Color (Philosophy)

Esta tesis corresponde a un programa de doctorado de Teoria del Arte en la modernidad. Su punto de partida es el topico literario del ennui (el tedio, la noia) en el romanticismo frances y las generaciones que siguieron. Siguiendo el planteamiento de George Steiner sobre lo que el mismo llama «El gran ennui», se hace aqui hincapie en los anos de la Monarquia de Julio (1830-1848), pero igualmente se presta mucha atencion a dos escritores que entonces se encuentran en plena juventud, Flaubert y, especialmente, Baudelaire. En este particular contexto se trata de abordar el ennui en relacion con los modelos economicos surgidos en la epoca, principalmente el laissez faire y todo el aparato que lo acompana. Con ello, se pretende establecer una relacion entre la literatura y el arte con las dimensiones social y politica de la modernidad. Dicha relacion ha sido puesta de relieve, no a traves de la representacion artistica sino empleando el paradigma fisiologico que la epoca vuelca sobre el ...

This chapter addresses the question of the circulation of images within social domains, such as art, science, politics and advertising, in order to investigate the various “image economies” correlated with these social domains. I will mostly focus on the artistic social domain which is the most complex and diversified one with respect to dominating values. In this regard, I will take into account the theory of French semiotician Jean-François Bordron, who explains the notion of economy as a cosmology of sorts in which all the objects it includes are regulated by values that it makes understandable and relatable. Resorting to this concept of economy is necessary to explain the different systems of value underlying images, especially when considering images in the process of their social circulation from one domain to another. The questions I address while referring to this notion of economy are
the following: How many kinds of economy can an image pertain to? Under
which economy do artistic images circulate? What about scientific images?
How, and under which status does an image circulate as a specimen belonging
to a group of rare objects, or as a specimen of a serially reproduced series of
images that are dispersed throughout the world and seemingly devoid of value?
How does a fake circulate?

The color is one of the most important design elements that the designer relies on for the success of the product in the market, where color is the means of communication between the product and the consumer, therefore choosing the color in the design occupies the mind of the designer greatly, but the designer relies on the theory of significance in choosing the color of his product as it is the theory that He learns during his study stages, and the meaning of semantics is that color has a meaning and a fixed symbolic connotation, for example white color, meaning purity and purity, green color of peace, red color of excitement and attracting attention, strong black color and sadness, purple color of dreams and imagination so this color is linked in the mind The designer is a female color, so we find that the designer’s choice of color is related to this theory, which led to the division of products into groups, each group has a color, for example, we find that household products "refrigerator - washing machine - butane  Stoves - ovens .... etc. "captured the white and gray colors, white as the primary color and gray as the "steel" color. The paint for these products is not accepted, which imposes on the consumer a similar set of products despite the different design, but the color imposed by the designer is A theory of significance led to the consumer’s sense of the lack of difference between the products, which created a kind of boredom and suspicion in the products the consumer has. The research problem was summed up in presenting another theory of colors that the industrial designer benefits from, as it provides him with a different philosophy and vision in his choice of color, which is a theory The aura means the human luminous energy that surrounds the human body, which cannot be seen with the naked eye, and it is composed of seven levels of color from the inside to the outside is red, orange, yellow, green, light blue, "nelly", purple i It is the colors of the spectrum or the colors of light, and each level is related to a part within the human body called "chakra" as the Chinese called them. These seven blondes are centers of the inner energy of the human being. The color of the aura and its regularity around the human body indicates that the human being is healthy and physically healthy, but the difference in the color of the aura Color fading, or aura of irregularity indicates that the human being is ill, and this human energy "The aura" has already been photographed with some special cameras, and from the research and studies that have been conducted in this field it has been proven that the delightful colors and beautiful flowers strengthen the vibration The aura and makes its owner more lively, energetic and optimistic. Sadness and pessimism work to obliterate the aura, which brings the human to the disease.The study dealt with the aura of color with explanation and analysis, and the meanings of these colors that are made by the Almighty Creator, and concluded with some results, the most important of which is that color is an energy that penetrates the body through the skin affecting the processes and functions of the body's organs, such as the contribution of sunlight to the formation of vitamin D, and that each A color of the human aura that God surrounds a person with a part that interacts with a part of the human body. Likewise, exposure to cheerful colors strengthens the vibration of the aura and makes the human being more vibrant, energetic and optimistic. Likewise, avoiding choosing pastel colors for the products. Also, the use of colors that address the organs of the human body for the products that deal with it, for example computers that deal with the human as long as possible the most appropriate color for them is violet as it addresses the mind.

