InnerSpace intends to develop a distinctive color theory that, while drawing inspiration from Goethe’s renowned color theory, goes beyond mere analogy. This approach pays homage to Goethe but establishes its own foundation, blending rational philosophy with a desire to reach beyond conventional aesthetics.
The relationship between InnerSpace’s color theory and Goethe’s lies in both analogy and tribute. However, InnerSpace distinguishes itself by grounding its theory in materialistic philosophy and rational thinking, rather than solely relying on what comforts our sensitive souls.
While the theory’s foundation is rational and philosophical, InnerSpace aspires to achieve something more profound—an ambition to transcend the boundaries of art and traditional aesthetics and approach the realm of magic. This aspiration introduces an element of the irrational, seeking to evoke experiences and phenomena that go beyond what is typically considered in color theory.
Additional insights and reflections on InnerSpace’s color theory can be found in the articles and modular concepts presented in this section. These resources provide deeper explanations and thoughtful commentary on the theory’s principles and blend of rationality of method and irrationality of aspiration.
Within SDL InnerSpace, black is substance itself: mass, inertia, density. It absorbs all light. It reflects nothing. It is the ultimate color of content. Black is not accessed by looking—it is reached through effort, sacrifice, or descent. Black symbolizes the absolute. It represents complete unconsciousness: descent, grief, immersion, and the plunge into darkness.
Within SDL InnerSpace, white is light, movement, energy, emission. It is matter transformed into motion. White is surface, shell, and opacity—the ultimate reflecting and protecting layer. It prevents premature access to depth. It preserves mass from being consumed too early.
Within SDL InnerSpace, black and white form the ultimate visual contrast. Together they offer maximum clarity, legibility, and structural precision. When something must be rendered with the least possible interference—pure shape, line, or form, or thought—it is expressed as black on white or white on black.
