ABSTRACT

The Grand Coulee Dam light show is an audio-visual spectacle unique to the Bureau of Reclamation and the US Federal Government. Its life began as a display of abstract-coloured lights illuminating the falling waters of the dam’s spillways. Its production spans more than 60 years of inspiring people on the history, construction and wonder that is the Grand Coulee Dam, yet the light show or Colorama development and meaning are more than just a collection of light and music. This paper presents a historic entanglement of one of the longest running lightshow displays in the United States. Using performative and assemblage theories, it argues how the light show moves from the ‘technological sublime’ (Nye 1996 Nye, D. E. 1996. American Technological Sublime. Cambridge: MIT Press. [Google Scholar]) towards a multiplicity of agencies of light, water, sound and the concrete of the dam enabling an electric atmosphere. Using historical accounts of the show, imagery and design specifications, the paper explores the interplay of these agencies and the ‘power’ that is exchanged. In a time where industrial heritage is celebrated for its technical acumen and national connection, the light show provides key perspectives into new theoretical avenues of illumination and hydro assemblages.

摘要

大古力水坝灯光秀是垦务局和美国联邦政府独有的视听奇观。它的生命始于抽象色彩的灯光展示，照亮了大坝溢洪道的落水。它的制作跨越了 60 多年，激发了人们对大古力水坝的历史、建设和奇迹的兴趣，但灯光秀或Colorama 的发展和意义不仅仅是灯光和音乐的集合。本文介绍了美国运行时间最长的灯光秀之一的历史纠葛。使用表演和组合理论，它论证了灯光秀如何从“技术崇高”（Nye 1996 奈，德国 1996 年。美国技术崇高。剑桥：麻省理工学院出版社。 [Google Scholar] ) 朝着光、水、声音和大坝混凝土的多样性方向发展，从而营造出充满电的气氛。利用展览的历史记录、图像和设计规范，本文探讨了这些机构的相互作用以及交换的“权力”。在这个工业遗产因其技术敏锐度和民族联系而闻名的时代，灯光秀为照明和水电组合的新理论途径提供了关键视角。