In Sense8 (a play on 'sensate'), a television series by the Wachowski siblings, colour functions at several levels, including those of the expressionistic-emotive, perceptual (or sensory-literal), gender, race and nationality. This paper explores these different senses of the percept (and concept) of colour in the series, as well as the interrelationships among them. In the process Deleuze and
... [Show full abstract] Guattari's notions of 'percept' and 'affect', as being inseparable from art, as well as the notions of 'cinelogic' and 'cineaesthesis/synaesthesis' are employed to render an interpretation of the series which highlights the thoroughgoing thematisation of colour at the various levels referred to. In brief, this amounts to visually based insights pertaining to the perceptual constitution of humanity as a veritable 'rainbow species', variegated along lines of gender, race, nationality, power, affect and empathy. It also yields a grasp of the 'cinelogic' of 'cineaesthetically/synaesthetically' configured scene-sequences, for example that the pairing of two lesbian lovers-one transgender white and the other gay black-enacts an enriching interpenetration of human 'colours', and that this is exemplified in the signifying structure of certain scene-sequences. Rancière's notion of the 'distribution of the sensible', and Deleuze and Guattari's concept of 'assemblage' further enable one to elucidate the role of colour in the series in question. Furthermore, the diverse composition of the cluster of 'sensates' - individuals who have a spatiotemporal limit-surpassing connection with one another, enabling them to be physically 'present' with one another across thousands of kilometres - embodies a microcosm of the human race in all its diversity.