Ce mémoire propose une évaluation critique de la théorie des espaces conceptuels de Peter Gärdenfors, qui est un cadre théorique qui vise à représenter la signification des concepts du langage naturel. Ce cadre se trouve à l’intersection des approches symboliques et des modèles distributionnels de la sémantique.
Le mémoire montre que la théorie des espaces conceptuels est une heuristique féconde, particulièrement efficace pour les domaines sensoriels mais qu’il faut nuancer sa portée en raison des difficultés à l'appliquer directement à la sémantique du langage naturel et aux processus cognitifs dynamiques, appelant ainsi à des enrichissements théoriques pour en étendre l'applicabilité.
Le premier chapitre établit la puissance explicative de la théorie en se concentrant sur son application aux couleurs. Le deuxième chapitre confronte la théorie à un défi majeur : la sémantique lexicale des mots abstraits, étudiée à travers le phénomène des distorsions de la mémoire dans le paradigme Deese-Roediger-McDermott (DRM). L'enjeu est de déterminer si la proximité dans un espace sémantique peut expliquer le fait que, dans les expériences DRM, les participants reconnaissent à tort des mots-leurres non présentés.Enfin, le troisième chapitre pousse la théorie dans ses retranchements en abordant les aspects dynamiques de la cognition, à travers l'étude des interférences entre les différentes langues chez les locuteurs bilingues. Ce phénomène met en lumière le caractère statique du modèle de Gärdenfors.

Background: Recent evidence in systems neuroscience suggests that lighting conditions affect the whole chain of brain processing, from retina to high-level cortical networks, for perceptual and cognitive function. Here, visual adaptation levels to three different environmental lighting conditions, (1) darkness, (2) daylight, and (3) prolonged exposure to very bright light akin to sunlight, were simulated in lab to investigate the effects of light adaptation levels on classic cases of subjective contrast, assimilation, and contrast-induced relative depth in achromatic, i.e., ON-OFF pathway mediated visual configurations. Methods: After adaptation/exposure to a given lighting condition, configurations were shown in grouped and ungrouped conditions in random order to healthy young humans in computer-controlled two-alternative forced-choice procedures that consisted of deciding, as quickly as possible, which of two background patterns in a given configuration of achromatic contrast appeared lighter, or which of two foreground patterns appeared to stand out in front, as if it were nearer to the observer. Results: We found a statistically significant effect of the adaptation levels on the consciously perceived subjective contrast (F(2,23) = 20.73; p < 0.001) and the relative depth (F(2,23) = 12.67; p < 0.001), a statistically significant interaction between the adaptation levels and the grouping factor (F(2,23) = 4.73; p < 0.05) on subjective contrast, and a statistically significant effect of the grouping factor on the relative depth (F(2,23) = 13.71; p < 0.01). Conclusions: Visual adaption to different lighting conditions significantly alters the conscious perception of contrast and assimilation, classically linked to non-linear functional synergies between ON and OFF processing channels in the visual brain, and modulates the repeatedly demonstrated effectiveness of luminance contrast as a depth cue; the physically brighter pattern regions in the configurations are no longer consistently perceived as nearer to a conscious observer under daylight and extreme bright light adapted (rod-saturated) conditions.

The problem of visual metamerism is defined as finding a family of perceptually indistinguishable, yet physically different images. In this paper, we propose our NeuroFovea metamer model, a foveated generative model that is based on a mixture of peripheral representations and style transfer forward-pass algorithms. Our gradient-descent free model is parametrized by a foveated VGG19 encoder-decoder which allows us to encode images in high dimensional space and interpolate between the content and texture information with adaptive instance normalization anywhere in the visual field. Our contributions include: 1) A framework for computing metamers that resembles a noisy communication system via a foveated feed-forward encoder-decoder network – We observe that metamerism arises as a byproduct of noisy perturbations that partially lie in the perceptual null space; 2) A perceptual optimization scheme as a solution to the hyperparametric nature of our metamer model that requires tuning of t...

In Metaphysics Γ.3, Aristotle argues that it is impossible to deny the PNC. However, as several commentators—including Code, Barnes, Priest, Kirwan, and Dancy—have objected, Aristotle’s argument appears to rely on the invalid inference from 1 to 2 as follows:

1. For all p, it is impossible to believe that p and not-p.

2. Therefore, it is impossible to believe that it is possible that there is a p such that p and not-p.

We argue that this objection turns on a misunderstanding of Aristotle’s text, and that Aristotle's argument is valid and quite strong.

The Mesoamerican Color Survey (MCS) collected color-naming and categorization data from approximately 900 speakers from each of 116 indigenous languages from regions in Mesoamerica or Central America. Analyses of these data were originally reported by Dr. Robert E. MacLaury, principal investigator of the survey. The MCS data exist as a public-access color categorization and naming digital archive, in conjunction with other color categorization data collected by MacLaury, and are available at .

I present and discuss in this paper Husserl’s investigation of the genesis of the modem conception of empirical reality as carried out in his last work The Crisis of European Sciences and Transcendental Phenomenology. The goal of Husserl’s genetic investigation was to uncover the rnany layers of constitution that frorn the life-world (the Lebenswelt) the modem scientific conception of Nature was originated and to point out the need to ground the scientific project of rnodemity in the life-world so as to overcome the “alienation” that, for him, characterized the “crisis” of European science. I, however, approach his analyses from a different perspective. The problem that interests me here is the applicability of mathematics in the empirical science. My airn is to assess Husserl’s treatment of this question in order to see whether it can be sustained from a strictly scientific perspective. My conclusion is that it cannot. What Husserl takes for the “crisis” of science is inherent to t...

