Colour Vision

1. Honeybees are positively phototactic when they leave a feeding place and start to fly back to the hive. The strength of this natural phototactic response in individually marked bees was measured without interfering with their foraging behaviour. 2. Absolute sensitivity of this phototactic response to a point light source is in the range of 8.3 ▪ 10 7 quanta s-1 for 537 nm. This corresponds to about 5 absorbed quanta in 28 green receptors over the integration time of 60 ms. 3. We conclude that the properties of the mono-polar cells or higher order visual interneurons rather than those of the photoreceptors control the intensity dependence of the response because the slopes (n) of the response intensity functions (R / log I) are steep (n: 1.0-2.65) and wavelength dependent. Blue light (439 nm) causes the steepest function. 4. The effect of residual light adaptation on the R / log I-function and the spectral sensitivity (S(λ)) is negligible under the experimental conditions chosen, since the time course of dark adaptation is fast (τ ≤ 1 min). 5. The blue and green receptors contribute about equally to the S(λ) of this natural phototactic response, the UV receptors somewhat less (Fig. 5). 6. Colour mixing experiments, used to test colour vision in phototaxis, reveal no significant deviation from a simple linear summation of the quantal fluxes, irrespective of the spectral mixture used. We conclude, therefore, that under the experimental conditions colour vision is very unlikely to play a role in the phototactic behaviour of the honeybee. 7. All our results (steep R/log I-functions, fast dark adaptation, S(λ) and the absence of colour vision) support to notion that the natural phototactic response is controlled by neuronal pooling, most likely in the lamina M1 monopolar cells.

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.

Patients suffering from AIDS develop ocular complications, the most frequent being HIV retinopathy. It is however not clear, if functional visual impairments can be observed as early indicators of ocular complications, before clinical diagnosis of HIV retinopathy is made at fundus examination. To address this issue, we measured colour vision in a group of 49 AIDS subjects with normal clinical fundi using the 'two equation method'. This method, combining red-green Rayleigh and the blue-green Moreland metameric matches, enables more complete and quantitative assessments of colour vision than those based on pigmentary tests. Data were collected on our computer controlled colorimeter and compared to those of normal subjects. While most AIDS subjects without HIV retinopathy demonstrated normal colour vision, a significant portion of them had wider matches than normal subjects (11% for the Rayleigh equation and 16% for the Moreland equation). Furthermore, matching ranges of the Moreland equation were significantly correlated with CD4 lymphocyte counts. Patients with low CD4 values tended to produce larger matching ranges than the patients with high CD4 values. A within subject study on 17 patients confirmed this trend and showed that the patients who increased/decreased their CD4 blood counts generally improved/impaired their colour discrimination in the Moreland match. No such correlation was found between the matching ranges of the Rayleigh equation and the CD4 counts. These results show that colour discrimination is slightly reduced in some AIDS subjects, although there are no detectable ocular complications. They also suggest two different types of colour vision impairments in AIDS patients without retinopathy: one reversible process affecting colour discrimination in the blue-green range; and another irreversible process affecting colour discrimination in the red-green range.

