En este artculo se plantea un hilo conductor bsico entre la Teora de los Colores, de Goethe y la Interaccin del color, de Albers. Para Goethe, el color tena un efecto sensible-moral y poda ser puesto al servicio de los ms elevados fines estticos, como ms tarde ejemplific magistralmente Albers en su serie Homenaje al cuadrado, de una forma que se ha definido como medios mnimo, efecto mximo, en su ltima y ms completa exposicin retrospectiva. La vertiente acadmica de Albers llega a su mxima expresin en la obra citada, cuya evolucin de lo analgico a lo digital seguramente supondr una nueva difusin, lastrada hasta ahora por lo limitado de las versiones de bolsillo y lo inalcanzable de las versiones completas impresas 1.Palabras clave: Goethe. schoPenhauer. albers. teora de los colores. InteraccIn del color. analGIco versus dIGItalIn this article a basic common thread is drawn between Goethes Theory of Colours and Albers Interaction of colour. For Goethe, colour had a sensual-moral effect and could be used for the highest aesthetic purposes. This was later brilliantly exemplified by Albers in his series Homage to the Square, in a way that has been defined in his latest and most complete retrospective as minimal means, maximum effects. The academic side of Albers reaches its highest expression in the aforementioned work, whose evolution from analogue to digital format will surely lead to a new wider circulation, hitherto hampered by the limited paperback versions and the unattainable nature of the full printed versions 1.Keywords: Goethe. schopenhauer. albers. theory of colours. InteractIon of colour. analoGue versus dIGItalde la teora de los colores de Goethe a la InteraccIn del color de albersFrom Goethes Theory of Colours to Albers InTeraCTIon of ColourJos Antonio Franco Taboadadoi: 10.4995/ega.2015.37034849expresin grfica arquitectnicade la teora de los colores de Goethe a la InteraccIn del color de albersFrom Goethes Theory of Colours to Albers InTeraCTIon of ColourJos Antonio Franco Taboadadoi: 10.4995/ega.2015.3703Cuando Goethe escribe en el prefacio de su Teora de los Colores Si bien los colores y la luz guardan entre s relaciones exactsimas, tanto aquellos como sta pertenecen en un todo a la naturaleza; pues a travs de ellos la Naturaleza quiere manifestarse par-ticularmente al sentido de la vista (Goethe [1810] 1945, 11). Sus pa-labras parecen adelantar de alguna manera la obra de Josef Albers. Este conoca muy bien la de Goethe y so-bre todo debi tomar buena nota del apartado de su captulo sexto, El efec-to sensible-moral del color, Miedo a la teora, en el que sealaba: Los pintores han evidenciado hasta aho-ra un miedo y hasta una franca aversin a todas las consideraciones tericas acer-ca del color y de todo cuanto se relaciona con l, actitud sta que ciertamente era comprensible, pues lo que hasta ahora se llamaba la teora careca de base, era fluctuante y gravitaba hacia la empiria. Deseamos que nuestros esfuerzos logren desvanecer hasta cierto punto este miedo y estimular a los artistas a verificar y am-pliar en la prctica los principios consig-nados (Goethe [1810] 1945, 231).Est claro que Albers no solo llev a la prctica los principios de Goethe adems de los de su maestro Johannes Itten 3 sino que formul los suyos pro-pios, recogidos esencialmente en su mo-numental obra Interaccin del color.Albers, como Goethe, daba una gran importancia a la experimenta-cin con el color, no solo como fuente de su propia obra creativa sino como medio esencial para el aprendizaje de sus alumnos, como aseguraba tajan-temente: En resumen, creemos en el aprendizaje por medio de la expe-riencia, que de manera natural es ms When Goethe writes in the preface to his Theory of Colours Colours and light, it is true, stand in the most intimate relation to each other, but we should think of both as belonging to nature as a whole, for it is nature as a whole which manifests itself by their means in an especial manner to the sense of sight (Goethe [1810] 1945, 11). His words seem somehow to anticipate the work of Josef Albers, who was well aware of Goethe and must have taken particular note of the section