newton’s famous colour project, he split white light with a prism into the colours of the spectrum. He assumed assumption that white light is composed of seven colours, and he successfully published the results of these experiments, in a paper to the Royal Society in 1672, which he called “Celebrated phenomenon of colours” and later 1704 in his book Optics. His results still form a basis for today colour education. But now we know that two complementary colours can also provide white light, and I think it`s better to divide colours in infinite numbers and let the context and the contend give priority to colour. We now know that the colour range varies in time, atmosphere light and location. In a natural context, no colour is the primary colour or all colours and colour relation, can be chosen colours. Newton was sitting in Woolsthorpe, Lincolnshire and publish his statement in books which nature are fixed concept and became a Global standard. The globalization of today communication is influenced of internet communication in as opposed to the real time, as opposed to the print media.

The colour gamut, in general for the world, is affected by the average of 0,48 per cent of moisture in the atmosphere. This is the overall percentage including the outermost layer of the atmosphere, but it can also be 75 per cent closer to the earth’s surface. (NMI, Norwegian Metrological Institute). This moisture (humidity) and the angle of sunbeams cause the colour to be different depending on where you are in the world. I have worked in the wintertime in Spitsbergen (Norway, 78’ north) this is an artic environment. In 2013 I was working with my research at the Jingdezhen Ceramic Institute (China) 29’ north, which has a sub-tropical climate.

 


 

 


Painting on the left. Size 15x15 cm measured with a distance of 20 cm  reflect 452 Lux. White printer paper. Size 15x15 cm measured at a distance of 20 cm  reflect 720 Lux. Painting on the right. Size 15x15 cm with 20 cm distance  reflect 664 Lux. View from my window.

 

Time-lap. When we with the camera can see something other than the eye sees, is the camera more objective than the eye? To see the same colour saturation in different colours, we can with black and white function see how similar the colour saturation is.

I mørket er alle katter grå. When the camera can see something other than the eye sees, is the camera more objective than the eye? To see the same colour saturation in different colours challenges our senses, we can with black and white function in the camera see how similar the colour saturation is.


Subproject 1.< The Dark Light , The Light of Color and Color gives Colour >.


With his painting, the Danish artist Rud Ingemann Pedersen challenges how is the light in the dark. When is there colour and when is it the light of the colour? Eske K Mathiesen writes that Pedersen chose his palette for his paintings. The brown newly plowed field out in the wind and rain, out in the Nordic light. Chose the deep hues, especially the greens.

Rud Ingemand painting is <slow picture> where the relationship between the colours holds back. This minimalist between colour in motif and colour in the surroundings has strong tensions. I see this as surface colour that is reflected and is part of the light in the colours, when Colour gives Colour. In the Nordic countries we have the long shadows, the light in the shadow is mixed with the surface colours which describe an amorph form, a bridge between the object and the physical surrounding.
The dark light, how do I mix them, keep the darkness and light in the darkness as support for the concept?

I will test this as a painting myself, when the colours are separated by the denominations and we read out the motif from the light in the colours.

The artistic research is relevant, to develop concept for colour charts for surface outdoors in Nordic winter light and north of the Arctic Circle.


 

 

 

Figure 2. The same natural phenomenon also occurs in a drop of water and was the basis for BA student in the In-Between course 2014. Photo. Per Erik Larsen’s Floating Shadows and Dancing Lights installation. I have experienced between the diverse structures of nature is that there are no static boundaries, only dynamic thresholds. System of knowledge.


 

Figure 1. is from Spitsbergen Norway and Jingdezhen China. Spectral light is made on same date and same time but not the same site , two different positions. There was cloudless sky both places. That time, I had problem how to find data on air humidity in the atmosphere in different places in the world, it affects light color intensity and light level.

By use of a spectrometer we can measure light and color intensity on a spot out in the athmospherer. Optical spectrometers (often simply called "spectrometers"), in particular, show the intensity of light as a function of wavelength or of frequency. The different wavelengths of light are separated by refraction in a prism or by diffraction by a diffraction grating. Optical absorption spectrometers .