Suppose Socrates is looking at a bright red apple in good viewing conditions, so that it looks to him the colour it is. Schematically, Aristotle's explanation of this "Good Case" is that the apple looks bright red to Socrates because he has taken on the perceptual form of bright red without the matter. But what happens if Socrates misperceives the apple instead and it looks purple? It is not at all clear how to apply Aristotle's account of perception to such a "Bad Case." Does Socrates still take on the perceptual form of the actual-bright red-colour of the apple in the Bad Case? Of purple? Neither? I argue that applying Aristotle's account of perception to this sort of Bad Case requires that there are different ways of being in perceptual contact with perceptible qualities like the colour of an apple, depending on how that perceptual contact is mediated by changes in the sense organs and perceptual medium.

Avicenna (d. 428/1037) and Ibn al-Haytham (d. 432/1040 [?]), two names pointed out by pioneering research on the science of optics, seem to be the most fundamental sources in the optical texts written in the Ottoman classical period in the Mashshāʾī, Kalāmī, Illuminationist, and Manāẓir genres. Although a complete list of the optical problems that these two pioneers dealt with is not yet available, research shows that Avicenna’s and Ibn al-Haytham’s optics were composed differently on theoretical and experimental issues. In the synthesis applied to Avicenna and Ibn al-Haytham’s optics, Fakhr al-Dīn al-Rāzī (d. 606/1210) stands out in theoretical optics and Kamāl al-Dīn al-Fārisī (d. 718/1319) in experimental optics. This study aims to point out the different routes of circulation of four of the optical problems of Avicenna and Ibn al-Haytham’s optics, which were compounded by al-Rāzī and al-Fārisī and circulated thanks to Ottoman scholars: the varieties of light, the relation between light and colour, the rainbow, and the halo.

The article presents the results of the research carried out on the material of texts of artistic
and advertising discourses. The study aimed to identify and describe the functionality
of foliage colour descriptions, particularly their activity and productivity in creating new
colour terms, based on a reconstructed segment of the colour concept sphere within the floral
space of the Russian language. This is relevant to the field of colour linguistic, which seek to
create as complete a description as possible of the Russian language’s color concept sphere. To
achieve this goal, several methods were used (continuous sampling, descriptive and analytical
processes, contextual, method of quantitative data processing) to address the following
objectives: 1) to determine the quantitative and qualitative composition of colour terms
significant in the perception and visualisation of foliage in the prose of Konstantin Paustovsky,
a master of the artistic prose; 2) to reveal the specificity of Paustovsky’s colour-related
writing style through the analysis of foliage colour descriptions functioning in his artistic text;
3) to identify the functional potential of foliage descriptions realised in fiction and advertising
text; 4) to establish the composition and function of advertising colour terms based on
colouristic descriptions of foliage. The main results of this polydiscursive research include the
identification and description of: 1) the register of colour terms used by Paustovsky to visualize
foliage, of which 26 units belong to the core vocabulary, and more than 30 units expand the colour
and light range; 2) the dominant colour (yellow), reflecting K. Paustovsky’s individual perception;
3) the correlation between the Paustovsky’s colour preferences in foliage visualization and the
Russian-language colour standard; 4) the set of meanings conveyed by the colour terms; 5)
the stylistic diversity of colour terms; 6) the characteristics of Paustovsky’s colour-related
writing style; 7) the functionality of colour terms identified in the fiction text; 8) the mechanism
by which colour terms are produced within both fiction and advertising text, based on coloristic
description of foliage. The study concludes that the obtained results are significant for
describing both the individual colour picture of the world of Paustovsky, and for reconstructing
the colour concept sphere of the floral space of the Russian language. Furthermore, the
productivity of this polydiscursive study of the colour concept sphere allows for the recording
and inventory of the process by which colour terms are created, and also for the explication
of the foundations for their creation and use.

We address the problem of finding harmonic colors, this problem has many applications, from fashion to industrial design. The proposed approach enables to evaluate and generate color combinations incrementally. In order to solve this problem we consider that colors follow normal distributions in tone (chroma and lightness) and hue. The proposed approach relies in the CIE standard for representing colors and evaluate proximity. Other approaches to this problem use a set of rules. Experimental results show that lines with specific parameters -angles of inclination, and distance from the reference point -are preferred over others, and that uncertain line patterns outperform non-linear patterns.

In the De Anima, Aristotle claims that the five senses are infallible about their proper objects. I contend that this claim means that sight is infallible about its proper object in its most specific form, i.e. sight is infallible about red or green and not merely about color in general. This robust claim is justified by Aristotle's teleological principle that nature does nothing in vain. Additionally, drawing on Aristotle's comparison of perception and one's understanding of the essences, I defend a conception of the senses in which the structure of their contents is simple rather than predicative and show how this coheres better with the rest of my interpretation.

