Colour and Light

"Ocean and Sea", is a conceptual solution of knitted textile dividers that aims to create a colour changing element in the patient’s environment. The knitted screens are for windows in patient and treatment rooms, dividing out-door from in-door. The purpose with the concept is to improve is the situation of a static environment for the patient.

Colour is visual identification or perception of a property derived from spectrum of light by human eyes. When a beam of light from sun or light source passes through a glass prism, it dispersed in to seven colours of rainbow. Sunlight has a high color temperature, a fairly uniform spectrum and is considered a standard for white light. A rainbow is an optical and meteorological phenomenon caused by reflection and refraction of light in water droplets present in the atmosphere. The rainbow colours are violet, indigo, blue, green, yellow, orange and red (vibgyor). Electromagnetic radiation in the visible range is generally called as light.

In our designed culture, every environment, object and picture is analyzed from the viewpoint of colour and light. Colour and light play an important role in social life and culture. This paper springs from an epistemological project about concept formation in the field of colour and light. Based on own observations and scientific and scholarly references it presents a graphic model describing possible constituent relations between colour and light experiences. Design is the art of using knowledge - implicit or explicit - about how humans perceive, experience, and relate to the world around. In design all senses are involved, but when dealing with colour and light we can confine ourselves to vision; designers must understand the conditions of visual perception. Human experience of colour and light has many sources; the given cultural context (conventional meanings of colour and light), the direct experience of the world around (colour and light expressions) and the basic perceptual ...

In 1928, in Leningrad, in the Grand conference hall of the Academy of Sciences of the USSR, the First evening of ‘Art of light and color’ was held, and the examples of the connection of music, dance, recitation and architecture with special lighting effects were demonstrated. The organizer of the unusual event was the artist Grigory Gidoni (1895–1937), who displayed the wide spectrum of possibilities, regarding the use of light and color equipment, invented by him. The article analyzes the documents that let us understand the place of Gidoni’s experiments among the similar projects of the first decades of the twentieth century and their significance for future developments. The article is based on materials from private and public archives of Russia and Lithuania.
В 1928 году в Ленинграде, в Большом конференц-зале Академии наук СССР, состоялся вечер, на котором были продемонстрированы примеры соединения музыки, хореографии, декламации и архитектуры с особым световым оформлением. Организатором необычного мероприятия выступал художник Григорий Гидони (1895–1937), представивший зрителям возможности изобретенной им свето-цветовой аппаратуры. Автор статьи анализирует документы, позволяющие понять место экспериментов Гидони в ряду аналогичных опытов первой трети ХХ века и их значение для последующего времени. Работа основана на материалах из частных и государственных архивов России и Литвы.

This article explores the effects of using black on spatial experience by means of phenomenological analysis of its architectural examples with a special focus on Serpentine Gallery Pavilion designed by Peter Zumthor. Contrary to the growing interest in the color in contemporary architecture, black rarely found a place in architectural history and in studies on color design. Whereas, the distinct achromatic qualities of the color that appear highly self-contradictory swinging back and forth from absence to presence cover a wide range of potentials to be used in architectural design. Through insights delved into the spatial experience constructed around these qualities, this paper attempts to analyze how black is used as a design element in built environments. This analysis revolves around Zumthor’s pavilion, which stood as a uniform black box on the expanse of green grass of London Kensington Gardens for more than three months in 2011. Encompassing various oppositions, the box built to surround a hortus conclusus, an enclosed garden inside, provided its visitors with a unique spatial experience depending predominantly on the combination of its form, tectonics and the qualities of its color, black. The phenomenological analysis of these qualities manifests that the architect utilized the contradictory characteristics of the color intentionally in order to create a complex and manifold spatial experience for visitors in and out the box. In an interplay of absence and presence, momentary crystallizations of the vision of black provide architects with uncharted opportunities for creative use of color in the design of built environments.

High-tech Architectures in Italy: Materials, Colors and Dynamic Surfaces. The high-tech style was born in England in the sixties as an evolution of Modernism. Architectural historian Colin Davies identifies four architects as initiators of the high-tech style: Richard Rogers, Norman Foster, Nicholas Grimshaw and Michael Hopkins. The high-tech architecture became famous in 1977 with the completion of the Centre Pompidou in Paris, designed by Renzo Piano and Richard Rogers. In the eighties of the twentieth century, the high-tech style was characterized by the use of structures and technological elements as a function of architectural decorum. Then with the advent of the instances of environmental sustainability, the high-tech architecture would seem to have changed course. More than twenty years later it seems interesting to see how the design lines of the greatest exponents of this style evolved through the relationships between buildings and the contemporary city. The examples of buildings and projects described below are located in the Italian territory where the high-tech architecture creates relationships with the local traditions and ideology.