These spectrometers utilize the phenomenon of optical dispersion. The light from a source can consist of a continuous spectrum, an emission spectrum (bright lines), or an absorption spectrum (dark lines). Because each element leaves its spectral signature in the pattern of lines observed, a spectral analysis can reveal the composition of the object being analysed.

 

Scientists can report local areas' atmospheric differences regarding humidity, but do they see or record the atmospheric light and colour? It was a challenge for me professionally; I could not find the resources that could help me see what a colour looks - on the basis of location, humidity in the atmosphere, light and angle of the sunbeams. This lead me to ask: - Do we have this information available and how can we use this to simulate light colour elsewhere in the world and work with more realistic colour settings to enable us to collaborate with other colour cultures? 

 

From above. I have established contact with ESA (the European Space Agency). From the 4th to the 11th of May 2015 the SENTINEL-2 space mission processed for the first time a Scene Classification Map (SCM) with atmospheric corrections. Outputs were an Aerosol Optical Thickness (AOT) map, a Water Vapour (WV) map and the Scene Classification Map where the landscape was linked together with quality indicators for cloud and snow probabilities at 60m2 resolution. (Richter, Wang and Bachmann, 2015). 

According to NASA’s (National Aeronautics and Space Administration) earth observatory, there is now a new system to measure light reflected by high altitude clouds before it is absorbed by the water vapour closer to the ground (Earth Observatory NASA). This gives important information when determining how large an area is and how high the volume of moisture is there, as this is what determines what kind of light it is there. 

Now my question is; can the information from these mapping projects (ESA and NASA) and To Harborlight  be transferred to a lighting program for a light-lab?

 


 

 

 

From natural light to color culture.

- Hypothesis. By splitting Light in different places (location) we get different light and color intensities, which develop local color and provides cultures.

 

- Next hypothesis. When people have lived under local light and nature light conditions for many generations, they develop a place's specific colour and light culture and specific colour charts.


- Operational hypothesis. The research will add light expertise and an implementation of KMD Lyslab facilities in research and the study program offer. In the first half of 2021, I have been invited as a researcher at the Royal Danish Academy (KADK), with the project <to Harbor light -Å Favne lys>. Research results will be implemented in both KMD and KADK's academic culture and Light.lab
For the Light-lab I am now working on how to find which parameters I need, to receive the data, to control the lighting equipment and which kind of lighting equipment. To build a system that can receive humidity and sunbeam data and transform this data to enable us to simulate in KMD Lightlab, light and colour from anywhere in the world.




 

 

Subproject 2 . < Skagen light. To Illuminate the intangible.> Bringing Light and Light Color project from artistic research to artist practice. Planned project for summer 2021.  Painting and object as documentation and memorized documentation. Since I was a little boy and my dad gave me my first oil painting set, I have been painting the atmosphere over the horizon. Now it is much more difficult, but still possible.  Why it's harder as an adult than as a child to paint the sky. At first, I saw the sky as one expression, after 8 years old I became more and more preoccupied with what it should look like and now sky is always better than a artificial sky.

 

The instrumental measurement of light and color intensity on Skagen becomes part of the sketch material for my artwork. The painting will be a combination of methods, from the research project on Skagen, to my own sense of the light and my own ambitions. It will be an examination of what influences me as an artist: what I sense and see and also the color pigments as the basis for further artistic discourse. - Why Skagen? Elements. The way the horizon sits very low on the sea makes the atmosphere more visible. The active meeting between the ocean currents outside Skagen creates frequent changes in the atmosphere. The rapid changes in the atmosphere, in light and shadow conditions, provide the opportunity to read surfaces and atmosphere. In a short time, we can see large differences in light and light color, which is a good opportunity for comparison. The large, sweeping landscapes cause a natural abstraction to take place which makes us see details more generally. The horizontal surface colors that affect the light colors in the atmosphere are also more generally mixed in the atmosphere.


