| 1. |
- Fridell Anter, Karin, et al.
(författare)
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NEUTRAL GREY – AN ABSTRACTION?
- 2009
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Ingår i: Proceedings of the 11th Congress of the International Colour Association, AIC 2009. - Sydney : The Colour Society of Australia, Inc. September 2009, Sydney, Australia.. - 1877040 76 2 ; , s. 1-4
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Konferensbidrag (refereegranskat)abstract
- This paper presents part of the research project Greyness and spatial experience. Its main objective is to discuss the concept of neutral grey and to investigate the preconditions for perceiving neutral grey colours in different situations. Neutral grey is defined as having similarity only to black and white, not to the chromatic elementary colours. Greyish colour samples have been observed with different backgrounds and in different light. One of these series is presented in detail in the paper, the conclusions from others are considered in the discussion, together with relevant literature. Greyish colours are seldom perceived as neutral, but rather tend to get a perceived hue, which depends on the observation situation. Inherent neutral grey colours are not found in nature. In production of materials and artefacts no tolerance level can assure a total lack of hue. In conclusion we suggest that neutral grey should be considered as an abstraction, its unique but in practice unobtainable quality lying in its absolute lack of hue and chromaticness.
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| 2. |
- Fridell Anter, Karin, 1950-, et al.
(författare)
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Successive approximation in full scale rooms. : Colour and light research starting from design experience.
- 2011
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Ingår i: AIC 2011, Interaction of Colour & Light in the Arts and Sciences, Midterm Meeting of the International Colour Association, Zurich, Switzerland, 7–10 June 2011: Conference Proceedings, CD. - Zurich : pro/colore, 2011.
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Konferensbidrag (refereegranskat)abstract
- OPTIMA is a pilot study attempting to simultaneously involve all visual aspects of the room, with an analysis starting from the totality instead of dividing it into different parameters. Its primary aim is to develop and test methods for this, combining a scientific approach and experience based practices of art and design
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| 3. |
- Fridell Anter, Karin, et al.
(författare)
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SYN-TES: Human colour and light synthesis. : Towards a coherent field of knowledge
- 2010
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Ingår i: International Conference: Colour and Light in Architecture, Venice, 11–12 November 2010. Proceedings. - Verona (Italy) : Knemesi. - 9788896370049 ; , s. 235-240
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Konferensbidrag (refereegranskat)abstract
- The research project SYN-TES aims at contributing to a theoretical development transforming the field of colour and light into a coherent field of research. This includes the identification of important problems and the development of theoretical and methodological tools for the trans-disciplinary understanding necessary to solving them. Special emphasis is put on the spatial interaction of colour and light in architecture.The work has the form of seminars /workshops where colour and light specialists from different academic disciplines (six Nordic universities) and companies (light sources, paint, colorimetric standards, window glass) examine different aspects of the problem complex. Sub-projects deal with the epistemology and concepts of colour and light, with methods for analysing colour and light in existing architectural spaces and with the relationship between energy efficiency and light quality.
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| 4. |
- Klarén, Ulf, 1944-
(författare)
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Catching the Aesthetic Dimension: On Aesthetic Experience of Colour and Light
- 2013
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Ingår i: AIC Colour 2013 12th Congress of the International Colour Association 8-12 July, 2013 Newcastle upon Tyne, UK, Proceedings.. - Newcastle: 2013 The Colour Group (Great Britain) www.colour.org.uk. - 9780901623027 ; , s. 989-992
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Konferensbidrag (refereegranskat)abstract
- This paper springs from a project about concept formation in the field of colour and light. It is based on own reflections and on scientific and scholarly references. It is an attempt to describe a conceptual approach to aesthetic experiences of colour and light relating them to different levels of experience: categorical perception, direct experience and indirect – cultural – experience. Art and design have a special and complex relation to the different levels of experience. Artistic works can serve as ”models” or “examples” – indirect experiences – for how we may attend to light and colour in our direct approach to the world. They are also, as appearances, direct experiences. The emotional content we can experience in a piece of art or a designed object is symbolic in a special way; perceptual patterns of colour, light and form, abstracted from their normal context in life, can be used as symbols for felt life in pieces of art and in designed objects. What we are used to calling formal aesthetics belongs primarily to the categorical – basic – perception. Adopting a reflective attitude we consciously attend to this perceptual process of understanding and open up for reflection on experiences as such.
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| 5. |
- Klarén, Ulf, 1944-, et al.
(författare)
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Colour and Light in Design : - Levels of experiencing colour and light
- 2013
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Ingår i: Proceedings from the 2nd International Conference for Design Education Researchers, 14-17 May 2013, Oslo, Norway. - 9788293298007 ; , s. 743-752
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Konferensbidrag (refereegranskat)abstract
- : In our designed culture, every environment, object and picture is analyzed from the viewpoint of colour and light. Colour and light play an important role in social life and culture. This paper springs from an epistemological project about concept formation in the field of colour and light. Based on own observations and scientific and scholarly references it presents a graphic model describing possible constituent relations between colour and light experiences. Design is the art of using knowledge – implicit or explicit – about how humans perceive, experience, and relate to the world around. In design all senses are involved, but when dealing with colour and light we can confine ourselves to vision; designers must understand the conditions of visual perception. Human experience of colour and light has many sources; the given cultural context (conventional meanings of colour and light), the direct experience of the world around (colour and light expressions) and the basic perceptual functions (formal aspects of colour and light). There is need for distinct concepts and concise approaches to understand coherence of aesthetic and functional expressions. Design education calls for coherent and well defined structures that can be used to describe connections and distinctions between experiences of different kinds.
