Recent scholarship in performance and design studies increasingly acknowledges the agency of light as an artistic medium. However, it often falls short of demonstrating the immediate and tangible impact of this agential force. In response, this doctoral research investigates the physiological effects of coloured light within performative contexts and beyond.
The central premise of this study posits that humans function as a single, light-sensitive organism. The radiant energy of light exerts a direct influence on our biological systems—but in what ways? Can we observe measurable physiological changes as the light environment shifts? Do these physiological responses align with individuals’ phenomenological perceptions of coloured light?
These questions are explored through Luminal Lab, a series of artistic installations that immerse visitors in carefully constructed light atmospheres. To examine physiological effects, participants enter an enclosed space designed to provide a fully immersive experience of coloured light. The study employs both quantitative and qualitative methodologies to investigate the interplay between bodily response and subjective perception. Biometric instruments are used to record galvanic skin response and heart rate variability, enabling the identification of whether specific colours elicit stimulating or calming effects. Complementarily, a questionnaire captures participants’ lived perceptions, while micro-phenomenological interviews expand the linguistic repertoire used to articulate the embodied experience of light immersion.
The findings indicate a correlation between coloured light and physiological response. Moreover, a notable discrepancy emerges between individuals’ cognitive interpretations and their pre-cognitive physiological reactions—that is, between what people believe they experience (e.g., perceiving blue as calming) and what their bodies actually register (e.g., blue inducing stimulation).
This research offers lighting designers a valuable tool for the intentional application of light in the performing arts, design, and broader contexts. Furthermore, the results provoke new lines of inquiry, such as: ‘What role does socialisation play in shaping human perception of coloured light?’ and ‘Do different performance cultures experience coloured light in distinct ways?’—questions that call for further interdisciplinary exploration.