of chapter six, The sensual-moral effect of colour, Dread of theory, in which he stated: A dread of, nay, a decided aversion for all theoretical views respecting colour and everything belonging to it, has been hitherto found to exist among painters; a prejudice for which, after all, they were not to be blamed; for what has been hitherto called theory was groundless, vacillating, and akin to empiricism. We hope that our labours may tend to diminish this prejudice, and stimulate the artist practically to prove and embody the principles that have been explained (Goethe [1810] 1945, 231).It is clear that Albers not only put into practice the principles of Goethe, besides those of his teacher Johannes Itten 3, but also arrived at his own, collected essentially in his monumental work Interaction of colour.Albers, like Goethe, attached great importance to experimenting with colour, not only as a source of his own creative work but as an essential means for the learning of his students, as he emphatically asserted: In short, we believe in learning through experience, which naturally is more durable than anything you learn only by reading or listening (Albers 2014, 291) 4. These were his first steps as a teacher in the Bauhaus of Weimar, Dessau and Berlin and this approach continued through to his final position as a professor at the University of Yale, where he was appointed Doctor honoris causa of Fine Arts, not forgetting his time at the small and complicated, but influential, Black Mountain College, known as the American Bauhaus, where he was rector for a few months. During that long period of time, with difficult vicissitudes such as the rise of the Nazis to power in Germany, he masterfully combined his work as a creator with that of teaching many generations, with students or colleagues including Interaccin del color [] Es un vo-lumen indispensable para el artis-ta, el arquitecto o el profesor que encuentra un mayor reto en el des-cubrimiento que en un sistema de colores seguros.Architectural Forum, 1963 2Interaction of Color is the most comprehensive and intelligent, as well as the handsomest, book we yet have on this subject. It is an indispensable volume for the artist, architect, or teacher who finds a greater challenge in discovery than in a safe color system.Architectural Forum, 1963 2duradero que cualquier cosa que se aprenda nicamente por la lectura o la escucha (Albers 2014, 291) 4. As fue desde sus primeros pasos como maestro en las Bauhaus de Wei-mar, Dessau y Berln hasta su actividad final como profesor de la Universidad de Yale en la que fue nombrado Doc-tor honoris causa en Bellas Artes pa-sando por el pequeo y complicado, aunque influyente, Black Mountain College, conocido como la Bauhaus americana, del que fue rector unos pocos meses. Durante ese largo perio-do de tiempo, con difciles vicisitudes como el ascenso de los nazis al poder en Alemania, compagin magistral-mente su labor como creador con la de maestro de muchas generaciones, entre las que tuvo alumnos o compa-eros como su propia esposa, tambin pintora de gran talento, Anni Albers, Richard Anuszkiewicz, Robert Raus-chenberg, Buckminster Fuller y Ri-chard Serra, entre muchos otros. No resulta extrao, por lo tanto, la dedicatoria de su obra escrita ms co-nocida, Interaccin del Color: Este libro es mi agradecimiento a mis es-tudiantes (Albers 1979, 7), que con-trasta con el desilusionado epigrama que Goethe dedic a Schopenhauer: Con que gusto seguira enseando todava / si los escolares no se creye-sen maestros enseguida!. El filsofo, atrado por la teora de los colores despus de conocer a Goethe, que frecuentaba el saln literario de su madre Johanna en Weimar, quiso su-perarlo y escribi a su vez su propio tratado, que titul Sobre la visin y los colores, no muy bien acogido por 50 his wife, also a talented painter, Anni Albers, Richard Anuszkiewicz, Robert Rauschenberg, Buckminster Fuller and Richard Serra, among many others. We cannot, therefore, be surprised about the dedication in his best-known written work, Interaction of Colour: This book is my thanks to my students (Albers 1975, v), which contrasts with