There is a mechanics to using color that derives from the French physicist who unlocked the kind of simultaneous contrast and influenced Delacroix and Courbet and later Seurat, which comes to us, when we go to art school, in Albers’ _Interaction of Color_. But it’s so deeply ingrained. That was the thing about the 3-D glasses. If you look with the 3-D glasses, you see the simultaneous contrast of color the same way you do with a color negative and you say, “God, Grandma’s face is blue green.” When you cook and something is folded in enough—it’s like you don’t know what’s in there, but you taste it. And I think it’s the same with color. At a certain stage, it’s innate. And I just think color is something we need, just like food.