Kinetic Art: The Mobilcolor Projectors of Charles R. Dockum (1904–1977)

Leonardo. Vol. 12, pp 14+150. Pergamon Press Ltd. 1979. Printed in Great Britain. KINETIC ART: THE MOBILCOLOR PROJECTORS OF CHARLES R. DOCKUM (I 9044977) Steven A. Smith,* Greta J. Dockurn*and Gretchen Evans Dockurn* I. INTRODUCTION Charles R. Dockum, artist-inventor, designed and built the Dockum Mobilcolor Instruments to meet the needs of his concept of light-image projection. His efforts, which ranged over a period of 42 years,culminated in the Model V of the Mobilcolor Instrument. Before his death, he had begun the development of a computer-controlled light organ, which is currently being completed. Dockum described Mobilcolor projection as follows [I]: ‘Mobilcolor projection is the art of creating patterns of light upon a screen or wall which function in Time, Space, and Color. The Time function may exist as continuity, rhythm, interval, duration, and sequence. Space functions not only in a two-dimensional area, but also plastically, according to an inherent quality of light which gives a sense of approach or recedence into the depths of space. Color also functions structurally in space, as well as in harmonic relationships, and in the creation of moods.’ In commcnting on one of Dockum’s light shows, G. DeGroat mrote [2]: Dockum’s idea involves the development of visual symphonies. sonatas, concertos, fugues, and the like with color rather than with sound, as is the case with musical compositions. And, as in musical compositions, Dockum’s color compositions are built around Logical thematic structures-including such elements as rhythm, harmony, movement, and climaxes. But all of this is done with color and light. There is no sound or accompanyingmusic-nor are they necessary in light of the aesthetic quality of his visual compositions. Historically, the tirst recorded color organ was built and demonstrated in France in the 18th Century by the Jesuit priest and mathematician, Louis Bertrand Castel. However, it was not until the present century that technological advances provided the needed elements for the production and control of complex ‘visual symphonies ’. Dockum stated: ‘It is fairly easy to get extravagant color effectsthrough various media-such as polarized light, crystals, filters, oil drops on water, or prisms. But to use such effects and make them into a satisfactory art medium is my project-for controlled aesthetic expression it is necessary to have complete and positive control over the elements’[2]. For an exhaustive treatment of light as an art medium, Refs. 3-6 should be consulted. *Dockurn Research Laboratory, 844 E. Mariposa St., Altadena, CA 91001, U.S.A. (Received24 May 1978.) An artist working in this medium must compose visual themes much as a musician composes musical themes. The themes must then be recorded in such a way as to allow the repeated playing of the visual forms’ interaction . ‘Permanent recordings of such compositions can be made and played later by anyone else with their own feeling for, and interpretation of the work-as is ordinarily done with the work of composers of music’[2]. ‘The Dockum Mobilcolor System provides a means of recording these visual compositions so that a permanent record remains of any composer’s work, which can then be reproduced exactly as created’ [7]. Charles Dockum, born in 1904 in Corsicana, Texas, obtained a degreein Electrical Engineeringfrom Texas A & M College in 1926. Soon after graduation, he became deeply interested in art, particularly in the painting and architecture of his time. Being a member of a musically inclined family, his interest in musical forms was cultivated from early childhood. Thus he was well prepared to begin work on the development of an instrument for producing visual symphonies, an occupation that engaged his attention for the major part of his life. 11. DEVELOPMENT OF THE MOBILCOLOR PROJECTORS [8] Dockum’s first experiments in the development of speciallight imageprojectors, which he called Mobilcolor Projectors (so-named after researching the work of A. W. Rimington, who constructed and patented a color organ in London in 1893[9]),began in the early 1930s.’. . . there were two very simple, almost primitive experiments consisting of two cardboard boxes; one contained a 150 watt light bulb and bits ofcolored glass,cellophanesand a camera lens. The other included a screen made of tracing paper...