Color

We investigated the occurrence and underlying processes of odor-color associations in French and American 6- to 10-year-old children (n = 386) and adults (n = 137). Nine odorants were chosen according to their familiarity to either cultural group. Participants matched each odor with a color, gave hedonic and familiarity judgments, and identified each odor. By 6 years of age, children displayed culture-specific odor-color associations, but age differences were noted in the type of associations. Children and adults in both cultural groups shared common associations and formed associations that were unique to their environment, underscoring the importance of exposure learning in odor-color associations.

This paper reviews the achievements of Abbott Handerson Thayer (1849-1921), an American painter and naturalist whose pioneering writings on animal camouflage addressed shared concerns among artists, zoologists and military tacticians. It discusses his beliefs about camouflage (both natural and military) in the context of his training as an artist, with particular emphasis on three of his major ideas: countershading, ruptive (or disruptive) coloration and background picturing.

José Luis Caivano y Antal Nemcsics. “Color order systems”. En: Encyclopedia of Color Science and Technology, editor general R. Luo, editor de la sección Art and Design, J. Caivano (Nueva York: Springer-Verlag, ed. online 2015, ed. impresa 2016, ISBN 978-1-4419-8072-4, doi 10.1007/978-1-4419-8071-7_232), 16 págs., ed. impresa págs. 329-343.

Amidst the expected, punning advertisements for data companies lining the drive into San Francisco, one passes a lone cultural billboard depicting Klimt’s The Virgin (1913). The image advertises Klimt & Rodin: An Artistic Encounter at the Legion of Honor. Below the image of entwined pale, female flesh against a tapestry of vibrant color are the words: “Gives off seriously sexual vibes,” excerpted from a review in San Francisco Magazine. Klimt & Rodin showcases the two male artists’ interest in depicting the white female subject, an art historical mainstay since the splash of Praxiteles’s naked Aphrodite of Knidos. Vibrant colors and gilt dominates the non-figural spaces of Klimt’s canvases, but not the subjects’ bodies, which are rendered in light flesh tones, highlighted with pale yellows and pinks. Rodin’s sculptures, in contrast, are hewn from monochrome materials—marble, bronze, clay—with no surface treatments. If the “seriously sexual vibes” advertised on the billboard come from the expected space of white female (and feminized) subjectivity, the “artistic encounter” on display is one of medium—of painting’s uncontested polychrome in contrast to the insistent monochrome of modern sculpture.

The color blue is thought to protect against the evil eye in Mediterranean cultures. This article unfolds the yet-unstudied role played by kabbalistic theology, symbolism, and myth in the construction of the color blue as a protective color for Jews. It traces particularly the development of a medieval kabbalistic myth of a dazzling blue garment of the feminine aspect of the godhead, protecting her from contact with evil forces. The article shows how this myth became the foundation for various practices against the evil eye among Jews in the modern period and contextualizes this myth within theories about the evil eye.

Cette étude retrace l’histoire de la couleur cinématographique, des origines au numérique, en la considérant dans le cadre d’un champ d’expériences spectatorielles et sociales, portant une attention particulière aux relations avec la culture scientifique, matérielle et visuelle de la couleur.

This study focuses on the history of cinematographic color, from origins to the digital age, by addressing it within a wider field of spectatorial and social experience, with particular emphasis on relationships with scientific, material and visual color culture.

La digitalizzazione della sala offre un punto di osservazione privilegiato per ricostruire il campo di tensioni che, a partire dagli anni ’80, ha prodotto una serie di cambiamenti. Il colore costituisce uno degli elementi che, fin dagli albori del digitale, ha più fortemente operato come elemento di innovazione delle tecniche, dei flussi di lavoro e delle retoriche visive. A questo proposito, il digital turn può essere considerato anche nei termini di un vero e proprio color turn, attraverso il quale il colore si impone come elemento chiave per la produzione e il consumo di immagini nei film e nei media contemporanei.

