Thematische Bibliographien / Colour materiality

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Auswahl der wissenschaftlichen Literatur zum Thema „Colour materiality“

Autor: Grafiati

Veröffentlicht am 10. Mai 2025

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Zeitschriftenartikel zum Thema "Colour materiality"

Tang, Ge. „Contesting the English Sartorial Style in Trollope’s The West Indies and the Spanish Main : Self-Fashioning in the Caribbean“. Victorian Review 49, Nr. 1 (März 2023): 109–24. http://dx.doi.org/10.1353/vcr.2023.a925221.

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Abstract: The article examines Anthony Trollope’s affective responses to dress in the Caribbean, with a view to revealing how they shaped his clothing practices while travelling and informed his resistance to transplanted English sartorial codes. Drawing upon Jane Bennett’s conceptualization of distributive agency, I approach Trollope’s clothed body, his attire, and the tropical environment as interdependent vital forces that affected his relationship to clothing’s materiality and its symbolic significance. I argue that his dress exerted its agentic force through its materiality—the colour, the fit, and the texture—in the tropical climate and its surrounding environment. The tropical heat and humidity afflicted Trollope when he was dressed in dark, tight English attire, causing him physical discomfort and emotional anxiety that he dramatized and diffused through humour. These feelings motivated him to ponder clothing’s materiality and the need to adapt it to the environment. I shall argue that the tropical weather, in causing digestive discomfort and even physical breakdown, threatened Trollope’s sense of masculinity. He therefore resorted to alternative forms of clothing to fashion and refashion his masculinity. His masculine self-fashioning, however, was met with resistance from the capricious tropical climate. Adopting an environmentally-inflected cultural materialist approach to clothing, this article illuminates the challenges posed by what Jane Bennett might term clothing’s “agentic” power to travellers in the colonies, contributing to the recent increase in materialist studies of clothing.

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Jafarian, Hoda, Claude M. H. Demers, Pierre Blanchet und Veronic Laundry. „Effects of interior wood finishes on the lighting ambiance and materiality of architectural spaces“. Indoor and Built Environment 27, Nr. 6 (09.02.2017): 786–804. http://dx.doi.org/10.1177/1420326x17690911.

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Wood is a material often used by architects to enhance the overall ambience of a space, but few researches have been reported to discuss its actual impact on visual impression and luminous effects. This research studies the influence of wood materiality in relation to creating specific lighting ambiances in architecture. In particular, it focuses on the impact of decorative wood indoor panels on the creation of daylighting diversity in interior space and the potential to improve daylighting quality and energy efficiency. The research uses scaled models for their accuracy in rendering complex daylighting ambiances. The photo-luminance meter enables the comparison between different settings of interior spaces created by a selection of wood type materiality: ratio (percentage), colour (Oak, Cape Cod Grey and Dark Walnut coatings) and gloss concerning illuminance patterns obtained from Ecotect software. The CIE L*a*b* colour space is used to classify luminous ambiances. Results indicate that bright colour Oak favours a deeper daylighting penetration and increases the colour temperature of the space by about 300% when applied on the floor. Cape Cod Grey coating provided a neutral colour balance even under sunlighting. High gloss Dark Walnut located on the ceiling produces the highest luminance values, enlarging the window-lighting pattern. The research underlines the role of wood materiality in achieving luminous diversity and creating visually comfortable interior ambiances.

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Sekki, Sanna, Hannele Kauppinen-Räisänen, Eliisa Kylkilahti und Minna Autio. „Packaging journey from retail to home: how the meaning of sustainability for colour transforms“. International Journal of Retail & Distribution Management 51, Nr. 13 (26.06.2023): 47–63. http://dx.doi.org/10.1108/ijrdm-12-2021-0579.

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Purpose Research has largely disregarded consumer–packaging interaction in contexts other than retail. Focusing on the powerful cue of colour and consumers’ pleas for sustainability and drawing on the customer journey and moments of consumption, this study investigates how packaging colour meanings are redefined from retail to home and how the meaning of sustainability for colour transforms.Design/methodology/approach A qualitative methodology was employed with 27 informants, who were interviewed in pairs or in small groups of three.Findings First, colour meanings emerge outside the retail context, confirming the idea of the packaging journey. Colours are dynamic, as meanings are redefined throughout the voyage. In retail, colour conveys brand, product, environmental and origin-related meanings, while at home it conveys product, food- and health-related meanings. At the end of the journey, colour communicates disposal, environmental, health and origin-related meanings. Second, the meaning of sustainability for colour transforms during the voyage from being conveyed by a colour hue to being perceived as a material and, therefore, as a waste and recycling concern.Originality/value The study adds insight into the role of colour in the packaging life cycle, wherein colour transforms from a visual packaging cue to an issue of materiality. The recyclability of colours is a prevailing sustainability issue that deserves attention within the packaging industry. The study argues that although the consumer–packaging interaction in the retail context is essential, managers should recognise that the interaction continues with colours from in-store purchase decisions to consumers’ homes (use and recycling).

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Knutson, Sara Ann. „The Materiality of Myth“. Temenos - Nordic Journal of Comparative Religion 55, Nr. 1 (29.06.2019): 29–53. http://dx.doi.org/10.33356/temenos.83424.

