The logistics of ideas: the role of Light
In every efficient system, whether it is a transportation network or a collection of ideas, logistics plays a crucial role in connecting distant points, facilitating the movement and delivery of vital resources. Similarly, light serves as the primary vehicle in visual communication, carrying meanings and emotions across time and space. In this context, light is not merely a technical tool but a universal force that, like a silent messenger, has shaped our understanding of reality and our perception of the world.
Light, a symbol of knowledge and truth, has been interpreted in multiple ways throughout history. Now, imagine a café beyond time and space, where six characters, Michelangelo Merisi Da Caravaggio, Stanley Kubrick, Alfred Hitchcock, Salvador Dalí, Christopher Nolan, and David Ogilvy meet to discuss the magic of light and colour. This imaginary dialogue brings together iconic figures who have revolutionized the way we see and understand light and colour.
Caravaggio with his chiaroscuro, Kubrick with psychological light, Hitchcock with his play of shadows, Dalí with visual surrealism, Nolan with the visual complexities of dreams, and Ogilvy with strategic advertising all offer a deep reflection on how these elements influence emotions and decisions.
A fascinating comparison that highlights the enduring power of visual vision through the centuries.
The legacy of Light
Caravaggio: “In my time, light was more than just a technical tool; it was the very essence of my art and my rebellious spirit. I used light as an artist uses colours on a canvas to create depth, drama, and a visceral impact in my paintings. The chiaroscuro technique, which I perfected, was not only a method to accentuate the contrasts between light and shadow but a true expression of my worldview and its contradictions. My artistic practice radically departed from the conventions of my time, favouring natural and raw light, often from an only source, highlighting the brutality and raw reality of my subjects. Light, for me, was a means to evoke intense emotions and tell hidden stories, challenging idealized perceptions and conveying a naked and powerful truth. The figures in my paintings, often illuminated by theatrical glow, seem to almost emerge from the darkness, creating a dramatic effect that highlights their vulnerability and intensity. This conception of light was a way to express the conflict and intensity of my experiences through art, transforming light and shadow into instruments of reflection and social commentary. My work did not seek to beautify reality but to show it in its most authentic and unsettling form. Today, I have heard that light continues to play a fundamental role in creating atmospheres and manipulating perception, but in ways that can be even more sophisticated and technologically advanced than in my time. How is it used in modern cinema to evoke feelings and build complex worlds? Do today’s films use light to influence the viewer’s mood and emotion? I wonder how light is used today to tell stories and create immersive experiences that, although different from mine, share a deep and meaningful pursuit of emotional and visual impact.”
Kubrick: “Caravaggio, your use of chiaroscuro has inspired many generations. In my film ‘The Shining,’ light is more than just a means of illuminating a scene; it is a force that amplifies the protagonist’s psychological chaos. The choice of light and colour reflects Jack Torrance’s mental state and creates an atmosphere of growing terror. The black and white in ‘2001: A Space Odyssey’ is used to emphasize precision and abstraction, guiding the viewer on a visual and psychological journey that transcends time and space.”
Hitchcock: “Light and shadow are fundamental tools in my repertoire. In ‘Psycho,’ I employed extreme contrast to build suspense and manipulate the viewer’s emotions. Strategic lighting not only guides attention but fuels anxiety. The use of shadows and light play is essential to creating that sense of unease and surprise that characterizes my films. For example, in ‘Suspicion,’ when Cary Grant (Johnnie Aysgarth) offers his wife Lina (Joan Fontaine) a glass of milk, the atmosphere is tense and ambiguous, with the viewer anxious and uncertain of the truth. To make that moment particularly unsettling and sinister, I chose to illuminate the glass of milk by inserting a small lightbulb into it. This technical trick makes the milk appear luminous and starkly white compared to the rest of the scene’s darkness, capturing attention and turning an innocent object into a potential threat. Thus, the audience is put on alert, suspecting the milk might be poisoned, even though this is never confirmed.”
Dalí: “Interesting, Hitchcock. In surrealism, light and colour not only define the atmosphere but create alternative realities. Dreams and surreal visions are represented through visual manipulations that challenge logic and expectations. Light in this context is not just aesthetic but reflects the irrationality and depth of the unconscious.”
