The Meaning of the color red.....

Colour seems to play a big part in the matrix.

Red though seems to be the colour the captains wear in the real world. It;s also the colour of Neo's room in zion. And it;s also the colour of the candy that is given to neo by the auricle. Now i dont have reloaded to study the meaning more. but i looked up red on the internet. I got an intresting result....

There is not an artist, paint company, or school teacher in the world, that wouldn't vehemently argue that RED is the first of three Primary Colours. However, there is strong evidence to suggest that this is not so ! To pursue the truth, it is necessary to acknowledge the phenomenon of colour as opposed to theory about colour.

Aura-Soma shares the view of Johann Wolfgang von Goethe, artist, director, philosopher, scientist and author of several circa 1770 -1810 German masterworks including, Faust and his classic colour treatise " Theory of Colours ". Through countless duplicable experiments, Goethe substantiated the existence of only two primary colours - Blue and Yellow.

Goethe was aware of the fact that the mixture of Blue and Yellow to make RED does not function with colour pigments, crayons or paints. The combination only works with pure white light ! When light is passed through a clear glass containing a pure bright green oil, at the exact place where the light penetrates the oil, one will see a RED of the same intensity !

This colour premise, has to do with duality, which plays the most important role in Life in general, in the spiritual domain (yin/yang, for example), and in Aura-Soma. The Equilibrium Bottles are based on duality; two colours poured one over the other; above is a layer of oil and below is a layer of water. The "above layer" represents the Personality Ray, and the below layer represents the Soul Ray of the person who chooses a particular bottle as his/her favourite. Top


A METAPHORIC VIEW :

RED, the first colour to emerge on the Visible Light spectrum, is the longest of the visible colour rays. To "feel" what some of the possible attributes of RED might be, one could use the analogy of ocean waves. The short and subtle waves that flick at your toes on the beach, are VIOLET, the shortest visible light waves, while the long, powerful waves that set the great tidal cycles (the heartbeat) of the oceans and seas, could be likened to the colour RED.

RED then, is about power, energy and the Life-force itself. As the first colour to emerge, it speaks to creation and it's structure - the physical - or material side of life. RED is the colour of Christmas, gifts of money are placed in RED envelopes by many Eastern cultures, and we speak of "painting the town RED", all of which indicate materialism, spending and/or abundance.

As the colour of materialism and the base chakra (feet to pubic bone), it represents the connection to our Mother Earth - and the "grounding" of one's own energies. As such, the tie-in to the Aboriginal cultures acknowledging "the good RED Earth", actually pertains to the life "blood" of the planet, and speaks to our most fundamental issue on the physical (Earth) level - "survival".

RED primarily symbolizes all aspects of the base emotions and survival issues. The RED Coats, wave the RED flag or cape, "seeing" RED, the RED Robes of Cardinals and traffic stop lights for example; are all synonymous with either danger, warnings, control, anger, aggression, war (warrior energy), courage, valour or loyalty.

As the colour of the "root" or first chakra, RED speaks of fertility and sexual/procreative issues. Symbolically, we use RED roses and Valentines to indicate our passion or love, the RED Cross to demonstrate brotherly love and unity, and in the case of physical love and where to get it, we refer to a RED light district. Top

POSSIBLE RED ISSUES :

An imbalance or block in the 1st chakra can result in selfishness vs. selflessness, and an inordinate amount of emphasis being placed on the acquisition of material goods and money. These and other "hidden" survival issues could even be the result of a difficult birth during which the "fabric" of one's Etheric energies was torn or damaged in some way. This is called Etheric Gaping - visible in Kirilian photography - and it prevents the ability for one's Life-force to flow correctly. A gap in RED could make it very difficult to keep these powerhouse energies grounded - and grounded they must be!

One might have a subconscious tendency toward giving all their personal and psychic power away. This action, often mistaken for "Sacrificial Love", can express as "Poverty Consciousness" and extreme sexual behavior (looking for love in all the wrong places/chakra). To move beyond physical love and experience "true love" which is unconditional, more light must be added to the RED. This creates a new potential, and that is the colour Pink.

The flip-side of the extreme is using the charisma and magnetic qualities of RED to beguile, control and manipulate others and circumstances to your advantage, in other words "something for nothing". Remember: symbolically speaking, this is the colour of the Devil, who is usually depicted in scenarios of this nature. Top

SPIRITUAL BODY MEANING :

RED as the first visible colour, could be seen as the Creator's "invitation", urge and promise for spiritual awakening in a physical form. As the hottest ray, RED can be likened to the ability of a blazing flame or fire, to either purify or transubstantiate (change something from one form to another).