the disillusioned epigram that Goethe dedicated to Schopenhauer: I would be delighted to still be teaching/if the students did not consider themselves masters right away!. The philosopher, attracted by the theory of colours after meeting Goethe, who frequented the literary salon of his mother Johanna in Weimar, wanted to surpass it and in turn wrote his own treatise, which he called On vision and colours, which was not warmly welcomed by the great writer. Given this lack of enthusiasm from Goethe, Schopenhauer angrily attacked him in a letter in 1815, in which he asserted that his theory would someday be studied in schools. This is when Goethe wrote the epigram mentioned earlier 5. Albers would have been aware of the discrepancies between the two, but took from each what best suited his theories: When he (Schopenhauer) tried to improve Goethes 6-part color circle to Goethes dismay he changed the previous presentation of 6 equal areas to decidedly different quantities (Albers 2006, 43).It was in 1950, shortly after his time at Black Mountain College 6 when he began the series of paintings that would make him universally famous, Homage to the Square, of which there are more than two thousand different known interpretations. Here I say interpretations in the strictly musical sense of the word, as exemplified by Nicholas Fox Weber at the inaugural conference 7 of the great retrospective exhibition organised by the March Foundation in Madrid between March and July 2014. Fox used a fragment of Beethovens String Quartet No. 14, Op. 131, played with two versions of that series, like those in Figures 1 and 2, interpreted once by the Italian String Quartet and once by the Budapest Philharmonic Orchestra. That is, the same musical work with different interpretations. Or to put it another way: the same conceptual work with different variations. The exhibition, entitled Josef Albers. Minimal means, maximum effect 8, consists of a wide miscellany in which were accommodated over one hundred paintings and drawings, photographs, pieces of furniture and other objects through which one can appreciate, in a setting of el gran escritor. Ante la falta de en-tusiasmo de Goethe, Schopenhauer le ataca airadamente en una carta en 1815, en la que le espeta que ser su teora la que algn da se estudie en las escuelas. Es cuando Goethe escri-be el epigrama citado 5. Albers ser consciente de las discre-pancias entre ambos, pero tomar de cada uno aquello que mejor se adap-te a sus teoras: Cuando (Schopen-hauer) quiso perfeccionar el crculo cromtico de 6 sectores de Goethe para gran disgusto de ste, cambi la presentacin anterior de 6 reas iguales por cantidades decididamente diferentes (Albers 2010, 58).Fue en 1950, poco despus de su paso por el Black Mountain Collegue 6, cuando comenz la serie de pintu-ras que le hara universalmente famo-so, Homenaje al cuadrado, de la que se conocen ms de dos mil interpreta-ciones diferentes. Y pongo interpre-taciones en el sentido estrictamente musical del trmino, como ejemplific Nicholas Fox Weber en la conferencia inaugural 7 de la magna exposicin retrospectiva organizada por la Fun-dacin March en Madrid entre marzo y julio de 2014. Fox puso el mismo fragmento del Cuarteto de cuerdas n 14 Op. 131 de Beethoven, interpre-tado con dos versiones de dicha serie como las de las figuras 1 y 2 una por el Quartetto Italiano de cuerda y la otra por la Orquesta Filarmnica de Budapest. Es decir, la misma obra musical, distintas interpretaciones. O tambin: la misma obra conceptual, distintas variaciones. La exposicin, titulada Josef Al-bers. Medios mnimos, efecto mxi-mo 8, est compuesta por una amplia miscelnea en la que tuvieron cabida ms de cien pinturas y dibujos, foto-grafas, mobiliario y otros objetos a travs de los cuales se puede apreciar, en un marco con la magnitud adecua-da, la ingente obra de un creador dife-rente, humilde pero seguro de lo que hizo a lo largo de su vida (Fig. 3). Las ediciones de su obra en ingls y en espaol, sin contar las reimpre-siones, han evolucionado desde la magna edicin original limitada de 1963 reeditada ms modestamente en 2009 a la ltima versin digital de 2014 (primera versin en 2013), pasando por las ediciones de bolsillo, con contenidos sucesivamente am-pliados (Figs. 4 a 9).Resulta evidente que el acceso a la obra de Albers en todo el mundo fue durante muchos aos muy limitado y casi nicamente a travs de las muy reducidas casi reduccionistas edicio-nes de bolsillo. Ser necesario esperar hasta 2013, en que para celebrar el 50 211. homage to the square: Glow (homenaje al cuadrado: resplandor). 