American Director Wes Anderson's films are an interesting case study on the use of representation and visual language as elements capable of implementing the narrative underlying the film plot. His films, in fact, are constructed according to a logic similar to that of architectural representations. The combination of geometries, perspectives, textures and colors generates a code of signs capable of mediating between the intelligible and the sensitive, between the idea and the image. In particular, chromatic aesthetics constitutes a carefully curated component in the image sequences. The balanced and perfect color compositions, however much they may seem a decorative whim, represent a clever narrative device that, designed according to logical patterns, is able to embody symbolic and communicative values. This research, therefore, aims to investigate the language of color in Anderson's films, with the aim of analyzing its narrative potential. The color is investigated both as a narrative content of the filmic atmosphere and as a narrative container of emotions and symbols. The double register of analysis used for Anderson's films can become a trace of a general methodology of analysis, applicable not only to the works of other directors, but also to other forms of visual narration.

Contemporary art installations and sculptures are made of a large variety of materials. The modern concept of light art emerged with the development of artificial electric light sources and experimentation
by modern artists of the Constructivist and Bauhaus art movements. Numerous artists exploited different kinds of light elements as neon tubes, light bulbs, incandescent lamps, etc. As we have seen (in the
National Museum of Contemporary Art in Athens-ΕΜΣΤ), obsolescence may force art conservators and light technicians or curators to make different decisions in conservation or compromises. Sometimes the
solution to the problem, is the replacement of the broken argon tube at the expense of the original version of the light sculpture where intervention seems to be ‘utopian’. It seems that Colalucci’s and Dekarte’s formalities, namely a) to define the restoration, taking into account its impact on the interpretation of the work of art, b) to approximate the physicality of the work of art in mechanical terms (cables, gears, bulbs, etc.), are fundamental principles in art conservation, which always bears relation to the technological progress of our time.

A forced choice paradigm was employed, similar to that of a recent experiment conducted by Hubbard (1996) using paired greyscale patches and pitch intervals, which provided evidence of a universal mapping of lightness value relative to pitch height. In the current experiment we used colour, instead of greyscale, and tonal intervals within the normal vocal and instrumental midrange. 40 participants chose between colour combinations derived from two models of pitchcolour correspondence in response to intervals and dyads from all 48 major and minor keys in the cycle of 5ths. Analyses revealed a tendency to map adjacent colours onto close intervals and relate spectrally distant colours to larger intervals, particularly amongst those with musical training, but also among participants with training in visual arts. This experiment provides evidence of a perceptual analogy between pitch and colour relationships, as well as some support for the traditional linear model of pitch-colour correspondence.

A systematic look at colour on the four worlds of the Qabalistic Tree of life, it's historic evolution and meditational use, especially in terms of energy circulations between Da'ath and Yesod in the Body.  Presentation to Servants of the Light,  Convocation of the Lodges: Gathering of the Lights 18-20 November 2011.  Slides, notes and visual meditations downloadable from the Tree In Colour website, created by the author can be found on an updated website called The Luminous Tree https://echtrai.org

The focus of that site is stories from and about the Tree of Life including a systematic look at colour in the Four Worlds of the Qabalistic Tree, its history and meditational use. The Golden Dawn Colour Scales and Colour in Medieval Jewish Kabbalah area among the topics addressed.  Launched 4 Nov 2021.

