Youngsue Han (145-168)

Enhancing the impact of color through artificial
intelligence for visual narration
31)Youngsue Han*, Hyunjung Roh**, Jaehoon Kim***, Suhyoun Hwang****
Abstract
In the seventeenth century, Isaac Newton claimed that white light is

heterogeneous and consists of multiple component colors. Newton also stated
that color is a mechanical and measurable attribute. A century later, Johann
Goethe conducted a series of experiments for analyzing the nature of color. In
contrast to Newton’s theory, Goethe postulated that the color theory should
address the subjective and psychological impacts of color on human beings.
Goethe’s principle has significantly influenced the contemporary philosophical
and artistic approaches to the color theory. In this study, based on Goethe’s
color theory, the authors developed separate color categories for the film “La La
Land” and incorporated machine learning algorithms. To achieve the said
objective, structural analysis was conducted by employing the “five code
network or topos” described in Roland Barthes’s book titled S/Z that was
published in the year 1970 . The Barthesian code network was thereby applied
to create input training data for machine learning algorithms. The proposed
study thus comprises foundational and novel research that can aid in
developing an artificial intelligence framework for classifying the psychological
responses of viewers to colors.
* Author, Part-time lecturer, Sogang University

** First co-author, Teacher, Chungang Primary School
*** Second co-author, Graduate student, Sogang University
**** Third co-author, Graduate student, Sogang University
146 Journal of Artificial Intelligence Humanities․Vol. 2
Key words：Artificial Intelligence, Psychology of Color, Goethe, Barthesian Code Network,

Classification, Machine Learning
< contents >

1. Introduction
2. Theoretical background from humanities: Goethe’s polemic
against Newton & Barthes’s ‘code-network’
3. Color Classification in Machine Learning
4. Materials and Methods
5. Experimental Results
6. Conclusion
1. Introduction
The first Nobel Prize in Physics in 1901 was awarded to Wilhelm

Conrad Röntgen (1845-1923) in recognition of his discovery of the x-ray.
Subsequently, throughout the 20th century, we saw the dominance of
monochrome imaging in medical image analysis, relying on the wide
availability of the x-ray technique. Recently, studies in medical imaging
increasingly draw on color information as a result of technological
advancements and breakthroughs in related research. These advancements
include the adoption of combined technology with computer vision and
artificial intelligence. AI (Artificial Intelligence) - enabled data review
tool is now becoming increasingly available, enhancing precision in both
primary diagnoses and incidental findings of cancers. Moreover, the AI
tools that can recognize colors and categorize them are becoming widely
available. Hence, still in its fledgling stage, we can easily train AI
Enhancing the impact of color through artificial intelligence for visual narration 147
machines to boost precision and classification of color from images.

This paper dwells on the reactions of Goethe to the scientific
approach by Newton to the theory of color. Johann Wolfgang Goethe
(1749-1832) is a renowned German writer, known for his extensive
literary works including poetry, plays, and novels. However, he also
produced considerable scientific fragments on various topics such as the
study of plants, color, and geology. Among these, he struggled to grasp
the psychological impacts of color on human beings. In his time,
Newton’s concept of color as a singularly physical phenomenon was
dominant in the scientific community. Goethe reacted negatively to
Newton’s views on color. As opposed to Newton, he believed that color
exerted a psychological impact on the moods and emotions of people.
Although the scientific community dismissed Goethe’s scientific ideas,
they continued to spark interest and produce cohorts of devotees among
artists and scholars in humanities.
This paper draws inspiration from Goethe’s struggle in articulating
universal rules for the psychological role of color. Ultimately, we aim
to develop an AI framework of color classification using image data
from films, based on their psychological impact on the spectator. In
contrast to the scientific approach to color, we will devise a color pattern
based on psychological influence to be used for supervised machine
learning. By doing so, we will undertake a series of analyses for which
we will develop algorithm and programming codes for.
2. Theoretical background from humanities: Goethe’s

polemic against Newton & Barthes’s ‘code-network’
2.1 Newton’s optical theory on color
Isaac Newton (1642-1726) is an epochal scientist who ushered in a

