Towards an Ontology of Colour in the Age of Machinic Shine

Titmarsh, M

Towards an Ontology of Colour in the Age of Machinic Shine

Titmarsh, M

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Publisher:: Goldsmiths, University of London
Publication Type:: Journal Article
Citation:: 2014, 1, Leonardo Electronic Almanac, Volume 20 Issue 2 pp. 132 - 145 (24)
Issue Date:: 2014-04-15

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Field	Value	Language
dc.contributor.author	Titmarsh, M https://orcid.org/0000-0002-1033-3867	en_US
dc.date.issued	2014-04-15	en_US
dc.identifier.citation	2014, 1, Leonardo Electronic Almanac, Volume 20 Issue 2 pp. 132 - 145 (24)	en_US
dc.identifier.isbn	978-1-906897-32-1	en_US
dc.identifier.issn	1071-4391	en_US
dc.identifier.uri	http://hdl.handle.net/10453/33957
dc.identifier.uri	http://hdl.handle.net/10453/35608
dc.description.abstract	This paper argues that the enduring mystery of colour, in particular its elemental effusiveness, has been tamed and managed by notions of good taste and chic that equate cultural maturity with a limited palette. Yet colour in all its post industrial forms continues to break free of constraints in an audacious display of autopoiesis. The science of colour based on image, mimesis, and the physiology of the eye has missed the phenomenon of colour altogether because it takes place at the incalculable level of shine and radiance. Ontologically colour makes things manifest by revealing them in their unique presence rather than merely facilitating communication, representation or spectacle. Before colour is seen, before light can facilitate a look, colour looks back in such a way that looking and seeing are provoked. Using Thierry de Duve, David Batchelor and Martin Heidegger it will be shown that these ways of being with colour are extended by a formal evolution in painting whereby expanded painting addresses everything in the everyday world that carries colour from data screens to plastic utensils and even paint itself. Ultimately, the medium of painting however deconstructed or expanded, has become the entity to ‘whom’ the work of colour is addressed.	en_US
dc.publisher	Goldsmiths, University of London	en_US
dc.title	Towards an Ontology of Colour in the Age of Machinic Shine	en_US
dc.type	Journal Article
utslib.citation.volume	Leonardo Electronic Almanac, Volume 20 Issue 2	en_US
utslib.for	1203 Design Practice and Management	en_US
utslib.for	1905 Visual Arts and Crafts	en_US
utslib.for	1902 Film, Television and Digital Media	en_US
utslib.citation.edition	1	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
utslib.copyright.status	closed_access
pubs.consider-herdc	true	en_US
pubs.edition	1	en_US
pubs.publication-status	Published	en_US
pubs.volume	Leonardo Electronic Almanac, Volume 20 Issue 2	en_US

Abstract:

This paper argues that the enduring mystery of colour, in particular its elemental effusiveness, has been tamed and managed by notions of good taste and chic that equate cultural maturity with a limited palette. Yet colour in all its post industrial forms continues to break free of constraints in an audacious display of autopoiesis. The science of colour based on image, mimesis, and the physiology of the eye has missed the phenomenon of colour altogether because it takes place at the incalculable level of shine and radiance. Ontologically colour makes things manifest by revealing them in their unique presence rather than merely facilitating communication, representation or spectacle. Before colour is seen, before light can facilitate a look, colour looks back in such a way that looking and seeing are provoked. Using Thierry de Duve, David Batchelor and Martin Heidegger it will be shown that these ways of being with colour are extended by a formal evolution in painting whereby expanded painting addresses everything in the everyday world that carries colour from data screens to plastic utensils and even paint itself. Ultimately, the medium of painting however deconstructed or expanded, has become the entity to ‘whom’ the work of colour is addressed.

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http://hdl.handle.net/10453/33957