Shard is home to a collection of monologs, articles and social commentary by EON, child of Time, whose regard of humanity is scathing. It also hosts RANT HQ.

Injure The Light


Light depends on darkness. Color relies on tint, shade, hue. The interplay of these rival factors contours the visual field, creating the imagery that defines our world, material and mental alike.

The better the combinations of dark and light, shade and brightness, the more enticing the picture. The more memorable the image.

We all know what light and color are, so the question is, what are tints, shades and hues?

Hues are pure colors, the combination of which provides a range of other colors.

Shades are various versions of color, in particular the dim ones. They’re created from a combination of colors with black.

Tints are the opposite of shades, lighter frequencies that arise from the combination of colors with white.

And the dark? The dark (or black) is the absence of light — or, to be more exact, the absorption of all color, none of which is reflected back. This, of course, is a pasteurized euphemism for the demise of the visual spectrum, which is a pasteurized euphemism for the destruction of light. That’s what darkness is. Light no more. The removal of what is visible. The obliteration of what was there.

If it were a country song, it would be titled Goodbye ROY G BIV. If it were a metal song, it would be Total Erasure.

Disconcerting, isn’t it? To kill the light is probably the most drastic concept ever conceived. It’s synonymous to killing energy, frequency, life.

Yet it is imperative to kill the light, or at least injure it. Without the darker shades of color contouring the field, or the tints breaking up the hues, nothing would make sense. Keep everything in play and nothing sticks out. Everything is amalgamated and flattened. But destroy energy in just the right places and presto, form and shape rise out of the field like an oasis in a desert.

Like it or not, to register the world around you, you must rend it with darkness. You must infuse it with a number of frequencies, disrupting the field, selecting which parts of it to keep obscure and which parts to illuminate.

This is not just some artistic, philosophical, metaphorical, or sociopolitical theory. It’s a physical truism. It’s what our biology is attuned to.

Intrigued? Watch this space for more.

From the collection of writings EON: THE ANGRY COMING OF AGE