new era in physics. Among his many contributions, he modernized our
understanding of optics, light and color. In the late 1660s, he embarked
on a series of experiments, including one that studied light refraction
using prisms, lenses, and glasses. We are now very familiar with his
experiment wherein a narrow shaft of sunlight comes into a darkened
room and refracts light through a prism, and the labelling of the seven
colors of the rainbow - red, orange, yellow, green, blue, indigo, violet-
as rays. He deducted from his experiments that color was mechanical
and a measurable phenomenon in his groundbreaking publication Opticks:
or, A Treatise of the Reflexions, Refractions, Inflexions and Colours of
Light in 1704. According to Newton, light can be split up into its
component colors when directed through a prism. Moreover, the color
was not a physiological process based on the subjective perception of the
sensual organ of a human being, but was a physical object existing
outside of the body. Newton epitomized the abstract objectivity of the
scientific approach in the modern era.
2.2 Goethe’s reaction
A century after Newton’s famous experiments, Goethe argued that

color was not solely a physical phenomenon, in rejection to Newton’s
Optik. He was well-known among artists and literary researchers for his
polemic against the Newtonian doctrine of light and colors. Although
Goethe’s theory was dismissed by the scientific community, Goethe’s
color theory produced ardent followers among artists and scholars in the
humanities. Goethe’s disputation against Newton is regarded as being a
long-running struggle of German Romanticism against the objectivity
and rationalism of natural science and the Enlightenment.
Goethe undertook his study of colors after returning from his
journey to Italy from 1786 to 1788 (Barsan & Merticariu, 2016). During
his first journey to Italy, Goethe became interested in finding out certain
rules that governed the artistic use of color. “Goethe sought to capture
the universal essence of the objective world in the particular way of a
subjective world-view. Writing in the Italian Journey, Goethe remarked
about wishing to make a journey to India, “not for the purpose of
discovering something new, but in order to view in [his] way what has
[already] been discovered. Thus, for Goethe, as well as his color theory,
it was the way of seeing, and seeing in a very particular way, that
organized the features of the objective experience of Nature” (Kentsis,
2005). “He noticed that artists were able to enunciate rules for virtually
all the elements of painting and drawing, except color and coloring. The
artists he associated with were unable to explain their practice to his
satisfaction. A reference work also gave little useful information, so he
began his own investigation (Seppe, 1998).
After his return from Italy to Weimar Germany, Goethe determined
to grasp what natural science could explain of the quintessence of color.
For this purpose, he prepared a room as a camera obscura and performed
color experiments with a prism in the hope that he could find a theory
for color. In his experiments, Goethe came to conclude that Newtonian
teaching was false. With more subsequent work by Goethe on colors, he
published his Theory of colors (Zur Farbenlehr) in objection to Newton’s

approach to color in 1810. “Goethe's theory of colors is divided into
three parts, the didactic, the polemical, and the historical” (Böhme,
1987). The polemical part aims at the Newtonian theory and is presented
in its development from antiquity to the eighteenth century in the
historical section. In the didactic section Goethe addressed color
phenomena as physiological, physical, and chemical. In particular, he
attempted to establish laws in color theory according to certain principles
and the ‘sensuous-moral (sinnlichsittlich)’ effect of colors. Goethe
allegorizes scientific objectivity in Newton's Opticks as enlightened
despotism in contrast to Romantic anarchy found in nature. Standing
between Enlightenment and natural anarchy, he formulated a psychological
and philosophical account of the way we experience color as a
phenomenon.
The Newton-Goethe polemics produced a schism between physicists
and humanists. The former rejected Goethe’s ideas but his insight on the
psychological impact of different colors on mood and emotion fascinated
the latter, such as Hegel, Fichte, Schiller, and Schopenhauer, all of
whom ardently praised Goethe. In contrast to Newton’s mathematical
abstractions, Goethe’s theory of color was a pioneering example of the
principles of seeing the world in the perspective of the humanities.
2.3 Contemporary cohorts of Goethe
Color classification schemes have been introduced within the last