 

Subproject 3. < Looking for Connection > . Concept and project proposal for KADK Lightlab. To Embrace the light is a sub-project to establish a real-time, visual, online transmission between the "World Clock" in Copenhagen City Hall and the Light Laboratory at the Royal Academy Copenhagen. The world clock shows mechanical (physical) information that is relevant to users of the Light Laboratory at the Academy. The clock shows the time in hours, minutes and seconds, lunar phases, leap years, moving holidays, middle time, true sun time, the height position of the sun and the sun position between sunrise and sunset , winter and summer solstice, autumn and spring equinox. The clock has its own drive that adjusts every New Year. Some future projects in the Light Laboratory may also be relevant culture, to be presented together with the World Clock.


https://cphmuseum.kk.dk/artikel/jens-olsens-verdensur

https://kglakademi.dk/vaerksted/lyslaboratorium


Bibliografi To Harbor light – Å Favne lys

 

-       Bergström Berit: Colour choices, Swedish Research Council for Environment

-       Cumming Robert og Porter Tom: Se på farver, Gelgad 1994

-       Stang Margethe :Farger i middelalderen.

-       Fridell Anter Karin Metoder för bestemning av uppfattad färg på fasader KTH 1997

-       Gage John Colour in Art  ISBN : 0-500-20394-6

-       Golding John Path to the Absolute ISBN 0-500-28359-1

-       Gombrich E H  The image and the eye Further studies in the psychology of pictorial representation. ISBN 0-7148-3243 X

-       Itten Johannes: The Art of Colour, Vaan Nostrand Reinhold CO ISBN 0-442-24037-6

-       Itten Johannes: Farvekunstens elementer, Borgen

-       MoMA Design and the Elastic Mind ISBN 978-0-87070-732-2

-       Nilson KG: Färglära,  BonnierFakta 1982

-       Oiticica Helio  The Body of Colour ISBN – 13:978-1-85437-698-5

-       Rüegg A. red.:Le Corbusier: Colour Keyboards from 1931-1951, Birkhäuser 1997 ISBN -10:7643-7475-6 ISBN – 13: 978-3-7643-7475-4

-       Swirnoff Lois: The color of cities, Mc.Graw-Hill  2000

-       Takahashi & Shibukawa Designers guide to color ISBN 0-87701-690-9-X

-       Wittgenstein Ludwig: Bemerkninger om fargene, Artes/Pax forlag 2000

-       Wallenschlaeger Charles  Cyntia Busic_Snyder Basic Visual Consept and Principles ISBN 0-697-00651-4

-       In-Between. Reflection of refraction and perceptions of precipitation. Associate professor Charles Michalsen , BA student Per Erik Larsen ,

         and professor Ashley Booth. Published Cumulus conference 2015.

         http://www.inaplanetofourown.net/assets/papers/Charles%20michalsen%20-%20Cumulus%20Mumbai%202015.pdf

-        Between language . Work-shop Faculty of Art,Music and design.

         https://www.researchcatalogue.net/view/327618/327619

-        NMI, Norwegian Metrological Institute, ‹http://met.no/Forskning/Fjernmaling/Passive_og_aktive_malinger/› [Accessed 14.09.2015] 

-        ESA. The Level-2A processing includes a scene classification and an atmospheric correction applied to Top-Of-Atmosphere (TOA)

         Level-1C orthoimage products. Level-2A main output is an orthoimage Bottom-Of-Atmosphere (BOA) corrected reflectance product. 

-       Real-time Simulation of Volumetric Stage Light David Bajt . Department of Science and Technology Linköping University SE-601 74 Norrköping, Sweden

        (Accsessed 03.04.08 ) 

 

01.12.2021

 

-       Skagenmalerne i nytt lys. ARKEN museum.

-       Fargens samspill . Josef Albers ISBN 978-82-92948-02-6

-       LYS og Mørke Arne Haugen Sørensen ISBN 978-87-87191-25-8Viera Collaro Light,Art and Architecture Eva Pohl

-       Det Mørke lys. Om kunstmaleren Rud Ingemann Pedersen. Forfatter Eske K Mathiesen

-       Olafur Eliasson: Surroundings Surrounded. ISBN 0-262-73148-7

-       Visualiztion of Colors 1. Kabbalistic Diagram. David ben yehridah he - Hasid `s

 

 

 

Associate Professor Charles Michalsen
University of Bergen - Faculty of Fine Art, Music and Design.