Nolan: “I’ll briefly add that in my work, light and colours play a fundamental role in exploring dreams and their visual complexity. In ‘Inception,’ for example, I use light and color variations not only to define environments but also to reflect and amplify the emotional and psychological states of the characters. Each level of the dream has its own colour palette and distinctive lighting that helps differentiate the various realities and their symbolic meanings. Light becomes a vehicle through which we explore the fluidity and mutability of perception. In some scenes, such as those that take place in dreams within dreams, light is manipulated to create surreal effects that challenge the laws of physics and logic, intensifying the sense of disorientation and the illusion of a dreamlike experience. In ‘Interstellar,’ light management takes on another dimension: here, the lighting of space environments and planets is used to represent the distances and dimensions of the universe in ways that are scientifically accurate and visually extraordinary. The light from the black hole Gargantua, for example, is a visual exploration of relativity and time that required close collaboration with physicists to achieve a convincing and scientifically plausible effect. Visual storytelling in my films does not follow a straight line; it plays with the audience’s perception, bending and shaping reality through innovative use of light and colours. This approach allows for the immersion of viewers into complex and layered worlds, where every visual element contributes to a cinematic experience that challenges conventions and stimulates reflection.”
Caravaggio: “So, light not only illuminates but becomes a means of exploring and communicating complex psychological states. How does all this translate into the world of advertising?”
Ogilvy: “In advertising, light and colours are used strategically to influence emotions and consumer decisions. Every visual element is designed with great attention to evoke specific psychological responses and create positive associations with the brand and product. This approach is not just aesthetic but deeply rooted in the psychology of human behaviour. For example, in the advertising campaign for Rolls-Royce, light is used to emphasize the elegance and prestige of the vehicle. Images are often lit with soft, golden light that gives an aura of luxury. The composition is studied to highlight the craftsmanship and details of the product, creating a visual narrative that suggests exclusivity and refinement. The light reflects the brilliance of the paint and the elegant lines of the car, conveying a sense of opulence and prestige that aligns perfectly with the brand image. In contrast, Coca-Cola’s red is an example of how colour choice can stimulate emotional and physical reactions. Red is known for being an energetic and stimulating colour, capable of increasing appetite and energy. This colour choice has been strategically employed to attract attention and stimulate an immediate emotional response. Coca-Cola’s bright and vivid red creates a sense of urgency and liveliness, encouraging consumers to perceive the drink as refreshing and inviting. Additionally, light and colours are also used to build a consistent visual identitythat stands out in a crowded market. Colour choices and lighting not only capture attention but also contribute to building a visual narrative that reinforces the brand’s values and message. For example, eco-friendly product campaigns often use shades of green and natural light to evoke feelings of freshness and sustainability, while high-end tech products may rely on metallic tones and bright lights to communicate modernity and innovation.”
Hitchcock: “It’s fascinating to see how light and colours are used in advertising to manipulate emotions and decisions, just like in cinema. This visual manipulation becomes a powerful tool to attract and persuade the audience.”
Dalí: “Exactly. Even in advertising, techniques like surrealism are employed to create emotional and cognitive impact. Modern advertising campaigns use visual manipulation to surprise and capture the imagination, pushing the audience to consider and desire products in new and unexpected ways.”
Kubrick: “It’s remarkable how these visual techniques have spanned generations and media.
Light, color, and composition not only define aesthetics but shape our experience and understanding of the world. From Caravaggio’s chiaroscuro to Dalí’s surreal worlds, to modern advertising, these tools continue to profoundly influence how we perceive.”
Caravaggio: “A stimulating dialogue. It’s clear that, although the means and contexts change, the essence of visual power remains a constant throughout the history of art and communication.”
The conversation has come to an end. The empty coffee cups reflect the flickering lights of a candle that, now burnt down, casts long shadows on the thoughtful faces of the participants.
Caravaggio, with a final sip from his glass, squints at the shadows stretching across the walls, as if capturing a fleeting inspiration. Kubrick folds his hands, reflecting on how light not only illuminates but shapes the human mind. Hitchcock, with a half-enigmatic smile, rises, hinting at subtle irony, as if he is planning another plot twist. Dalí, distracted by a surreal thought, traces an imaginary mark on the table with his finger, while Nolan gazes out the window at the first raindrops of an October day, contemplating the thin line between dream and reality. Ogilvy, ever strategic, takes mental notes, already thinking about how to transform these reflections into powerful visual campaigns. As they leave the café, each head towards their own era, carrying with them new ideas and inspirations, while the light that illuminated and warmed their discussion remains suspended between past, present, and future, ready to continue inspiring anyone who chooses to explore its power.
