Turning from tune to form, some of those whose impressions of mobile colour effects I have tested experimentally feel in the first instance a certain uneasiness when form—that is to say, a space of colour of a definite and distinctive shape—is entirely absent. Seeing colour they seem instinctively to demand form also, though in a short time the desire for it lessens and finally disappears. This is but what might be expected. We are accustomed to associate colour with the shapes of objects, and at first it surprises and somewhat puzzles us to see it separated from them and presented to us for its own sake. Then after a time, having our attention confined to colour alone, we begin to appreciate it more and more, and to realize how beautiful and impressive it may be apart from any form whatever.
But this initial difficulty has to be faced and will always recur at first, and we must not only be prepared for it with those who are new spectators, but also with the larger number of persons who only hear or read descriptions of colour-music. How, they ask, can colour be interesting without form? And
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