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"Cover" -- "Title" -- "Copyright" -- "Dedication" -- "Contents" -- "List of Figures" -- "List of Color Plates" -- "Preface" -- "Languages" -- "Color Consciousness" -- "Four Elements of Color Languages" -- "Where Color Vanishes" -- "Notes" -- "Acknowledgments" -- "1 Introduction and Overview through Two Paintings: Dagwood" -- "Process into Pattern" -- "Theory: Drawing Lines, Taking Shape" -- "Triptych: Color, Cinema, Remembered Languages" -- "Grey Gray" -- "Notes" -- "2 Living with Chromophilia" -- "Color in Mind" -- "Of Delicacy and Not (Cornwell-Clyne)" -- "Flesh-Colored: Of Tears and Diamonds (Kalmus, Updike)" -- "Fictions Painted in Language (Updike Redux)" -- "What Itâs Like to See Film Color (Deleuze)" -- "Notes" -- "3 To Stand in Place or to Track?" -- "Top-Down Perception: Stand in Place or Track?" -- "Tracking through Working Memory (Blackmore)" -- "Color Splitting and Flow" -- "The Archive Dilemma" -- "Whatâs in a Color? (Warhol)" -- "Summary: The Story So Far" -- "Notes" -- "4 Whatâs in White?" -- "Of Whiteness -- or, About White" -- "Light, White, and Film Theory" -- "Hollis Framptonâs Whiteness (Winckelmann, Coates, Cubitt)" -- "Gilles Deleuzeâs Whiteness/Blackness" -- "Theoretical Excursus (I): White as Language" -- "Notes" -- "5 Making It Color-FullâRelations and Practices" -- "Color Degree Zero" -- "1. Negative" -- "2. Positive" -- "3. Interregnum" -- "A Few Colors from Natural Light" -- "1. Primaries and Materials" -- "Circles of Color: Circuitous though (somewhat) Convenient" -- "1. Spectral Hues" -- "2. Non-spectral Hues" -- "Tactile Hues: Warm and Cool" -- "1. A Balmy Binary: Invisibility and Textual Analysis" -- "2. âThe Masque of the Red Deathâ" -- "3. A Binary Undone but Endlessly Remade: The Fluid Powers of Cultural Resemblance" -- "The Natural Scale of Luminance Values "Universal (âLandmarkâ) Focal Colors" -- "Prominence: How a Color Becomes a âKey Colorâ" -- "1. Area" -- "2. Magnets, Pinpricks, Blots, Stains, and Accents" -- "3. Other Important Factors" -- "4. Making Patterns Prominent in Aesthetic Systems" -- "Theoretical Excursus (II): Is Color Always Visual? (Wittgenstein)" -- "Notes" -- "6 Musical Hues: Color Harmonies" -- "Choirs of Color" -- "1. Low Contrast Harmonies (âCoordinationâ)" -- "2. High Contrast Harmonies (âBalanceâ)" -- "3. Some Possible Disharmonies (âConflictâ)" -- "4. Does the Eye Search until It Creates Harmony? (Some Examples)" -- "5. What Is a Rule about Color Harmony Really: Is It a Causal Relation of Mind or World (i.e., a Subjective or Objective Fact), a Heuristic, a Convenient Description, an Arbitrary Inclination, or Simply a Myth?" -- "Color Harmonies in Film" -- "1. Gentlemen prefer Blondes -- and, Passage through Time" -- "2. Picnic -- and, Space" -- "3. Vertigo -- and, the Rhetoric of Color Criticism" -- "4. The Wizard of Oz -- and, Technicolor Technology" -- "5. Two or Three Things I Know about Her -- Natalie Kalmus and Technicolor Style" -- "Notes" -- "7 Track This in Place" -- "The Reality of Illusions and the Illusions of Reality" -- "Theoretical Excursus (III): Reidentification (Strawson)" -- "1. The Otherwise of Texts: Working Memory, Reidentification, and the âNearly Trueâ" -- "Tracking in Place" -- "1. Woman in Blue Reading a Letter: Color as Dichotomyâ Here and There, Now and Then" -- "2. The COOK, the THIEF, his WIFE & her LOVER: Color as Thematic Locale" -- "3. Winter Sleepers: Color as Character Fate" -- "Notes" -- "8 Track That in Movement" -- "Theoretical Excursus (IV): What Makes Color Move" -- "1. Christâs Entry into Brussels in 1889: The