Mirror drawing is a motor learning task that is used to evaluate and improve eye-hand coordination of users and can be implemented in immersive Virtual Reality (VR) Head-Mounted Displays (HMDs) for ...training purposes. In this paper, we investigated the effect of color cues on user motor performance in a mirror-drawing task between Virtual Environment (VE) and Real World (RW), with three different colors. We conducted a 5-day user study with twelve participants. The results showed that the participants made fewer errors in RW compared to VR, except for pre-training, which indicated that hardware and software limitations have detrimental effects on the motor learning of the participants across different realities. Furthermore, participants made fewer errors with the colors close to green, which is usually associated with serenity, contentment, and relaxation. According to our findings, VR headsets can be used to evaluate participants' eye-hand coordination in mirror drawing tasks to evaluate the motor-learning of participants. VE and RW training applications could benefit from our findings in order to enhance their effectiveness.
The embodied cognition paradigm has stimulated ongoing debate about whether sensory data – including color – contributes to the semantic structure of abstract concepts. Recent uses of linguistic data ...in the study of embodied cognition have been focused on textual corpora, which largely precludes the direct analysis of sensory information. Here, we develop an automated approach to multimodal content analysis that detects associations between words based on the color distributions of their Google Image search results. Crucially, we measure color using a transformation of colorspace that closely resembles human color perception. We find that words in the abstract domains of academic disciplines, emotions, and music genres, cluster in a statistically significant fashion according to their color distributions. Furthermore, we use the lexical ontology WordNet and crowdsourced human judgments to show that this clustering reflects non-arbitrary semantic structure, consistent with metaphor-based accounts of embodied cognition. In particular, we find that images corresponding to more abstract words exhibit higher variability in colorspace, and semantically similar words have more similar color distributions. Strikingly, we show that color associations often reflect shared affective dimensions between abstract domains, thus revealing patterns of aesthetic coherence in everyday language. We argue that these findings provide a novel way to synthesize metaphor-based and affect-based accounts of embodied semantics.
Designers are often called upon to design therapeutic spaces that serve people who are in fragile emotional and/or physical states. While there is considerable guidance on designing for function in ...these spaces, the evidence‐based guidance on aesthetics is virtually non‐existent, especially when it comes to color. For a long time, the prevailing assumption in these studies, and among the public in general, has been that hues are the drivers of emotional content (e.g., red is exciting and blue is calming) and they have, for the most part, disregarded the distinct emotional connotations of light, dark, and muted versions of a hue. This oversight has led to unfortunate outcomes in the real world. The idea that blue is calming, for instance, has paved the way for brand new state‐of‐the‐art facilities featuring light blue walls that occupants may read as cold and unwelcoming. Designers need a rational, evidence‐based approach that helps them understand what many of them already know intuitively: spaces can be calm and inviting without being blue. After an overview of the design process, this article proposes that Pleasure‐Arousal‐Dominance (PAD) theory may aid designers to better understand that pale and dark (high and low value) colors convey opposites messages related to strength/power (dominance), and that vivid and muted colors (high and low chroma) convey opposite messages about energy/activity level (arousal). Finally, the author illustrates how this thought process might be applied in an architectural design practice.
This paper explores the groundbreaking contributions of Hermann von Helmholtz and Erwin Schrödinger to the geometry of color space ‐a 3D space that correlates color distances with perceptual ...differences. Drawing upon his expertise in non‐Euclidean geometry, physics, and psychophysics, Helmholtz introduced the first Riemannian line element in color space between 1891 and 1892, inaugurating a new line of research known as higher color metric, a term coined by Schrödinger in 1920. During his tenure at the University of Vienna, Schrödinger extensively worked on color theory and rediscovered Helmholtz's forgotten line element. In his 1920 papers titled “Grundlinien einer Theorie der Farbmetrik im Tagessehen,” published in the Annalen der Physik, Schrödinger elucidated certain shortcomings in Helmholtz's model and proposed his refined version of the Riemannian line element. This study delves into this captivating chapter in the history of color science, emphasizing the profound impact of Helmholtz's and Schrödinger's work on subsequent research in color metrics up to the present day.
How does distance in color space translate into perceptual difference? In the late 19th century, Hermann von Helmholtz explored this question, combining psychophysics with non‐Euclidean geometry to establish the first line element in color space. Despite years of obscurity, Helmholtz's work resurfaced in 1920 through the efforts of Erwin Schrödinger, who paved the way for a new research trajectory within color science.
Color occupies a prominent place in the bibliography of cartography, as it is an important element in the formation of cartographic symbolization. Apart from the technical issues of its application ...to maps, color theory is one of the elements that connect maps with art. In this paper various cartographic trends and their origins are examined and correlated with the artistic periods in which they were developed in order to investigate and document the extent to which maps follow the artistic movements and, particularly in the art of painting, concerning the form and the content of the maps and whether color can be used as an identification element of the art trend and the corresponding period. The research spans from the end of the Middle Ages to the 21st century and is referred spatially in Western Europe, including Italy. The comparison of colors is made in both descriptive and quantitative terms through the commentary of hue, brightness, and saturation, as well as through plotting them in the color wheel, a process that allows an overview of the range and location of color sequences. Concluding, the paintings and maps that were selected and examined in detail support the effect of painting on maps, without implying that it is intentional.