The book is concerned with Aristotle’s answers to two closely interconnected questions: (1) What is the nature of perception? (2) How can perception be explained?
(1) It argues that, on the most general level, Aristotle understands perception as a complete passive activity. The notion is shown to merely appear self-contradictory to us due to a historical development in concepts of ‘passivity’ and ‘activity’. This finding opens new avenues  for better understanding Aristotle’s intriguing attempt to integrate causal, qualitative, and relational aspects of perception, while drawing a clear dividing line between perception and appearance. It shows why Aristotle is neither a ‘spiritualist’ nor a ‘materialist’ and that his account of perceptual likeness is more ‘dynamic’ than hitherto appreciated.
(2) Regarding explanation, the book brings out a major dilemma for Aristotle’s hylomorphic account of perception: Can the passive and dynamic nature of perception be accounted for without compromising the essential impassivity of the soul? Since antiquity this dilemma has typically been bypassed, but only at the costs of Aristotle’s insights into the nature of perception and/or his explanatory commitments. The book addresses the dilemma and reconstructs Aristotle’s answer based on the notion of an unconscious homeostatic mechanism underlying the most rudimentary perceptual acts.

Whether designing an interior, product, or brand identity, architecture and design professionals consistently rely on colour to establish connections with users and convey specific messages. However, translating abstract ideas into colour selection can be challenging, particularly when working with complex or sophisticated meanings that lack physical or concrete visual references. So, how can we make informed colour choices beyond subjective intuition or traditional associations? To address this, the Colour Meaning Matrix (CMM) was developed. This tool assists creatives in selecting colours with precision and purpose, offering guidelines and suggestions to align ideas with all three colour attributes - hue, lightness, and saturation - and enabling designers to choose colours that effectively communicate the desired emotional and contextual meanings.

The relation between perception and reality — the epistemological challenge of grasping the ontological features of the world — is a long-standing philosophical concern. The mind, as an extraordinary modeler of reality, transforms a colorless and silent world into a rich experiential domain filled with colors, sounds, scents, and sensations. This model is so effective, shaped by evolutionary needs, that we easily mistake it for reality itself. But what lies beyond the model? Kant famously posited the “thing in itself” — a domain whose true nature eludes us due to the unavoidable mediation of cognition. Can science bridge the gap? While science tells us that colors correspond to electromagnetic wavelengths, and sounds to air vibrations, it ultimately relies on the same sensory channels that shape our mental representations. Thus, even the most refined scientific models may leave aspects of reality forever beyond our cognitive reach. We remain confined within a brilliantly functional model shaped by our mind.

В статье рассмотрен один из факторов компетентности журналиста, а именно: активность в восприятии информации. Этот фактор рассматривается как журналистский прием профессиональной деятельности. Анализируется само понятие активности. Ключевые слова: журналистика, активность, восприятие информации, компетентность журналиста. The article deals with factors of a journalist' competence especially the ability for active perception of information. This factor is considered as a major method of professional activity. The concept of activity is analyzed.

Optik ilmine dair öncü araştırmaların işaret ettiği iki isim olan İbn Sînâ (ö. 428/1037) ve İbnü'l-Heysem (ö. 432/1040 [?]), Osmanlı klasik döneminde Meşşâî, Kelâmî, İşrâkî, Menâzırî türlerde yazılan optik metinlerinin en temel kaynakları olarak gözükmektedir. Bu iki zirve ismin ilgilenmiş oldukları optik problemlerinin tam bir listesi henüz mevcut olmamakla birlikte yapılan araştırmalar, İbn Sînâ ve İbnü'l-Heysem optiğinin teorik ve deneysel konularda farklı şekilde terkip edildiğini göstermektedir. İbn Sînâ ve İbnü'l-Heysem optiğine uygulanan sentezde teorik optikte Fahreddin Râzî (ö. 606/1210), deneysel optikte ise Kemâleddin Fârisî (ö. 718/1319) ön plana çıkmaktadır. Bu çalışma, İbn Sînâ ve İbnü'l-Heysem optiğinin, Râzî ve Fârisî eliyle terkip edilen ve Osmanlı bilginleri sayesinde dolaşımda olan optik problemlerinden ışığın çeşitleri, ışık-renk ilişkisi, gökkuşağı ve hâle olmak üzere dört problemin farklı dolaşım rotalarına işaret etmeyi hedeflemektedir.

The essay challenges the long-standing marginalisation of colour within Western artistic and academic traditions, arguing that colour is never neutral but inherently ideological. Often dismissed as secondary to form or line, colour has historically been associated with the irrational, emotional, and primitive—traits that have been feminised, racialised, and excluded from hegemonic narratives. The author reveals how this chromophobia continues to pervade art education and design training, resulting in a widespread lack of critical engagement with colour. She asserts that to use colour—especially red—is to make a radical statement. Red, in particular, carries centuries of political resonance, symbolising revolution, urgency, and defiance. Through examples from contemporary social movements, the essay highlights how colour functions as a tool of visibility, solidarity, and resistance, transforming public spaces and challenging institutional aesthetics. The affective and symbolic power of colour, amplified by light and space, makes it a potent medium for collective identity and political agency. In this context, colour becomes not merely visual but visceral—a form of activism embedded in artistic practice. To reclaim colour is to engage in resistance: it is to see, feel, and act politically through visual means.