three hundred years in color theory. In particular, Eva Heller (2002) a
German sociologist, had done recent research on the connection between
color preferences and the psycho-physiological in line with Goethe’s
theory. Heller’s interest in the psychological and symbolic meaning of

color was published in her book Wie Farben wirken: Farbpsychologie.
She surveyed about 2,000 people about their associations between colors
and 200 terms related to different topics like culture, politics, and
emotions, etc... “As some of the clearest correlations drawn between
colors and psycho-physiological impressions consider the following
examples: aggression – red (58% = percentage of total number of
subjects questioned who drew the according correlations), heat – red
(46%), energy – red (38%), desire – red (34%), dynamic – red (25%),
coldness – blue (58%), calmness – blue (29%), longing – blue (27%),
liveliness – green (38%), freshness – green (34%), quietness – green
(40%), conservative – black (40%), strength – black (29%), power –
black (48%), happiness – yellow (16%), objective – white (27%),
lightness – white (37%)” (Plü
macher & Holz, 2007). Heller’s work
shows that people associate certain psycho-physiological sensations with
a color. Not in ordinary communication but in some environments such
as advertisements, complex color names evoke mental images in
association with cognitive imagination, lexical and empirical knowledge,
in a social and cultural context.
Bellantoni, Patti (2005)’s book If It's Purple, Someone's Gonna Die:
The Power of Color in Visual Storytelling is a guide for filmmakers to
select the right colors for their films and describes the psychological and
emotional effects of certain colors in film on the spectators. Based on
her twenty-five years of research on the effects of color on behavior,
Bellantoni had categorized six major colors to understand their
influences in film. For example, she explained that some films are
dominantly influenced by some colors for representing certain themes
and characters.
2.4 Barthes’s code network (topos)
Roland Barthes (1915-1980), a French literary theorist, had focused

on literary criticism in his publication S/Z (1970). His publication is
interpreted as being located at the crossroads of structuralism and
post-structuralism. He provided a structural analysis of “Sarrasine”, the
short story by Honoré de Balzac (1799-1850). In his analysis, Barthes
navigates through the text of the story, marking denotations of different
codes. He defines five codes that create a kind of network topos) through
which the entire text passes (or rather, in passing, becomes text)
(Barthes, 1974). “He sees all of language as a vast network of lines of
speech, of verbal patterns that are recognizable and that we can even
label if we want to… Any text (any piece of writing) can be seen as one
of these finite patterns: a tracing of lines along the infinite network of
language” (Rosenthal, 1975). Barthes formulates five codes (Hermeneutic
- Proairetic - Semantic - Symbolic - Cultural) as follows:
• Hermeneutic code: The hermeneutic code is associated with

enigmas of the text, puzzles and mysteries.
• Proairetic Code: The proairetic code encompasses the actions or
small sequences of the narrative.
• Semantic Code: The symbolic code produces the symbolic structure
of the text.
• Symbolic code: The symbolic code produces a structure of
symbolic meanings.
• Cultural code: The cultural code made common bodies of
knowledge.
Table 1. Barthe's code-network in a text
Lexies Lexies
HER HER
PRO PRO
®
SEM SEM
SYM SYM
CUL CUL
HER: Hermeneutic, PRO: Proairetic, SEM: Semantic, SYM: Symbolic, CUL: Cultural
In S/Z, Barthes coined lexies a term in his analysis of Sarrasine.

The lexies refers to arbitrary minimal meaningful units in texts which
consist of deciphered information using five codes. “The five codes
create a kind of network, topas through which the entire text passes (or
rather, in passing, becomes text)” (Barthes, 1974). The concept of the
lexies is similar to the sequence approach used in film studies or network
chain in graph theory, a subfield of AI. Drawing on Barthes’s ideals, the
researchers will attempt to devise a code-network of color from scenes
of film to be used for training data of machine learning.
3. Color Classification in Machine Learning
3.1 Machine Learning
This section outlines machine learning and classification algorithm

used in this research. Machine Learning (ML) is a branch of AI that uses
statistics for making computers "learn" with data but without being
explicitly programmed. Tom Michael Mitchell is a former Chair of the
Machine Learning Department at CMU. Mitchell is known for his
contributions to the advancement of machine learning, artificial
intelligence, and cognitive neuroscience and is the author of the textbook