•Presented a complete database of lamps spectra from streetlights.•Developed user friendly software to extract information from any provided spectra.•Variation on the spectra after a reflection on ...any paint.•How the lights affect on melatonin and chlorophyll including the effects of paints.
The night sky spectra of light-polluted areas is the result of the artificial light scattered back from the atmosphere and the reemission of the light after reflections in painted surfaces. This emission comes mainly from street and decorative lamps. We have built an extensive database of lamps spectra covering from UV to near IR and the software needed to analyze them. We describe the LICA-AstroCalc free software that is a user friendly GUI tool to extract information from our database spectra or any other user provided spectrum. The software also includes the complete color database of paints from NCS comprising 1950 types. This helps to evaluate how different colors modify the reflected spectra from different lamps. All spectroscopic measurements have been validated with recommendations from CIELAB and ISO from NCS database.
This article reads works of Audre Lorde, Essex Hemphill, Joseph Beam, and other writers through what I name a palimpsestic practice of crip reading . The very way in which we must find and read the ...voices of Black gay men is by locating anthologies and reading those contributors in palimpsestic relationship to one another and to Black feminist writers and organizers. Although Black gay men and Black feminists of the 1980’s and 1990’s engaged with cancer and HIV in their writings, they are often considered as part of different political, cultural, and intellectual legacies than is often included in the field of Disability Studies. A palimpsestic reading of their works as entangled with each other reveals new genealogies of crip activist and cultural work. By this I mean that Black queer and/or feminist writing exist in a palimpsest relationship with Disability Studies; one can read the layers of thought through one another. A palimpsestic reading also proposes that cultural workers presumed to be outside the sphere of Disability Studies are, in fact, central to creating a crip-of-color theory.
•Human well-being varies according to aesthetic composition of the perceived color contrast.•Color contrast design can vary greatly within green colors.•Perception of NbS are likely to be affected by ...color contrast effects.
Living (green) walls are nature-based solutions (NbS) that can be an important environmental and social contributor within urban environments, but there are important knowledge gaps remaining in understanding their psychological benefits. In planning processes, aesthetic thinking is incorporated to improve attractiveness, health, and well-being outcomes in urban greenery solutions. However, in contrast to the wealth of research on well-established green infrastructure like urban parks, there is a knowledge gap for recently created ecosystems such as living walls and green roofs with respect to the relationship between aesthetic value, species composition, and psychological benefits. In order to increase this knowledge base this study explores human experiences of color characteristics on living walls, and the implementation of living walls for improving human health and well-being. We used a color theory framework in the development of graphical color contrast combinations designed by various green shades, and tested each color concept combination on human judgement of affective qualities. The results showed that living walls, designed through color contrast principles, have the potential to be comprehensively designed from an aesthetic aspect and be highly valued by people. However, the results indicate that perceived color contrasts may also reduce levels of arousal and human experiences of pleasantness. While more work on this topic is needed, this study has shown the importance of emphasising awareness of the color aspect in the design of nature-based solutions, to improve delivery of positive human psychological benefits.
Will the real units of Q please stand up? Fairman, Hugh S.
Color research and application,
May/June 2023, 2023-05-00, 20230501, Letnik:
48, Številka:
3
Journal Article
Recenzirano
There exists a general misunderstanding among colorists as to the units involved in the equation for tristimulus integration. The investigator of the color‐matching functions chooses four cardinal ...stimuli which, along with his choice to cause the three primaries to have equal coloration power to each other, causes him to assign units to the color‐matching functions in order that these units may be carried to the equation for tristimulus integration. This note discusses the development of these units using the 1931 RGB experiment and subsequent algebraic processing as an example. It develops exactly what these units are and concludes that they are consistent.
Will the real Q please stand up? Brill, Michael H.
Color research and application,
December 2022, 2022-12-00, 20221201, Letnik:
47, Številka:
6
Journal Article
Recenzirano
In my 1996 article on units of tristimulus values, I used as a definitional equation Jozef Cohen's Q = A′N, where N is a radiometric function of k wavelengths and Q is a column vector comprising N's ...associated tristimulus values. With Cohen, I took as Matrix A (having no units) a set of three column vectors comprising color‐matching functions. The relation Q = A′N then forced Q to have dimensions of power, which was inconsistent with the dimensionlessness of matrix A. Besides this problem, calling A′N the tristimulus values of N still left them in an unspecified basis, so you could get a wide variety of Q vectors from a single N vector by changing the basis of A. Simply specifying Q = A′N did not supply enough information to specify tristimulus values uniquely. I now propose to define Q = (A′ P)−1 A′ N, where k‐by‐3 matrix P contains the (unscaled) spectra of the primaries. Using this definition resolves both the above problems.
PDF