In vision science, colours such as red, yellow, blue, and white are regarded, not as physical properties as such, but as perceptions of physical properties created by our visual system. Yet colours certainly seem to us to be physically located outside ourselves in objects and in light. In this presentation I’ll examine how this perceived physicality of colour arises and how it misleads us into thinking that when we mix coloured paints and lights we are mixing their colours.

This article discusses the key role of Eastern philosophy in the formation of contemporary aesthetic concepts and reveals its influence on artistic creation. Oriental wisdom pursues inner peace, inspiring artists to break the shackles of tradition and explore new art forms and expressions. Through in-depth research on Eastern philosophy, this article provides a new perspective for reexamining the relationship between nature and beauty, pointing out that nature not only has material attributes, but also carries deep aesthetics and life meaning. Through examples, this article shows the concrete embodiment of the Taoist idea of "unity of heaven and man" in visual arts, such as painting and sculpture. It was discovered that the concept of "unity of heaven and man", in Eastern philosophy, is the core driving force of aesthetic freedom in contemporary art creation. It reveals how Eastern philosophy profoundly shapes artistic practice, provides unique insights into the interaction between philosophy and art, and lays a solid foundation for research in related fields.

Essa tese tem como alvo revelar os conceitos de representação e sinestesia em Port-Royal e Newton. Para ser mais específico, examinaremos a Gramática e Lógica de Port-Royal, e a De gravitatione e Ótica de Newton para entender como as noções de representação e intersensorialidade são empregadas. De modo a fazer isso eficientemente, primeiro explicaremos o que é representabilidade para Foucault, utilizando As Palavras e as Coisas como suporte básico para tal. O intuito, nessa fase inicial, é realizar duas tarefas ao mesmo tempo: esclarecer o que é representação em termos foucaultianos e familiarizar o leitor com a metodologia usada para alcançar essa ideia – i.e., a arqueologia. Isso será proveitoso porque nas duas outras partes, tentaremos implementar aspectos dessa prática historiográfica para manifestar propriedades até então obscuras nas obras de Port-Royal e Newton.

Presently there are two dominant theories for human color vision: Young-Helmholtz-Maxwell's Trichromatic Theory and Hering's Opponent-Color Theory. It has been widely accepted that the Trichromatic Theory holds true for retinal color processing whereas the Opponent-Color Theory works for cortical color processing-this conception has become the "Standard Model" for human color vision. My purposes in the present paper are threefold: First, to demonstrate that the Opponent-Color Theory is fundamentally untenable, based on both theoretical and empirical grounds; second, to resurrect a two-stage trichromatic model, in which both retinal and cortical color processing are trichromatic, proposed by W. McDougall more than a century ago; and third, to map the cortical color processing stage (which directly correlates with color consciousness) in this model to layer 4 within the primary visual cortex (V1) of the human brain.

INVENTORY: Colours Punctuations Numbers Animals

The reading at the Poetry Society in London was reviewed by Siân Hughes: (www.academia.edu/45626366/_Inventory_review).

The Inventory poster mentions work broadcast on BBC (www.academia.edu/44735009/To_Uncover_The_Moon) and featured in the London Magazine (www.academia.edu/44639004/Circle).

Kanada, le sage Hindou fondateur de l'école philosophique Vaisheshika, 600 ans avant notre ère, a imaginé que tout était fait d'atomes, et un siècle et demi plus tard, en Grèce, Leucippe et Démocrite avaient, eux aussi, on ne sait pas avec quel degré d'indépendance, l'intuition atomique. Vers 400 av. J.-C., Démocrite déclare : «Si chaque corps est divisible à l'infini, de deux choses l'une : ou bien il ne restera rien, ou bien il restera quelque chose. Dans le premier cas, la matière n'aurait qu'une existence virtuelle, et dans le second, on se demande : que reste-t-il ? La réponse la plus logique est l'existence d'éléments réels et indivisibles appelés, par conséquent, atomes». Et Démocrite d'ajouter : «Par convention le doux, par convention l'amer, par convention le chaud, par convention le froid, par convention la couleur : mais en réalité atomes et vide». Cette dernière proposition de Démocrite a contribué à ce que plusieurs penseurs supposent qu'elle émane d'un esprit qui distingue clairement les propriétés que les philosophes modernes, tels que Galilée, Descartes, Boyle, Locke, Reid, appellent qualités premières ou qualités secondes. Seules les qualités premières (d'ordre

Омега-бесконечность-это концепция, объединяющая фундаментальные свойства бесконечности с элементами математического хаоса, разрыва реальности, факториала и других сложных аспектов. Определение Омега-бесконечности Омега-бесконечность (Ω∞)-это расширенная форма традиционного понятия бесконечности, включающая математические операции, такие как деление на ноль, умножение на ноль и скорость света.

Objectivism about perceptible qualities like colors and sounds is the view that perceptible qualities are ontologically and conceptually independent from perception. We ordinarily think of Aristotle as an objectivist about perceptible qualities–even the arch-objectivist. Yet this consensus has long been threatened by various thorny passages, including especially De anima III.2, 425b26-426a28, which appear to suggest that Aristotle is no objectivist, but a subjectivist. I show that recent attempts to make sense of these passages by appeal to Aristotle's three-stage distinction between first potentiality, second potentiality/first actuality, and second actuality commit Aristotle to a subjectivism that he cannot consistently endorse. I argue for an alternative that vindicates Aristotle's objectivism.