Machine Learning. According to the definition of machine learning by
Tom M. Mitchell, “A computer program is said to learn from experience
E with respect to some class of tasks T and performance measure P, if
its performance at tasks in T, as measured by P, improves with the
experience E” (Mitchell, 1997).
Currently, ML is becoming one of the centerpieces of information
technology at the intersection of statistics, computer science, engineering,
cognitive science, optimization theory, mathematics and other disciplines.
“Using computing, we design systems that can learn from data in a
manner of being trained. The systems might learn and improve with
experience, and with time, refine a model that can be used to predict
outcomes of questions based on the previous learning” (Bell, 2015).
3.2 Supervised and unsupervised learning
Computers are given an algorithm which is a list of rules to follow

for solving a class of problems. Machine learning algorithms fall into
one of two learning types: supervised or unsupervised learning.
Supervised learning refers to working with a set of labeled training data.
We’re telling the algorithm to predict a target value to train computer
machines. Hence, in supervised learning, there is the training data where
we have an input object and an output object. The opposite of supervised
learning is unsupervised learning, where we just provide a load of data
to a computer to let the algorithm find a hidden pattern (Bell, 2015). The
unsupervised learning does not give us an expected answer. There are
a number of different algorithms used in machine learning. Table 2 lists
some common tasks in machine learning with algorithms used to solve
these tasks.
Table 2. Common algorithms used to perform classification and regression tasks
Supervised learning tasks
k-Nearest Neighbors Linear Regression

Naive Bayes Locally weighted linear
Support vector machines Ridge Regression
Decision trees Lasso Regression
Unsupervised learning tasks
k-Means Expectation maximization

DBSCAN Parzen window
Source: Harrington, 2012
With all the different algorithms in table 1, we need to consider our

goal to select an algorithm or multiple algorithms. Roughly, the key task
of supervised learning is divided into classifications and regressions
using statistics. The task of classification is to predict what class an
instance of data should fall into, while regression predicts a numeric
value from loaded data. Hence, our research adopts classification
algorithms for categorizing the psychological sway of color in film.
3.3 Machine Learning Process
Subsequently, this paper looks at the machine learning process.

Typically, the ML project is a cycle of actions that need to be performed
in four steps: Acquisition-Prepare-Process-Report (See Figure 1.). First,
we acquire raw data from many sources like data held by an
organization or crawled data from the Internet. Second, we must clean
data and check for quality for preparing any processing. Third, the
process takes place where the machine learning routines perform the
task. Finally, the report represents the results done.
Figure 1. The machine learning process

Source: Bell, 2015
In a series of experiments, our research aims to develop a

framework for psychological color classification, with the ability of
processing image data acquired from still images or abstracted from
motion pictures and then to classify them in psychological categories.
This research mainly deals with acquisition, prepare, and partially
process in the machine learning process.
4. Materials and Methods
4.1 Materials
The researchers deploy Bellantoni’s color classification from her

film studies as shown in table 2. Along with Bellantoni’s table of color

classification, we have chosen La La Land (2016), an American musical
romantic comedy drama film directed by Damien Chazelle. We estimated
that symbolism of color in La La Land is extensively used and
aesthetically represented. On a more superficial level, due to the simple
storyline and stereotypical characterizations, La La Land might seem to
be jejune. However, it successfully creates a cinematic elation owing to
a synergetic mixture of light, color and sound. Along with music and
light, the film is extensively color-coded and aesthetically represented.
A synopsis of the film is as follows “Written and directed by
Academy Award (R) nominee Damien Chazelle, La La Land tells the
story of Mia, an aspiring actress, and Sebastian, a dedicated jazz
musician, who are struggling to make ends meet in a city known for
crushing hopes and breaking hearts” (http://www.lalaland.movie).
Table 3. Bellantoni’s classification of color’s psychological impact
Color Psychological Impact Color Psychological Impact
Powerful Warm
Lusty Naï
ve
Defiant Romantic
Red Orange
Anxious Exotic
Angry Toxic
Romantic Natural Earth
Exuberant Healthy
Obsessive Ambivalent
Daring Vital
Yellow Green
Innocent Poisonous
Cautionary Ominous
Idyllic Corrupt
Powerless Asexual
Blue Cerebral Purple Illusory
Warm Fantastic
Mystical
Cold
Ominous
Passive
Ethereal
From Bellantoni’s category shown in table 3, we have analyzed La