1966 (Albers 2014, 150)2. homage to the square (homenaje al cuadrado). 1971 (Albers 2014, 151)3. Vista parcial de la exposicin Josef Albers. medios mnimos, efecto mximo (foto del autor)51expresin grfica arquitectnicathe appropriate magnitude, the enormous work of a different creator, humble but secure about what he did throughout his life (Fig. 3). The editions of his work in English and in Spanish, not counting reprints, have evolved from the original great limited 1963 edition, re-edited more modestly in 2009, to the latest digital version in 2014 (first version in 2013), in the meantime appearing as paperback versions, with successively greater content (Figs. 4-9).It is clear that access to the work of Albers worldwide was very limited for many years and almost only an option through the very small, almost reductionist, paperback editions. Wider access would have to wait until 2013, when another more extensive paperback edition was published to celebrate the 50th anniversary of the original limited edition, and above all the app appeared that will surely mean his definitive democratisation. It should be emphasized, as Albers did himself, that the original edition of 1963 had two surprising features: one physical, its weight of twenty two pounds, and another economic, its price of hundred dollars (Albers 1975), which made its wide circulation very difficult. What stands out in the original edition is its last theoretical chapter, XXIV, Color theories, which was not incorporated into the paperback version until 2006, and in particular its first section, that reflects the overriding influence on Albers, namely Goethe. It was devoted to what is called Goethes triangle (Fig. 10), which he said was It is probably the most condensed and clear system of presentation of an essential order in the vast world of color. He ended the chapter stating that:We wonder why the fundamental and at the same time beautiful Goethe Triangle has been so rarely published. We should also like to mention that Goethe called his color theory (several volumes in length) his most beloved child (Albers 2006, 142). These two sentences do not appear in the following editions of his work, including the digital version and the republication in 2009 of the 1963 work, and while the triangle does remain, its name has been changed from The Triangle of Goethe to The Equilateral Triangle. If we analyse the work by Goethe, both the Spanish version and the original in German Zur Farbenlehre we see his circle of colours, but there is no drawing of a triangle. The American painter Mitchell Johnson, who was artist in residence at the Josef and Anni Albers Foundation, published in his blog of February 2011 the following entry with the title Not Goethe Triangle:[] theres an interesting story about the triangle, whose silk screen was prepared by Rackstraw Downes estas dos frases, aunque se conserv el tringulo, que pas de denominarse The Triangle of Goethe a The Equila-teral Triangle. Si analizamos la obra de Goethe, tanto la versin castella-na como la original alemana Zur Farbenlehre s aparece su crculo de los colores, pero ningn dibujo de un tringulo. El pintor norteamericano Mitchell Johnson, que fue artista re-sidente en la Fundacin Josef y Anni Albers, public en su blog en febrero de 2011 la siguiente entrada titulada Not Goethe Triangle:[] theres an interesting story about the triangle, whose silk screen was prepared by Rackstraw Downes and another Yale student at Albers request for the original, handmade Interaction of Color, publis-hed by Yale in 1963. Albers first saw the triangle in a small german book on color theory written by Carry van Biema [] and if I remember