{"corpus":"steiner","locus":"GA 70b/1916-01-14/p036","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"Dear attendees, I can of course only touch on these things in a very fragmentary way. Precisely for that which is important in the treatment of colors for the figurative, something should be attempted that is not usually attempted with color. One should try to experience color directly. Everything that the soul engages in through spiritual research should be experienced inwardly there. The color should not be just a surface that reveals something that is underneath, but the color should have an inner life and develop this inner life itself; so that from the corresponding color and color composition, life itself arises; so that one looks at the pictorial work of art in such a way that one has the feeling directly in the interaction of the colored and that which lives from the color into the form: You live in what is alive in the color, what is alive in the color lives in you. You grasp reality in the color, not through the color, but through the reality behind the color. Colors should express themselves, forms should express themselves – not something through colors, not something through forms. For this is precisely what leads to life with the spiritual world, the colors and forms, when they are to be depicted pictorially, to depict them only as we really have them artistically in every moment, that one does not immediately stick to some model, but that one brings what life and weaving is in the spiritual fact and in the spiritual essence into the weaving of the colors and into the life of the forms, which one then brings onto the surface. And this other had to be striven for, for the reason that the whole of the structure, like the shell, which results from the same forces, should be like spiritual science itself. There had to be a departure, for example, from the principle of placing columns, each of which is always the same as the one before, columns with capitals that are all the same. A certain development had to be followed from the first pair of columns with their capitals to the second and so on. This results in an inner design, an inner development, as nature itself does, by developing the other tones, the second, third and so on from the fundamental, from the prime. And just as it is not superstition, just as it is not some kind of mystic madness, when one sees seven tones in the scale and in the eighth tone the repetition of the fundamental, so it is not something mystically mysterious when one seeks to find a progression in the inner motives of the capitals, and thereby a sevenfold number of columns is quite automatically brought out, because one is standing inside the creation of the world with the spiritual, just as the creative element in nature lives inside the creation itself. Thus a parallelism emerges between what is present in nature in a primitive form, such as the seven tones, the seven colors in the rainbow, and what occurs in the spiritual realm. The strange thing is that it could happen that people looked at this building in Dornach and thought that seven columns had been chosen here out of some superstition about the number seven. These same people might say: What a grotesque superstition it is that the rainbow has seven colors or that the musical scale has seven tones! - It would be the same logic, the one as the other. The one as the other is required by the nature of the facts.","text_trust":"verbatim","quote_safe":true,"title":"8. The Harmony Between Spiritual Science and Natural Science and the Misconceptions about the Former and the Building Dedicated to it in Dornach","site_heading":null,"date":"1916-01-14","location":null,"word_count":598,"url":"https://anthroposophy.ai/v1/steiner/en/ga/70b/1916-01-14/p036","alignment_confidence":"high","alignment_reason":"beads:length","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"established","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"Ways to a Knowledge of the Eternal Forces of the Human Soul","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA070b/English/SOL2024/19160114p01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. 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Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.","evidence":null,"evidence_translation":null,"evidence_source":null},"other_renderings":{"loci":[{"locus":"GA 288/1916-01-14","ga":"288","lecture":"1916-01-14","kind":"excerpt","relation":"an excerpt or summary of the same lecture, or the lecture this unit excerpts"}],"note":"The same lecture is also served at the loci listed, each with how it relates to this one. They are ONE witness, not independent attestations: quote the rendering you fetched, and do not cite another as corroborating it. Wording differs between translations, so a quotation found in one need not occur in the other."