Assignment One: What Is Colour?

REQUIRED LISTENING!

1. RADIOLAB
Listen to THIS episode of RADIOLAB. Click the LISTEN link at the top and you’ll hear the entire podcast. It is about one hour and eight minutes, but it’s broken into segments. Please listen to the ENTIRE podcast. It’s great!

After you listen to Radiolab podcast, watch this. Behold! Watch this Mantis Shrimp!

WHAT COLOUR IS THE SKY?
After listening to the RadioLab podcast, you might be thinking What colour is the sky?

2. THE FOSBURY FLOP!
CBC podcast, The Current | Mechanics of the Game Changers

Here is what high-jump looked like before Dick Fosbury. And here, is what the high-jump look like after Dick Fosbury. Further info about the Fosbury Flop technique.


EXTRA MATERIAL FOR PERSONAL EDIFICATION (fun!)

Below is a link to a pdf  of the a few chapters of the text, Eye and Brain: The Psychology of Seeing by R.L.Gregory.

eye-brain-gregory
Read the following:
Chapter 1: SEEING
Chapter 2: LIGHT
Chapter 8: SEEING COLOUR

Quit grousing, the chapters are short and there are pictures.

 

JUST CHECKING: CAN YOU SEE COLOUR?

boat

You should be able to see a brown boat in the above image. If you can’t, you might have colour blindness.


THE SCIENCE OF COLOUR AND LIGHT
Optical illusions show how we see.

Color and Physics

Colour and light, explained by Bill Nye (the science guy).

Light Fantastic 4: Light, The Universe, and Everything.

A BBC video that explores, “the research on the strange relationship between light, the eye and mind, and the development of new technologies such as photography and film”

This is an interesting TED talk about Colour Theory.

 

THE HISTORY OF COLOUR MODELS
To augment our class discussion about colour, learn about the history of the colour wheel.

History of Color Models
Color Models
Color: Standford University Encyclopedia of Philosophy

Jason Salavon, pushes boundaries between photography/computer science/video etc.  Here is his interpretation of the Colour Wheel.

 

COLOUR AND LANGUAGE
This video explores the relationship between the development of language and the processing and understanding of colour.

 

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RESOURCES ABOUT COLOUR and ARTISTS
Go here. It’s an amazing resource of artists.

OR, HERE TO THIS GREAT web-based component to a larger MOMA exhibition about reinventing color

Yves Klein | TATE Modern | MOMA

Sophie Calle | Chromatic Diet | Explanation about the project

sophiemon5

sophitues1

sophiewed

sophiethurs1

sophiefri

sophiesat

sundaysophie

sophiesunday1

JESSICA EATON

cfaal 241 tumblr_mrzqleFFzM1qkdlfoo1_500

Jessica Eaton | Interview in The Believer | Her personal blog | Her professional site (click on galleries to access images) | Interview in Canadian Art | Good list of interviews
Lenscraft:Jessica Eaton Asks Us to Think About What We See

This following text is from various interviews with Eaton, published or referenced from her blog.

“She was aware of the science of light at work even in what she calls “normal” photographs, aware that subject and content buried those phenomena, preventing viewers from seeing what was there. In 2006, her work shifted and she began to bring those hidden elements to the forefront. She isolated light and color and time, even though to do so was to challenge the classical definition of photography as a way to capture a single moment.

“Using a wide array of experimental, analogue-based photographic techniques such as colour separation filters, multiple exposures, dark slides and in-camera masking Jessica Eaton builds images on sheets of 4×5 film that address fundamental properties of photography such as light, chance, duration, illusion and spatial relations.  Eaton has written: “I often set up parameters for phenomena to express itself. In the best of cases I push things so that the response comes in ways that I could not have thought up until I was shown it on film. Once you get to see or experience something you can use it. Then you can use it to see something else.”

A quote from a TIME magazine article:

“Canadian photographer Jessica Eaton uses her camera to create color invisible to the naked eye. She gives bright hues to gray forms in her series Cubes for Albers and LeWitt, and that work was recently awarded the photography prize at the 2012 Hyères International Festival of Fashion and Photography—a prize for which TIME’s director of photography Kira Pollack sat on the jury.

Jessica Eaton

“We’ve all mixed two colors of paint together, and either it makes another color or, if you keep going, it gets muddy and progressively gets darker,” she explains. “In light, things work really differently.” Eaton explains that she exploits the properties of light through additive color separation: whereas the primary pigment colors (red, blue, yellow) get darker as they blend, the primary colors of light (red, blue, green) move toward white. Eaton applies filters in those three colors to her camera and takes multiple exposures, a process that turns the gray form seen here into the vibrant ones seen above. “The color itself is mixed inside the camera,” she says.

One of the byproducts of Eaton’s process is an element of surprise: because her images are created within the camera, she doesn’t know what she’ll get until the photos are developed. “It’s a bit of a conversation with the world,” she says. “With the forces of time and space and contingency and errors that happen, because often there’s so many steps going into one of these, I get back something that’s also new to me, and those are the pictures that tend to end up in exhibits.”

But the photographer likes challenging definitions, and not just photographic ones. Although she dislikes the term “abstract” as a description of her work—it implies that the light she captures doesn’t exist in reality—Eaton says that her photographs acknowledge “how incredibly limited our ability to perceive the world is.” We lack the sensory mechanisms to see her colors with our naked eyes, and Eaton sees that as a metaphor for our inability to see the extent of the physical universe, whether it includes multiple dimensions or parallel universes. And, in that metaphor, she sees hope. “I love the idea that no matter how bad it gets,” she says, “there’s this wild so-called reality way beyond what we have decided it is.”

Assignment One • Podcasts

Read this. (and you will understand the image)

Here is what high-jump looked like before Dick Fosbury. And here, is what the high-jump look like after Dick Fosbury. Further info about the Fosbury Flop technique.

PODCAST LINKS
Listen to this podcast on CBC (20ish minutes)
Listen to this episode of RADIOLAB. Click the LISTEN link at the top and you’ll hear the entire podcast. (1:08ish)