Lightness and Brightness and Other Confusions

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tinctions and colour similarities. Perceptual colour systems make it possible to systematically describe perceptual patterns of colours in a spatial context. KARIN FRIDELL ANTER’s 32 surveys of perceived colour of painted facades may serve as an example of that kind of studies. (Fridell Anter 2000). Concepts describing colour and light as integrated in a spatial whole have to be based, however, on coherent spatial experiences. Spatial perception demands spatial relations and directions, size gradients, enclosure, etc. DAVID PRALL 33 remarks that [y]ou cannot make a spatial whole except with elements the very nature and being of which is spatial extension – – The elements must lie in an order native to their being, an order grasped by us as constituted by relation. We call structures intelligible – – so far we find them capable of analysis into such elements so related. (Prall 1936, p 39). Colours as such have no spatial extension. They have no formal structure except colour qualities related to other colour qualities (i.e. contrasts in lightness, whiteness, blackness, hue or chromaticness). If colour phenomena are abstracted from their natural connections to light and spatial order, causal relations behind them become inconceivable and mystified. A possible starting-point for concept forming for colour and light in space could be the phenomenological/psychological tradition, with concepts such as DAVID KATZ’s 34 definitions of spatial modes of appearance of various colour and light phenomena (Katz 1935), Gibson’s concepts of ecological optics (Gibson 1979) and Alva Noë’s concepts of enactive perception (Noë 2004). The noticeable correspondence between Katz’s phenomenology and Gibson’s ecological optics indicates a possible way to a coherent ecologically based phenomenology of colour and light and a well defined conceptual system in spe of describing colour and light as parts of a human experience of the world. In this respect artistic visual experience is of a considerable value. Painters and lighting designers are experts in colour and light phenomena. The observations of spatial visual qualities that they take as a starting point for their studies of pictorial space have not been paid attention to and have not been studied systematically. Painters and lighting designers aim to construct logical expressive symbols for appearances of colour and light in space. (Klarén 2006, p 294). They study the perceptual coherence of order and significance; intuitively they use it and present it in their works. Art represents a special 32 Swedish colour researcher, 1950 - 33 American philosopher of art, 1886 -1940 34 German psychologist, 1889 -1953 30
kind of reflective experience. “But to learn the language of the studios is not enough”, as Susanne Langer remarks (Langer 1953, p ix–xii). The working vocabulary of the artists has to be defined and systematized. Pictorial art could be an important source for phenomenological investigation and in this way it could contribute to the study of perceptual consciousness and to the generation of better concepts defining human experience of colour and light. 31
Page 5: Contents Foreword .................
Page 8 and 9: faculties. It is therefore most fit
Page 10 and 11: We are left with the paint chip. He
Page 12 and 13: The domain of colour psychophysics
Page 14 and 15: greater than the smallest colour di
Page 16 and 17: involved. It is worth mentioning th
Page 18 and 19: Ulf Klarén Natural Experiences and
Page 20 and 21: that without “benefit of logic”
Page 22 and 23: er of mental categories perceptions
Page 24 and 25: ence derives its origin from multip
Page 26 and 27: oth for perception of lightness (Gi
Page 28 and 29: knowledge constitutes logical knowl
Page 30 and 31: INDIRECT EXPERIENCE culturally tran
Page 34 and 35: References Baumgarten, Gottlieb (19
Page 36 and 37: Harald Arnkil Seeing and Perceiving
Page 38 and 39: ception is entirely integrated with
Page 40 and 41: parallel lines although they almost
Page 42 and 43: What Gregory is saying is that at t
Page 44 and 45: Zeki goes on to say to say that Mon
Page 46 and 47: References Billger, Monica (1999).
Page 48 and 49: Light and colour as experienced thr
Page 50 and 51: conventional concepts, which can be
Page 52 and 53: could be called the constancy colou
Page 54 and 55: colours yellow, red, blue and green
Page 56 and 57: etween about 380 and 780 nm, which
Page 58 and 59: Cadmium Red 1.0 0.8 0.6 0.4 0.2 0 4
Page 60 and 61: meaning of the word to be more corr
Page 62 and 63: Examples of photometric concepts an
Page 64 and 65: Examples of colorimetric concepts a
Page 66 and 67: Figure 15. Visual measuring of nomi
Page 68 and 69: References Billger, M. (1999). Colo
Page 70 and 71: Especially problematic is the situa
Page 72 and 73: continually confused with each othe
Page 74 and 75: W 05 10 20 30 40 50 C 60 90 70 80 7
Page 76 and 77: elation to the light source or obse
Page 78 and 79: ecause the lower reflectance of p i
Page 80 and 81: and religious symbolism. It is also
Page 82 and 83:
Munsell’s principal hues and Heri
Page 84 and 85:
As the inks developed the three-pri
Page 86 and 87:
David Hubel has proposed that the f
Page 88 and 89:
any hue is one of constant value. I
Page 90 and 91:
saturation, taken together, and is
Page 92 and 93:
Discussion From all of this one may
Page 94 and 95:
The real colours of objects To see
Page 96 and 97:
measured either trichromatically wi
Page 98 and 99:
Inherent, identity and nominal colo
Page 100 and 101:
uniformly coloured. Colour variatio
Page 102 and 103:
flexibility is a natural part of th
Page 104 and 105:
About the Authors Harald Arnkil is
Page 106 and 107:
Hardin wrote the book for philosoph
Page 108 and 109:
- system 9-10, 13, 22, 29, 49, 51-
Page 110 and 111:
- colour 8, 24-25, 30, 42, 49-50, 5
Page 112:
110
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Lightness and Brightness and Other Confusions

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