- Based on fragment from paper published Cumulus conference Mumbai November 2015 toghter with professor Ashley Booth and BA student Per Erik Larsen. The project is continued at the Royal Academi Copenhagen 2021.

To harbour the light

This project investigates how we use and experience atmosphere, the nature of light and colour into design and art, and how it influences our own art and design processes. With local atmospheric light and colour differences, as one starting point and immersive experience as an another, I will argue that the experiments with and findings of the refraction of light and colour and local culture reflections can help us to better understand nature. The local and global difference and relationships.

I will research how site and time specific light can bring new awareness to our own local identity and artistic practice. The aim is to develop a more sophisticated understanding of light and colour in nature and human colour culture to enable professional performing activities that can have an improved reference to site specific conditions. Because of the rapid communication other future partners and researchers quickly respond to the local result or compare global data and can continuously contribute and define the values of this research.

 

 

- Introduction to the main project , structured for continuous art oriented design.  

I initiated the new spatial program at the department of design, and introduced a new research and course theme, In-between. In-between is a process orientated and an artistic research-based resource where the ideology of the research area builds upon the belief in new possibilities in our understanding of space and time, for example: Before we built rooms stone for stone, both physically and metaphysically present as dominant architecture in central urban contexts, and those rooms and buildings, which were built the highest, usually represented rigidity and authority. Today rooms have a more elastic character and more horizontal orientation allowing and improving rapid communication and interaction between people. I believe that we now are able to merge our daily indoor and outdoor spaces with better both nature and technology understanding. 

My ambition is related to a more sustainable room design, more nature included in the room and more of the room including nature

 

To Harbour the light was one of three In-between projects which were presented at the Cumulus conference in Mumbai November 2015 together with professor Ashley Booth (Rainy days) and BA student Per Erik Larsen (In-between. A portrait of Artic Water ). The Harbour the light project is now being continued at the Royal Academi Copenhagen 2021.

A spectrometer can measure the light and colour in the light.

By use of a spectrometer we can measure light and colour intensity on spot out in the atmosphere. Newton's research and published results of splitting of the light was right, then and there, but published as print media.It stands out as a particular light and colour understanding, but at present, research and communication is an opportunity to observe the nature that gives culture characterized by the combination of physically analogue and digital network-based opportunities.

Hypothesi: To develop a method for measuring light intensity and colour intensity in the atmospheres with this result from examine natural light conditions to map how this over generations affects local colour culture and add this as a resource for future research and for use in KMD and KADK Lightlab.

By splitting Light in different location we get different light and colour intensities which develop local colour and provides cultures.
Looking for connection. The Harbour Light project i includes methods which is leading to internationalization of KMD and KADK light lab and give a more natural understanding of differences.

This phase of the project will add light expertise and an implementation of KADK Lightlab facilities for use in research and the study program. The artistic research is based upon developing methods for local light and colour intensity measurements which can be simulated in KMD and KADK light laboratory and then the research will focus on the investigation how to understand the nature of light and colour and to be able to further research how the difference in colour cultures affect our art and design.

 

- Sub-projects 

Royal Danish Academy Copenhagen - KADK. Archtectural Lightinglab. 2021.

https://royaldanishacademy.com/workshop/architectural-lighting-lab. All projects will be developed and completed based on opportunities and resources. It will be concluded with a report to summarize result and reflect for future.

- To implementation of KMD and KADK Lightlab facilities, method for measuring atmospheric light intensity and light colour and developing techniques to be able to simulate it in the light laboratory. This for future research and education purpose.

- The Dark Light and The Light of Colour. The problem of the surface. Painting as medium.

