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"Color Fiction."
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The color kittens
While the color kittens are trying to make green paint, their mixing leads to pink, orange, and purple.
Book
A Monst’us Pow’ful Sleeper
In 1851, Louisiana doctor Samuel Cartwright declared that lethargy was an innate trait among African Americans that could only be managed through the prescription of hard labor. A half century later, Charles Chesnutt penned his “Uncle Julius” tales (1887–1900), which played on the plantation tradition of local color fiction and drew from slave narratives to challenge scientific racism in the US South and beyond. The stories, told by a formerly enslaved and newly indentured Black inhabitant of a North Carolina plantation, illustrate the South’s incessant demands on Black people’s time. Chesnutt’s stories portray Black characters who resist sleep deprivation and exhaustion by ironically feigning drowsy demeanors in an effort to subvert master clock time on southern plantations in the antebellum era and the New South.
Book Chapter
This book is red
\"In this humorous concept book, readers are asked to question their logic for naming colors\"-- Provided by publisher.
Book
Understanding the Social and Cultural Significance of Science-Fiction and Fantasy Posters
This research was designed to explore science-fiction and fantasy (SFF) posters, specifically those related to films and television shows, from the perspective of their owners, examining their potential as sources of social and cultural significance and meaning. The research explored these in terms of the content of the poster, placement, media texts they reference, morals, behavior, identity, sense of self, well-being and self-expression. Data collection took place between 2020 and 2022 via an online survey (N = 273) and follow-up semi-structured interviews (N = 28) with adult science-fiction and fantasy film and television show poster owners. The significance and meaning of SFF posters were framed by two conceptual models: ‘The Three Significances’—esthetics, functionality, and significance (both spatial and personal)—and ‘The Big Three’—content, design, and color. Among these, content held the greatest significance for owners. Posters served as tools for self-expression, reflecting their owners’ identities, affinities, and convictions, while also reinforcing their connection to the media they reference. Posters helped to reinforce a sense of self and fan identity and evoke emotional responses, and the space in which they were displayed helped shape their meaning and significance. The paper sets out some suggestions for future research in this important topic.
Journal Article
Data-driven intelligent sci-fi color design: clustering to generative validation
This study applies deep learning to Sci-Fi color scheme design. Specifically, we first integrate multi-source Sci-Fi visuals. Sources include online platforms, original works, and Midjourney. On this basis, we build an HSV color dataset via K-means clustering. The dataset has 108 discrete categories. We then analyze core characteristics. Key findings show cool-color dominance and monochromatic preference. Based on these identified features, we train a VAE model. It generates characteristic-aligned color schemes. Subsequently, we validate schemes through Midjourney. Implement palette-to-rendering control. This breaks traditional experience-driven design limits. It establishes a scientifically reusable cross-modal methodology. This methodology serves visual computational aesthetics. The framework delivers efficient intelligent color solutions. Solutions target film and gaming industries.
Journal Article
Little Owl's colors
Little Owl's forest is full of colors, from the yellow sun to the red berries, there is a rainbow of bright colors to look at and learn.
Book
\The prismatic hues of memory\ (DC 769): Visual Story-Telling and Chromatic Showmanship in Charles Dickens's David Copperfield
What if the memory of colour was an integral part of the act of story-telling? David Copperfield, Charles Dickens’s “favourite child,” illustrates the author’s will to hold his control over profuse, errant memories, in order to fashion his semi-fictitious autobiography. Yet what has not been analysed so far is the part played by colours in this mnemonic enterprise carried out through fiction. Indeed, chromatic dynamics partakes of memory work. David Copperfield can become the hero of his own life if, and only if, he succeeds in turning “the ghost of half-formed hopes, the broken shadows of disappointments dimly seen” (734) into a succession of bright, vivid memories, paving the way of his Künstlerroman towards both artistic success and domestic bliss. Even if direct references to colours may be few and far between, they nevertheless feature at crucial moments and are put to many different uses. They are of course given pride of place in David’s phenomenological recreation of his childhood. They are like beacons in his amorous journey, from Dora Spenlow, the “child wife,” with her invariable rose bud of a mouth and blue eyes, to Agnes, the “sister wife,” with her colour-shifting face. Red is polysemic, pointing in turn to Steerforth’s last feat of heroism when, aboard his sinking ship, he sports a singular red cap, to Uriah Heep’s ubiquitous red eyes. Colours accordingly would seem to both serve a contrapuntal function, bringing out the more dramatic episodes, and to propound a graphic analogue to what can hardly find any fitting verbal transcription, such as Heep’s egregious deviousness. In his retrospective novel Dickens uses colours sparingly to catalyse the act of remembering and detach his autodiegetic narrator’s consciousness from the blank of an indistinct past so as to attain the vivid colourfulness of fleeting epiphanic episodes illustrative of the temporary presentness of the past.
Journal Article
A color of his own
A little chameleon is distressed that he doesn't have his own color like other animals.
Book
Reproductive and Sexual Autonomy in Hillary Jordan's When She Woke
This paper uses the content analysis method and theory of reproductive politics to explore how state-sponsored reproductive policy criminalizes reproductive rights and erodes sexual autonomy in Hillary Jordan's 2011 dystopian novel When She Woke. The novel depicts a future world in which abortion is criminalized and a genetic technology called \"melachroming\" is used by the federal government to violate the human rights of the main character, Hannah Payne. The fundamentalist interpretations of religion, coupled with political agenda and public policy, equate abortion with genocide, thus criminalizing the act and punishing women with a genetic alternation of skin color. These actions violate the rehabilitation rights of the convicted, denounce civil rights, and force the sentenced to the life of a social outcast. In the face of an unprecedented economic and reproductive crisis termed \"The Great Scourge\" in a near techno-future US, the state overturns the 1973 Roe v. Wade ruling, which oppresses women like Hannah. Hannah faces retribution for her abortion in many ways: the genetic alteration of her skin color to be red, the live streaming of her captivity, the so-called Enlightenment Center's recreation of her abortion scene in the style of horror to serve as propaganda, the continuing menace of the Fist of Christ vigilante group, and the violation of privacy/security (in the name of public safety) through implantation of nano-transmitters in her body to monitor her movements. Jordan's depiction of the all-encompassing dehumanization of Hannah illustrates that women's bodies are political. The criminalization of abortion is a form of political performativity that interprets women's bodies as political anatomies. This study connects the novel's dystopia to current feminist scholarship and activism about political systems of surveillance, control, and imprisonment that enact state power upon the bodies of women. These patriarchal systems colonize women's bodies and wield immense power to reduce them to objects of sexual and political control.
Journal Article