Sexton also mentions black as a "constitutive social, political, and aesthetic power.” This further highlights the cultural associations and responsibilities placed on the color black (Sexton, "All Black Everything").

In Jared Sexton's "All Black Everything", Sexton associates black with meaning, a different idea than LaFarge and yet, another cultural association with color. He sees black as a paradox, agreeing with LaFarge in the sense that it can be a color of freedom, but seeing negative aspects of this lack and invisibility, this not doing, which he calls "the negative condition of possibility"

In Jared Sexton's article, he quotes Ad Reinhardt, another prominent artist in the conversation of the color black. He says "connotations of black in our culture where our whole system is imposed on us in terms of darkness, lightness, blackness, whiteness. Goodness and badness are associated with black. " -->This furthers the notion that there are many cultural associations with black.

In "The Wizard of Oz", the red-green contrast is stark. The red of Dorothy's slippers and within her character as a whole is deeply desired by the wicked witch, helping red represent a sense of unfettered desire and danger. The witch, completely enveloped in green, is always in constant desire of Dorothy's red. It is important to note the fact that red is a primary color, while green is secondary, showing the red-green contrast as the witch's jealously and desire to become primary, when she is stuck in the secondary. All of this emotion and plot is conveyed merely through the interaction of color in film, depicting how color plays a large role in emotion.

Often, blindness is associated with a loss: loss of control and ability. However, this is not the case. While sight is lost, other senses are heightened, allowing those suffering from blindness to be completely capable. According to John Hull, blindness is "a prerequisite for full development, the heightening of his other senses" (Sacks, The Mind's Eye"

John Hull considers his loss of visual imagery "a dark, paradoxical gift" (Sacks, The Minds Eye"

Kleege hopes that the prejudiced view of "blindness as synonym for ignorance, inattention, or prejudice" will end (Kleege, Blindness and Visual Culture").

"Country of the Blind" details a story in which the blind are fully capable and adapted to their society, and a sighted man brings his prejudiced view that sightedness is happiness. This is refuted, as the members of the COB say "that, in order to cure him complete, all that we need to do is a simple and easy surgical operation--namely, to remove these irritant bodies.” Here, the cure is actually blindness. (H.G. Wells, "Country of the Blind").

In the "Country of the Blind", it is the blind who are in control. Nunez, the sighted man, is fully controlled by the COB, so much so that he refers to sight as a word that "means nothing. Less than nothing!" (H.G. Wells, "Country of the Blind").

Rankine details her experiences being overlooked. In one instance, her being "unseen to the two men" in a conference room subjected her to racist remarks. (Rankine, "Citizen").

Ellison also details how, although invisible, he is still held responsible. He asks "how can he be responsible and to whom when they refuse to see him?" (Ellison, "Invisible Man").

Trinh Minh-Ha also discusses the "empty chair" and the ways in which it represents "a sign of absence or loss." In this case, the emptiness, lack, the unseen is a powerful symbol. (Minh-ha, "Image and the Void").

Hans Blumenburg writes that "light is intrusive" (Blumenburg, "Light as a Metaphor for Truth"). Much of light today is described in terms of white light. This intrusiveness can be linked to the color white in general, contributing to the offensive, stark quality of white.

In Hans Christian Anderson's "The Shadow", the learned man's shadow begins as just that: a shadow. However, over the course of the story, he becomes his own person. Eventually, the learned man is killed and suppressed by his shadow. This narrative furthers the depiction of the shadow as something inhibitory, bad, or evil. This can be applied to discussions of light and its white qualities, and the way that shadows can serve as an interruption to the vibrant quality of white, bringing it to chaos.

In David Batchelor's "Whitescapes", he characterizes white as an "accusatory white", calling the fully white house "a strategic emptiness, but it was also accusatory" (Batchelor, "Whitescapes"). Batchelor also claimed that inside the all white space, nothing looked settled. This further highlights this aggressive, uncomfortable quality of white that has been understood and associated with by society

In "The Whiteness of a Whale", Herman Melville highlights some of the more traditional societal associations with white. To some, it can be a sacred happiness or justice, while to others it can be a symbol of religion or honor, and on the other hand it can be negatively associated with terror, horror, and a ghastly ellusiveness. (Melville, "The Whiteness of a Whale").

