Art Aesthetics And Colour

Color is one of cinema’s most alluring formal systems, building on a range of artistic traditions that orchestrate visual cues to tell stories, stage ideas, and elicit feelings. But what if color is not—or not only—a formal system, but instead a linguistic effect, emerging from the slipstream of our talk and embodiment in a world? This book develops a compelling framework from which to understand the mobility of color in art and mind, where color impressions are seen through, and even governed by, patterns of ordinary language use, schemata, memories, and narrative. Edward Branigan draws on the work of Ludwig Wittgenstein and other philosophers who struggle valiantly with problems of color aesthetics, contemporary theories of film and narrative, and art-historical models of analysis. Examples of a variety of media, from American pop art to contemporary European cinema, illustrate a theory based on a spectator’s present-time tracking of temporal patterns that are firmly entwined with language use and social intelligence.

In this innovative anthology, Angela Lord presents a unique series of commentaries on art, aesthetics and colour by three of western culture’s greatest intellects. Her comparative study of the works of Aristotle, Thomas Aquinas and Rudolf Steiner illustrates how each of these towering thinkers employed an individual and groundbreaking approach. Yet, remarkably, there are common threads that weave through their collective works that have previously been overlooked. By selecting and extracting specific quotations and arranging them in particular sequences, Lord throws light on texts that have often been restricted to theological and academic study. Through this exposure, she reveals their relevance to the Arts today, showing how their content can stimulate an enhanced awareness of truth, beauty and knowledge in our lives. Art Aesthetics and Colour also offers us the opportunity to reinterpret the works of Aristotle and Thomas Aquinas in the light of Rudolf Steiner’s contemporary spiritual-scientific insights. In addition to the extensive quotations from the three historical figures, Lord provides brief biographies, an introduction, notes and a bibliography. The book is well-illustrated throughout and includes colour plates.

These days, we take for granted that our computer screens—and even our phones—will show us images in vibrant full color. Digital color is a fundamental part of how we use our devices, but we never give a thought to how it is produced or how it came about. Chromatic Algorithms reveals the fascinating history behind digital color, tracing it from the work of a few brilliant computer scientists and experimentally minded artists in the late 1960s and early ‘70s through to its appearance in commercial software in the early 1990s. Mixing philosophy of technology, aesthetics, and media analysis, Carolyn Kane shows how revolutionary the earliest computer-generated colors were—built with the massive postwar number-crunching machines, these first examples of “computer art” were so fantastic that artists and computer scientists regarded them as psychedelic, even revolutionary, harbingers of a better future for humans and machines. But, Kane shows, the explosive growth of personal computing and its accompanying need for off-the-shelf software led to standardization and the gradual closing of the experimental field in which computer artists had thrived. Even so, the gap between the bright, bold presence of color onscreen and the increasing abstraction of its underlying code continues to lure artists and designers from a wide range of fields, and Kane draws on their work to pose fascinating questions about the relationships among art, code, science, and media in the twenty-first century.

Blood, rust, lava, wine—the flush of passion and the glow of approaching night—no color arrests our attention more than the color red. Today it is the flag of danger and seduction, of spirit and revolution, but throughout nearly all of human history it has held a special place in our aesthetics. In this book, Spike Bucklow brings us into the heart of this fiery hue to better understand the unique powers it has had over us. Bucklow takes us from a thirty-four-thousand-year-old shaman burial dress to the iPhone screen, exploring the myriad of purposes we have put red to as well as the materials from which we have looked to harvest it. And we have looked for it everywhere, from insects to tree resin to tar to excitable gasses. Bucklow also details how our pursuit of the color drove medieval alchemy and modern chemistry alike, and he shows us red’s many symbolic uses, its association with earth, blood, and fire, its coloring of caves and the throne rooms of goddesses, as well as national flags, fire trucks, power grids, and stoplights. The result is a material and cultural history that makes one see this color afresh, beating with vibrancy, a crucial part of the human visual world.

A multidisciplinary look at the role of color in contemporary aesthetics.