Green River" -- "2. Black Narcissus: The Red River of Metamorphosis "Four Types of Color Reidentification" -- "Reidentification, Radial Association, and Derrida" -- "1. Little Dutch Mill: The White River and the Color of a Color" -- "Formal Types of Color Movement" -- "Notes" -- "9 Summary" -- "Abbreviations" -- "Summary" -- "Preface" -- "Color Consciousness" -- "Four Themes: Norms, Languages, Memories, Sensations/Spectacles" -- "Chapter 1: Introduction and Overview through Two Paintings: Dagwood" -- "Remembered Languages" -- "Color versus Drawing Lines" -- "Chapter 2: Living with Chromophilia" -- "The Insides of Color: Black and White All Over?" -- "G-words" -- "Color Restraint and Delicacy" -- "The Human Face as Color Poem" -- "Fiction" -- "Top-Down and Bottom-Up (Working Memory)" -- "Chapter 3: To Stand in Place or to Track?" -- "Semiosis or Tracking?" -- "The Archive Dilemma" -- "Warhol Weighs In" -- "Chapter 4: Whatâs in White?" -- "White and Whiteness" -- "Inside White Is Language" -- "Chapter 5: Making It Color-FullâRelations and Practices" -- "Grammatical Norms" -- "What Is Color?" -- "The Prism (Prison?) of Physics" -- "Color Divided and Organized, Again and Again" -- "Wittgenstein and Impossible Color" -- "Chapter 6: Musical Hues: Color Harmonies" -- "Harmonies" -- "Five Film Examples of Relations and Practices" -- "Color Contextualized" -- "Chapter 7: Track This in Place" -- "From Ascetic Binaries to Aesthetics" -- "Reidentification (P. F. Strawson)" -- "Reidentification and Color Consciousness" -- "Reidentification and the Nearly True" -- "Analyzing Color Tracking" -- "Three Examples of Tracking Color in Place" -- "Chapter 8: Track That in Movement" -- "Movement and Color" -- "Two Examples of Tracking Color Movement" -- "Four Types of Color Reidentification, Radial Association, and Derrida" -- "The Example of Little Dutch Mill" -- "The Garden Metaphor of Reidentification "Is Color Movement Literal or Figurative?" -- "Chapter 9: Summary" -- "Chapter 10: Conclusion: How It Finally Matters" -- "Diogenes and Wittgenstein" -- "Appendix: Wittgenstein/Context: Two Philosophy Lessons about Color and Sound" -- "White Darkened" -- "Multiple Grammars" -- "Four Contexts for Contexts: Objective, Subjective, Inter-objective, Inter-subjective" -- "10 Conclusion: How It Finally Matters" -- "Diogenesâs Lamplight" -- "Wittgenstein's Lamplight" -- "Being Colored Is Being Contextualized" -- "Patterns Rule" -- "Notes" -- "Appendix: Wittgenstein/Context: Two Philosophy Lessons about Color and Sound" -- "Philosophical Paradox I: When Is White?" -- "Some Contexts for Color Talk" -- "Philosophical Paradox II: Color Is In, Sound Is From" -- "Four Analytical Contexts" -- "Notes" -- "Works Cited and Further Reading" -- "A. Color as Phenomena" -- "A1. Physics and Physiology of Color" -- "A2. History, Field Observation, Practice, and Polemics" -- "A3. Semiotics of Color" -- "A4. Systematization of Color" -- "B. Film" -- "B1. Aesthetics of Film Color" -- "B2. Analyses of Particular Color Films" -- "B3. Anthologies of Writings on Film Color" -- "B4. Film Theory" -- "B5. Overview of the Aesthetics, History, and/or Theory of Film Color" -- "B6. Sound" -- "B7. Technicolor" -- "C. Painting" -- "C1. Color Composition for Painters" -- "C2. Color Painting/Psychology/Criticism" -- "D. Philosophy" -- "D1. Cognitive Science" -- "D2. Philosophy" -- "D3. Philosophical Aesthetics" -- "D4. Philosophy of Color" -- "E. Residuum" -- "E1. Knowledge Representation" -- "E2. Literature" -- "E3. Memory/Consciousness" -- "E4. Narratology" -- "Name Index
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