Colour Vision

The study of colour has become familiar territory in recent anthropology, linguistics, art history and archaeology. Classicists, however, have traditionally subordinated the study of colour to form. By drawing together evidence from contemporary philosophers, elegists, epic writers, historians and satirists, Mark Bradley reinstates colour as an essential informative unit for the classification and evaluation of the Roman world. He also demonstrates that the questions of what colour was and how it functioned – as well as how it could be misused and misunderstood – were topics of intellectual debate in early imperial Rome. Suggesting strategies for interpreting Roman expressions of colour in Latin texts, Dr Bradley offers new approaches to understanding the relationship between perception and knowledge in Roman elite thought. In doing so, he highlights the fundamental role that colour performed in the realms of communication and information, and its intellectual contribution to contemporary discussions of society, politics and morality.

Colour and Meaning in Ancient Rome was nominated and longlisted for the 2011 Warwick Prize for Writing.

SUMMARY Male glow-worms Lampyris noctiluca find their bioluminescent mates at night by phototaxis. There is good evidence that location of mates by lampyrid beetles is achieved by a single spectral class of photoreceptor,whose spectral sensitivity is tuned to the bioluminescent spectrum emitted by conspecifics, and is achromatic. We ask whether glow-worm phototaxis involves interactions between two spectral classes of photoreceptor. Binary choice experiments were conducted in which males were presented with artificial light stimuli that differ in spectral composition. The normal preference for a green stimulus (λmax=555 nm), corresponding to the bioluminescence wavelength produced by signalling females, was significantly reduced by adding a blue (λmax=485 nm) component to the signal. This implies an antagonistic interaction between long- and short-wavelength sensitive photoreceptors, suggesting colour vision based on chromatic opponency. Cryosections showed a band of yellow filter p...

Illumination invariance remains the most researched, yet the most challenging aspect of automatic face recognition. In this paper we investigate the discriminative power of colour-based invariants in the presence of large illumination changes between training and test data, when appearance changes due to cast shadows and non-Lambertian effects are significant. Specifically, there are three main contributions: (i) we employ a more sophisticated photometric model of the camera and show how its parameters can be estimated, (ii) we derive several novel colour-based face invariants, and (iii) on a large database of video sequences we examine and evaluate the largest number of colour-based representations in the literature. Our results suggest that colour invariants do have a substantial discriminative power which may increase the robustness and accuracy of recognition from low resolution images.

Leningrad and Moscow of the 1920s were alive with artists, writers, scientists and craftsmen who sought a new language of communication. New institutes were established for new collaborations. A universal language was to traverse the borders between different art forms, countries and languages. Even the boundary separating the perception of humans and animals, would be crossed. At the Institute for Artistic Culture in Petrograd/Leningrad the violinist, painter and theorist Mikhail Matiushin (1861-1934) supervised the Department of Organic Culture where a 'grammar of colour' was produced for the use in architecture and design. The sounds made by ice melting, the feel of footsteps in the wet moss – all surrounding impressions from the sky, sounds of birds and the dynamics in motion would influence colour in its appearance. A training programme was elaborated based on a cross-extension of the senses, yoga and meditation, opening up new channels believed to be passed on to coming generations.

Honeybees Apis mellifera were trained to distinguish between the presence and the absence of a rewarded coloured spot, presented on a vertical, achromatic plane in a Y-maze. They were subsequently tested with different subtended visual angles of that spot, generated by different disk diameters and different distances from the decision point in the device. Bees were trained easily to detect bee-chromatic colours, but not an achromatic one. Chromatic contrast was not the only parameter allowing learning and, therefore, detection: α min, the subtended visual angle at which the bees detect a given stimulus with a probability P 0 = 0.6, was 5° for stimuli presenting both chromatic contrast and contrast for the green photoreceptors [i.e. excitation difference in the green photoreceptors, between target and background (green contrast)], and 15° for stimuli presenting chromatic but no green contrast. Our results suggest that green contrast can be utilized for target detection if target recognition has been established by means of the colour vision system. The green-contrast signal would be used as a far-distance signal for flower detection. This signal would always be detected before chromatic contrast during an approach flight and would be learned in compound with chromatic contrast, in a facilitation-like process.