La Land and produced a 52 color-coded network which consists of
characters and objects as shown in table 4. The header of table 4 has
four categories including character, object, color, and meaning. The
categorical value of the meaning column, the criteria for assigning color
codes and meaning code to each entry, is controlled in line with
Bellantoni’s categorization.
Table 4 Color-coded characters and objects from La La Land

character object color meaning
Sebastian car red angry
Mia car green ambivalent
Mia coffee brown cautionary
Mia jumper blue powerless
Mia wall blue melancholy
Mia door blue melancholy
Mia floor red anxious
Mia coffee brown cautionary
Mia elevator wall blue melancholy
Mia toilet tile green ambivalent
Mia dress blue melancholy
Mia neon sign red romantic
Sebastian car red power
Sebastian shirt blue cold
Sebastian's Mom T-shirt blue cold
Sebastian suit blue powerless
Sebastian suit blue cerebral
Sebastian suit blue cold
Mia dress blue cold
Mia dress yellow exuberant
Sebastian shirt red defiant
Mia bag red romantic
Sebastian sky purple illusory
Mia sky purple illusory
Mia scarp blue warm
Mia bag yellow exuberant

Mia bag red romantic
Mia skirt blue warm
Sebastian shirt yellow exuberant
Sebastian sky purple illusory
Sebastian sky purple ominous
Mia jacket red defiant
Mia dress green ominous
Mia dress green ambivalent
Mia sky purple illusory
Sebastian & Mia theater's chair red romantic
Sebastian suit orange romantic
Mia dress white romantic
Mia suit red romantic
Sebastian shirt yellow Exuberant
mia dress pink romantic
Sebastian tie yellow Exuberant
Mia t-shirt red romantic
Sebastian Tie red romantic
Sebastian shirt blue powerless
Sebastian jacket blue power
Mia dress green ambivalent
Mia blanket blue powerless
Mia knit blue powerless
shirt blue powerless
Mia shirts green ambivalent
Mia wall & door green ambivalent
Sebastian suit yellow exuberant
garden green powerless
Mia & Sebastian shirt blue passive
4.2 Methods
This paper adopts classification trees on Tree-Based Methods or

Decision Tree. The decision tree aims to create a model that predicts the
value of dependent variables based on the values of independent
variables. It is a commonly used machine learning algorithm for both
classification and regression problems. The decision tree has two main
types (classification tree and regression tree). Classification tree analysis

is when the predicted outcome is the class to which the data belongs.
Regression tree analysis is when the predicted outcome can be
considered a real number. Leo Breiman (1928-2005), a statistician,
coined the term CART (Classification and Regression Tree) to refer to
the two methodologies of the decision tree in 1984 (Breiman, et al.,
1984).
Figure 2. An example decision tree

Source: Ayyadevara, 2018
Advantages of the decision tree are as follows. First, the decision

is simple to understand and interpret. In contrast to a black box, it is
a white box where the intuitive output and visualization is easily
available. Second, it requires less data preparation than normalization.
Finally, it is less sensitive to outliers in cases of classification than a
typical regression technique.
Note:A is parent node of B and C.
Figure 3. Components of a decision tree
All the components of a decision tree are shown in Figure 3 as

