Explore variations of white. | Odili Donald Odita | The Art Assignment 

That could definitely be a way to respond to this one. But I, too, had a frustrating experience in school trying to paint a crumpled piece of kleenex.

That would be a really cool way to do it though - take white object, photograph it or scan it, or even just observe the object and play with hex values in your graphics program until you've identified the right value.You could even use a pure graphic/never existed in reality FFFFFF swatch as comparison.

Ok, yes, but how are you going to express, represent, or talk about your findings? That's the hard part, I think!

even if you take the RGB colors, you'll still have to be more specific: What color space are you working with? What white point did you pick in your image viewing/editing software? - Is it a different color space and white point than chosen by your camera? And is your screen calibrated? I am currently running f.lux which, since the sun is down where I am right now, gives everything a yellow tinge, yet if I focus on the screen for long enough, it'll still appear white to me. And even if I don't do that, even if I deactivate it, between, say, my phone, my laptop and my PC, all of them will display images slightly differently. Colors on a computer are actually a complexity nightmare.

Good point. You might find Vox's video about colour photography film and how its white point calibration was informed by the social situation in the last decades, interesting. It basically shows how industry's focus on white customers, made their skin tone normal white, to such extent that it would make black people almost appear like a black silhouette in the photos.

I can't remember that one but I watch their videos regularly so I'm pretty sure I DID see it unless I somehow missed it. Certainly sounds interesting. And by the way, I think that's two much better approaches if you want to do this assignment with a computer: With a single screen: Try finding various colors you'd classify as "white". Then build an image of uniform areas of each of them and label them according to the descriptions you'd give them now that you see them right next to each other. With multiple screens: Look at the same #FFFFFF white image on each of them, seeing them side by side. Describe the corresponding colors.

YES!

I'M EXCITED!

The last part of the video helps figuring this out. Color can only be identified as a product of its relationships, it does not posses an essential nature that makes it that color and not another. So experience: and naming proccesses are at the end of the day a result of mutual interaction. This approach to color builds on a philosophical perspective, by which we can’t extract an individual from its surrounding elements. Mind and subjectivity aren’t separate from objects, but instead ontologically mutual. Consciousness is on something. The paintings at the end of the day suggest that individuality can’t be understood without the effects of mutual interaction. This neglects any sense of finite and fix truth. Each element is a product of a long series of interactions that can be studied as a social construct. This ultimately points directly to any social construct based on categorization, reminding that identities are the residues of social and historical proccesses. It may seem easy enough to essentialize what is socialy accepted as self-evident by exherting hegemony and power. But mutual horizontal collaboration and the yuxtaposition of perspectives helps to relativize absolute truth and suggest a wide range of possibilities. Reducing labeling to a game, by accepting ineffability is an original artistic, social and political device. Funny enough maybe it is true that what can’t be named doesn’t exist but that might not mean that it can’t be experienced.

radicalbacon do it!

We have gotten very behind! Back on it, I promise.

great!