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Query was: dark

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• Title: Second Lecture (First Scientific Lecture-Course)
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  • the prism. What has been dimmed and darkened, rays into what is light
  • unimpaired, but into it the darkening, the dimming effect is sent
  • into it of the darkening effect that is poured into this shining
  • light. Only the dimming and darkening effect is here deflected in the
  • dimness, and by this means the dark or bluish colours are
  • you look further down? The dimming and darkening shines downward too,
  • upward, the dimming and darkening effect rays in. Here is a region
  • darkening goes downward. Here therefore we have a region where the
  • darkening is deflected in the opposite sense, — opposite to the
  • deflection of the light. Up there, the dimming or darkening tends to
  • of the dimming, darkening effect. This, then, is the result: —
  • light; thus in a way they work together. The dimming and darkening
  • darkening — the light predominates. The consequences of this
  • and dark, and of the dark being irradiated by the light, are in this
  • Upward, the darkening runs into the light and there arise the blue
  • darkness and there arise the yellow shades of colour.
  • darkening into the light, — the two kinds of interplay between
  • them. We have an interplay of dark and light, not getting mixed to
  • darkness comes to expression as darkness even within the light,
  • whilst at the other pole the darkening stems itself against the
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• Title: Third Lecture (First Scientific Lecture-Course)
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  • dark — i.e. the unimpaired brightness and on the other hand the
  • the diverse ways in which light and dark work together —
  • red, orange, yellow, green, blue — light blue and dark blue,
  • the stain, the dark and clouded part, met the lighter surface.
  • that where light adjoins dark, colours appear at the edges. It is
  • none other than that. For there is darkness outside this circular
  • at the border between light and dark. This is the original, the
  • at the borders, where light and dark flow together.
  • would prove to be rather indistinct and dark. I should explain this
• Title: Fourth Lecture (First Scientific Lecture-Course)
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  • follows: When I look through darkness at something lighter, the light
  • object will appear modified by the darkness in the direction of the
  • illumined, you will be looking at the dark through something light.
  • Ur-phenomenon: Light through dark — yellow; dark through light
  • passing through the prism, the light gets darkened. The moment we
  • light itself is diverted. That is to say, darkness rays into the
  • diverted light. Darkness is living, as it were, in the diverted
  • produced. But the darkness rays downward too, so, while the cylinder
  • of light is diverted upward, the darkness here rays downward and
  • overwhelms and outdoes the darkness. We get the yellowish or
  • itself, but you are seeing it through dark. (That there is something
  • darkened here, is clearly proved by the fact that blue arises in this
  • region). Through something darkened — through the blue colour,
  • cylinder-of-light coming towards you. Through what is dark you look
  • over-whelms the dark. Thus as you look in this direction, however
  • an irradiation of light, in relation to which it is dark. Below,
  • therefore, you are looking at dark through light and you will see
  • through a space that is lit up. Thus you are seeing something darker
  • a lighting-up but in reality darkness is reflected across here. So we
  • here get an element of darkness (
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• Title: Fifth Lecture (First Scientific Lecture-Course)
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  • even darker by contrast. Sodium is therefore often spoken of as
  • as well as we are able, that this dark line does really appear in the
  • You may imagine therefore: Say you have gradually filled the dark
• Title: Sixth Lecture (First Scientific Lecture-Course)
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  • discriminate, however delicately, between the darker and lighter
  • portions of what we see. Not only the lighter parts, the darker too
  • darker part bordering on a lighter. The dark is shifted upward, and
  • before us any such complex, consisting of a darker and a lighter
  • boundary of the darker. Instead, they speak in such a way as to
  • light, bordered on one side or other by darkness. And if the lighter
  • part — the space it occupies — is shifted, the darker
  • part is shifted too. But now, what is this “dark”? You
  • must take the dark seriously, — take it as something real. (The
  • is this light, which may be stronger or weaker related to darkness?
  • will only admit one darkness — darkness which is simply there
  • kind of darkness. It is as one-sided as it would be to declare:
  • the case of darkness this is how people think: Of light there are
  • different degrees; darkness is simply darkness. It is this failure to
  • intensity; so likewise, when a space is filled with darkness, it is
  • filled with darkness of a certain intensity. We must proceed from the
  • negatively filled with darkness. Thus we may be confronting a space
  • darkness and we shall judge it “qualitatively negative”
  • surrounded by darkness, and we shall find — I beg you to take
  • given up to a light-filled space and to a darkness-filled space. We
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• Title: Seventh Lecture (First Scientific Lecture-Course)
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  • and darkness. What we now have to do is to observe as many
  • darkness. Today I will begin by shewing you the phenomenon of
  • Relatively dark spaces are created, — that is all. Where the
  • shadow is, is simply a dark space. Moreover, looking at the surface
  • — that is, darkened to some extent. As a result, you will see
  • — the one which I am darkening to red — this shadow on
  • that was actually there. And so in this case: when I darken the
  • darkness before, you now see green. And now I darken the same
  • I darken it to blue, an orange shadow is produced. If I should
  • darken it to violet, it would give yellow.
  • shadows. I darken this source of light and get green, said Goethe
  • I darken this source of light, the white screen as a whole shines
  • demonstrated. In the one case we get a grey, a bit of darkness, a
  • with colour. The light and darkness then work together in a
  • different way. We note that by darkening the light with red the
  • darkness as it does in the most varied ways with one another, is in
  • by the red darkening of the light, and the green afterimage,