It is significant that in our model of electro-magnetic radiation, said to contain 80 octaves of values, that the human eye can only discern one octave of perception, sight - and yet this area is replete with all the meaning of human experience, most exemplified by film-form. Of significance within our octave of perception is colour, said to be a phenomenon of mind and eye and our understanding of this is embodied in theories of colour, which typically generate three-dimensional mathematical models entitled 'colour space'. I wish to ask some questions around the generation of ideas that encode emotions and experience into psychological, physiological and perceptual frameworks. I also wish to discuss the nature of the underlying science and how that relates to the practice of film-making as it is delivered via contemporary means of display. In so-doing I wish to reveal the history of ideas that precede and lead to the development of the concept of colour space and how those ideas, generated in times typified by the prevalence of analogue technologies, like film, both engenders theoretical, social and cultural meanings and how these relate to the changing paradigm that now includes electronic cinematography within the digital realm.
|Translated title of the contribution||The Concept of Colour Space as seen from the Practitioners Standpoint|
|Title of host publication||Arnolfini, Bristol|
|Publication status||Published - 2009|
Bibliographical noteName and Venue of Event: Colour and the Moving Image
Conference Organiser: Professor Sarah Street, University of Bristol