Colour is visual identification or perception of a property derived from spectrum of light by human eyes. When a beam of light from sun or light source passes through a glass prism, it dispersed in to seven colours of rainbow. Sunlight has a high color temperature, a fairly uniform spectrum and is considered a standard for white light. A rainbow is an optical and meteorological phenomenon caused by reflection and refraction of light in water droplets present in the atmosphere. The rainbow colours are violet, indigo, blue, green, yellow, orange and red (vibgyor). Electromagnetic radiation in the visible range is generally called as light.

Colour and knowledge-Thoughts on a history of perception or evolution of colors In his book The Appearances of Colors (1911), David Katz states that the causes of the existing distortions within the science of colors are primarily "the variety of viewpoints from which one can approach the problem of color (the physical, technical, physiological, psychophysical, psychological, aesthetic perspective) " 1 Katz thus names a problem that was not only known at the beginning of the 20th century, but a dilemma that continues to this day, namely the apparent blurring of the subject area "color", which means that up to our time no clearly defined color science with clear Could develop scope and well-founded methodology. Would you be able to imagine one for a moment-what would it look like? Would it be more oriented towards physics or physiology, psychology or even ecology? Would it be a pure science at all or would a science of color not have to integrate concepts from the humanities, art, culture and language sciences as well? Wouldn't it be an impossibility at the same time, a homeless chimera of unclear affiliation and methodology, a disciplinary bastard whose epistemological approaches would have to question the sovereignty of the sciences that produced it? Yes! The essay at hand attempts to characterize the seemingly inherent disobedience, which to this day prevents a firm disciplinary attribution, as a human-related, twofold anthropological illusion and thus to resolve it. The colors, understood as human experiences, penetrate to the very foundations of epistemology and thus the sciences, because they literally show us the evolutionary-ecological condition of our sensual approaches to the world. Just as no biologist would come up with the idea today of wanting to explain the form and function of an organism without using its evolutionary and ecological history, it makes little sense to make human perceptions independent of the both sensory-physiological and ecological roots of their development consider. Accordingly, the essay wants to understand perceptions and thus also color as an inner phylogenetic echo of certain information from an external environment and includes in this conception the evolutionarily proven ways of acting of living beings. In a second step, this approach of perception-specific limitation to the question of what is possible for us to understand is to be applied before the consequences of this can be illustrated by some scientific-historical considerations. I. Information, Environment, Perception "How is it that we know this world?" 2 Gerhard Vollmer in his article ‚Between biology and philosophy' and answers this question with reference to the ‚Evolutionary epistemology'. Accordingly, "thinking and recognizing are achievements of the human brain, and this brain originated in biological evolution." 3 As simple and obvious as this consideration may be, it is difficult, indeed impossible for us, the limitations of our own perception and thereby also recognizing what is possible for us to recognize. If thinking and knowing should have arisen in a historically unique and different process for each species, we still have to ask ourselves what we can actually perceive from the world around us and how "true", in the sense of objective, we allowed to hold this perceived? From an evolutionary perspective, the question of "what" inevitably leads to the question of "why" we perceive the world in this way and not in a different way, thereby emphasizing the importance of the information we perceive for our species? In perceptual psychology, perception means "the activity of taking up (and processing) information about objects and events in the environment into the brain of a living being" 4. However, this inconspicuous definition harbors one of the basic epistemological problems of philosophy since

American Director Wes Anderson's films are an interesting case study on the use of representation and visual language as elements capable of implementing the narrative underlying the film plot. His films, in fact, are constructed according to a logic similar to that of architectural representations. The combination of geometries, perspectives, textures and colors generates a code of signs capable of mediating between the intelligible and the sensitive, between the idea and the image. In particular, chromatic aesthetics constitutes a carefully curated component in the image sequences. The balanced and perfect color compositions, however much they may seem a decorative whim, represent a clever narrative device that, designed according to logical patterns, is able to embody symbolic and communicative values. This research, therefore, aims to investigate the language of color in Anderson's films, with the aim of analyzing its narrative potential. The color is investigated both as a narrative content of the filmic atmosphere and as a narrative container of emotions and symbols. The double register of analysis used for Anderson's films can become a trace of a general methodology of analysis, applicable not only to the works of other directors, but also to other forms of visual narration.