Johann Wolfgang von Goethe (1749 - 1832), uno tra i più importanti autori e poeti di tutti i tempi, definito come l’ultimo genio rinascimentale, è stato non solo un grande letterato, ma anche un pittore, uno scienziato e un pensatore a “tutto tondo”. Nel saggio Zur Farbenlehre (“Della Teoria dei Colori”) illustra la sua teoria scientifica – o come l’hanno considerata alcuni detrattori “prescientifica” - sui colori e sulla loro percezione che, nelle sue intenzioni, doveva rappresentare un nuovo modo di interpretare non solo l’ottica, ma la fisica e, più in generale, la scienza. Si tratta di uno scritto che si discosta molto dalle sue composizioni letterarie, anche se ne contiene al suo interno lo stile poetico associato però a una visione scientifica, e mette in risalto la complessità del fenomeno cromatico e l’ingerenza non trascurabile che ha l’organo della vista nei confronti della percezione luminosa e della sua traslitterazione nel colore. Nondimeno, approfondendo l’azione sensibile e etico-morale del colore, e la sua funzione estetica e artistica, Goethe si pone in contrapposizione, in una “onorevole contesa”, alla visione Newtoniana strettamente scientifica del fenomeno, ridando dignità sensibile e poetica al fenomeno fisico. In questa breve esposizione si vuole affrontare la critica Goethiana alla teoria della luce e del colore di Newton, facendo notare il grido di protesta contro ciò che Goethe ritiene una insopportabile e inconcepibile tirannia della matematica e della fisica, nel caso particolare dell’ottica, riconoscendo - attraverso una visione che possiamo certamente definire puramente romantica del fenomeno - che i colori sono qualche cosa di vivo e di umano, e che trovano la loro completa giustificazione fenomenologia in quella macchina fisica che è l’occhio umano e nel meccanismo della visione, ma anche e soprattutto nella spiritualità e nell’animo dell’osservatore, con una metrica di giudizio che seppure deve generalizzare in forma universale, deve tuttavia conservare quella sfumatura che è l’interpretazione personale.

This paper argues that fine glass dining vessels were prized aesthetic objects in the ancient Roman world. Where a post-Enlightenment bias against applied visual media has allowed these glass works to go under-treated, this paper reexamines this medium through a combined methodological approach of close visual and textual analysis. Drawing upon the possibilities afforded by the development of searchable online databases of Roman texts, the paper analyses not only surviving explicit discussions of glass works (which are few), but also foregrounds references to the medium that are made in passing. It thereby identifies aesthetic emphases that only appear in brief mentions of this material, but which transpire to focus very consistently upon the same visual values. As a result, the paper proposes that works of Roman glassware were explicitly appreciated for the aesthetic effects of light mediated by their surface, both within the compass of the glass, and in the wider space around it. This conclusion is then practically applied to surviving examples of Roman glass objects to explore the visual effects that ancient lighting would have produced. Arguing that the Roman world was highly sensitive to this material's visual allure, the paper presents a new perspective on the medium, grounded in a distinctively Roman mode of aesthetic attentiveness to this art.

Bu araştırma camın plastik ifade olanaklarına ilişkin rengin cam sanatındaki kullanımlarının izini sürerken, camda renk ve anlatım ilişkisini inceleyerek bunu kullanan sanatçılara yer vermektedir. Rengin biçime yüklediği anlamlar dünyada cam malzemesini kullanan sanatçılar kapsamında ele alınmıştır.

İlk bölümde teknik açıdan camda renk olanaklarına değinilmiş, sanatçıların camı nasıl kullandıklarından örnekler verilerek teknik detaylara değinilmiştir. Renkle ilgili camın transparan yapısı göz önüne alınarak yapılan araştırmalara değinilmiş, ışık ve renk birlikteliğinin izi sürülmüştür. Anlatımda bu özellikleri kullanan sanatçıların eserleri üzerinden örnekler verilmiştir. Çizgisel ifade olanakları çerçevesinde neon uygulamaları ve roll-up tekniği kullanan sanatçıların biçim araştırmaları eser örnekleri eşliğinde sunulmuştur. Kompozisyonlarında rengi anlamın taşıyıcısı olarak kullanan sanatçılara yer verilmiş, rengi monokrom kullanan sanatçılara da değinilmiştir.

Menurut hasil penelitian penggunaan energi, dalam hal ini listrik pada bangunan gedung menunjukan bahwa jumlah energi listrik yang dipergunakan untuk keperluan pencahayaan ruangan menempati urutan terbesar kedua setelah sistem tata udara. Melihat begitu pentingnya cahaya bagi manusia untuk beraktifitas, maka tidaklah mengherankan jika perencanaan cahaya pada bangunan juga memegang peranan penting bagi keberhasilan fungsi dari suatu bangunan dan kenyamanan pengguna di dalamnya.