- To establish visual online transmission in real time, both ways between the "World Clock" in Copenhagen City Hall and the Light Laboratory at the Royal Academy Copenhagen

- Can we in National Gallery of Denmark (Statens Museum for Kunst )  simulate light result from instrumental registrations on Skagen , to see Anna Anker's painting from Skagen  more in the light from Skagen and as she saw it?

The main aim of the Harbour Light project is to research and experiment with how new technology and communication address the concept in the space of all Dimensions in a playful and intuitive way, with temporal expression and an unlimited use of many tools. The main aims with the projects are to present, examine and experience, not only how we can design the space and time around us, but also how the design by nature influence us.

I will present, discuss and exemplify how we use and experience the nature of light and colour in the atmosphere, bring it into design and art, as a material for better understand local nature and diversity and relationships between localities. How it can be reflected and influence our own design art processes.

I believe that with differentiation and improvement we now have greater possibilities in our art and design processes, possibilities to formulate space, to emphasize how we can humanize space and to better naturalize man–made space. 

The main aim of the Harbour Light project is to research and experiment with how new technology and communication address the concept in the space of all Dimensions in a playful and intuitive way, with temporal expression and an unlimited use of many tools. The main aims with the projects are to present, examine and experience, not only how we can design the space and time around us, but also how the design by nature influence us.

I will present, discuss and exemplify how we use and experience the nature of light and colour in the atmosphere, bring it into design and art, as a material for better understand local nature and diversity and relationships between localities. How it can be reflected and influence our own design art processes.

 

 

 


 



 


- Summery fall 2020.

The artistic research concept was published as a Paper at the Cumulus Mumbai conference, and my concept in this Paper was used in the new faculty building in the KMD Light-lab .

We are actively pursuing the opportunity to implement this research, showing that both nature and different devices can be an integral part of the art and design process. We seek help and collaboration to find methods, information and solutions on how to correctly measure and simulate light intensity and color intensity from anywhere in the world in the KMD Light-lab and other Light-labs.

We want to heighten our senses through experience. Through our experiments in the KMG Lightlab, we see the variations between color and light energies in the physical world. We see that the nature of light and color are both communication tools and designing by itself.  This difference and diversity can be a source of artistic activity.



 

                                                                                                        

Figure 1. The motives on these two plates illustrate how the same colours are seen differently, in two different places at the same date and same time of the day.


 

 

                                                                  From Idea to Indication. Illuminating the Non Representable.

            Thoughts as inspiration. When a book is closed, the concept is not available. When we open the book, an idea is illuminated.

It`s not repurposing a stone. It is extension, which is different. Extension means moving it forward in time to a different context.  This is just so beautiful. Sense it.  Charles Michalsen

Photography Bjarte Bjørkum - Editing Ivo Bjørkum

System of knowledge .

 

-       I see Transposition as one of many different transformation processes. Oftentimes, transposition is a method of transformation that emphasizes concept, but in this case, transposition is about emotion. When I chose this flat stone among a thousand other flat stones, I used emotion and intuition as my guide. The film you saw in the beginning with Title <from Idea to Indication> deals with Transposition and Illustration in many Dimensions. When I stepped from the floor onto the stone entitled <a Stone to rest on. For thoughts> I Perceived it as a Transposition and change of Dimension - as an essential change.

-       But as a question about intuition: how much intuition is needed for a Transposition to be formed into ideas, thoughts , spoken words and visuality?

-       The stone is to rest on and it is for thinking. It gets its form from gravity. It illuminates the Non-representable and the immaterial.

-       An other When the stone lay in the mountain, it was in the dark. When we open a book , the light comes in, and the idea becomes visible and accessible. The transposition of the stone      is      the same kind of idea.

 




                To Harbour light Å Favne Lys

                                                                                In between

                                  Tittle <The road to mount Sinai>. Less than 2D.

                                                   About the light of darkness.

Oil paint and gold leaf. Size 15x18 cm and under 40x40 cm .I use black color that removes 3 Dimensionality. Miss of light effect in black color disappears depth of painting and canvas with blind frame.

 

- How can this project be understand as Artistic research?