correctly how Fred Horowitz explained this to me, Albers knew about the mistake before he died, but long after his book had legitimized Biemas creation 9.Mitchell Johnson da una informa-cin importante, pero no publica el tringulo de Carry van Biema ni da datos sobre donde fue publicado. Fi-nalmente he encontrado el tringulo, recogido en la obra Farben und For-men als lebendige Krfte Colores y formas como fuerzas vivas publica-do en 1930 (Fig. 11).aniversario de la edicin limitada ori-ginal se publica otra edicin de bolsi-llo bastante ms amplia y sobre todo la app que seguramente la democratizar definitivamente. Es preciso resaltar, como hizo el propio Albers, que la edi-cin original de 1963 presentaba dos caractersticas sorprendentes: una fsi-ca, su peso de veintids libras, y otra econmica, su precio de doscientos d-lares (Albers 1979, 11), lo que hara muy difcil su divulgacin. En la edicin original destacaba su ltimo captulo terico, el XXIV, Teo-ras del color que no se incorpor a las de bolsillo hasta 2006 [esp. 2010] y en concreto su primer apartado, que haca patente su admiracin por Goethe. Lo dedicaba al que denomi-naba Tringulo de Goethe (Fig. 10), del que deca que era Probablemente el sistema ms condensado y claro de presentacin de un orden esencial den-tro del vasto mundo del color. Y ter-minaba el captulo manifestando que:Nos sorprende que el tringulo de Goethe, fundamental y al mismo tiempo bello, haya sido tan poco publicado.Tambin queremos mencionar que Goethe dijo que su teora del color (que ocupa varios volmenes) era su hija ms querida (Albers 2010, 158). En las siguientes ediciones de su obra, incluida la digital y la reedicin de 2009 de la de 1963, no aparecen 31. Homage to the Square: Glow. 1966 (Albers 2014, 150)2. Homage to the Square. 1971 (Albers 2014, 151)3. Partial view of the exhibition Josef Albers. Minimal means, maximum effect (photo by the author)5245 76No sabemos si Albers comparta el rechazo de muchos cientficos a la de-nuncia que Goethe hizo de las teoras de Newton expresadas en su pti-ca. Podramos decir que la polmica Goethe-Newton (polmica evidente-mente unidireccional, por otra par-te) se basaba, simplificando mucho, en un gran malentendido: Newton se refera esencialmente a la sntesis aditiva basada en la luz, mientras que Goethe lo haca sobre la sustractiva, sobre los colores como pinturas, El que la mezcla de todos los colores da el blanco es un absurdo que junto con otros es credo desde hace ya un siglo religiosamente y contra toda eviden-cia (Goethe [1810] 1945, 157). Pero s podemos suponer que a Al-bers le interesara sobremanera el en-foque romntico de Goethe sobre El efecto sensible-moral del color (Fig. 12) y una de sus consecuentes conclu-siones: Por lo cual el color, conside-rado como elemento del arte, puede ser puesto al servicio de los ms ele-vados fines estticos (Goethe [1810] 1945, 205). Como no poda ser menos en la poca de la cibercultura, caracteriza-da por el lenguaje universal que De-rrick de Kerckhove denomina digital, este ha alcanzado a la obra de Albers. 53expresin grfica arquitectnica4. reedicin de 2009 del original de 1963 (foto del autor)5. edicin de 1971 (open library)6. edicin de 1975 [esp. 1979] (Amazon.com)7. edicin de 2006 [esp. 2010] (Amazon.com)8. edicin de 2013 (foto del autor)9. edicin digital de 2013 (captura de pantalla)10. tringulo de Goethe (?) segn Albers (Albers 2013, app)4. 2009 reissue of the original from 1963 (photo by the author)5. 1971 Edition (Open Library)6. 1975 edition (Amazon.com)7. 2006 edition (Amazon.com)8. 