Colored surfaces may appear to match in one viewing condition but not in another, usually because of a change in illumination. The aim of this computational study was to estimate the frequency of mismatching outdoors under natural, uncontrolled, illumination changes, unlike the purely spectral changes in studies of illuminant metamerism. Data were taken from hyperspectral radiance images acquired at intervals of 1 min to more than 4 h. For pairs of randomly chosen surfaces in a scene, the relative frequency of their appearing initially the same and different later was around 10-4 to 10-3 , depending on color difference. However, if they already appeared the same, the relative frequency was higher, around 6% to over 60%, much higher than for illuminant metamerism, suggesting that realworld lighting changes may well impair surface identification by color.

Proposta sintetica per la relazione tenuta al XXV Congresso Mondiale di Filosofia.

Nella Teoria dei colori di Goethe, le dinamiche gnoseologiche legate ai cromatismi della natura rimandano ad elementi costitutivi dell'essere di ciò che è visibile. Nel contesto del panteismo che caratterizza la cosmologia dell'autore, quell'opera assume la funzione di compendio della filosofia della natura: la cooperazione dei princìpi originari di luce e ombraquest'ultima concepita come sostanza è causa tanto dell'essere della natura quanto della formazione dei colori. La sostanzialità dell'ombra conduce Goethe a ribaltare l'esperimento prismatico di Newton, e a ipotizzare che un raggio di ombra, attraversato il prisma, possa produrre uno spettro di colori invertito rispetto a quello prodotto da un raggio di luce. Nel 2017, due fisici hanno tentato di riprodurre questa pratica sperimentale, ottenendo come risultato il ribaltamento ipotizzato da Goethe. Quali sono le premesse di questa sperimentazione? E quale il contesto teorico di riferimento? Il presente contributo intende evidenziare la relazione esistente tra la teoria dei colori e la teoria della natura in Goethe, al fine di ricollocare le pratiche sperimentali goethiane, recentemente rivalutate, nel contesto della sua cosmologia.

C. S. Lewis reflexionó sobre la filosofía del color de manera
accesoria en algunas de sus obras teóricas y les dio cauce narrativo en la
Trilogía cósmica. A pesar de ser una cuestión escasamente explorada en
la academia, resulta pertinente investigar el valor filosófico y especulativo
que concede al color en el ámbito de su teoría de lo real, de inspiración
platónica. Esta investigación aspira a analizar e interpretar, desde la
cosmología precopernicana, la relevancia ontológica, epistemológica y
metafísica del color de las que se hacen eco los tres libros que componen
la saga de Ransom a través de una serie de temas recurrentes. El profesor
Lewis, además, acompañó estas reflexiones de una interdisciplinariedad
que se sustentaba sobre el simbolismo medieval. En la trilogía, los colo-
res de los mundos del espacio profundo revelan la verdadera realidad
inteligible y anticipan el fundamento metafísico del cosmos en el marco
de una metanarrativa teísta y trascendente.

Since the revelation of the Holy Quran to the Prophet Mohammad, Muslim thinkers have been interested in the interpretation of the 35th verse of the Surah "Light". From Fārābi, Avicenna and Sohrawardi to contemporary Islamic scholars, the structure, content and symbolism of this verse, reputed by the title of the verse of the Light, have been studied and commented on several methods. Ghazali, the Great Iranian Master of jurisprudence, theology, ethics, philosophy, logic and gnostic has written a very concise essay on this subject, in order to answer the question of a disciple who asks him to interpret this quranic verse. This book, written in Arabic, is called "Mishkat-al-Anwar", which means "The Niche of the lights". In this article, we will faithfully follow the approach taken by Ghazali, this famous Muslim thinker, who was born in Iranian region of Khorasan at the time of the Seljukide dynasty, to explain the quranic notion of the Light. CONCLUSION: In the examined verse, the terms are positioned according to a well-ordered hierarchical order. The glass is in a niche. The lamp is in the glass. This shows the hierarchy between the sources of light. That is why the quranic verse says "Light on Light".

In the ideation phases of any design process, designers usually establish conceptual parallels between the creative ideas of the project and colour as a visual language, through colour meaning and associations. However, translating abstract or textual concepts to colour selection can be very challenging when dealing with complex or sophisticated meaning associations without physical or concrete visual referents to relate to. At the same time, hue has traditionally been considered the most salient descriptor of colour and colour–meaning associations, as much of what is commonly termed the "psychology of colour" has organized emotional responses to colour, mainly through a hue paradigm. In recent years, several studies have demonstrated that value and saturation have particularly strong meaning connotations and consistent effects on emotions. While models of colour-concept association based on hue alone may work for single-colour applications, they do not lend
themselves well to design contexts where multiple colours are used simultaneously, such as environmental design. The paper presents the Colour Meaning Matrix (CMM), a practical tool to guide the selection of colours to represent conceptual associations based on semantic polar differentiation. The tool provides guidelines and suggestions to relate concepts to the scales of hue, but most importantly, lightness and saturation for the colour-concept association, allowing designers to select colours that convey the intended emotional and contextual meanings. The Colour Meaning Matrix has been tested in didactic contexts of higher education in design, with more than 300 students in two countries in Europe and Latin America.

