Chromatic Visions

The following chapter introduces the readers to the complexity of colour perception, emphasizing that colour is not an intrinsic property of objects, but a perceptual quality derived from the interaction between light and HVS, the human visual system. It analyses how light, interacting with material surfaces, influences perception through reflection, transmission, and diffusion. The chapter describes the trichromatic theory, which explains that three types of retinal cones (sensitive to short, medium, and long wavelengths) allow the perception of a wide range of colours. Phenomena like metamerism, where different colours appear similar under specific lighting, are also considered, as well as review Hering's opponent-process theory. Finally, the authors discuss the role of chromatic induction where adjacent colours influence the perception of a given colour, demonstrating how colour perception is a dynamic and contextual process.

This chapter explores the evolution of colour theories and their impact on the perception of art throughout history. It traces the development of colour theories, beginning with ancient philosophers like Democritus and Plato, through Isaac Newton's introduction of primary colours to modern theories, by scholars like Johann Wolfgang von Goethe and Albert Henry Munsell. It highlights how colour perception is subjective and influenced by cultural and social norms. It also examines how artists like Van Gogh, Monet, and Rothko used colour in their work to evoke emotional responses, communicate messages, and create depth. Additionally, it discusses the symbolic meanings of colours in various historical and cultural contexts, showcasing how artists have harnessed the power of colour to represent emotions, social status, and spiritual symbolism. In the Greek and Roman world, colour was not only associated with its aesthetic value but also had a great symbolic meaning, often as a representation of social status, divine power, and a means of art appreciation, such as the carvings and temple decorations, where bright colours were used to represent mythological and religious messages.

This chapter explores the concept of authentic experiences and how it could be applied to design new engaging applications and user experiences dedicated to coloured collections. The authors analyse how the concept was used in different domains. They then explore users’ behaviours and their understanding of this concept by designing a Cultural Probe Kit and involving a group of participants into an experiment. They then summarise the results and propose a theoretical framework in which authenticity is made of three interconnected dimensions: the ‘Self’ (representing cognitive, emotional and sensory engagement characteristics of individual users), the ‘Others’ (dealing with social relationships) and the ‘World’ (as physical or digital environment). As a conclusion, the chapter presents examples of how such framework can be practically applied to Interactive Media projects.

Cultural heritage care emphasizes preservation, ethical duty, empathy, and relational bonds, with museums fostering deeper connections and historical understanding. This paper develops a design approach to interactive media applied to coloured collection, by focusing on a “care theory” for cultural heritage. The work also analyses art from diverse periods and media, exploring how various engagement types—visual, emotional, interactive—evoke care in viewers. Multimedia art similarly fosters empathy and reflection. The study utilized a Cultural Probe Kit to analyse caring behaviours, revealing traits and triggers that prompt a caring attitude. A proposed framework outlines emotional and empathetic aspects, emphasizing meaningful connections between caregivers and cultural heritage, enhanced through storytelling, engagement, and interactive technologies. Museums, as social spaces, benefit from user participation, fostering care and meaning making. Two prototypes like ColorColab and MyTISSE are described, focusing on their capacity to engage visitors with hands-on, multi-sensory technology, enhancing their personal connections to artifacts and social interactions. The chapter closes testing the framework and caring trigger on a number of different interactive projects.

In this chapter we analyse how digital applications dedicated to coloured collection could enhance civic participation through the Open Space Museum prototype, curiosity and social cohesion. The first section deals with the Open Space Museum, designed by Arthur Clay and N55, that features a portable, modular exhibition showcasing diverse artworks to foster public engagement and artistic interaction. It includes Case Study and Chroma Elements, AR technology, and engagement applications, creating a versatile, immersive, and pandemic-ready cultural space that extends traditional museum hours. The second part focuses on how curiosity can foster civic participation by prompting exploration and learning. It transforms from a negative trait to a valued tool for motivation, encouraging people to resolve uncertainties and seek knowledge. Berlyne’s concept of curiosity defines it as a response to environmental complexity and gaps in knowledge, leading to active inquiry. This positive feedback loop aids engagement in cultural heritage, supported by PERCEIVE’s curiosity-driven interactive design. CNR researchers conducted a four-day campaign at MANN in June 2023, digitizing statues with polychromy traces and analyzing public curiosity. Visitors participated in guided tours, viewing diagnostic techniques and 3D acquisition, which sparked high interest in ancient sculpture coloration, diagnostic methods, and digital reconstruction. The last section is dedicated to Social cohesion, essential for stable relationships in society. Encouraging civic participation through cultural activities strengthens democracy and fosters community connections, bridging social boundaries and empowering citizens to feel engaged and cohesive within their communities.

This chapter explores the fragility of colour across five scenarios, focusing on the loss of polychromy in ancient sculptures and architecture, colour variations in paintings, textiles, historical photographs, and digital art. It also emphasizes the need for standardized methodologies to reconstruct, simulate, and restore original colours. For each scenario, the state of the art on colour studies is presented, together with the challenges about colour reconstruction and enviCase studies are discussed, highlighting colour features and characteristics. Modern analytical and diagnostic techniques are finally also discussed.

This chapter focuses on the design methodology adopted with the goal of developing interactive experiences for the visitors aimed at engaging them with coloured collections. The methodological approach is described and a detailed description, following the PACT framework, is included. Key stakeholders are drafted, while an extensive space is given to the main nine activities that characterise colour reconstruction. Finally, a Co-Design tool is described.