Colour is complex. Goethe’s disputing of Newton’s analytical approach to the optical spectrum might be considered the beginnings of the modern discussion of colour. As well as consideration of Newton’s optics Goethe introduced a more complex concept of interaction through physical, chemical and physiological mediation. The phenomenological argument for colour experience though goes beyond Goethe’s descriptors into the territory of the culturally and psychologically conditioned, and neurophysiology. Colour Theory is replete with varying colour models that all serve particular practical purposes that generally emanate from technological affordances; indeed new technologies have always been at the forefront of the creation of ‘new’ presentations of colours whether through the development of chemical, optical or trading technologies. Each exhibit its own limitations associated with that technology often signified by the impossibility of translation from one model to another e.g. the incompatibilities of RGB and CMYK colour spaces. The former is essentially a colour space of light mediated by the technology of production, presentation conditions and observer dispositions, the latter a colour space of substances mediated by light, technology of production, presentation conditions and observer dispositions. This research programme will accept the variability of colour presentation and view colour as fields of overlapping sets of experience rather than singular events; this uses concepts derived from Set Theory and Fuzzy Logic as its theoretical framework. The Mission is to collect as many contributions from the widest possible range of contributors. Everyone has a colour, often more than one, and can say something about it; there’s a story, a place, an incident, a person or a feeling. It’s a component of who we are and how we describe ourselves. The reasons for these can be profound, humorous, peculiar, idiosyncratic, irreverent, political, didactic, a why, what, who, where, when, how; a love, a loathing or deeply poignant and personal. Whatever the reasons, collecting these meaning en masse can be used to portray, in colour, a nuanced contemporary society. A central aspect of the project is mapping through analysis of collective data; the range of meanings, the diversity of relationships. Diversity is critical. The fundamental question is: How can this diversity of relationships be mapped, visualised and presented?