The perceived color of a stimulus depends not only on its spectral properties, but also on those of its surround. For instance, a patch that looks gray on an achromatic surround appears reddish when surrounded by green, and greenish when surrounded by red. Previous studies showed that the effect of the surround is repulsive: It enhances the perceptual difference between stimulus and surround. Here, we performed psychophysical experiments to quantify the repulsion. To report the results, a notion of distance in color space was required. We therefore proposed an individually tailored metric in color space that captured the perceptual abilities of each observer. To define the metric, we determined the minimal chromatic difference between a stimulus and its surround required by each subject to detect the stimulus. Next, observers performed discrimination experiments between two spatially localized stimuli presented on a surround of a different chromaticity. The surround color affected the discrimination thresholds. Quite remarkably, when these thresholds were expressed in the color coordinates defined before, the change in thresholds followed a simple law that only depended on the distance between the surround and the two compared stimuli. Perceptual coordinates, hence, reveal the symmetry of the repulsion effect. This finding was confirmed and modeled with a third experiment, in which subjects were asked to match the color of two stimuli surrounded by two different chromaticities.

Since 2012, there has been an epistemological dispute between Aparecida Vilaça and Tanya Luhrmann over the status to be accorded to the invisible. In this article, we defend the idea that this kind of debate is best rendered if approached from the category of "imperception": by this we mean the relationship we maintain to what others perceive but we do not perceive ourselves, while attributing to it an important sense of presence.

Isn't it strange how different cultures perceive ideas differently? Did you know that even when it comes to color-one culture can interpret and associate a color differently from another? As an Asian American, my family has always correlated white with the color of death. My mother always warned me never to hang black and white photos, because it will bring bad luck. However, growing up in America-my culture and surroundings created a different meaning to almost everything my mother would tell me, including even the simple things like what black and white meant. Of course this is all superstition and with any interpretations comes a history of why and its own legacy that it carries. White in American culture, as far as I know, represents purity, the color theme for particular celebration events, and a color that shouldn't be worn after Labor day. I'm not going to go into much research or ask ChatGPT to elaborate on this, but I think this is an interesting phenomenon that may be one of many factors that play into racial and cultural misunderstandings. To belong and understand the depths of a person's culture is more than the language or foods a person eats-we also have to consider how these little nuances of preferences-even color-that also make up matters of how we communicate and relate to each other.

Introduction. The survey discussed in the article represents the first experience of an empirical study of the peculiarities
characterising the ways of construction and perception of colour harmony by students with autism spectrum disorders
– professional art education learners. The relevance of the study is conditioned by new trends in education related
to the need to create an inclusive and favourable environment for people with autism. This environment is necessary
for their successful integration and professional training in art specialities that are considered a promising area for
professional realisation of people with autism.
Methods. The survey was carried out using the experimental method involving 21 participants with autism spectrum
disorders (mean age = 20.4 years; SD = 2.4; 9 males, 12 females). The participants’ answers in the experimental group
were compared with those of an age-, gender-, and education-matched control group (N=21). The participants’ task
was to match two given shades with a third one in the palette, for the colour combination to be as harmonious as
possible. The experimental palette allowed to change the hue, lightness and chroma of shades.
Results. The participants with autism spectrum disorders were twice as likely to choose yellow (23.8% compared
to 12.4% in the control group) and purple shades (16.2% compared to 9.5%); hardly used orange (1.9%) and blue
(4.8%) and preferred lighter shades (the mean L value was 67.8 compared to the control group’s 63.0). The chroma
of the selected shades correlated with their hue and lightness. The stimulus selection strategy depended on the
distance (∆E*00) between the given (upper and lower) shades in the CIELAB colour space and was based on a specific
“geometry” (a particular ratio of values characterising the angles and side lengths formed by the given and selected
shades, as well as a preference for a particular triangle area and its type).
Discussion. The experiment showed that the students with autism spectrum disorders differed markedly from
neurotypical students in a number of indicators when constructing a colour harmony. The experimental group
participants’ responses showed a “preference for sameness” characteristic of autism. The significant inter-group
differences were applied more to the lightness and chroma of the chosen shades than to their hue. The shades
preferred by the participants with autism spectrum disorders better matched the conditions of the habitual “chromatic
diet” and the colour’s statistics in nature. The observed specificity may also reflect the reduced ability to generalise
and average out colours in terms of holistic perception, specific to autism.
Conclusion. The survey results make an important contribution to the improvement of the professional training
methodology for art students, and for the development of scientifically based educational approaches to teaching
people with autism spectrum disorders, primarily in the context of the formation of colour-related competencies; in
addition, they may provide new impulses for investigating the fundamental mechanisms of cognitive processing of
colour-related information.