We investigated colour vision impairment in 45 male workers occupationally exposed to toluene (mean value of toluene concentration in ambient air = 119.96 ppm) and in 53 controls. Colour vision was evaluated by Lanthony-D-15 desaturated test and expressed as Age and Alcohol Intake Adjusted Colour Confusion Score (AACDS) or types of dyschromatopsia. Exposure was evaluated by measurement of toluene concentration in ambient air and blood, and hippuric acid and orthocresol determined in urine after the workshift. A statistically significant higher AACDS value was established in the exposed subjects compared to the controls (p < 0.0001). There was no significant difference between AACDS values on Wednesday morning compared to Monday morning. In the exposed group AACDS significantly correlated with the concentration of toluene in ambient air, concentration of toluene in blood and the concentration of hippuric acid in urine after the workshift (all p < 0.0001). Dyschromatopsias were detected in both groups, although no significant difference between groups was established. In the-exposed group, concentration of toluene in ambient air, alcohol intake and age explained 35.1%, concentration of toluene in blood, age and alcohol intake explained 19.9%, and concentration of hippuric acid in urine and age explained 19.2% of the variation in type III dyschromatopsia. Concentration of toluene in ambient air and age explained 28.3% of the variation in total dyschromatopsia, and concentration of hippuric acid and age explained 13.8%. In the control group, age and alcohol intake explained 19.6% of the variation in type III dyschromatopsia. In exposed workers a significant difference was found in the AACDS value compared to controls. However, no significant difference was found in the prevalence of colour vision loss in the yellow-blue and/or red-green axis. Based on the results of this study the authors conclude that the effect of toluene on colour vision can be chronic and that the possible reparation period in colour vision impairment is longer than 64 hours.

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.

The issue of whether there is a motion mechanism sensitive to purely chromatic stimuli has been pertinent for the past 30 or more years. The aim of this review is to examine why such different conclusions have been drawn in the literature and to reach some reconciliation. The review critically examines the behavioral evidence and concludes that there is a purely chromatic motion mechanism but that it is limited to the fovea. Examination of motion performance for chromatic and luminance stimuli provides convincing evidence that there are at least two different mechanisms for the two kinds of stimuli. The authors further argue that the chromatic mechanism may be at a particular disadvantage when the integration of multiple local motion signals is required. Finally, the authors present a descriptive model that may go some way toward explaining the reasons for the differences in collected data outlined in this article.

Based on the measurements of 1063 flower reflection spectra, we show that flower colours fall into distinct clusters in the colour space of a bee. It is demonstrated that this clustering is caused by a limited variability in the floral spectral reflectance curves. There are as few as 10 distinct types of such curves, five of which constitute 85% of all measurements. UV reflections are less frequent and always lower in intensity than reflections in other parts of the spectrum. A further cluster of colour loci is formed in the centre of the colour space. It contains the colour loci of green leaves, several other background materials and only very few flowers. We propose a system to classify the reflection functions of flowers, and a set of colour names for bee colours.

spectral sensitivities of each of the zebra finch's single cone classes. This resulted in males that effectively had no UV (UV−), no short-wave (SW−), no medium-wave (MW−) or no long-wave (LW−) plumage reflection. Females preferred UV− and SW− males. LW− and MW− males were least preferred, suggesting that female zebra finches show the greatest response to the removal of longer wavelengths. Quantal catches of the single cone types viewing body areas of the male zebra finch are presented for each treatment. Our study suggests it is important to consider the role of the UV waveband in avian mate choice in conjunction with the rest of the avian visible spectrum.

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.

The aim of the study was to obtain normal values for the colour-arrangement test, Roth 28-hue desaturated. In 146 healthy non-smokers colour vision was tested monocularly. The subjects were divided into four age groups: 0-19, 20-39, 40-59, and 60-79 years. The overall error score for all groups was 54 9 24 (median 9 mean absolute deviation). The values for the 20-39 year group were significantly lower than those for the other groups (Kruskal-Wallis: P B 0.0001 with subsequent multiple Mann-Whitney test). An increasing predominance of errors along the blue-yellow-axis was observed with increasing age. The error scores of normal subjects tested by the Roth 28-hue desaturated were comparable with those on the well-known Farnsworth-Munsell 100-hue (FM-100). Because the Roth 28-hue desaturated is shorter and simpler to administer, it is an alternative to the FM-100 in situations that need to assess colour discrimination and error axis quantitatively and quickly.

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

The most commonly used method to examine the ability of the visual system to discriminate colours and detect colour vision de®ciencies is based on pseudoisochromatic plates, such as the Ishihara plates. We describe a computer-based method to determine red±green colour de®ciencies based on an anomaloscope simulator, which gave good results in a study of red±green discrimination is studied. It was shown experimentally that this computer-based method discriminates between subjects with colour de®ciencies and subjects without colour de®ciencies. q

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.