In the film "Blonde Venus", viewers are forced to see white. Whiteness of the hair on Helen Caburay and the sparking whiteness of her costume. Here, white is linked to shine, glow, and celebrity. However, with Caburay's constant imitation, it almost seems as if this overt showing of a shining white is made as a statement to dismantle the idea of "white purity" or "white shine"

In Shawn Michelle Smith's examination if Dawoud Bey's "Night Coming Tenderly", she breaks down the meanings and significance behind Bey's images. She explains how the purpose of these paintings was to "visualize black presence in the American physical and social landscape." She also highlights how Bey's paintings focus on the Underground Railroad and the African American freedom struggle. Smith helps dissect how the darkness in this painting represents knowledge (Smith, "Photography, Darkness, and the Underground Railroad: Dawoud Bey’s Night Coming Tenderly, Black,” American Quarterly Vol 73 (1), 2021, 25-52."

Maria Popova highlights the close emotional relationship between yellow and blue as she writes: "As yellow is always accompanied with light, so it may be said that blue still brings a principle of darkness with it" (Popova, 19th Century Insight Into the Psychology of Color and Emotion").

Richard Dyer in "White" discusses how white has become invisible and a normal, both on screen and in real life. He explains how, in order to achieve a more successful society, we must make whiteness visible on screen and dismantle it as a power position. In this context, the invisibility of white is a privilege.

In this same context, Hito Steyerl's "How not to be seen" movie details lessons on how not to be seen including "making something invisible to a camera," "how to be invisible in plain sight, and "more important things want to remain invisible" (Steyerl, "How not to be seen"). Here, invisibility is made to be a kind of superpower, and something that is so advantageous and desirable that lessons are needed to achieve it.

In the film "All Light Everywhere," uncertainty and unsettledness plays a large role. There is uncertainty of the filmmaker's place in the film, uncertainty among characters regarding body cameras, unsettledness regarding surveillance, etc. In one quote from the movie, an unsettledness in being surveilled is highlighted, but an indifferent, routine unsettledness. The quote reads "These kids don’t care about no cameras. They know they’re being watched. They’re just trying to survive" (Anthony, "All Light Everywhere").

Derek Jarman's film "Blue" and his accompanying text "Into the Blue" details blue's role in Jarman's experience living with AIDS. In the film, the only visual is the color blue. Coupled with Jarman's explanations of his associations with Blue, calling it a "fathomless blue of bliss" and "darkness made visible", Jarman shows the emotion behind blue for him in his film, a color he could still see after battling AIDS. (Jarman, "Blue" & "Into the Blue").

Robin Coste Lewis depicts a personal connection with blue. After a life-threatening fall, blue became her transition out of the darkness, much like it is as a color. She discusses the gaps in paintings, detailing how she tried not to fall through, much like Matthew Henson in the Arctic. She also learned to recover in a blue pool, able to fully experience her pain without repercussions (much like in "Three Colors Blue"). (Lewis, "Using Black to Paint Light: Walking Through a Matisse Exhibit Thinking about the Arctic and Matthew Henson")

Seph Rodney brings up an interesting and profound point in his discussion of Lorna Simpson's work. He notices the faces of women in the paintings and highlights how the paintings show the relationship between images of a Black woman’s body and language as it pulls her body into politics, saga, elegy, and poetry. He notices the words and newspaper clippings in the paintings as well. This analysis helps understand a potential association with blue in culture and film. (Rodney, " Lorna Simpson Searches for Meaning in the Arctic Ice").

In Georgia Kleege's "Molyneaux Redux", she discusses the problem posed by William Molyneaux to John Lock which asked "What if a man who was born blind but had learned to recognize through touch certain geometrical forms such as a sphere and a cube, were to have his sight restored by an operation, would he then be able to recognize these forms through sight alone?" This question itself brings us to the subject of blindness and ability, as well as of knowledge and vision. While it does address the literal spacial ability of someone who is blind, is also provides deeper thought into whether sight ensures clarity and correct knowledge.

Like in "Blonde Venus", Hilaria Loyo's "Blinding Blondes" explores the culturally accepted ideal of blondeness and whiteness signifying stardom and brilliance. This work too calls into question the idea that white is normal, and also highlights this exclusivity exuding from the color white. For example, she writes that her article will "interrogate his view of whiteness as an unmarked category assuming the standard of 'normal'." (Loyo, "Blinding Blondes: Whiteness, Femininity, and Stardom").