Posture Publication — Issue 5. THE COLOUR ISSUE.

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POSTURE.



POSTURE.



THE COLOUR ISSUE.



The Colour Issue. It was not too long ago now that I lived with black and white. I was captivated by deep, luscious, rich blacks tempestuously set against crisp, vibrant, and at times stark whites. I sought desaturation, so-called black and white colour modes, and colour free film. I longed for a photocopier of my very own —black and white only, mind you, no full colour option for me. And, besides, everyone knows greyscale portraits are much more flattering.

So, there it is. Perhaps it is now time to admit to a truth. I am a colourist. However, not but two weeks ago now I did slink back to my greyscale ways with the same sense of naughty pleasure as a child sneaking a cookie. When Isaac Newton observed light passing through a prism in 1666 he found it “the most surprising and wonderful Composition ... of Whiteness”1. Whether subtracted or added; reflected, scattered or bent, colour absorbs into our subconscious. We slow for the Stop sign and we sniff out the Golden Arches. It has been discussed as both an exact science and as a sensation or a perception. When asking for submissions for this, the colour issue, it seemed only fitting that all submissions should be in greyscale; concealing their colour and revealing their properties.

26 Oct 2010.

A yellow pipe framing dirty windows.

A small yellow truck leaning into the gutter.

­12 Nov 2010. 16 Feb 2011.

A new yellow and purple roadworks machine parked across the road from my front door, protectively surrounded by orange cones.

I began to beg the question, what happened? When did colour capture me, leading me astray with its tantalizing hues? I can see the signs now, looking back. Blues crept in to join my blacks, glossy magazines became treasure troves of hands and implements, and disappointment set in when analogue richness diluted during digital capturing.

All with good posture.

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pp.

Cited in Wilson, Mitchell. Energy. Edited by René Dubos, Henry Margenau, & C. P. Snow. Holland: Time-Life International, 1965. 86.

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Rainbows of Pantone, RGB and CMYK

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August in Berlin

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– Texturesofofcommodiicationnn commodification – nnTextures collection��n of���������n satellite�������n imagery �nA ����������n exemplary of industrial land control ���������n��nn����������n����n������� The satellite images to the left show industrialised forestry at n ��n���������n������n��n���n����n����n��������������n��������n��n various������n stages production. In this process biodiversity �������n ��n of �����������n ��n ����n �������n ������������n ��n is reduced as far as possible to promote the efficient production �������n��n���n��n��������n��n�������n���n�������n����������n��n of the�������n species most economically beneficial. To ����n my mind ���n ����n ������������n ����������n ��n ��n ����n this ���������n��n����������n���������n��n���������n����n�n�������n reduction in ecological bandwidth is analogous with a concept ��n���������n��n�n���������n��n���������n��n����������� of greyscale as a reduction in bandwidth of perception. ��n ����������n ���n the ����nview ����n that ���n the n ��n It��n is��nmy�����������n prerogative to promulgate ��������n ��n of ����n �n ����������n �����nshift ��n �����n ��n ���n ultimate�����n value such perceptual is found in its ������������n��n�n�������n�����n����n���n�������n����n�����n������n relationship to a broader field; that the insight this shift brings �����n ���������n �����n ��������n ��n ���n �������n holds������n little intrinsic value compared to �����n the value brought �����n��n���n�������������n����n����������n���������n��������n about by its juxtaposition with dissimilar percepts. Equally, ���n �����n ���������n ��n ���n ������n ���������n ��n ���n the����n true value presented by the narrow bandwidth of our ������������n ��n of ���nthe ����n ����nlies ���nnot ��n ���n ��������n �����nvalue manipulation land in the economic ���������n ��n ����������n ���n ��n ���n �������������n ��n ���n ���� generated by reduction, but in the understanding of the ������������n ��n ����n ���������n ��n �������n ����������n �������n relationship of this condition to broader ecological systems ����n���������n���n����������� both spatially and temporally.

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The Doppler Effect, or Doppler Shift is the change in frequency of a wave for an observer moving relative to the source of the wave. It explains the difference in the sound of an ambulance siren as it approaches, passes, and recedes. 20


The Doppler effect is used in astronomy to determine the relative movement of stars, by reversing the formula and analysing the frequency of the emmitted light, a star moving toward Earth will ‘shift blue’ (with denser waves), and a star moving away will ‘shift red’. 21


Contributors. p3. Lisa Crutchley. R.O.Y.G.B.I.V. Illustrator/computer based document. Melbourne, Australia. lisa.crutchley@gmail.com

p12-13. Katherine Roberts. How to Grow and Eat [an] Orange. A camera, a computer, & an orange. Wellington. www.iamrobert.tumblr.com

p4-5. Byron Kinnaird. Body Double. Coloured pencil. byron.kinnaird@gmail.com

p14-15. Andrew Mitchener. Textures of commodification. armitchener@gmail.com

p6-7. Ian Rouse. August in Berlin. Photography. Wellington.

p16-17. LSM. Conversational Theory. Photo. AA, London.

p9. Jack Delgado. Jenny Greenteeth. Wellington. www.jackdelgado.com

p18-19. Meals Guise. Colour is a brand. Computer. Auckland. amelia_guise@hotmail.com

p10-11. Lee Gibson. C O L O U R. Prismacolor 01 ink (8.5�x11�). NYC, NY, 10075. hello@leegibson.us

p20-21. Byron Kinnaird. Doppler Effect. Letraset, blue & red ink, type. byron.kinnaird@gmail.com

Art direction and editorial by Katherine Roberts. For information and enquires, Posture can be contacted at posture.publication@gmail.com and viewed at posturepubllication.com

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Posture would like to extend a kind word of thanks to the known and the new who have supported and contributed to the fifth issue. Posture is looking forward to conversing with you again soon. All with good posture. 50


Number 5.

The Colour Issue.




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