We intend to approach the subject of digital color from the point of view of media archaeology [617634]

We intend to approach the subject of digital color from the point of view of media archaeology
which is the archival examination of the media objects. In media archaeology, perception is not
about looking at images, things or even about vision, but it is a particular set of knowledge relations.
Digital information Technology was invented during the Second World War to speed up computing,
such as the first electronic computer built by the American army to calculate and make artillery
graphs. After the Second World War, scientists have always been concerned about the realization of
personal computers and human-computer interaction as vehicles of knowledge transformation,
expanding memory capacity, enhancing knowledge, amplification of intellectual capacity and
enhancing creativity.
While traditional color studies relates to visual analysis, with little interest in the industrial or
laboratory histories of color, the fact that digital color is a product of technological solutions
(through cybernetics, information theory and mathematics) could create complicated matters,
because it is just as much part of the history of computing as it is the history of aesthetics. 1)
We want to analyze the ways in which some computer scientists and some artists in the 1960s and
1970s managed to transform postwar computing technology into tools used to produce some of the
first computer-generated color for computer art.
The colors made by the first computing machines were revolutionary, with outstanding hues.
Unfortunately, after the switch to personal computing, the graphic user interface (GUI) in the 1980s,
which used icons in place of text commands, and the standardization of color in 1990s, this field
closed and the pioneering visions dissolved. Bu the end of 1990s personal computing interfered with
the internet. The new frontiers of cyberspace and the World Wide Web transformed the world of
computing and also the pixel-related knowledge into a new paradigm of art and design. Through
increasingly user-friendly interfaces and social media applications, integrated with cross-platform
production techniques introduced in the late 1990s, automated electronic hyper-colors came to
challenge artists, designers, architects, students, educators, consumers to mix media from multiple
locations and platforms using a variety of electronic devices. In the above context, color could be
placed at the center of new media studies, focusing on the role of the electronic color in computer
art and the development of media aesthetics after 1960. While color has always been a matter of
techniques ( calculation, automation and ordering systems), the media studies become especially
pronounced in the age of digital signal processing, leading to a reconsideration not only of
traditional approaches to color but also of aesthetic theories 1).
Reference:
1) Carolyn L. Kane, Chromatic Algorithms, The University of Chicago Press, 2001