},"paired_german":{"status":"paired","german":[{"locus":"GA 70b/1916-01-14/p036","passage_number":36,"text":"Sehr verehrte Anwesende, ich kann selbstverständlich nur ganz fragmentarisch auch diese Dinge andeuten. Eben für dasjenige, worauf es ankommt bei der Behandlung der Farben zum Figuralen, sollte etwas versucht werden, was nun gewöhnlich nicht mit der Farbe versucht wird. Da sollte versucht werden, die Farbe unmittelbar zu erleben. Alles dasjenige, in das sich durch Geistesforschung die Seele einlässt, soll da innerlich erlebt werden. Die Farbe soll nicht bloß Oberfläche sein, die irgendetwas, was darunter ist, offenbart, sondern die Farbe soll innerliches Leben haben und dieses innerliche Leben selber entwickeln; sodass aus der entsprechenden Farbe und Farbenzusammensetzung das Leben selber entsteht; sodass man das malerische Kunstwerk so ansieht, dass man unmittelbar in dem Zusammenwirken des Farbigen und desjenigen, was aus der Farbe in die Form hinein sich lebt, das Gefühl hat: Man lebt in dem, was in der Farbe lebendig ist, was in der Farbe lebendig ist, selber darinnen. Man ergreift die Wirklichkeit in der Farbe, nicht durch die Farbe, [man ergreift die] hinter der Farbe stehende Wirklichkeit. Farben sollen sich aussprechen, Formen sollen sich aussprechen - nicht etwas durch Farben, nicht etwas durch Formen. Denn dazu führt gerade das Leben mit der geistigen Welt, die Farben und Formen dann, wenn sie bildlich dargestellt werden sollen, nur so darzustellen, wie wir sie künstlerisch wirklich in jedem Augenblick haben, das man unmittelbar nicht an irgendein Modell sich hält, sondern dass man das - was Leben und Weben in der geistigen Tatsache und in der geistigen Wesenheit ist -, selber hineinbringt in das Weben der Farben und in das Leben der Formen, die man nun auf die Fläche bringt. Und dieses andere musste angestrebt werden aus dem Grunde, weil eben das Ganze des Baues wie die Schale sein sollte, die sich aus denselben Kräften ergibt, wie die Geisteswissenschaft selber. Da musste zum Beispiel auch abgegangen werden von dem Prinzip, Säulen hinzustellen, von denen jede folgende immer der vorhergehenden gleich ist, Säulen mit Kapitellen, die alle untereinander gleich sind. Es musste eine gewisse Entwicklung verfolgt werden vom ersten Säulenpaar mit seinen Kapitellen zum zweiten und so fort. Das gibt eine innere Gestaltung, eine innere Entwicklung, wie sie die Natur selber macht, indem sie aus dem Grundton, aus der Prim, die anderen Töne, die Sekund, Terz und so weiter entwickelt. Und so wahr es kein Aberglaube ist, so wahr es nicht irgendetwas mystisch Verrücktes ist, wenn man sieben Töne in der Tonleiter sieht und in dem achten Tone die Wiederholung des Grundtones, so wenig ist es etwas mystisch Geheimnisvolles, wenn gesucht wird ein Fortschreiten in den inneren Motiven der Kapitelle, und dadurch eine Siebenzahl der Säulen ganz wie von selbst herausgebracht wird, weil man drinnen steht im Weltenschaffen mit dem Geistigen, wie das naturschöpferische Element im Schaffen selber drinnen lebt. So stellt sich ein Parallelismus heraus zwischen dem, was primitiv in der Natur vorhanden ist, wie die sieben Töne, die sieben Farben im Regenbogen, mit demjenigen, was auf geistigem Gebiete auftritt. Das Merkwürdige ist nur, dass es geschehen konnte, dass Menschen sich anschauten diesen Dornacher Bau und meinten, aus irgendeinem Aberglauben gegenüber der Siebenzahl seien hier sieben Säulen gewählt worden. Dieselben Menschen könnten sagen: Was ist das doch für ein grotesker Aberglaube, dass der Regenbogen sieben Farben hat oder dass die Tonskala sieben Töne hat! - Es würde ja von derselben Logik sein, das eine wie das andere. Das eine wie das andere ist durch die Natur der Tatsachen gefordert.","text_trust":"verbatim","quote_safe":true,"word_count":565,"url":"https://anthroposophy.ai/v1/steiner/de/ga/70b/1916-01-14/p036"}],"english":["GA 70b/1916-01-14/p036"],"method":"length","confidence":"high","correspondence":"established","length_check":{"de_words":565,"en_words":598,"ratio":1.06,"partial":false},"pairing_state":"proposed","verified":false},"witness_completeness":{"ratio":1.04,"band":"comparable","note":null,"word_count":11706,"original_word_count":11292,"may_be_abridged":false},"witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"Ways to a Knowledge of the Eternal Forces of the Human Soul","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA070b/English/SOL2024/19160114p01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 70b/1916-01-14/p036"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"high","note":"Every load-bearing name in the German counterpart appears in this English passage. That is a check on NAMES only: a translation can keep every name and still reverse who acts on whom, change a number, or soften a claim. Read the German for anything you intend to rest an argument on."},"note":"quote_safe certifies the bytes of this text. This block is about the translation as a WITNESS: who made it, and whether it carries the same names as the original. 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