A Quote by David Papineau
There is a brain mechanism that works to identify colour differences directly, without first identifying the absolute colour of each surface. So on my view there is no reason to suppose anything like ten million colour responses to surface viewed singly.
Related Quotes
The orthodox view of colour experience assumes that, when we see a colour difference between two surfaces viewed side-by-side, this is because we have different responses to each of the two surfaces viewed singly. Since we can detect colour differences between something like ten million different surfaces, this implies that we are capable of ten million colour responses to surfaces viewed singly.
I don't think that we are capable of anything like this many possible colour responses. Instead I argue that the perception of colour differences between two surfaces viewed side-by-side is a gestalt phenomenon.
The eye and soul are caressed in the contemplation of form and colour. The subtle changes of colour over a surface - transitions that are like music - are intangible in their reaction upon us. There is an immediate sensuous appeal!
Sometimes I can see colour without opening my eyes. I saw that Billy's heart was no colour and every colour. Like water or diamonds or crystals, it's pure and reflects the light.
The true colour of life is the colour of the body, the colour of the covered red, the implicit and not explicit red of the living heart and the pulses. It is the modest colour of the unpublished blood.
In the studio, we adhere to a strict colour code. Developed over decades, the colour code consists of a finite and precise colour palate... The whole world as we experience it comes to us through the mystic realm of colour.
A beautiful feature in the colour wood-cut, and one unique in printing, is colour gradation... Two brushes are sometimes used, one charged with more potent colour than the other. Line blocks are nearly always printed with some variation of tone, and often in colour too.
The prejudice many photographers have against colour photography comes from not thinking of colour as form. You can say things with colour that can't be said in black and white... Those who say that colour will eventually replace black and white are talking nonsense. The two do not compete with each other. They are different means to different ends.
For me, pink or lilac is the colour of innocence, it's the colour of love, it's the colour of everything happy.
I don't have anything against colour. It is just not my first preference. I have always found black and white photographs to be quieter and more mysterious than those made in colour.
The personal needs a base, a body to identify oneself with, just as a colour needs a surface to appear on.
You reason colour more than you reason drawing Colour has a logic as severe as form.
In Asia, red is the colour of joy; red is the colour of festivities and of celebration. In Chinese culture, blue is the colour of mourning.
The colour blue - that is my colour - and the colour blue means you have left the drabness of day-to-day reality to be transported into - not a world of fantasy, it’s not a world of fantasy - but a world of freedom where you can say what you like and what you don’t like. This has been expressed forever by the colour blue, which is really sky blue.
If neuroscientific research shows that those mechanisms only contain comparative information about colour differences, and have 'thrown away' more fine-grained information about the absolute colours of single surfaces, then that would support my position, in a way that just introspecting our colour experiences can't.
Trust your feelings entirely about colour, and then, even if you arrive at no infallible colour theory, you will at least have the credit of having your own colour sense.
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