ill-life. The
latter is a grouping of objects primarily for their color-notes. Why
bother with a banana when a yellow-note is desired? Why utilize the
abstract or conventional forms of the decorator? Why not follow this
lead further to the less definite forms employed by the costumer? Why
not eliminate form even more completely? This is an important point and
an interesting lead, for to become rid of form has been one of the
perplexing problems encountered by those who have dreamed of an art of
mobile light.

The painter who uses line and color imitatively has perhaps acquired
skill in depicting objects and more or less appreciation of the
beautiful. But if he is to be creative and to produce a higher art he
must be able to use line and color without reference to objects. He thus
may aid in the development of an abstract art which is the higher art
and at the same time aid in educating the public to appreciate pure
color-harmonies. From these momentary expressions of light and from the
experience gained, the mobile colorist would receive material aid and
his productions would be viewed by a more receptive audience or rather
"optience" as it may be called. The development of taste for abstract
art is needed in order that the art of mobile light may develop and,
incidentally, an appreciation of the abstract in art is needed in all
arts.

Science has contributed much by way of clearing the decks. It has
produced the light-sources and the apparatus for controlling light. It
has analyzed the physical aspects of color-mixture and has accumulated
extensive data pertaining to color-vision. It has pointed out pitfalls
and during recent years has been delving further by investigating the
psychology of light and color. The latter field is looked to for
valuable information, but, after all, there is one way of making
progress in the absence of data and that is to make attempts at the
production of impressive effects of mobile light. Some of these have
been made, but unfortunately they have been heralded as finished
products.

Perhaps the most general mistake made is in relating sounds and colors
by stressing a mere analogy too far. Notwithstanding the vibratory
nature of the propagation of sound and light, this is no reason for
stressing a helpful analogy. After all it is the psychological effect
that is of importance and it is absurd to attribute any connection
between light-waves and sound-waves based upon a relation of physi