2013 edition (photo by the author)9. Digital edition from 2013 (screenshot)10. Goethes Triangle (?) By Albers (Albers 2013, app)and another Yale student at Albers request for the original, handmade Interaction of Color, published by Yale in 1963. Albers first saw the triangle in a small german book on color theory written by Carry van Biema [] and if I remember correctly how Fred Horowitz explained this to me, Albers knew about the mistake before he died, but long after his book had legitimized Biemas creation 9.Mitchell Johnson provides important information but does not publish Carry van Biemas triangle or give information on where it was published. I finally found the triangle, seen in the work Farben und Formen als lebendige Krfte Colours and shapes as living forces, published in 1930 (Fig. 11).We do not know if Albers shared the rejection by many scientists of Goethes complaint about Newtons theories expressed in his Optics. We could say that the Goethe-Newton controversy (obviously only controversial in one direction) was based, and here I am oversimplifying, on a serious misunderstanding: Newton was essentially referring to the additive synthesis based on light, Michelle Komie, editora de arte y ar-quitectura de la editorial, se trata de una [] very tactile experience. You feel as if you are working with paper, which was a very important part of Albers methodology 12. Se puede no compartir literalmente esta opinin, aunque debe admitirse que se ha fa-cilitado extraordinariamente dicha experiencia, quiz demasiado?Algunos podrn tener dudas razo-nables sobre si el digital es el formato adecuado o si la experiencia interac-tiva llegar a ser algo ms profundo que otro juego de ordenador, eso s, esta vez con justificacin acadmica. En todo caso, parece que finalmente podr cumplirse el objetivo de Albers de que su obra adquiera la mxima difusin posible. nNotas1 / Este artculo ha sido traducido al ingls dentro del Programa de Consolidacin e Estructuracin Redes (R2014/024) de la Xunta de Galicia. 2 / Prrafo citado por Nicholas Fox Weber, director de la Fundacin Josef y Anni Albers, como de un profe-sor de diseo de la Cooper Union (Albers 2010, 12). 3 / Vase el artculo de Rodrigo Galecio en la revista online del Goethe-Institut Chile. http://www.goethe.de/ins/cl/es/sao/kul/mag/bku/12474872.html.4 / Conferencia en el Trinity College en 1965.5 / Vase la resea de Lus F. Moreno Claros del 2/3/2013 en El Pas, http://blogs.elpais.com/tormenta-de-ideas/2013/03/la-pasion-de-los-colores.html).6 / Solo dos aos despus, en 1952, Black Mountain pasara a la historia del arte como el lugar en el que se Lo ha hecho recientemente, cuando la Yale University, con motivo del 50 aniversario de la publicacin de la edi-cin original de la obra ha publicado, adems de la edicin en papel ya refe-renciada, la app denominada Interac-tion of Color by Josef Albers 10. Si el espritu de la obra es la in-teraccin, esta app lo aplica literal-mente, habindose hecho merecedora del Winner of 2013 Best Interactive Product in the Tablet/Handheld cate-gory, from Communication Arts y del Winner of 2013 Spark Award for Best App. Como manifestaron en agosto de 2013, recin publicada la app, los actuales alumnos de Yale:What better way to celebrate the 50th anniversary of Josef Alberss classic book The Interaction of Color than to make it more, well, interactive? Yale Uni-versity Press just released a new version of the book for iPad that lets readers try out Alberss principles themselves 11. Esta app combina enlaces a graba-ciones en video de diversos especialis-tas en la obra de Albers, del propio Albers y sobre todo el texto ntegro y las imgenes de la obra original de 1963, adems de lo que supone ya un rizar el rizo conceptual, ejercicios interactivos sobre los ejercicios de interaccin del color. Como asegura 8 91011. lmina IV de farben und formen als lebendige Krfte, de Carry van biema. se han superpuesto en la misma imagen la pgina de papel cebolla con los textos y la lmina en color base (biema 1930)12. Crculo cromtico de Goethe, que simboliza la vida del espritu y del alma humana, 1809 (Arnaldo 2008, 69)11. Print IV of Farben und Formen als lebendige Krfte, by Carry van Biema. Superimposed in the same image are the onionskin page with the text and the colour print without it (Biema 1930)12. Goethes colour circle, symbolising the life of the spirit and the human soul 1809, (Arnaldo 2008, 69)while Goethe was referring to the subtractive, about colours as paints, The fact that mixing all the colours gives white is an absurdity that along with others has been religiously believed for a century against all evidence (Goethe [1810] 1945, 157). But we can assume that Albers was greatly interested in Goethes romantic