The Photo on the left is nearly frivolous in its pale blue, almost uneventful openness, the plane of its implacability nuanced only by a partial rectangle that might be the bottom of some complete rectangle or, if you mentally dissolved the photo's wall-of-blue into thin air, might be a stilled trapeze, awaiting a feat of dare-deviltry. It also looks like the thin, tremulous, three-sided geometric figure American Ab-Ex artist Robert Motherwell used to animate the otherwise uninflected colour-fields of his "Open" series of paintings, begun in 1967.
The photo on the right is almost oppressively dark, its heavy, stygian blackness murky enough to require the backup of a coiled electric cable and the furtive enlightenment it might be expected to provide.
Most of us read from left to right. It looks, therefore, as if the future is to be darker.