Purpose: To evaluate a customized, portable Farnsworth-Munsell 100 (FM 100) hue viewing booth for compliance with colour vision testing standards and to compare it with room illumination in subjects with normal colour vision (trichromats), subjects with acquired colour vision defects (secondary to diabetes mellitus), and subjects with congenital colour vision defects (dichromats). Methods: Discrete wavelengths of the tube in the customized booth were measured using a spectrometer using the normal incident method and were compared with the spectral distribution of sunlight. Forty-eight subjects were recruited for the study and were divided into 3 groups: Group 1, Normal Trichromats (30 eyes); Group 2, Congenital Colour Vision Defects (16 eyes); and Group 3, Diabetes Mellitus (20 eyes). The FM 100 hue test performance was compared using two illumination conditions, booth illumination and room illumination. Results: Total error scores of the classical method in Group 2 as mean±SD for room and booth illumination was 243.05±85.96 and 149.85±54.50 respectively (p=0.0001). Group 2 demonstrated lesser correlation (r=0.50, 0.55), lesser reliability (Cronbach's alpha, 0.625, 0.662) and greater variability (Bland & Altman value, 10.5) in total error scores for the classical method and the moment of inertia method between the two illumination conditions when compared to the other two groups.

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 harmony has been an important factor for colour planning. A general consensus has been reached in the definition of colour harmony, as suggested by Judd and Wyszecki [1] that 'when two or more colours seen in neighbouring areas produce a pleasing effect, they are said to produce a colour harmony'. In the present study, a psychophysical experiment was carried out to study colour harmony, in which colour samples were systematically selected on the basis of Berlin and Kay's 11 universal colour names [2]-black, white, grey, red, orange, yellow, green, blue, purple, pink, and brown. These colour samples generated a total of 1431 colour pairs to be assessed in the experiment, which was conducted on a properly calibrated CRT display at a dark room. The colour pairs were shown one by one on the display as two colour squares placed next to each other, with a uniform medium grey as the background colour. In the experiment, a 10-point scale of harmonious-disharmonious assessment was adopted for data collection on the forced-choice basis. Seventeen subjects, including 11 males and 6 females, each with normal colour vision, took part in the experiment. Experimental results indicate that colour harmony was affected by the three colour-appearance attributes, hue, lightness, and chroma. From these attributes, four colour-harmony factors were revealed and were used to develop a colour science based colour-harmony model for 2-colour combinations.

(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.

The optometric profession in the UK has a major role in the detection, assessment and management of ocular anomalies in children between 5 and 16 years of age. The role complements a variety of associated screening services provided across several health care sectors. The review examines the evidence-base for the content, provision and efficacy of these screening services in terms of the prevalence of anomalies such as refractive error, amblyopia, binocular vision and colour vision and considers the consequences of their curtailment. Vision screening must focus on pre-school children if the aim of the screening is to detect and treat conditions that may lead to amblyopia, whereas if the aim is to detect and correct significant refractive errors (not likely to lead to amblyopia) then it would be expedient for the optometric profession to act as the major provider of refractive (and colour vision) screening at 5-6 years of age. Myopia is the refractive error most likely to develop during primary school presenting typically between 8 and 12 years of age, thus screening at entry to secondary school is warranted. Given the inevitable restriction on resources for health care, establishing screening at 5 and 11 years of age, with exclusion of any subsequent screening, is the preferred option.

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.

Understanding perception of colour is challenging because what we see is not always what is there, which is a phenomenon we call illusions. Here we review the nature of colour vision, and the problems facing most current models and explanations. Focusing on our recent research on humans, bees and computers, we describe a new, more ecologically based explanation that provides a clear framework for why we see what we do.

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.

