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Colour in Art, Design and Nature
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  • Colour in Art, Design and Nature
Utgivning, distribution etc.
  • WIT Press, SOUTHAMPTON : 2011
Utgivningsår
  • 2011
  • Språk: Engelska.
DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Fysisk beskrivning
  • 1 online resource (157 pages)
Anmärkning: Bibliografi etc.
  • Includes bibliographical references.
Anmärkning: Innehåll
  • Cover; Colour in Art, Design & Nature; Copyright Page; Contents; Foreword: towards one culture; Animal camouflage: biology meets psychology, computer science and art; Lusciousness, the crafted image in a digital environment; The diversity of flower colour: how and why?; Sensations from nature; Goethe, Eastlake and Turner: from colour theory to art; Zvuk; Time and change: colour, taste and conservation; Thermo-hydraulics, colour and art; Nature's fluctuating colour captured on canvas?; On the use of colour in experimental fluid mechanics; Maxwell's first coloured light sources: artists' pigments.
Anmärkning: Innehållsbeskrivning, sammanfattning
  • This book is ambitiously inter-disciplinary. Its eleven works, in full colour, form a striking contribution to the commonwealth of colour studies and to a possible unification of C.P. Snow's Two Cultures. Colour and inter-disciplinarity go hand in hand. This so often involves the authors leaving the comfort zone of their original specialty and striving for excellence in another. The personal story of Franziska Schenk is but one good example. The book may be divided into four main sections, defined in terms of the authors themselves. First, there are two contributions by biologists. Second, the.
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Annat medium
  • Print version: Brebbia, C.A. Colour in Art, Design and Nature. SOUTHAMPTON : WIT Press, ©2011 ISBN 9781845645687
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ISBN
  • 9781845645694
  • 1845645693
Antal i kö:
  • 0 (0)
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This book is ambitiously inter-disciplinary. Its eleven works, in full colour, form a striking contribution to the commonwealth of colour studies and to a possible unification of C. P. Snow's Two Cultures.Colour and inter-disciplinarity go hand in hand. This so often involves the authors leaving the comfort zone of their original specialty and striving for excellence in another. The personal story of Franziska Schenk is but one good example.The book may be divided into four main sections, defined in terms of the authors themselves. First, there are two contributions by biologists. Second, the largest section is by practicing artists. Third, there are two engineering-based contributions. Finally, two contributions address some of the historical proponents of colour theory and art.It seems that our perceptions of aesthetics and beauty must be very flexible indeed so as to find absolute opposites equally fascinating. If so, it goes to show how wonderful are the construction and operation of the human brain. Does psychology win in the end? Does colour lead to a single culture?