Dans tous les traites de physique, on trouve cites, a propos de la theorie atomique, les noms de plusieurs philosophes de l&#39;Antiquite, comme des precurseurs des idees actuellement admises et definitivement etablies; je voudrais aujourd &#39;hui vous entretenir pendant quelques instants des theories de ces penseurs qui sous l&#39;acception generale de philosophes, s&#39;interessaient en realite, aussi bien a toutes les sciences qu &#39;aux disciplines litteraires. Des les premiers philosophes se posa la question de la substance-mere* l&#39;hypothese la plus immediate fut evidemment de rechercher dans l&#39;eau l&#39;origine de toutes choses. Le premier philosophe qui semble avoir eprouve quelque intuition de la structure discontinue de la matiere, au sens ou nous l&#39;entendons maintenant est Empedocle (484 a 424 avant Jesus-Christ selon certains auteurs), a la fois ingenieur, hygieniste, philosophe, thaumaturge et poete. Empedocle etait d&#39;Agrigente ville situee sur la cote ...

Introduction. The relevance of the research topic is justified by new trends in modern education, namely, active
introduction of innovative technologies and solutions to expand opportunities and improve the quality of education.
In the context of educational improvements, the focus is on searching for advanced techniques that can increase the
efficiency of cognitive processing of educational information and facilitate memorization of educational material.
The study aims to assess the impact that various conditions of color stimulation have on short-term verbal memory
indicators (capacity, memorization efficiency, trajectories and successful learning of vocabulary items).
Methods. The study involved 53 participants (15 male and 38 female) aged 18-36 years (average age 20.5 years,
SD = 3.59). Short-term memory indicators were measured with the help of ten-word memorization technique
and a test for memorizing numerical series. The color stimuli of the experiment included the focal colors of the
27 most popular categories among Russian speakers, the coordinates of which were determined in the CIELAB
system. To develop and conduct the experiment, the HTC VIVE PRO Eye virtual reality system was used, which allowed
demonstrating the experimental stimuli on the helmet screens and simultaneously record eye movements.
Results. Memory span averaged 5.6±1.5 and was higher among the participants who saw dark and red-violet hues and
lower among those who looked at swamp green and green stimuli. The highest efficiency coefficients for memorizing
words were recorded in cases with black (median = 0.87) and dark purple (median = 0.84) color stimulation. When
memorizing numerical series, the maximum coefficient was for saturated hues – red, green and fuchsia (median =
0.86). Successful memorization averaged 7.7±1.8 and reached the maximum (10) in cases with exposure to primary
basic colors – black, green and blue, as well as non-primary turquoise and crimson. Cluster data analysis showed that
memory indicators are most similar for the stimuli that are comparable in their impact on pupil diameter, blinking
frequency and dynamics of gaze direction, namely, for light warm hues; dark hues; rich stimuli from the warm part of
the color spectrum; light purple hues; red and gray-green hues.
Discussion. As in previous studies, certain indicators of short-term memory were higher under the influence of ‘warm’
stimuli compared to ‘cold’ ones, but the present study did not confirm the advantage of achromatic colors compared
to chromatic ones. The experiment revealed that changes in memory parameters correlate not only with the tone of
color stimuli but also with their other characteristics, primarily with lightness and saturation.
Conclusion. The results of this study can be applied used in educational practice to develop effective ways of improving
memory performance and of memorizing information using color. Further research should regard possible gender,
age and cross-cultural differences.

Introduction. People in the world around us mostly deal with colour combinations instead of single
colours, therefore the professional art education programmes worldwide prioritise the study of the colour
harmony rules and colour combination principles. The purpose of the article is to test whether professional
art education has an impact on the choice of strategy for constructing harmonious colour combinations,
and to establish the parameters of identified differences.
Materials and methods. The research was carried out as an experiment involving 100 participants aged
18 to 60 (average age 25.0 years; SD = 7.2; 23 males, 77 females). All of them were born and raised
in Russia. Half of the participants had art education, the other half – did not. The colour charts of the
Reference Book of Colour by Mikhail Matyushin were used as a basis for the development of experimental
stimuli. The participants were asked to choose a colour for the uncoloured stripe in the middle of the chart
and subsequently to compare the resulting colour combination with the original – the corresponding chart
from the Reference Book of Colour.
Results. The analysis of 467 colour choices and 929 valid comparisons, suggested by the participants,
showed that the non-professionals most often matched the chosen colours with the given colour context
in terms of hue. The colours suggested by the participants without art education were lighter in all charts
than those chosen by the professionals. The participants whith art education reflected on the choice of
colour longer than the non-professionals, but finally were more satisfied with their selection.
Discussion. The revealed differences can be explained by fundamentally different colour selection
strategies by art-educated and non-professional participants. The non-professionals, as a rule, chose
colours under the principle of similarity with the given colour context. The professionals used the principle
of contrast, complementary colours and contrasting warm shades with cold ones.
Conclusion. The identified differences can be used for improvement of professional training programmes
for designers, architects and computer graphics specialists. It seems to be expedient to continue the
research in terms of cross-cultural differences.