approach on The sensual-moral effect of colour (Fig. 12) and one of his consequent conclusions: So colour, considered an element of art, can be placed at the service of the highest aesthetic purposes (Goethe [1810] 1945, 205). As one would expect in the age of cyberculture, characterised by the universal language that Derrick de Kerckhove called digital, this has affected the work of Albers. This was the case recently when Yale University published, to mark the 50th anniversary of the publication of the original edition of the book, in addition to the aforementioned paperback edition, an app called Interaction of Color by Josef Albers 10. If the spirit of the work is interaction, this app applies this literally, having been the worthy Winner of 2013 Best Interactive Product in the Tablet/Handheld category, from Communication Arts and Winner of 2013 Spark Award for Best App. As current students at Yale stated in August 2013, shortly after the publication of the app:What better way to celebrate the 50th anniversary of Josef Alberss classic book The Interaction of Color than to make it more, well, interactive? Yale University Press just released a new version of the book for iPad that lets readers try out Alberss principles themselves 11. This app combines links to video recordings from various specialists in the work of Albers, of Albers himself and especially the full text and images of the original work from 1963, in addition to what is now a conceptual loop the loop, interactive exercises about the exercises of interaction of colour. As Michelle Komie, art and architecture editor at the publisher says, it is a [..] very tactile experience. You feel as if you are working with paper, which was a very important part of Albers methodology 12. It would be possible to not fully share this view, although it must be admitted that this experience has been greatly facilitated, perhaps too much?Some may have reasonable doubts about whether the digital format is the right one or whether the interactive experience will become more meaningful than any other computer game, this time with academic justification. In any case, it seems that finally Albers objective, for his work to acquire the widest circulation possible, may be fulfilled. n1154Notes1 / This article has been translated into English by Penny Hierons as part of the Programme for the Consolidation and Structuring of Networks (R2014/024) of the Regional Government of Galicia. Thank Maria Luisa Balseiro, translator of the work of Albers, by original article citations. 2 / The paragraph is a quote from Nicholas Fox Weber, director of the Josef and Anni Albers Foundation, as a design teacher at the Cooper Union (Albers 2006, x). 3 / See the article by Rodrigo Galecio in the online magazine of the Goethe-Institut Chile. http://www.goethe.de/ins/cl/es/sao/kul/mag/bku/12474872.html.4 / Conference at Trinity College in 1965.5 / See the overview from Luis F. Moreno Claros from 02/03/2013 in El Pas, http://blogs.elpais.com/tormenta-de-ideas/2013/03/la-pasion-de-los-colores.html).6 / Only two years later, in 1952, Black Mountain would find its place in the history of art as the place in which they performed the first happening in history, Theater piece No.1. 7 / Issued on 28 March 2014. Full Video at http://www.march.es/videos/?p0=4621&l=1.8 / This exhibition was complemented by another entitled Josef Albers. Process and printmaking in Palma de Mallorca and in the Museum of Spanish Abstract Art in Cuenca.9 / Mitchell Johnson Art News, mitchelljohnson5.blogspot.com/. Fred Horowitz, who died in 2013, was a disciple of Albers and one of the foremost experts in the study of colour, his books on his teacher standing out. I am grateful to Dr. Claudia Kalasz, of the Goethe-Institut in Barcelona, for providing me with the information on the blog.10 / Do not confuse this app with the very elementary Albers. The trailer for the app Interaction of Color by Josef Albers is available at http://vimeo.com/74212756.11 / Mark Alden Branch, Yale Alumni Magazine, published since 1891, https://www.yalealumnimagazine.com/blog_posts/1532.12 / Quoted by Mark Alden Branch (see previous note).references ALBERS, Josef. 