This is the metaphor contained within the semantic ritual known as the Eucharist, which transubstantiates bread and wine into the body and blood of The Christ. Before one can move on to actualize all the creative potential contained within the full spectrum of White light, it is first necessary to be cleansed in the purifying flame (Red) of the Holy Spirit. RED is the Ray of the great Master - The Christ, who has been graphically depicted for millennia as either having a RED heart or burning flame exposed over the Heart Chakra. It is interesting to note, that even in many of the Eastern cultures, there is reference to fire where the 1st chakra is concerned - hence the names "Dragon" Chakra and "Fire" Chakra.

To rise above the physical desires of the body and the earth body (materialism), means to pull the Life-force through RED and on into the higher frequencies/chakras). This the phoenix rising out of the ashes - the transubstantiation - the metaphoric "trial by fire". The promise is re-birth at all levels of being, which is essentially a Life everlasting. Therefore, mundane (earthly) and material concerns which are all RED issues, are no longer of any concern. Top

MENTAL BODY MEANING :

RED as the first visible ray to emerge, makes the statement "I AM". This demonstrates the genesis of the RED issue referred to as "having a will to power" - or willpower. This is about either the need to compete, dominate or otherwise hold yourself in authority ...or when balanced, having the personal strength and power (courage) to take the lead if required.

This colour has the affect of holding people and situations at a distance, therefore it is extremely protective in an isolated way. If you are seeking separation or detachment, or are making an effort to ground yourself so that you may focus more objectively on a situation, this colour is your greatest ally. If a change of any sort is needed and you wish to kick-start the process, energize with RED. Interestingly enough, RED is the most widely used colour for the interior furnishings of low-end restaurants, casino buffets and fast-food chains, because it has been statistically proven that people will eat and leave faster when surrounded by RED.

This is the colour of spontaneity (the spark), awareness and concentration of mental energy, so if one is already out of sync with oneself for any reason, RED will create chaos, stress and negative detachment. Top

EMOTIONAL BODY MEANING:

The terms Hot-Blooded, indicative of extreme passions and sexual behaviors, and Hot-Headed, indicating quick to anger or become violent (seeing "Red"); both find their roots in the colour RED. This colour's energies must be allowed to flow in the right way, otherwise challenges are created. When in balance, RED personifies and enhances love of self, brother and home, for the extremes have been "cooled down". Through the self-disciplined application of temperance, moderation, patience and an honest desire and willingness to serve and make personal sacrifices of one's time and talents, one can realize sacrificial love and emotional harmony in the 1st chakra.

Lack of balance in this already excited energy, will cause things to appear as not happening "fast enough". This can result in a "flare-up" of competitiveness, resentment, frustration or foolhardy heroics (daring vs. courage). Further, the unbalanced RED is usually quick to verbally communicate, often putting their emotions in gear, before their brain is engaged. This extends to embarrassment oftentimes to the point of being RED Faced (blushing).

It is best to avoid this colour if one is already having a negatively emotional day, for this is not the colour of peace, negotiation or apologies. Top

A note on primary colours: they're called that because you can't make them with any combination of other colours (white abd black are not considered to be colours). So red is a primary colour.

Originally posted by Drain
Colour seems to play a big part in the matrix.

The flip-side of the extreme is using the charisma and magnetic qualities of RED to beguile, control and manipulate others and circumstances to your advantage, in other words "something for nothing". Remember: symbolically speaking, this is the colour of the Devil, who is usually depicted in scenarios of this nature. Top

Actually it is interesting that lack of color dominates the Matrix.

The color of the Matrix itself (i.e. the streaming numbers) is green - red's opposite.

The reference to the Devil is interesting. In M1, Cypher is the only one on the Neb to wear a sweater that has a color. That color is, suprise, red.

Recall the movie Angel Heart where Robert DeNiro plays Louis Cypher, aka Lucifer.

Cypher isn't just a guy who can read the Matrix code on sight, he is representative of the temptations that are often attributed to the Christian idea of Satan.

Another example of temptation is, of course, the woman in red.

Red fundamentally represents the blood of life and the fire of change, all of which is included in the movies.

G.A.O.T.U.

Originally posted by Drain
Colour seems to play a big part in the matrix.

Red though seems to be the colour the captains wear in the real world. It;s also the colour of Neo's room in zion. And it;s also the colour of the candy that is given to neo by the auricle. Now i dont have reloaded to study the meaning more. but i looked up red on the internet. I got an intresting result....

all aspects of the base emotions and survival issues. The RED Coats, wave the RED flag or cape, "seeing" RED, the RED Robes of Cardinals and traffic stop lights for example; are all synonymous with either danger, warnings, control, anger, aggression, war (warrior energy), courage, valour or loyalty.