Renkler toplumdaki önemli simgelerden olup, kültürler arasında farklı manalar yüklenerek kullanılmışlardır. İnsanların renkler konusuna tarih öncesi çağlardan beri ilgi gösterdiğini söylemek mümkündür. Türklerin mitolojik olarak zengin dünyasında da renk kavramı önemli bir yere sahip olmuştur. Türk mitolojisinde, kültüründe renkler üzerine yüklenen anlamları ve inanış kaynaklarını İslam dini, Orta Asya yaşayış biçimine ve Şamanizm’e dayandırıldığını görüyoruz.
Bu makalede, “Türk Mitolojisinde Renklerin İfade Ettiği Anlamlar” üzerinde durularak Türkler için önem arz eden altı ana renge yüklenen anlamlar ve bu renklerin bir araya gelerek ikili, üçlü kullanılması konuları ele alınarak derlenen bilgiler okuyucuya aktarılmaya çalışıldı.

The restoration of anterior teeth is a difficult task, even for an experienced operator. Currently there are many different ceramic systems that can be used to achieve highly esthetic results. These include metal-ceramics with porcelain margins, Dicor, In-Ceram, Cerestore, Hi-Ceram, IPS-Empress, Cerapearl, Optec, and CAD/CAM ceramics. While metal-ceramics have been used for more than four decades, the quest for a material that transmits and refracts light like a natural tooth has inspired research into all-ceramic restorations. The purpose of this paper is to briefly discuss the properties of each of the above-mentioned materials and clinically evaluate the optical behavior of: (1) metal-ceramic crowns with castings 2 mm short of the shoulder preparation and 360-degree porcelain margins; (2) In-Ceram Spinell restorations; and (3) IPS Empress restorations, and to compare these with metal-ceramic crowns with copings to the shoulder preparation and 180-degree porcelain margins. Light t...

This study presents the case of the post-mortem pink teeth phenomenon observed during an autopsy procedure performed on the body of a man who was kidnapped and murdered approximately 30 days before the examination. The corpse was in an advanced stage of decomposition and putrefaction. Both maxillary and jaw bones were intact, as well as the permanent teeth which presented the "pink teeth phenomenon", probably due to a haemorrhage in the pulp chambers. The pink discolouration was most pronounced at the neck of the teeth. The cause of death was asphyxia. Although the examiners stressed that post-mortem pink teeth must not be considered as a reliable odontological parameter for determining the cause of death, the results of other studies have shown that the pink teeth phenomenon is a common finding related to cases of asphyxia such as strangulation, drowning or suffocation. Thus, the pink teeth phenomenon must be studied in order to determine its role as a post-mortem finding...

Both in literature and art, exponents of modernism sought new forms of expression that took into account changes in the social, economic, technical and political conditions of the time. A similar trend towards questioning outmoded forms of representation and establishing new ways of seeing has become apparent in European comics since the 1980s, a development that was initiated primarily in Italy and France. In Murmure (1989), Lorenzo Mat- totti invokes expressionism and centres his mystical tale on the individual’s inner being. In rejecting the representational norms traditionally applied to comics, Nicolas de Crécy also shows his allegiance to modernism yet reflects in his absurdly hyperrealist work, Foligatto (1991), the grotesque images of Otto Dix. The following article demonstrates how the two artists, despite the deliberate reversion to early twentieth-century art common to both, have, each in his own way, established a new approach to seeing in comics.

Keywords: expressionism, Foligatto, Italy, modernism, Murmure, new objectivity

Citric acid (CIT, 0.3%) was assessed for its ability to reduce the pink color defect in ground, cooked (80C) turkey breast associated with nicotinamide hemochrome (NICHEME) and nitrosyl hemochrome (NITHEME). CIT incorporation in nicotinamide-treated (NIC, 1.0%) samples (CIT plus NIC) reduced (P<0.05) redness by 51% compared to the control and 63% compared to the NIC-only treatment. CIT addition in sodium nitrite-treated (NIT, 10 ppm) samples (CIT plus NIT) was similar (P>0.05) in redness to the control and reduced (P<0.05) the redness by 43% compared to the NIT- only treatment. All treatments containing citric acid lowered the pH and increased (P<0.05) cooking loss compared to samples without citric acid. At the level tested, addition of citric acid would provide poultry processors a means to eliminate or significantly reduce the pink defect. However, the use of citric acid may require the addition of nonacid