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| 6. |
- Klarén, Ulf, 1944-, et al.
(författare)
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Colour and light in space : dynamic adaptation and spatial understanding
- 2011
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Ingår i: <em>Proceedings of </em><em>AIC 2011- Midterm Meeting of the International Colour Association, </em><em>Zurich, Switzerland</em><em> </em><em>(</em><em>www.aic-colour.org</em><em>).</em><em></em>. ; , s. 485-488
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Konferensbidrag (refereegranskat)abstract
- Based on our own observations and on scientific and scholarly references this paper discusses the appearance of colour constancy and the adaptation of colour and lightness in space. It presents part of an ongoing work, the aim of which is to formulate a spatially based colour knowledge. Our scientific approach is holistic and mainly directed towards colour and light phenomena as such, not towards underlying physiological processes. Earlier research has discussed lightness perception in colours very near neutral grey, with so low chromaticness that you can ignore the hue. In our research we have found that surfaces with nominally chromatic colours under special circumstances can be perceived as white and thus serve as anchors for perception of other colours in the field of vision. We also discuss how distinctions are made between perceived colours caused by on the light colour and such caused by the surface qualities. What we call adaptation is not limited to basic perception. Experience of colour in space is both perceptive and cognitive, as part of interaction between the individual and the world on many levels.
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| 7. |
- Klarén, Ulf, 1944-
(författare)
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PERCIFAL - Perceptiv rumslig analys av färg och rum
- 2011
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Rapport (refereegranskat)abstract
- PERCIFAL -Perceptiv analys av färg och ljus- presenterar begrepp och metodiska ramar för beskrivning och analys av visuell upplevelse i rumsliga sammanhang. Utgångspunkten är en metod för visuell utvärdering av ljus i rum, som utarbetats vid Arkitekturskolan, KTH i Stockholm av professor Anders Liljefors.Anders Liljefors har också medverkat som konsult i PERCIFAL-arbetet. Syftet är att möjligöra beskrivning och kommunikation kring färgens och ljusets rumsliga helhetsverkan; genom diskussion och analys av systematiskt insamlade data kan man lära känna sitt synsinne och få en bättre förståelse för hur färg och ljus formar vår rumsupplevelse. Arbetsprocessen ligger nära konstnärens; mindre väsentliga detaljer offras till förmån för helhetsintrycket. Härigenom kan man beskriva grundläggande viktiga estetiska och visuellt funktionella rumsliga kvaliteter, som man inte kan komma åt på andra sätt.
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| 8. |
- Klarén, Ulf, 1944-, et al.
(författare)
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The Spacious Greyness : On Colour Light and Space
- 2009
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Ingår i: AIC 2009 Proceedings of the 11th Congress of the International Colour Association Sydney, Australia 27 September to 2 October 2009. - Sydney : The Colour Society of Australia, Inc. September 2009, Sydney, Australia.. - 1877040762
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Konferensbidrag (refereegranskat)abstract
- In the project Greyness and spatial experience1 we have studied visual qualities in grey/greyish colours “on location” in the - spatial - world around. We have carried out a number of observation series not only aiming to investigate variation of greyness in different spatial situations but also to develop a methodology and equipment for such studies. In this paper perception of greyness is discussed in relation to our own observations and to scientific and scholarly references. We make some basic reflections on colour in spatial context and in relation to traditional colour theory.In spatial context colours with low chromaticness, near the grey-scale, play a more significant role than distinctly chromatic colours; hence they are very important in design of built spaces, both exterior and interior. The logically balanced distribution of greyness in shadows and in surfaces against the light produces a spatial feeling of coherency, and greyish inherent colours generally form a subordinated background to colours with high chromaticness. Simultaneously greyness to a high degree conduces to differentiation of spatial experience; an over-all spatial experience of greyness normally offers subtle but distinct contrasts of hue.In the field of colour most scientific research deals with colour phenomena as such. If focusing on colour as spatial phenomenon, colour theory can be given theoretical connection to intuitive understanding of the world around and be part of a wider field of aesthetic research.
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| 9. |
- Matusiak, Barbara, et al.
(författare)
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PERCIFAL method in use : Visual evaluation of three spaces
- 2011
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Ingår i: AIC 2011, Interaction of Colour & Light in the Arts and Sciences, Midterm Meeting of the International Colour Association, Zurich, Switzerland, 7–10 June 2011: Conference Proceedings, CD. - Zurich : pro/colore, 2011. ; , s. 568-571
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Konferensbidrag (refereegranskat)
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