A forced choice paradigm was employed, similar to that of a recent experiment conducted by Hubbard (1996) using paired greyscale patches and pitch intervals, which provided evidence of a universal mapping of lightness value relative to pitch height. In the current experiment we used colour, instead of greyscale, and tonal intervals within the normal vocal and instrumental midrange. 40 participants chose between colour combinations derived from two models of pitchcolour correspondence in response to intervals and dyads from all 48 major and minor keys in the cycle of 5ths. Analyses revealed a tendency to map adjacent colours onto close intervals and relate spectrally distant colours to larger intervals, particularly amongst those with musical training, but also among participants with training in visual arts. This experiment provides evidence of a perceptual analogy between pitch and colour relationships, as well as some support for the traditional linear model of pitch-colour correspondence.

A systematic look at colour on the four worlds of the Qabalistic Tree of life, it's historic evolution and meditational use, especially in terms of energy circulations between Da'ath and Yesod in the Body.  Presentation to Servants of the Light,  Convocation of the Lodges: Gathering of the Lights 18-20 November 2011.  Slides, notes and visual meditations downloadable from the Tree In Colour website, created by the author can be found on an updated website called The Luminous Tree https://echtrai.org

The focus of that site is stories from and about the Tree of Life including a systematic look at colour in the Four Worlds of the Qabalistic Tree, its history and meditational use. The Golden Dawn Colour Scales and Colour in Medieval Jewish Kabbalah area among the topics addressed.  Launched 4 Nov 2021.

Bu araştırma camın plastik ifade olanaklarına ilişkin rengin cam sanatındaki kullanımlarının izini sürerken, camda renk ve anlatım ilişkisini inceleyerek bunu kullanan sanatçılara yer vermektedir. Rengin biçime yüklediği anlamlar dünyada cam malzemesini kullanan sanatçılar kapsamında ele alınmıştır.

İlk bölümde teknik açıdan camda renk olanaklarına değinilmiş, sanatçıların camı nasıl kullandıklarından örnekler verilerek teknik detaylara değinilmiştir. Renkle ilgili camın transparan yapısı göz önüne alınarak yapılan araştırmalara değinilmiş, ışık ve renk birlikteliğinin izi sürülmüştür. Anlatımda bu özellikleri kullanan sanatçıların eserleri üzerinden örnekler verilmiştir. Çizgisel ifade olanakları çerçevesinde neon uygulamaları ve roll-up tekniği kullanan sanatçıların biçim araştırmaları eser örnekleri eşliğinde sunulmuştur. Kompozisyonlarında rengi anlamın taşıyıcısı olarak kullanan sanatçılara yer verilmiş, rengi monokrom kullanan sanatçılara da değinilmiştir.

Praca prezentuje wyniki badania dotyczącego czynników ryzyka zaburzeń snu wśród pracowników agencji reklamowych. Przebadano 100 osób (55 kobiet i 45 mężczyzn) z działów obsługi klienta, kreacji i wdrożeń. Zastosowano kwestionariusze: FCZ-KT - Formalna Charakterystyka Zachowania Kwestionariusz Temperamentu, Kwestionariusz Poczucia Stresu (KPS) i Ateńską Skalę Bezsenności (ASB) oraz ankietę własną. Analizy wykazały, iż osoby cierpiące na bezsenność osiągają wyższe wyniki na wszystkich skalach stresu KPS, mają wyższe nasilenie reaktywności emocjonalnej
i perseweratywności, natomiast niższe wytrzymałości i żwawości oraz pracują dłużej niż osoby śpiące dobrze. Analiza regresji wykazała, że czynnikami ryzyka bezsenności jest napięcie emocjonalne, reaktywność emocjonalna i przepracowanie, natomiast płeć pełni rolę moderatora. Czynniki te w sumie wyjaśniają 40% zmienności wyników na skali ASB.

(Colour illustrations for CD-ROM version you can see after black-white variant)
Colour combinations in the costume of peoples in the Iranian World reveal their traditional character: red, white and blue, with rarer use of yellow, black and green. It reflects ancient Iranian colour symbolism rather than the contents of dye-stuffs. The influence of the Achaemenid Empire on other Iranian peoples includes the use of multi–coloured and, partly, striped fabrics and continued into the period of the Sasanian Empire when the concept of decorating cloth with medallions. Multi-coloured fabrics are not typical for Iranian costume and the costume of many other Iranian peoples in the Parthian period, which can be explained through Greek aesthetic influence.

