A Quote by Maggie Rogers
It's not like I see colours. It's just, for me, an incredibly strong association between music and colour.
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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.
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.
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 silver blue, sky blue and thunder blue. Every colour holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colours are colours, tones tones...and that is all. All their consequences for the human spirit, which range between heaven to hell, just go unnoticed.
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.
It is comparatively easy to achieve a certain unity in a picture by allowing one colour to dominate, or by muting all the colours. Matisse did neither. He clashed his colours together like cymbals and the effect was like a lullaby.
I became intrigued with colour theory. The absurd pronouncements of the Colour Institute, a group that decides what colours are hot each year or season, amused me.
Fine colour implies a unified relationship, in which each part is subordinate to the whole, and the transitions between them are felt to be as precious and beautiful as the colours themselves. In fact, the colours themselves must be continuously modified and broken as part of the transition.
I use a wide selection of colours. It is impossible to produce work like mine using only the primary colours as they only mix a certain range of colour.
I just think white light generation is just one of these remarkable things to see, and actually, you know, one colour of light goes in to just water or any clear anything and out comes all the colours of the rainbow when the pulses are short and intense enough.
People would always ask me how I came up with my music and what it felt like to make music, and I would always see colours, and then I found out that that was synaesthesia. It helps me understand songs and what I like.
If, I can someday see M. Claude Monet's garden, I feel sure that I shall see something that is not so much a garden of flowers as of colours and tones, less an old-fashioned flower garden than a colour garden, so to speak, one that achieves an effect not entirely nature's, because it was planted so that only the flowers with matching colours will bloom at the same time, harmonized in an infinite stretch of blue or pink.
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.
Colours have their own distinctive beauty that you have to preserve, just as in music you try to preserve sounds. It is a question of organization, of finding the arrangement that will keep the beauty and freshness of the colour
I've been surrounded by incredibly strong women: incredibly, unapologetically strong women, and I guess that for me has just been the biggest inspiration.
I think that it's important that the American people know that Barack Obama didn't have a mild association with Bill Ayers, he had a very strong association with Bill Ayers. Bill Ayers is not someone that the average American wants to see their president have an association with.
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