follows:
• Root node: This node represents an entire population or sample

and gets divided into two or more homogeneous sets.
• Splitting: A process of dividing a node into two or more sub-nodes
based on a certain rule.
• Decision node: When a sub-node splits into further sub-nodes, it
is called a decision node.
• Leaf/Terminal node: The final node in a decision tree.
• Pruning: The process of removing sub-nodes from a decision
node— the opposite of splitting.
• Branch/Sub-tree: A subsection of an entire tree is called a branch
or sub-tree.
• Parent and child node: A node that is divided into sub-nodes is
called the parent node of those sub-nodes, and the sub-nodes are
the children of the parent node (Ayyadevara, 2018).
As to split criterion in decision tree, a root node splits by the type

of variable for prediction depending on whether the dependent variable
is continuous or categorical. So far, we have “backgrounded” the
decision tree classification. In the next section, we present results of our
computational experiment.
5. Experimental Results
As to computational statistics, we have used the R statistical

language (R version 3.5.1 installed on macOS High Sierra version
10.13.6). R is a free software environment for statistical computing and
graphics which compiles and runs on a wide variety of UNIX platforms,
Windows and MacOS. R comes from the S language originally developed
at Bell Labs. The reason for using R is as follows. First, unlike most
commercial statistical software platforms, R is free and available on
multiple platforms. Second, R contains advanced statistical feature
routines not yet available in other software. Furthermore, new methods
are becoming available for download on a weekly basis. Third, it has
strong graphical capabilities. Finally, R is supported by communities of
statistical experts.
Currently, there are some packages for the implementation of decision
tree classification available in the R software environment. The researchers have
adopted ‘rpart’ packages which is a recursive partitioning for classification,
regression and survival trees and an implementation of most of the
functionality of the 1984 book by Breiman, Friedman, Olshen and Stone.
Documentation for ‘rpart’ is available at https://cran.r-project.org/web/
packages/rpart/rpart.pdf. Furthermore, we used ‘rattle’ and ‘rpart.plot’
packages for graphical visualization. We have coded R script for our

experiment as follows:
> install.packages(‘rpart’)
> install.packages(‘rattle’)
> install.packages(‘rpart.plot’)
> install.packages(‘RColorBrewer’)
> library(rpart)
> library(rattle)
> library(rpart.plot)
> library(RColorBrewer)
> lalaland <- read.csv("lala-land.csv", header=TRUE, sep=“,”)
> fit <- rpart(color ~meaning, data=lalaland, method=“class”)
> fancyRpartPlot(fit)
Figure 4 shows decision classification of the meaning of color in

Lala Land. The root node, at the top, tells us that color-codes used in
the film denote ‘cerebral’, ‘cold’, ‘melancholy’, ‘passive’, ‘powerless’,
and ‘warm’. 34% of blue accounts for those meaning. The number above
these proportions indicate the way that the node is voting and the
number below indicates the proportion of the population that resides in
this node (at the top level it is everyone or 100%). We go down one
of the tree branches between ‘yes’ to the left or ‘no’ to the right, and
below the node the tree branch is indicated by boolean choice.
Figure 4. Decision Classification of the meaning of color from Lala Land
Now let’s look at color-codes as represented in the two main

characters, Sebastian and Mia, in the film. Figure 5 tells us that 59% of
color codes by Mia denote ‘romantic’ while 41% of Sebastian’s
representation in color was that of ‘powerless’. Figure 5 shows Mia, a
female heroine as being represented as ‘romantic’ throughout the film
while Sebastian, a male, is powerless by his color code. Based on these
numeric values, one can predict that this couple’s romantic relationship
is scheduled for a heartbreaking end, without even watching the film.
This insight, based on computational statistics, provides us with an
interesting picture of AI. We cannot watch all the films in the world in
their entirety, however, we can use AI to analyze them, which spares us

the time and provides us with valuable information.
Figure 5. Decision Classification of representation Character by color from Lala Land
This paper has shown an example of statistical analysis of

color-code in film. Due to limitations of time and budget, the researchers
have analyzed only one film. Hence our research is very limited.
However, we believe that our research provides a firm foundation for
further research.
6. Conclusion
We have embarked on a series of experiments to devise a