IS HAPPENING DUE TO BUBBLE TECH

THERE HAVE BEEN SYSTEM WIDE CHANGES BEFORE IN THE NATURE OF LIGHT!!!  -  ANOTHER ONE IN THE FORM OF A DREAM TIME /  GOLDEN AGE APPROACHES – WHICH ACTUALLY IT’S A EUPHORIC LT PURPLE AGE REALLY AND IT IS UNSTOPPABLE.  A FUNDAMENTAL CHANGE IN THE ENTIRETY OF CREATION I.E. THE ELIMINATION OF DUALITY VIA EUPHORIA IS HAPPENING AND WILL CONTINUE UNTIL EVERYTHING IS ENLIGHTENED. 
https://www.academia.edu/41144909/SYSTEM_WIDE_CHANGE_EUPHORIA 

THE ENTIRETY OF CREATION IS CHANGING – EUPHORIA IS EXPUNGING THE DUALITY OF FEAR & LOVE – EVEN IN THE AETHERS 
https://www.academia.edu/44044980/THE_ARTIST_S_GUIDE_TO_5D 
https://www.academia.edu/44420500/5D_EUPHORIC_TEAMS_THE_ARTISTS_VISION

Therefore if this lamp was manufactured to worldwide adopted standards in place since the early 1930’s where 1000 hours is the optimum with a reasonable life rating compromise between lamp cost, verses electricity cost, cost of replacing a lamp and lamp efficacy then it would be rated at 240V with an efficacy of 8.8 lm/W, and therefore achieve 343 lumens at the rated 39 watts with a colour temperature of 2468K as was once standard for vacuum lamps. If a higher life was desired such as 1500 hrs using the same benchmark the lamps filament would actually be a 247V filament rated at 1000 hrs with a luminous efficacy of 8.3 lm/W, therefore achieve 324 lumens at the rated 39 watts when operated on 240V, but could then be relabelled as 240V with 1500 hrs life and the colour temperature would be in the calculated range of 2438K.
But as these test lamps are considered decorative and clearly not marketed or bought by the consumer with this optimum benchmark in mind, nor is the maximum efficacy per electrical cost and cost of lamp important. A longer lifetime is probably more desirable and could therefore be obtained at the expense of efficacy: more electricity is wasted as heat and less light is obtained but at a great improvement of life!
So what is the actual lamp rating, where the aesthetic appeal of the globe is more important than the light output or electrical cost, without lasting too long, which would also keep the manufacturer in business from repeat purchase? And why rate the globe at “1500 hours” if it in fact lasts considerably longer?
Although known test reports show otherwise, it is believed by some that in order to minimise customer complaints, the standard GLS filament with a declared life of 1000 hours typically has an average design life of 1200 hours. Could this be the case for the same reason?
The next tests will determine the actual parameters of the´”240V 39W” G125 light source, via lamp lumen and colour temperature experimental tests, all that are known to this author and within an economical scope that would then mathematically determine the actual life hours without heavily relying on the empirical ‘exponent calculations methods’ to establish as much direct source data from experiments in an effort to hopefully obtain strong correlation between all results.
As it would be difficult to directly measure the temperature of the filament, we have to resort to alternative methods of measurement.
An optical pyrometer would be ideal, where the image of the object whose temperature is to be measured is superimposed on the image of a standard filament inside of the pyrometer. A red filter limits the bandwidth to the wavelength region of 0.65 microns.
The operator varies the current in the standard filament until it appears to have the same brightness as the unknown object. For this reason, the measured temperature is often referred to as the brightness temperature. The current-adjusting dial is calibrated to directly read out the “effective blackbody temperature” of the unknown object.
Also some fancy light meters measure colour temperature but are usually quite expensive and as the author, doesn’t have one nor an optical pyrometer, I am therefore limited to the below options:-
It should be possible to estimate the temperature of the filament from a simple lamp filament cold resistance test using the light spectrum! Basically, treat the light source as a perfect black body radiator and use Plank's Law, enabling one to then be able to look up a resistance R vs. temperature T (deg K) graph or tabulation for tungsten, or derive the colour temperature from a direct filament measurement.
Alternatively we can use basic electronic theory to calculate the temperature of the filament that is required to produce the manufacturer's specifications for the light source or another way, which is a bit easier, use basic electronic theory to calculate the temperature of the filament that is required to produce the manufacturer's specifications for the light source.
An approximate colour temperature could also be determined by comparing the light to a known standard, where the lamp voltage is reduced until a matched colour temperature is determined optically and can then be further analysed with the aid of a camera.
And we can also use a spectrophotometer to measure the light output of a light source at each wavelength separately, which also enables measurement of all visible wavelengths to obtain the total light output of a source, visible to the human eye. Adding up the flux at each wavelength can provide the total flux produced by the light sources in the visible spectrum. The resulting spectral power distribution (SPD) contains all the basic physical data about the light and serves as the starting point for quantitative analyses of colour. A spectrophotometer can also be used as a Spectropyrometer—a Practical Multi‐wavelength Pyrometer which is capable of overcoming many well‐known difficulties of pyrometry, including unknown, changing, and/or spectral dependence of emissivity as well as environmental absorption of radiation.
Therefore in order to obtain a good average, and possibly find strong correlations between different test methods, the author decided to do all the tests possible within capability and within a limited budget.