This project can be understood as Artistic research through the constant reflection that is inherit to artistic design practice. The main goal of the project is to research and experiment with how to formulate and focus on processing light- light-color and space linked with time and location. Communicate diversity by internet, to simulate in a Lighlab.   The project examines not only how we can design the space and time that surrounds us, but also how nature can “design” us. The aim is to better understand how to include design elements from nature.

 

From technical challenges, to artistic expression and user participation, these variations show the strength and possibilities of the project’s concept.

 

- Orientation and areas for research results.

The goal is to collaborate with other researchers around the world to develop a more sophisticated understanding of color culture, with a better citations of a site's specific color and light circumstances. Because of the contemporary simultaneous or the appearance of distance by rapid communication behavior the other researchers can easily respond to the result, can continuously affect, and define the values of this research.

With information from other locations in the world about light color and light intensity, we can simulate this information in the KMD Lyslab.

 

- Timeline.

-How can we learn the art of design from nature?

-How can we experience and use the light and color chart derived from nature and the atmosphere and bring this knowledge into design and art?

-How can we understand the nature of light and color, measure it locally and simulate it in a Light Lab?

-How can we cooperate and compare data from colleagues across the world and simulate the results in KMD Light Lab and be aware of diversities?  

-If research results respond to color culture variation, how can we recognize and communicate this? 

The project management, preparation, some testing, and method development took place in the KMD Lightlab University of Bergen and at the Royal Academy Denmark in 2021.

 

- Sustainability - improvements and new competence.

- Identify relationships between local nature and culture.

- See color cultural differences as something natural for everyone.

- Build up a research Light Laboratory for exchange and simulation.

- With observations over time could document and develop data on changes in atmosphere.

- The elastic room. How can the Arts include more of the outside conditions in, and the inside conditions include more outside   nature?

 

 


The In-between light and sight projects show great diversity, from technical challenges, artistic expression to user participation; I believe these variations show the strength and possibilities of the project concept. In the Light and Site = To Harbor Light - Å Favne lys project we see how technological development has made it possible to understand the nature and culture of lights and colors at almost anytime and anywhere on earth. In the artistic research project, through the building of the Light- lab, we are actively pursuing the opportunity to implement this research as part of our educational programming , showing that both nature and devices  can be an integral part of the design process. We seek help and collaboration to find information and solutions on how to correctly simulate light and color from anywhere in the world in a light-lab. We aim to better understand diversity in nature and culture. 

Instead of just analyzing and abstracting, we also want to heighten our senses through experience. Through our experiments, we see the variations of color and light energy in the physical world, and that the nature of light and color can be both communication tools and designing by itselves.

It is possible to trigger sensations through interactive activities that encourage disorientation, reorientation, and sustainable appreciation.


There will be an updated list of peer reviewers who in various ways are related to the project.

Thanks to a colleague at KMD UiB.
To Professor Ashley Booth, colleague and head of artistic research.

To head of Design department Anette Højlund.

and to the Meltzer Foundation.
30.04.2021


 

2 . While working with my research focus about light, colour and location I experienced colour as a global and local phenomenon and compared the perception and reality of colour between Svalbard

Norway and Jingdezhen China. My research showed how colour in various geographical locations could differ and therefore affect my design. 

My experiments included over-glazed painting on porcelain, I painted an Asian woman seen from behind, I made two versions one in Svalbard light and one in Jingdezhen light (figure 1). The colours varied enormously. In arctic winter conditions, I experienced a density of colours, whereas in subtropical conditions I saw a width in the colour palette. I compared Jingdezhen’s colour spectrum with one from Svalbard which I received from the University of Tromsø Department for Aurora Research (figure 2). Svalbard’s colour spectrum is rather different from Jingdezhen’s. In Svalbard, the sunbeams enter the atmosphere at a lower angle, but there is colour and light even when the sun is low on - or below the horizon because the sunbeams are reflected down by the atmosphere and from particles of moisture ( figure 4). This happens when the sunbeam angle is less than 30 degrees (the same natural atmosphere phenomenon also occurs in a drop of water and in ice (frozen water).

 

Figure 4. System of knowlegde.