Nachbilder, nicht komplementär Augenexperimente, Sehlüste und Modelle des Farbensehens im 18. Jahrhundert »Ich ergriff endlich selbst den Pinsel, ob ich schon sonst in der Malerkunst ganz unerfahren bin, und verfertigte mir mehr Bilder von dieser Art. Jene, welche menschliche Figuren vorstellen, scheinen besonders häßlich: ein dunkelgrünes Angesicht mit sehr bleichgelben Schatten vermischt, weiße Augenbrauen, schwarze Augen mit einem weißen Sterne: hellgrüne Lefzen entstalten sie ungemein. Allein jene, die mich besuchen, wenn sie diese Bilder auf vorgeschriebene Weise betrachteten, befinden sie recht artig, zu meinem Glücke nämlich, daß sich bey den Scheinfarben einige kleine Züge, welche sonst bey einem Maler für nicht geringe Fehler zu halten wären, gänzlich verlieren, oder doch also mäßigen, daß das Bild gemeiniglich weit schöner ausfalle, als es vermöge der aufgetragenen Farben seyn sollte.<<' Der Wiener Jesuit earl Scherffer beschreibt in seiner 1765 veröffentlichten Abhandlung von den zufälligen Farben Bilder, die, in der richtigen Weise angesehen, als Nachbilder auf der weißen Wand Phantome in einigermaßen naturgetreuer Farbigkeit erscheinen lassen: rosige Gesichter mit bläulichen Schatten, schwarze Augenbrauen, weiße Augen mit schwarzen Sternen darin, und anstatt hellgrüner Lefzen rote Wangen. Für ein ähnliches Experiment stellte Johann Wolfgang von Goethe sich fünfzig Jahre später das Bild einer vollbusigen Nackten als Vorlage her (Abb . 1, siehe Tafelteil). 2 Die Haut und die üppigen langen Haare seines Mädchens sind in Schwarz und Weiß gehalten, sie hat grünliche, im Nachbild rote Wangen und eine gelbe, im Nachbild blauviolette Schleife. Der Kopf erscheint vor rötlichem, im Nachbild grünlichem Hintergrund und ist zuerst in ein Oval, dann in ein schwarzes Quadrat gesetzt, wie ein Miniaturporträt im Passepartout. Sicherlich sollte die erotische Darstellung das unangenehm lange wissenschaftliche Starren kompensieren, das notwendig war, um ein Nachbild zu erzeugen.

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

Color constancy is usually measured by achromatic setting, asymmetric matching, or color naming paradigms, whose results are interpreted in terms of indexes and models that arguably do not capture the full complexity of the phenomenon. Here we propose a new paradigm, chromatic setting, which allows a more comprehensive characterization of color constancy through the measurement of multiple points in color space under immersive adaptation. We demonstrated its feasibility by assessing the consistency of subjects' responses over time. The paradigm was applied to twodimensional (2-D) Mondrian stimuli under three different illuminants, and the results were used to fit a set of linear color constancy models. The use of multiple colors improved the precision of more complex linear models compared to the popular diagonal model computed from gray. Our results show that a diagonal plus translation matrix that models mechanisms other than cone gain might be best suited to explain the phenomenon. Additionally, we calculated a number of color constancy indices for several points in color space, and our results suggest that interrelations among colors are not as uniform as previously believed. To account for this variability, we developed a new structural color constancy index that takes into account the magnitude and orientation of the chromatic shift in addition to the interrelations among colors and memory effects.

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.

It is quite obvious color management is very difficult for color-blind people. Moreover, in the case of a color-blind artist the problem worsens, especially visual artists. Difficulties arise if the artist tries to express "real" colors using canvas-based traditional painting methods (eg. using acrylic colors to develop a full artistic experience and personal expression). For a traditional painter, color management is based exclusively in the ages-old color naming schema and the artist's own perception skills. For a daltonic painter the color names can be of some help, but visual perception cannot be relied upon. Modern color theory and computer graphics tools could help in multiple ways to guide color-blind artists in their artistic work. The proposal described is based on personal experience.

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.