{"id":1301,"date":"2017-07-16T19:17:11","date_gmt":"2017-07-16T19:17:11","guid":{"rendered":"http:\/\/www.leticialampert.com.br\/?page_id=1301"},"modified":"2017-12-11T15:35:30","modified_gmt":"2017-12-11T15:35:30","slug":"1301-2","status":"publish","type":"page","link":"https:\/\/www.leticialampert.com.br\/en\/texts\/a-scale-of-faith_paula-ramos\/","title":{"rendered":"A scale of faith - Paula Ramos"},"content":{"rendered":"<div>&nbsp;<\/div>\n<p style=\"padding-left: 600px;\">When we\u2019re asked \u201cWhat do the words \u201cred\u201d, \u201cblue\u201d, \u201cblack\u201d, \u201cwhite\u201d mean\u201d , we can, of course, immediately point to things that have these colors, &#8211; but our ability to explain the meanings of these words goes no further!<\/p>\n<p style=\"text-align: right;\">Ludwig Wittgenstein, Remarks on Color<\/p>\n<p>&nbsp;<\/p>\n<p>Dedicated to investigating the relationship between reality and language, the Austrian philosopher Ludwig Wittgenstein (1889-1951) believed, among other things, that since signs represent objects, the logical form of language would be the very form of the world. Parting from the above preamble, this would lead us to think that the name given to color is also color. And it is, indeed, a fundamental part of the color perception we have of \u201cworld\u2019s things\u201d, activating and requesting our knowledge, memory and imagination. It is in a debate involving like aspects that Let\u00edcia Lampert has been basing her poetry, adopting photography as a means and color as a theme.<\/p>\n<p>In the current work, The Color Scale of Things, Let\u00edcia is in a dialog with one of the most popular systems of color standardization, the Pantone Color Chart. Internationally used by printing and publishing houses as well as by ad agencies, it works as a color showcase that indicates in a close and credible way what colors look like once printed.<\/p>\n<p>In its format and apparent use, Let\u00edcia\u2019s catalog too seems to allow for color distinction. However, if we observe it closely, we will notice that Let\u00edcia\u2019s color catalog are intangible as a means for measurement because they operate in the realm of language, subjectivity and fantasy. Brazilian Portuguese, like most other human languages, has a way to reflect the cultural traits of the people who speak it. How to explain the \u201cpanty blue\u201d, the \u201ctomato red\u201d, the \u201ccolor of meat\u201d, the \u201ccolor of skin\u201d, which are offered to these speakers? And the color of which human race skin, for instance? What to say of the \u201ccolor of a donkey that has fled\u201d (namely, an indefinite color)? How could one define it or even imagine it to be? Shown as photographs of details and textures of things their names remind one of, these \u201ccolors\u201d reveal, again and again, the incommeasurable nature they have. The \u201cmoss green\u201d, perhaps bearing a different tone from its English version, contains dozens of greens, as do the \u201clemon green\u201d and the \u201cleaf green\u201d. Originated in connections to other things and metaphors of everyday life, these names strengthen the experiential content that lies behind the act of naming and relating to the world. Once isolated from their contexts they may seem absurd \u2013 all the more so in their renderings in English, the lingua franca adopted in most color catalogs. It is in such dissonance that the lexicon of colors, immersed in its heavily lyric content, will not lend itself peacefully to translation.<\/p>\n<p>Fact is, the provocative and lively The Color Scale of Things does perturb the mind\u2019s sense of familiarity with reality. This is so perhaps less due to the fact that we know and use the names used by the artist and more because we are made aware of their unlikelihood, if not lack of preciseness.<\/p>\n<p>The same subtle complexity is found in the work The Color Scale of Time, in which the artist sought to once more measure the imponderable by means of color; the imponderable being here time. Both concepts of color and time are by nature abstruse. The idea of measuring one on the basis of the other borders delirium. Within a single frame, namely, the window of her apartment\u2019s bathroom, Let\u00edcia photographed light impressions on the corrugated window pane separating her from the landscape, which naturally marks the grading that is so typical of scales. Limiting herself to this cut, during one year she produced dozens of images that embody two color scales: one for sunny days and another for rainy ones, but neither one with an application or function.<\/p>\n<p>It is worth recalling that the artist, whose background is in Design, routinely works with systems like the aforementioned Pantone or the Kodak Color Chart. It is they which lend \u201ctruthfulness\u201d to colors, reassuring the area\u2019s professionals in their choices and perceptions. Therefore, when she is into creating not only new and dreamlike measures, such as the color-time and the color-thing, but also ethereal charts, Let\u00edcia Lampert invites us to think about the inconsistency of our methods to classify and order the world \u2013 thereby also extending the lyricism and poetry proper to the world of art to everyday life.<\/p>\n<p style=\"text-align: right;\">Paula Ramos<br \/>\nJournalist and Art Critic<br \/>\nPorto Alegre, October 2009<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; When we\u2019re asked \u201cWhat do the words \u201cred\u201d, \u201cblue\u201d, \u201cblack\u201d, \u201cwhite\u201d mean\u201d , we can, of course, immediately point to things that have these colors, &#8211; but our ability to explain the meanings of these words goes no further! Ludwig Wittgenstein, Remarks on Color &nbsp; Dedicated to investigating the &hellip;<\/p>\n<div class=\"wrap-excerpt-more\"><a class=\"excerpt-more\" href=\"https:\/\/www.leticialampert.com.br\/en\/texts\/a-scale-of-faith_paula-ramos\/\">Read more<\/a><\/div>\n","protected":false},"author":1,"featured_media":0,"parent":11,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template-loja.php","meta":{"footnotes":""},"class_list":["post-1301","page","type-page","status-publish","hentry","post--no-featured-image"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>A scale of faith - Paula Ramos<\/title>\n<meta name=\"description\" content=\"&nbsp; When we\u2019re asked \u201cWhat do the words \u201cred\u201d, \u201cblue\u201d, \u201cblack\u201d, \u201cwhite\u201d mean\u201d , we can, of course, immediately point to things that have these colors, - but our ability to explain the meanings of these words goes no further! 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Ludwig Wittgenstein, Remarks on Color &nbsp; Dedicated to investigating the relationship between reality and language,&hellip;","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"&nbsp; When we\u2019re asked \u201cWhat do the words \u201cred\u201d, \u201cblue\u201d, \u201cblack\u201d, \u201cwhite\u201d mean\u201d , we can, of course, immediately point to things that have these colors, - but our ability to explain the meanings of these words goes no further! 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