This research considers Ellsworth Kelly’s Red Green as an artistic disruptive practice that contributes to the deconstruction of some of the hidden structures that form society as a group of...Show moreThis research considers Ellsworth Kelly’s Red Green as an artistic disruptive practice that contributes to the deconstruction of some of the hidden structures that form society as a group of individuals with a shared identity and common history. Ludwig Jäger’s approach to disruption has been the trigger to believe that the colours red and green could be unveiling the raw medium that relies under Kelly’s final message. However, the problem arises when realising that the message depends on the individual who reads it and their concepts of colour. For this, the paper has elaborated on colours’ faculty to evoke emotions by focusing on their cultural associations, which might have shaped those feelings like collective experiences with coloured objects or different definitions of colours. Here language becomes of great importance for the investigation. Besides, for the purpose of narrowing the context of disruption, imagined scenarios of disruption have been taken into account, allowing the concept of imagination to support the research. For this, the notions of the colours red and green have been explored in order to provide a deeper understanding of Ellsworth Kelly’s Red Green while considering the extent to which imagination plays a role in disruption. Then, the paper evidences the reciprocal relationship between language and imagination and reaches the conclusion that language ensures the continuation of society’s power structures. Nonetheless, it is suggested that language could be, at the same time, the tool that allows the creation of new imagined scenarios.Show less
Colour. A colour, the colour, any colour. Colour in everyday life. Coloured things that individuals use regularly. Colour on the walls, colour in the frames. Colour in the photographs. Colour on...Show moreColour. A colour, the colour, any colour. Colour in everyday life. Coloured things that individuals use regularly. Colour on the walls, colour in the frames. Colour in the photographs. Colour on the multiple screens. Colour in media and films. Furthermore, via things, colour has this potential to speak and evoke memory. In this thesis, I discuss how colour links with memory. More precisely, I analyse how coloured things work as memory’s mediators in two films: And the Wife shall Revere her Husband (1965), and The Red Balloon (1956). In the first case, I claim that coloured things can evoke memory, while in the second, how coloured things work as memes that create memory. In this process, my personal stories assisted me to approach colour in this way. Colours work within a network with their surroundings. In the following pages, I reflect on my own past experiences and I claim that colour and memory have an indisputable connection.Valuable theories and methods from different disciplines, such as media and film studies, sociology and philosophy, stand by my side in this journey. Colours are endless and constant. Without any further delay, allow me to remember and analyse moments through a rainbow costume, a homemade pie, a white hat, and a red balloon.Show less
This study has shown why the difficult to make and very expensive black fond was made on Delft black pottery between 1675-1725. This has been done by looking at different sources from the...Show moreThis study has shown why the difficult to make and very expensive black fond was made on Delft black pottery between 1675-1725. This has been done by looking at different sources from the seventeenth century as well as recent studies about this subject. The most recent sources are explaining how Delft black pottery was produced to make pottery that looked like Japanese black lacquerware and Chinese black porcelain. Sources form the seventeenth century are telling us that people in Japan as well as in de Dutch Republic were very fond of and fascinated by the colour black. In Japan black was seen as a gentlemen’s colour, and in Europe it was so rare that only the richest people of the Republic were able to afford black clothing. Because of the costs, the many problems the potters faced when manufacturing Delft black and the old sources, the contemporary ideas about the underlying meaning of this pottery seem too farfetched. Based on other sources from the seventeenth century, such as inventory lists and paintings, research has been done after collecting black objects before and in the years Delft black was made. When looking at the inventories and paintings, a remarkable increase is visible in the number of black objects that people possessed. Besides the increase of these black objects which shows us how fashionable it was around 1700, black was also a formal colour to wear, even when people possessed the coloured clothing that were much newer in fashion. Although Japan did not influence the Republic in their thought about ‘black as a gentlemen’s colour’, in both countries it was a status symbol. The colour black was in fashion in the Dutch Republic, which was the reason for the best potters of Delft to attempt to produce Delft black pottery.Show less
In this thesis I investigate the unusual features found in the Modern Irish colour classification system, relative to features of colour naming found in other languages. Within the Indo-European...Show moreIn this thesis I investigate the unusual features found in the Modern Irish colour classification system, relative to features of colour naming found in other languages. Within the Indo-European language family, the Celtic languages are the only ones that have a grue category, which means there is one colour term denoting both green and blue, rather than distinct terms that express both these categories. In Irish, however, there is a term for grue, plus two additional terms for green and blue. This is not just a feature unattested in IE languages, it is an anomaly worldwide as well. Other dissimilarities with IE languages include the basic referents of colour terms when describing humans: in many languages, colour terms refer to complexion, but in Irish this is haircolour. Lastly, the total number of basic colour terms of Irish is unusual as well: despite the colour lexicon being very extensive, the colour terms denoting orange, pink, purple, and brown, are considered non-basic or secondary terms.Show less
The paper will examine the work of design duo Scholten & Baijings, and in particular consider the thesis that they are aware of their personal gender roles and seek to emphasise and exaggerate...Show moreThe paper will examine the work of design duo Scholten & Baijings, and in particular consider the thesis that they are aware of their personal gender roles and seek to emphasise and exaggerate certain aspects of this in their work. By using a certain colour spectrum often associated with the female gender and combining this with products often aimed at women, the designs of Scholten & Baijings lean towards a feminine stereotype. Yet, the application of colours to products may shift to a masculine connotation in terms of the actual products. The main thesis is: is the work of Scholten & Baijings as a whole, and especially is the project Mini Colour One, influenced by pre-conceived gender roles? Show less