1963. Interaction of Color. Yale University. ALBERS, Josef. 1971. Interaction of Color (paperback edition). Yale University. ALBERS, Josef. 1975. Interaction of Color. Unabridge text and selected plates. Revised edition (paperback edition). Yale University. . ALBERS, Josef. 2006. Interaction of Color. Revised and Expanded Edition (paperback edition). Yale University. ALBERS, Josef. 2009. Interaction of Color. New Complete Edition. Yale University. ALBERS, Josef. 2013. Interaction of Color. 50th Anniversary Edition (paperback edition). Yale University. ALBERS, Josef. 2013. Interaction of Color by Josef Albers (full app and complete app). Yale University. ALBERS, Josef and other. 2014. Exhibition catalog Josef Albers: medios mnimos, efecto mximo. Fundacin Juan March. ALVIANI, Getulio (Editor). 1988. Josef Albers. LArca Edizioni. ARNALDO, Javier (Ed.). 2008. Johann Wolfgang von Goethe. Paisajes. Madrid, Crculo de Bellas Artes. BIEMA, Carry van. 1930, Farben und Formen als lebendige Krfte. Jena, Eugen Diederichs Verlag. GOETHE, Johann Wolfgang von. [1810] 1945. Teora de los colores. Poseidn, Buenos aires. Original,Zur Farbenlehre, en https://archive.org/details/zurfarbenlehre00goet. ROSENTHAL, T. G. 2006. Josef Albers, Formulation: Articulation. All Works and text by Josef Albers. Thames & Hudson Ltd, London.realiz el primer happening de la historia, la Theater piece N1. 7 / Pronunciada el 28 de marzo de 2014. Video com-pleto en http://www.march.es/videos/?p0=4621&l=1.8 / Esta exposicin se complement con otra titula-da Josef Albers. Proceso y grabado, en Palma de Mallorca y en el Museo de Arte Abstracto Espaol de Cuenca.9 / Mitchell Johnson Art News, mitchelljohnson5.blogspot.com/. Fred Horowitz fallecido en 2013, fue discpulo de Albers y uno de los mayores expertos en el estudio del color, destacando sus libros sobre su maestro. Agradezco a la Dra. Claudia Kalsz, del Goethe-Institut de Barcelona, haberme la informacin sobre dicho blog.10 / No debe confundirse esta app con la muy elemen-tal Albers. El triler de la app Interaction of color by Josef Albers puede consultarse en http://vimeo.com/74212756.11 / Mark Alden Branch, Yale Alumni Magazine, edi-tado desde 1891, https://www.yalealumnimagazine.com/blog_posts/1532.12 / Citada por Mark Alden Branch (ver nota anterior).Referencias ALBERS, Josef. 1963. Interaction of Color. Yale University. ALBERS, Josef. 1971. Interaction of Color (pa-perback edition). Yale University. ALBERS, Josef. 1975. Interaction of Color. Unabridge text and selected plates. Revised edition (paperback edition). Yale University. ALBERS, Josef. 1979. Interaccin del color. Alianza Editorial.12 ALBERS, Josef. 2006. Interaction of Color. Revised and Expanded Edition (paperback edi-tion). Yale University. ALBERS, Josef. 2010. Interaccin del color. Edicin revisada y ampliada. Alianza Editorial. ALBERS, Josef. 2009. Interaction of Color. New Complete Edition. Yale University. ALBERS, Josef. 2013. Interaction of Color. 50th Anniversary Edition (paperback edition). Yale University. ALBERS, Josef. 2013. Interaction of Color by Josef Albers (full app and complete app). Yale University. ALBERS, Josef y otros. 2014. Josef Albers: me-dios mnimos, efecto mximo. Fundacin Juan March. ALVIANI, Getulio (Editor). 1988. Josef Albers. LArca Edizioni. ARNALDO, Javier (Ed.). 2008. Johann Wol-fgang von Goethe. Paisajes. Madrid, Crculo de Bellas Artes. BIEMA, Carry van. 1930, Farben und Formen als lebendige Krfte. Jena, Eugen Diederichs Verlag. GOETHE, Johann Wolfgang von. [1810] 1945. Teora de los colores. Poseidn, Buenos aires. Original,Zur Farbenlehre, en https://archive.org/details/zurfarbenlehre00goet ROSENTHAL, T. G. 2006. Josef Albers, For-mulation: Articulation. All Works and text by Josef Albers. Thames & Hudson Ltd, London.55expresin grfica arquitectnicaCopyright of Revista de EGA is the property of Revista EGA and its content may not becopied or emailed to multiple sites or posted to a listserv without the copyright holder'sexpress written permission. However, users may print, download, or email articles forindividual use.