Effect of various voltage of electrical stimulation (ES) on meat quality of lamb and goat was investigated by using a total of 36 animals at 3-5 years old. Constant 50 Hz frequency and 50, 100, and 250 V, 90 sec of ES were administered to 1/2 carcasses and were examined according their textural, physicochemical, and sensorial characteristics. ES decreased the pH values of lamb and goat meat, and accelerated the rigor mortis (P &lt; 0.05). Additionally, ES enhanced the water activity, water-holding capacity, and drip loss of both animals. Shear force varied between lamb and goat meat, and tenderness was improved depending on voltage range used (P &lt; 0.001). ES caused difference in instrumental colour (CIE L*a*b*) values of lamb and goat meat compared with the control groups (P &lt; 0.05) during aging period at 4°C. Sensorial characteristics were also improved with various levels of ES treatments. In conclusion, ES had positive effects on meat quality of lamb and goat, in contrast t...

Colour is the first attribute subject to consumer perception in determining food quality and, in many cases, this is the only possible mean to qualify product at purchase. For this reason, the description of colour by analytical methods is fundamental in food processing control. Computer vision systems acquire RGB data which are device-dependent and sensitive to the different lightning. Therefore, they are not directly useful for colour evaluation to mimic human vision. On the contrary, traditional colorimeters, which adopt CIELab coordinates, work in human-oriented colour space where euclidean distance between two different colours (∆E) is well related to the difference perceived by human sight. Nevertheless, vision systems have many advantages as the capability of acquiring larger areas of the food surface and the easiness of implementation in automated plants at low costs. Neural networks, trained on a set of selected colour samples, can approximate RGB to L*a*b* relationships to characterise the colour of food samples under test. The aim of this paper is to present a rapid method based on neural networks for the calibration of a CCD (Charge-Coupled Device) camera colour acquisition system to obtain reliable L*a* b* information. Preliminary results concerning the influence of the composition of the training test and the camera settings (aperture and time of exposure) on the reliability and accuracy of the colour measurement system are also discussed.

Since the early 1900’s Broadway has been called the ‘Great White Way’ because of the proliferation of its light-studded movie marquees and advertising signs, but this was in fact a misnomer as the area was often in blazing color. From Oscar Gude’s Heinz Pickle Sign of 1891 to Douglas Leigh’s EPOK animation and monumental signs of the forties, this chapter discusses Times Square/Broadway’s colorful electrical signs, arguing for an expanded understanding of animation’s historical role in the turn to color in visual culture. It contends that electrical billboards or ‘spectaculars’  were intermedial forms of animation, marshalling sensual and affective experience that linked color, glass and light stimuli in mesmerizing immersive imagery.

In order to examine whether the spectral compositions of light source may affect sleep quality, sleep architecture under different color temperatures of light sources was evaluated. Seven healthy males were exposed to the light sources of different color temperatures (3000 K, 5000 K and 6700 K) for 6.5 h before sleep. The horizontal illuminance level was kept at 1000 lux. Subjects slept on a bed in near darkness (&lt; 10 lux) after extinguishing the light, and polysomnograms recorded the sleep parameters. In the early phase of the sleep period, the amount of stage-4 sleep (S4-sleep) was significantly attenuated under the higher color temperature of 6700 K compared with the lower color temperature of 3000 K. Present findings suggest that light sources with higher color temperatures may affect sleep quality in a view that S4-sleep period is important for sleep quality.

Dado que la palabra imagen puede tener un sentido amplio (además de imágenes visuales puede hablarse de imágenes acústicas, sinestésicas, etc.), es necesario aclarar que nos referimos a la acepción más habitual, limitada al mundo de la percepción visual. La convocatoria de las Jornadas señala que las imágenes "conviven de distinta forma con el discurso lingüístico". Precisamente, trataremos aquí de mostrar lo que de particular tienen los lenguajes visuales, en comparación con el lenguaje verbal, destacando las características que los hacen insustituibles en varios campos de aplicación así como en la investigación científica. Las imágenes aportan un tipo de información, construyen unos modelos del mundo y promueven una forma de comprensión que están vedadas al lenguaje verbal. En este trabajo desarrollaremos algunos de los aspectos graduales inherentes a las imágenes visuales, ejemplificando con distintos sistemas de información, transmisión o construcción de conocimiento a partir de discursos visuales que utilizan metodología y modelos provenientes de la semiótica visual y la teoría del color.