A Quote by David Papineau
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.
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I don't think that we can figure out what is going on in conscious colour perception just by phenomenological introspection. We need to know about brain mechanisms as well. We need to figure out what information is present in the mechanisms that constitute conscious colour perception.
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.
Put a colour upon a canvas - it not only colours with that colour the part of the canvas to which the colour has been applied, but it also colours the surrounding space with the complementary.
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.
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.
I had an idea for a story about a young woman who was living with people who were different, not just superficially different - such as hair colour, or eye colour, or skin colour - but different in some significant way.
Turning to the colour-classification methodology: The starting point are the four pure colours red, yellow, green and blue; their in-between shades and scales of brightness result in colour schemes containing 16, 64, 256 and 1,024 shades. More colours would be pointless because it wouldn't be possible to distinguish between them clearly.
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.
There needs to be more film directors of colour. They bandy about the word 'diversity' a lot, but when I say 'of colour,' I mean Asian, black - I mean people of all colour. We need to have those voices given the opportunity, not told that their films will not be distributed or will not sell well abroad.
I often use colour to attack form, to break it down a little or begin to dissolve it. But I am not at all interested in 'pure' colour or in colour as a transcendental presence... So if I use colours to begin to dissolve forms, I also use forms to prevent colours becoming entirely detached from their everyday existence.
Fred didn't have a favourite colour. He was just pleased that he could see all of the colours in the colour chart. That was his wish for everyone. Fred wanted people to experience the joy of seeing vivid colours - in nature: the greens and browns of the mountains; in their work: the orange, red and black of the back of the retina; and in life.
The idea is if you use those two shapes and try to colour the plane with them so the colours match, then the only way that you can do this is to produce a pattern which never repeats itself.
People frequently ask me why I devote so much time to seeking out facts about man’s past…the past shows clearly that we all have a common origin and that our differences in race, colour and creed are only superficial.
Normally if you add information to information, you have more information. In case of my art, I destroy information, I would say, because the image is disturbed by the writings. In a way, they become pure imagery. For me it's really fun because it's an idealistic approach to images, to just play around with information and see what's happening.
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.
If I were writing an article for the newspaper, it would be thesis statement, information, information, supporting arguments. That would be the setup. When I'm making a documentary, the pacing of the film and the way that you sort of switch from character to character - all of those are more about storytelling than straight journalism.
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