Actually, i think Wb said that some scenes in Zion were tinted in red.

here's from the paint Foreman, about Zion.



JOE: Yes, Little Nicky had a lot of foam. That was more charcoal and black, it was supposed to be like the devil’s home, like the center of the Earth, this is more like a natural cave. To get the right look, Mark [Mansbridge, US Art Director], Nanci [Noblett, US Assistant Art Director], Butch West and myself all took a trip one day and took a look at some caves. We took a bunch of photographs and got some samples from the caves of the different crystals, which were pretty unique, I learned a lot. The Directors wanted a natural looking cave, something that was really earthy, as though we’d come in from the center of the Earth. They wanted a wet feeling to it, so we gave the foam a real gloss and a lot of kick with mica. Basically, there are four colors in the Temple, it’s all in earth tone, which is raw sienna, burnt sienna, raw umber and burnt umber. Then there’s a little bit of gold that we shot into it to give it some depth

sienna, umber, that's red.

Isn't that quote about the set of Little Nicky? Or did I just read that wrong? If it is- then it's got nothing to do with Zion?
And which scenes in Zion were tinted red?

ZION TEMPLE SET


MATRIX: For the Temple set, how did the colors develop?

JOE: We talked about this back in October [2000] and we started looking at photographs and doing samples to get a feel for color for Owen [Paterson, Production Designer]. I started doing samples for him to figure on color and texture, to give him something to think about as it progressed along.

MATRIX: How much R & D and testing was there; have you ever worked this extensively with foam?

JOE: Yes, Little Nicky had a lot of foam. That was more charcoal and black, it was supposed to be like the devil’s home, like the center of the Earth, this is more like a natural cave. To get the right look, Mark [Mansbridge, US Art Director], Nanci [Noblett, US Assistant Art Director], Butch West and myself all took a trip one day and took a look at some caves. We took a bunch of photographs and got some samples from the caves of the different crystals, which were pretty unique, I learned a lot. The Directors wanted a natural looking cave, something that was really earthy, as though we’d come in from the center of the Earth. They wanted a wet feeling to it, so we gave the foam a real gloss and a lot of kick with mica. Basically, there are four colors in the Temple, it’s all in earth tone, which is raw sienna, burnt sienna, raw umber and burnt umber. Then there’s a little bit of gold that we shot into it to give it some depth.

MATRIX: Are there some areas you have put more work into; ‘hero’ areas?

JOE: Yes, there was a shot where they followed Morpheus up around the path and the camera came right across, so Owen wanted a little more extensive work there to give it more of a wet feeling, like it was really drooping and had a lot of crystal to it. When you see a natural cave, it has this quality in it, is very wet. You’ll see areas of the cave that are, basically, still moving, they’re alive. We took a lot of the mica and shot very, very light white into the crevices, and put the mica into it to give it a very crystal look, which gives it more depth. When you have your colors come out on the surface and it gets lighter inside, it gives it more depth, like you’re looking at something that’s still alive.

Another of the main sections is the bridge where they come across and Morpheus stands up on the podium. Owen wanted a very warm feeling of gold and yellows and a lot of crystal, and then the back walls were a lot deeper. He wanted a little bit more red to it, so when you stand back and shoot into it, you have that sense of more depth into the walls. With the face being lighter and the wall being deeper, you get the image of it being deeper than it looks.

MATRIX: Describe the process to get the crystals and the wet look.

JOE: First we lay it in with a really good primer to give it a hard shell. When the surface gets really hard like that we can do washes on top and control the wash with the color. The clears we put on were basically the best water-born clears we could buy, and we sprayed those on to give a good kick. Next we took some gold pearl and essence and shot that into crevices, then we took mica and basically just put it all over. Wherever we wanted to give it some white area we shot some white into it, then took the mica and dropped it into it.

MATRIX: Was there any trick with knowing the candles were going to be put into place?

JOE: No. The plasterer came up with a great idea, he made a mold of wax dripping, a flex mold, and we just wrapped it around each candle like a skirt, like a hula skirt almost, to give the sense that the candles were dripping. The steel of the candle holder itself is rebar, we took graphite and heavy shellac, then textured the whole thing and burnished it all back with aluminum foil to give it that real graphite platinum look, so it didn’t look like rebar. There are about 500 candles in the Temple set… there’s a lot of everything on this show.
Earlier you said the cave entrance is one of your favorite parts of the Temple set.

Yes, Tom Meikle the Lead Sculptor did such a nice job that we had a lot to work with on it. There’s a lot of veining that we did, and crystal, it also has a very wet feeling to it. We were really happy with it. All of the girders and bits and pieces here are plastic and wood. We textured it all with really heavy texture, painted it black, glazed it with a white to give it a real grayish look, and then started rusting it all down with dry colors. It was a pretty simple process. This is plastic that we did to look like 3/4 inch steel.