Este artículo busca proporcionar nuevas perspectivas para una lectura reflexiva de la Teoría de los colores de Goethe, que permitan su puesta en valor más allá de la reconocida polémica con las ideas científicas de Newton, a partir del reconocimiento de la actitud proto-fenomenológica del poeta alemán y su interés en la experiencia directa y subjetiva del fenómeno cromático. Además se abordan otros aportes de la Teoría, fundamentales para comprender la importante influencia de Goethe en la configuración del conocimiento contemporáneo sobre color.

Lanthanide ions display intense photoluminescence under UV light. When incorporated in glass they are used not only in technological applications, but in artworks as well. Luminescent soda-lime silicate glasses with compositions similar to those used in utilitarian and decorative applications, doped with small amounts of different lanthanide oxides, namely europium, terbium, cerium, dysprosium, samarium and thulium, have been prepared in our laboratories. A few examples of their application in artworks will be presented.

The thesis of this paper is that Thomas Aquinas offers an alternative model of abstraction (the Active Principle Model) that overcomes the standard objections to abstractionism and expands our view of what an abstractionist theory might look like. Many contemporary interpreters of Aquinas—including Norman Kretzmann, Eleonore Stump, and Anthony Kenny—have failed to notice this alternative model, reading him instead as a proponent of some form of the standard account of abstractionism.  I contend that this alternative model of abstraction has been invisible in plain sight, in Aquinas’s references to the mind’s abstractive mechanism as an “intellectual light.”  While this language is typically read as metaphorical, I argue that Aquinas means it in a technical sense, so as to model intellectual abstraction on the activity of physical light as he understood it, from theories proposed by Avicenna and Averroes.  Aquinas’s adherence to the Active Principle Model for abstraction requires us to rethink his account of how we come to know essences—a process that turns out to be much more tentative and incremental than previously thought.

CHROMOSCALE presents a novel framework that integrates numerical systems with color representation through a unique chromatic approach based on cyclic orders. The concept revolves around the relationship between different numerical bases and their visual representations, specifically focusing on Base 7. The paper explores the mathematical properties of cyclic numbers, monotonic functions, and their implications for establishing a harmonic system that maps numbers to colors in a structured way, thereby creating a cohesive language for sounds, colors, and numbers.

For more information see the following link:
https://pdpseven.wixsite.com/sound-color

The purpose of the following experiments and this conclusive report is to obtain an appreciative understanding of the properties of light and how paraxial rays interact with a variety of optical mediums. The first phenomenon to be observed is reflection from a plane, spherical and parabolic mirror with the objective of measuring angles, focal lengths and the radius of curvatures. Secondly is refraction by biconcave and biconvex lenses with the intention of calculating the optical power of a lens. Finally, Snell’s Law shall be used to measure the refractive index of a glass block. Throughout the experiments, problematic effects associated with such optical mediums known as chromatic and spherical aberration will be observed. From acknowledging and understanding these problems, cameras can be designed and used in ways to improve the image taking capability.

Abstract
Les saints, tant vivants que dans l’au-delà, forment un sujet actuellement très apprécié des études concernant l’Antiquité tardive. Dans le domaine iconographique, l’ensemble le plus magnifique de saints est représenté par les quinze portraits de martyrs en mosaïque conservés sur la coupole de la Rotonde de Saint-Georges à Thessalonique. Étrangement, le discours contemporain de l’iconographie hagiographique néglige largement ces images exceptionnelles. La raison en est probablement de l’incertitude de leur datation. Pourtant, qu’on les place dans les dernières décennies du ive siècle, aux alentours de 450, ou au début du vie siècle, ces mosaïques fournissent une importante information sur l’origine et le développement de la représentation des saints. Cet article pose le problème de la genèse de l’image individualisée du martyr, en particulier la question de son rattachement à une tradition authentique liée à son portrait funéraire. Une des caractéristiques distinctives des images du monument de Thessalonique est la variété des représentations : les portraits des martyrs sont nettement individualisés, différenciés par âge, chevelure, barbe, traits physiognomoniques, couleurs, etc. Toutefois, indépendamment de la question de l’origine et de l’authenticité de ces portraits, les couleurs particulières des tesselles utilisées pour rendre les chevelures et les yeux montrent que, dans la Rotonde, les mosaïstes ont donné la priorité à une esthétique de “lumière colorée’, principe qui leur a permis de représenter la beauté idéale des hommes saints dans l’au-delà.

