The circle color defines the rectangle color, and the rectangle color defines the circle color.
My 1999 chromaccord uses a circle as the object on a rectangular field. The side fringes on the rectangle act as a third chromatic reference. A small spot of light is projected in the center of the circle to serve as a focus point.
The symmetry of the chromaccord reflects the symmetry of the retinal field. By visually locking on the focus spot, the viewer's retina is painted by the colors, with the circle on the cone-rich area near the fovea, and the surround colors spreading outward over the rest of the retina, depending on the distance of the viewer.
Three basic variation occur when the color fields are changed. Simultaneous contrast between color fields changes, the appearance of the new color is altered by afterimages of previous colors, and the aesthetic impact of the color combinations changes. These variations should be considered during performance. See further discussion in Part B: A Theory of Kinetic Color.
Diagram of the 1999 Chromaccord Color Performance Instrument
The 1999 chromaccord uses 212 five-watt bulbs (with a color filter on every one) arrayed behind a diffusing screen. The color of each area is controlled by six dimmers, three primaries and three secondaries, that can be faded on or off to illuminate the screen with any of the colors and any of their additive combinations. With practice, manipulating the console of 18 dimmers can produce color combinations and color sequences that are beautiful or raw, enticing or jarring, warm or cold, blatant or subtle, smooth or abrupt, rhythmic or random, etc.
A3) Chromaccord Videos (coming)