In the black columns, the key was the initial vision of dark glowing feeling, achieved through intense inner effort, not just trial-and-error painting.

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• The experimental method of starting with a vision and adding color to create life in the centers has predictable results: the eleven invariants.claim0.770
  Assertion that the process yields a specific set of color qualities, listed in the chapter.
• The pure black columns in the Great Hall, as built by Ishiguro, lack the depth of feeling that the dark reddish black mockups possessed.claim0.768
• Inner light in a great painting touches to the heart of existence, to the core of what the universe is, not merely a cognitive zap.claim0.764
  Alexander's claim about the profound nature of aesthetic experience, contrasting with mechanistic dismissal.
• It is, above all, the light and relation to movement and relation to the whole which give quality and character to a room.quote0.755
  Summarizes the three primary determinants of room life.
• Dark-light contrast is essential for color to shine; without a beautiful pattern of darks and lights, the colors will always seem muddy and cannot have inner light.claim0.754
• Schrödinger's thought experiment suggests that color sensation might directly penetrate the realm of the single mind or ground, and inner light intensifies this bridge.claim0.747
• Subtle change of the column makes a difference to its sadness, or to its capacity to hold, and reflect sadness.claim0.746
  Even tiny geometric adjustments significantly alter the column's emotional resonance.
• In the ship painting, the wholeness generated the details; details were created only to recreate the living wholeness and its light.claim0.744
  Description of the author's painting process as a microcosm of a living process.