17 research outputs found
Catching the Aesthetic Dimension: On Aesthetic Experience of Colour and Light
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 â cultural â experience. Art and design have a special and complex relation to the different levels of experience. Artistic works can serve as âmodelsâ or âexamplesâ â indirect experiences â 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 â basic â perception. Adopting a reflective attitude we consciously attend to this perceptual process of understanding and open up for reflection on experiences as such
PERCIFAL - Perceptiv rumslig analys av fÀrg och rum
PERCIFAL -Perceptiv analys av faÌrg och ljus- presenterar begrepp och metodiska ramar foÌr beskrivning och analys av visuell upplevelse i rumsliga sammanhang. UtgaÌngspunkten aÌr en metod foÌr visuell utvaÌrdering av ljus i rum, som utarbetats vid Arkitekturskolan, KTH i Stockholm av professor Anders Liljefors.Anders Liljefors har ocksaÌ medverkat som konsult i PERCIFAL-arbetet. Syftet aÌr att moÌjligoÌra beskrivning och kommunikation kring faÌrgens och ljusets rumsliga helhetsverkan; genom diskussion och analys av systematiskt insamlade data kan man laÌra kaÌnna sitt synsinne och faÌ en baÌttre foÌrstaÌelse foÌr hur faÌrg och ljus formar vaÌr rumsupplevelse. Arbetsprocessen ligger naÌra konstnaÌrens; mindre vaÌsentliga detaljer offras till foÌrmaÌn foÌr helhetsintrycket. HaÌrigenom kan man beskriva grundlaÌggande viktiga estetiska och visuellt funktionella rumsliga kvaliteter, som man inte kan komma aÌt paÌ andra saÌtt.  PERCIFAL Ă€r ett subprojekt inom det tvĂ€rvetenskapliga projektet SYN-TES, finansierat av KK-stiftelsen (ref. nr 2009/0195)
Colour and light in space : dynamic adaptation and spatial understanding
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. SYN-TES: Human colour and light synthesis. Towards a coherent field of knowledge. (The Knowledge foundation/ KK-stiftelsen, ref. nr 2009/019
Den rymliga grÄheten : om fÀrg, ljus och rum
Arbetet har innefattat ett antal observationsserier med det dubbla syftet att utforska grÄhetens förÀnderlighet i olika betraktningssituationer och att utveckla metodik och utrustning för sÄdana studier. Dessa observationer presenteras i textens bilagor. Huvudtexten utgör en essÀ som diskuterar grÄhetens rumsliga verkan utifrÄn litteratur och vÄra egna observationer. En frÄga som har visat sig mycket betydelsefull Àr det vi har kallat vitprincipen, alltsÄ vÄrt synsinnes tendens att uppfatta en fÀrg i synfÀltet som vit och att relatera uppfattningen av andra fÀrger till detta. I det nu genomförda arbetet har vi undersökt vitprincipens betydelse för uppfattningen av grÄaktiga fÀrger, och vi hoppas att i kommande projekt kunna undersöka Àven dess betydelse för uppfattning av fÀrger med större kulörthet.KonstnÀrligt utvecklingsarbete (KU-projekt
Successive approximation in full scale rooms. : Colour and light research starting from design experience.
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 designSYN-TES- Human Colour and Light Synthesis. (Knowledge Foundation,ref. nr 2009/0195): OPTIMA (sub project) (Energimyndigheten projektnummer P32266-1
NEUTRAL GREY â AN ABSTRACTION?
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. Greyness and Spatial Experience/ Konstfack, Research and development in the art
THE SPACIOUS GREYNESS: ON COLOUR, LIGHT AND SPACE
In the project Greyness and spatial experience1 we have studied visual qualities in grey/greyish colours âon locationâ 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. Grey Colours and Spatial Experience/ Konstfack, Research and development in the art
SÄ vitt vi vet : om fÀrg, ljus och rum
Rapporten Den rymliga grĂ„heten (KU-projekt Konstfack 2008) redovisar vĂ„r undersökning av grĂ„/grĂ„aktiga fĂ€rgers betydelse för rumsupplevelsen. I beskrivningen av de grĂ„ fĂ€rgernas stora förĂ€ndringspotential â ur ljushets- och kulörtonsynpunkt â berörs underliggande frĂ„gor med tydlig anknytning till fĂ€rgupplevelsens dynamik. I en diskussion om ljushetsadaption berörs mera explicit vĂ„rt synsinnes tendens att uppfatta en fĂ€rg i synfĂ€ltet som vit och att relatera uppfattningen av andra fĂ€rger till detta. En utförligare behandling av denna problematik lĂ„g utanför projektets ram. Inom KU-projektet SĂ
VITT VI VET fortsÀtter vi nu med att ringa in det vitas betydelse för fÀrguppfattningen, samtidigt som vi söker bidra till att utöka och formulera en spatialt baserad fÀrgkunskap. Vi knyter an till aktuell teori inom omrÄdet och relaterar denna till egna tester och observationer. Denna rapport utgÄr alltsÄ frÄn en undersökning om vita fÀrger och deras samspel med andra fÀrger i synfÀltet. Undersökningen ledde vidare till litteraturlÀsning och diskussioner om förutsÀttningarna för den mÀnskliga perceptionen av fÀrger överhuvudtaget, nÄgot som Àr oskiljaktigt frÄn perceptionen av vÄr rumsliga omvÀrld. Rapporten Àr alltsÄ inte frÀmst en diskussion om vita fÀrger, utan ett försök att förstÄ och beskriva fÀrgfrÄgor ur ett perceptuellt och spatialt helhetsperspektiv. Det vi vill beskriva och analysera Àr verkan av en komplicerad perceptiv process. SjÀlva processen Àr Ànnu endast delvis utforskad, och att kartlÀgga den Àr en uppgift för neurologer och forskare med andra utgÄngspunkter Àn vÄra.KonstnÀrligt utvecklingsarbete (KU-projekt
SYN-TES: Human colour and light synthesis. : Towards a coherent field of knowledge
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