In the present study, we have described and compared both the number and the types of the mistakes that were made during reading of the Ishihara plates by 3,926 students attending the secondary schools in the province of Cosenza (Calabria, Southern Italy) and by 546 Calabrian university students all without colour-blindness. There were no qualitative differences in the types of mistakes made by the two groups of subjects during their reading of the Ishihara plates. Moreover, we have reported both the mean frequencies and types of colour-blindness in only the province of Cosenza. During this study, it was shown that the ishihara test is reliable during screenings for the diagnosis of colour vision deficiencies, as shown by some previous investigations.

Cognitive Linguistics, which primarily deals with the conceptual structures of human mind via their language manifestation, opens new prospects in study- ing binary oppositions. Despite numerous researches of this phenomenon, lots of questions raised here do not have
exhaustive answers. What we need is not only inquiry oriented toward ascertainment of the universality (or the degree of universality) of some binary oppositions, but studies of their system in a certain linguaculture within a given time period. The precise study of interrelations
among various symbolic domains in this sphere is another important problem. Furthermore, binary oppositions should not be seen as stable and unchangeable structures presented within human consciousness but they must be regarded as the external manifestation of specific cognitive
mechanisms. This  paper  presents  an  empirical investigation  of  the  binary  opposition
LIGHT-DARK based on the method of an associative experiment. The analysis of the responses clearly reveals binary oppositions which are deep-rooted in the speakers’ consciousness and which closely interact. These oppositions build a rich background for the metaphorical interchange between corresponding domains which create a whole system where the correlating parts are used
for the metaphoric designation of each other. The main focus of this study is the interaction of cognitive mechanisms of contradistinction with conceptual metaphor and further analysis of the result of this process in a language.

BECAUSE THE SUN ITSELF IS EMANATING THE COLOR LT PURPLE.

EUPHORIA REALLY IS A HUGE DEAL. 

MASSIVE CHANGE - THE ENTIRE COLOR SPECTRUM!!! IT IS HAPPENING NOW.  AND IT HAS HAPPENED BEFORE!!!  ANCIENT EARTH WAS LT. PURPLE!! 
https://www.livescience.com/1398-early-earth-purple-study-suggests.html

This research deals with Audiovisual Design language elements, elaborated as
an audio/visual/verbal system that simultaneously transmits all its elements,
emphasizing their relationship and their transversal composition in time and space.
Originally from Cinema, Audiovisual Design originate a new discipline in Design,
develops along with Television, feeds from Graphic Design elements and improves
with Informatics; it has its own process expedited by emergent digital technology
post-1990. The evolution of pre-production, production and post-production in
audiovisual mediums, more precisely in Cinema, plus an expanding perspective
of creating more complex digital Audiovisual Design, leads us to a discussion yp
identify the need of a model that would be able to demonstrate the plurality of these
frail, unpredictable, “bubbles in the foam”-like elements. That was the beginning of
the Audiovisual Foam Model thesis.
The thesis fundaments come mainly from Lucia Santaella’s theories of Language and
Thinking Matrix, which are tools for understanding the mentioned relationships;
and from the Dutch philosopher Peter Sloterdijk’s work, that supported the Foam
Model because of its metaphoric, systemic and complex character. As an empiric
procedure, some study cases were made based on Audiovisual Design of Open
Titles, and by the end of this process an experimental Project of the Audiovisual
Foam Model was developed, leading to a 3D Immersive Installation named “Passion
and Violence”.
This research aims to contribute to the academic formation and updating of
designers in beginning of the XXI century, in the middle of its contemporary
scenario, and to presents a comprehensive approach. The results brings about
a clearer vision of the language elements of the Audiovisual Design, not only as
“borrowed” elements from other disciplines but also as unique, hybrid, complexes
elements on their own identity.

Grating patterns can cause discomfort and perceptual distortions. Individuals who experience discomfort and are susceptible to these distortions generally show weaker accommodation than those who are less susceptible.  We measured the accommodative response to grating patterns known to differ in the discomfort they evoke because of differences in their colour, motion or spatial frequency.  The parameters known to affect discomfort and distortion had no influence on the mean or variance in the accommodative response, even when accommodative demand was manipulated systematically and the accommodative response varied as expected.

The paper discusses the venerable philosophical experience of shared experience, for example, when we seem red how can we know another person has the same experience? It is argues from modern neuroscience, as well as findings in the sensory experience of animals that we can know that this is not the case. The broader argument is that philosophy cannot run away from developments in other disciplines, by claiming to be non-empirical.