Nul ne doute plus aujourd'hui du rôle majeur qu'ont joué les couleurs et l'or dans la structuration des sociétés grecques antiques, au long des siècles. Tout suggère une passion grecque pour la couleur étendue à tout type de production (vêtements, vaisselle, cosmétiques, statues, édifi ces etc.) sur tout support, dans tous les domaines de la vie, funéraire compris. Mais que savons-nous réellement des arts de la couleur eux-mêmes, des matériaux et des savoir-faire qui ont fait son succès ? Peut-on en apprécier l'impact économique et social ? N'est-il pas urgent à présent de mesurer aussi les conséquences esthétiques d'une telle révolution polychrome ? L'incolore y trouvait-il malgré tout sa place ? Les couleurs étaient-elles fi lles d'illusion, y compris sur le plan politique ? L'ouvrage aborde ces questions en toute liberté d'investigation interdisciplinaire. Il réunit pour cela spécialistes venus de tout horizon scientifi que, archéologues, architectes, chimistes, conservateurs de musées, historiens, historiens de l'art, restaurateurs. Pour éclairer cette expérience grecque unique de la couleur, on a souhaité aussi la mesurer aux expressions qu'en ont explorées d'

In this article, I argue that Goethe's way of science, understood as a phenomenology of nature, might be one valuable means for fostering a deeper sense of responsibility and care for the natural world. By providing a conceptual and lived means to allow the natural world to present itself in a way by which it might speak if it were able, Goethe's method offers one conceptual and applied means to bypass the reductive accounts of nature typically produced by standard scientific and humanist perspectives. I illustrate this possibility largely through examples from Goethe's Theory of Color (1810). In a recent article, naturalist and wildlife writer Charles Bergman argues that our current intellectual understanding of animals is too often dismissive or reductive (Bergman, 2002, 142). 1 For scientists, he says, the danger is to treat animals, not as autonomous creatures with their own lived constellations of experience, but as Cartesian automatons whose behaviors can be explained by instincts, stimulus-response mechanisms, evolutionary concepts, genetic programming, or some other imposed system of explanation. On the other hand, Bergman also questions many humanists', writers', and artists' understanding of animals, which too often, he says, become little more than "allegories of human fear and desire" or are given up entirely as "radically unknowable beneath human representation" (ibid., 143). He concludes that "Animals are not only texts that we produce. We need an ethos more favorable to animals, more open to the creature as a living presence" (ibid., 146). In this article, I argue that Goethe's way of science, understood as a phenomenology of nature, might be one valuable means for fostering this openness toward the living presence of the natural world, including its animals but also its plants, its terrestrial forms, its ecological regions, its formations of earth, sky and water, its sensual presence as expressed, for example, through light, darkness, and color. The Goethe here to whom I refer is, of course, the eminent German poet and playwright Johann Wolfgang von Goethe (1749-1832), who also produced a considerable body of scientific work that focused on such aspects of the natural world as light, color, plants, clouds, weather, and geology. In its time, Goethe's way of science was highly unusual because it

Cognitive Linguistics, which primarily deals with the conceptual structures of human mind via their language manifestation, opens new prospects in study- ing binary oppositions. Despite numerous researches of this phenomenon, lots of questions raised here do not have
exhaustive answers. What we need is not only inquiry oriented toward ascertainment of the universality (or the degree of universality) of some binary oppositions, but studies of their system in a certain linguaculture within a given time period. The precise study of interrelations
among various symbolic domains in this sphere is another important problem. Furthermore, binary oppositions should not be seen as stable and unchangeable structures presented within human consciousness but they must be regarded as the external manifestation of specific cognitive
mechanisms. This  paper  presents  an  empirical investigation  of  the  binary  opposition
LIGHT-DARK based on the method of an associative experiment. The analysis of the responses clearly reveals binary oppositions which are deep-rooted in the speakers’ consciousness and which closely interact. These oppositions build a rich background for the metaphorical interchange between corresponding domains which create a whole system where the correlating parts are used
for the metaphoric designation of each other. The main focus of this study is the interaction of cognitive mechanisms of contradistinction with conceptual metaphor and further analysis of the result of this process in a language.