framework of AI for color classification that tackles psychological
impacts from images and motion pictures. For this purpose, further
research on computer vision and recent advancements in deep learning
is required. Since the meaning of color can be varied and paradoxical,
it is doubtful whether the proposed color analysis can fully classify the
psychological responses by spectators to colors. Moreover, in order for
the argument to be proved, a great deal of film analysis and audience
survey would have to be completed.
Although our research is limited and does not provide any satisfying
implications in this early stage, we believe that our research is a
pioneering contribution to the field of AI in the humanities, in contrast
to the rapid developments of AI in the field of information technology.
We have come up with an enhanced paradigm of the use of AI in the
humanities, in order to encourage further research. In future, our research
will look for opportunities in finding more extensive ways of applying
computational statistics technology to mobilities, spatiality, and
cartographic data processing.
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Enhancing the impact of color through artificial

intelligence for visual narration

31)Youngsue Han*, Hyunjung Roh**, Jaehoon Kim***, Suhyoun Hwang****

In the seventeenth century, Isaac Newton claimed that white light is

* Author, Part-time lecturer, Sogang University

Key words：Artificial Intelligence, Psychology of Color, Goethe, Barthesian Code Network,

< contents >

The first Nobel Prize in Physics in 1901 was awarded to Wilhelm

machines to boost precision and classification of color from images.

2. Theoretical background from humanities: Goethe’s

2.1 Newton’s optical theory on color

Isaac Newton (1642-1726) is an epochal scientist who ushered in a

2.2 Goethe’s reaction

A century after Newton’s famous experiments, Goethe argued that

published his Theory of colors (Zur Farbenlehr) in objection to Newton’s

2.3 Contemporary cohorts of Goethe

Color classification schemes have been introduced within the last

theory. Heller’s interest in the psychological and symbolic meaning of

2.4 Barthes’s code network (topos)

Roland Barthes (1915-1980), a French literary theorist, had focused

• Hermeneutic code: The hermeneutic code is associated with

Table 1. Barthe's code-network in a text

In S/Z, Barthes coined lexies a term in his analysis of Sarrasine.

3. Color Classification in Machine Learning

3.1 Machine Learning

This section outlines machine learning and classification algorithm

intelligence, and cognitive neuroscience and is the author of the textbook

3.2 Supervised and unsupervised learning

Computers are given an algorithm which is a list of rules to follow

Table 2. Common algorithms used to perform classification and regression tasks

Supervised learning tasks

k-Nearest Neighbors Linear Regression

Unsupervised learning tasks

k-Means Expectation maximization

With all the different algorithms in table 1, we need to consider our

3.3 Machine Learning Process

Subsequently, this paper looks at the machine learning process.

Figure 1. The machine learning process

In a series of experiments, our research aims to develop a

4. Materials and Methods

The researchers deploy Bellantoni’s color classification from her

film studies as shown in table 2. Along with Bellantoni’s table of color

Table 3. Bellantoni’s classification of color’s psychological impact

Color Psychological Impact Color Psychological Impact

From Bellantoni’s category shown in table 3, we have analyzed La

Table 4 Color-coded characters and objects from La La Land

Mia bag yellow exuberant

This paper adopts classification trees on Tree-Based Methods or

types (classification tree and regression tree). Classification tree analysis

Figure 2. An example decision tree

Advantages of the decision tree are as follows. First, the decision

Note:A is parent node of B and C.

Figure 3. Components of a decision tree

All the components of a decision tree are shown in Figure 3 as

• Root node: This node represents an entire population or sample

As to split criterion in decision tree, a root node splits by the type

As to computational statistics, we have used the R statistical

packages for graphical visualization. We have coded R script for our

Figure 4 shows decision classification of the meaning of color in

Figure 4. Decision Classification of the meaning of color from Lala Land

Now let’s look at color-codes as represented in the two main

their entirety, however, we can use AI to analyze them, which spares us

Figure 5. Decision Classification of representation Character by color from Lala Land

31)Youngsue Han, Hyunjung Roh, Jaehoon Kim, Suhyoun Hwang****