MATRIX: Is it still a surprise to you how effective paint effects are when making a piece of plastic look like heavy metal?

JOE: Sometimes, but a lot of it has really become an old hat now because we do it so much. You ask other people you’re working with if they know how we can accomplish something; it’s basically pushing this stuff to another limit to see if it’s going to work. You never really do the some thing twice, so it’s hard to see if it’s going to work if you’ve never done it before, but there’ll be somebody else who has actually done it, and they’ll put their two bits in, and you put something together and make it work. That’s one thing we do, we try to help each other out.

MATRIX: When you first saw the plans for this set, did it seem like a bigger challenge than any you had faced in the past?

JOE: No, I thought the freeway was bigger, although I thought this was quite large for the amount of time we had - we only had about three weeks to paint this whole place.

MATRIX: How much manpower did this project take?

JOE: I think it took about eight painters three weeks, we did this in about 15 man days, which isn’t a lot, it’s very little. We used a lot of Airless sprayers, then did all the washes with Hudson sprayers. We basically started at one end and worked ourselves all the way back to the entrance at the other end.

MATRIX: Do you have an estimation of how much paint you went through in this cave?

JOE: I know it took 600 gallons of lay in. We made the primer the lay in, so when the primer went on, it became the actual lay in of the cave itself. Normally, if you’re plastering something or you’re using foam, you’ve got two different mediums, and those mediums need to be primed because they won’t accept the age the same. If you use a really good primer, like an enamel undercoat, it dries hard enough to where you can glaze it or put your age over the top of it and it won’t attack it. You have to get a hard enough surface so it doesn’t attack. So we sealed it, and used that for the primer and the lay in at the same time, so that saved quite a bit. As far as colors, we used a lot of dry color in our paint; the dry color is mixed into the color itself, which gives it that rich feeling. I’d say that was close to another 500 gallons, so we’re looking at over 1,000 gallons of paint here, easy.

MATRIX: Did how many square feet of surface you had to paint come up?

JOE: Yes, there are approximately 64,000 square feet on this set, so I based the paint on that. I asked Tom [Meikle] the foam guy and carver, because he knew how much foam to buy, and he said it was roughly 64,000 square feet, including the floor, so it’s quite a bit of square footage.

MATRIX: There are some incredible instruments on this set; did you have anything to do with the detailing of them?

JOE: Yes. What Owen felt he wanted was for them to become very industrial, like they’d been here for hundreds of years. The instruments had to have the sense that they were constructed of heavy metals and steel and a lot of stainless steel, then he wanted everything to be in a blue cast. Basically he wanted a warm feeling with a blue cast, which at first I couldn’t understand because warm and blue are different. If you’ve got something that’s blue, it’s cold, if you’ve got something that’s warm, it’s red, and they don’t mix together so well. So we glazed everything in rich brown colors, then came back with the blues over the top to give the instruments a cool feeling over a warm surface. They’re supposed to look very industrial, so when they were built we left a lot of the stuff the way it was, and then we put some ages to it.

MATRIX: What kind of condition were they in when you first worked with them?

JOE: They were a lot of junk, there was nothing to them. When they built them they used a lot of cheesecloth and wraps. A lot of it is wood, the metal stuff we left alone basically and tied a lot of it in.




i might have misintepreted the movie, in which case i'm sure someone will correct me, but the Rave Scene/Morpheus monologue in the temple doesn't appear to me to be tinted in blue- else the candles would appear 'purple' on screen, the whole looks more orange then anything. i might be wrong tho, i will need to see the movie again, i guess.

holy freakin cow that a lot of writing

actually, all that i put in italic is pasted, in that case from an interview of the crew.
:)

dang i was gonna say...you ethier type really fast or you have alot of time on your hands

Guess that answers my question, huh? Thanks Jebulum.

'm not sure.

Although the rave/love scenes appears to be in red, there is still a bit of blue on the top left of the screen, away from the crowd but it's definitively mostly orange/red. After neo's vision and the love scene , the music stops.
Next scene the light goes off and neo says: "Good night Zion" suddently the orange tint goes back to blue.one clue would be that the scene appears in red because the temple is the last bastion for humans, consider that both green/blue reality are controlled by the machines.

conclusion: you have to see it yourself and make your own mind.:D

A note on primary colours: they're called that because you can't make them with any combination of other colours (white abd black are not considered to be colours). So red is a primary colour.

in my quantum physics study, ! am trying to make an electric torch that emits black. It is really hard U know. (kiddin')