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The vivid presence of material objects in Scandinavian cosmology, as preserved in the Old Norse myths, carries underexplored traces of belief systems and the material experience of Iron Age Scandinavia (400–1000 CE). This paper proposes an archaeological reading of Norse mythology to help explain how ancient Scandinavians understood the presence and role of deities, magic, and the supernatural in everyday life. The Norse myths retain records of material objects that reinforced Scandinavian oral traditions and gave their stories power, memory, and influence. From Thor’s hammer and Freyja’s feathered cloak to Sigyn’s bowl and Ran’s net, such materials and the stories they colour are informed by everyday objects of Iron Age life – spun with the magic, belief, and narrative traditions that made them icons. The mythic objects promoted a belief system that expected and embraced the imperfections of objects, much like deities. These imperfections in the divine Norse objects and the ways in which the gods interact with their materials are part and parcel of the Scandinavian religious mentality and collective social reality. This work ultimately questions the relationship between materiality and myth, and seeks to nuance our current understandings of the ancient Scandinavian worldview based on the available textual evidence.

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Duckworth, Chloë N. „Imitation, Artificiality and Creation: the Colour and Perception of the Earliest Glass in New Kingdom Egypt“. Cambridge Archaeological Journal 22, Nr. 3 (25.09.2012): 309–27. http://dx.doi.org/10.1017/s095977431200042x.

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The introduction and use of glass in Late Bronze Age Egypt (18th to 19th Dynasties) is discussed from a materiality-based approach. It is suggested that the artificiality of this new material was deliberately proclaimed, highlighting the ability of those behind its production to access the processes of creation and transformation. Colour is central to the arguments presented, and it is suggested that glass was valued for its ability to fully assume particular colours, rather than displaying these on the surface only in the manner of painted, glazed or gilded artefacts.

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Exhibition, Group. „Colour Constructs / Constructions en couleurs“. ti< 7, Nr. 1 (31.03.2018): 13–19. http://dx.doi.org/10.26522/ti.v7i1.1733.

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Colour Constructs / Constructions en couleursRodman Hall (30 Nov. 2017-4 March 2018)In fall 2017, Rodman Hall invites visitors to experience the exhibition Material Girls, which brings together Canadian and international female artists from across artistic disciplines and cultural backgrounds. Giving particular attention to the colourfulness and jubilance of this exhibition, in Colour Constructs, students in Visual Arts, Studies in Arts and Culture, and French Studies explore the materiality of colours in their own diverse ways. Student works are complemented by graffiti art by Niagara-based artist Mat Vizbulis, a classroom guest during the semester.A l’automne 2017, Rodman Hall invite ses visiteurs à l’exposition Material Girls, qui rassemble des femmes artistes canadiennes et internationales de diverses disciplines et cultures. Prêtant une attention particulière aux couleurs jubilantes de cette exposition, des étudiants d’Arts visuels, d’Etudes en arts et culture et d’Etudes en français explorent dans Constructions en couleurs la matérialité des couleurs. Leurs travaux sont accompagnés d’art graffiti de l’artiste Mat Vizbulis, basé dans la région du Niagara et un intervenant en cours pendant le semestre.Curators / Commissaires d’exposition: Catherine Parayre and Shawn Serfas

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Yumibe, Joshua. „The Rainbow’s Gravity: Colour, Materiality and British Modernity by Kirsty Sinclair Dootson (review)“. JCMS: Journal of Cinema and Media Studies 63, Nr. 4 (Juni 2024): 197–201. http://dx.doi.org/10.1353/cj.2024.a934557.

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Angus, Siobhan. „Kirsty Sinclair Dootson, The Rainbow’s Gravity: Colour, Materiality and British Modernity“. Journal of Visual Culture 22, Nr. 2 (August 2023): 264–67. http://dx.doi.org/10.1177/14704129231195744.

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Khoo, Anabel. „Shimmers Below the Surface: Emergent Strategy and Movement Building through 2-QTPOC Media“. UnderCurrents: Journal of Critical Environmental Studies 19 (13.10.2015): 6–14. http://dx.doi.org/10.25071/2292-4736/40243.

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Two-Spirit, Queer and Trans People of Colour (2-QTPOC) media offer paradigms for visions and practices of collective liberation and decolonization. Because 2-QTPOC media can reveal the metaphysical and affective among political imaginings and realities, this work attempts to track the haunting attachments, the emergent political, and the queerness inherent to the worlding that media making enacts, as a form of movement building and transformative healing. This work highlights the cultural work of Mangos with Chili, a two-spirit, queer and trans people of colour (2-QTPOC) multi-genre media performance collective, currently based in the San Francisco Bay Area, to explore the complexities among materiality, representation and embodiment by asking: How can attending to 2-QTPOC media reveal potentialities of the political? What shimmers at the boundaries of intelligibility and memory?

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Soncul, Yigit. „A Media Pharmacology of Face Masks“. Media Theory 6, Nr. 2 (19.12.2022): 111–34. http://dx.doi.org/10.70064/mt.v6i2.845.

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During WWII a particular type of face mask was designed for and distributed to children, referred to as ‘Mickey Mouse’ respirators due to their distinctive form and colour. Some of these masks contained asbestos in their filters. Asbestos is a toxic substance that is now banned in over 50 countries. Here we have a case in which a material used for protection from toxicity proves itself to be toxic. In other words, asbestos-filter gas masks function as both remedy and poison – a pharmakon. As such, these masks embody the double logic of the materiality of the media condition, which is advanced in this article through a discussion of the materiality of masks from what I call a media-pharmacological perspective. The article takes asbestos and plastic as key substances that mediate the relationship between the body and its environment in the form of masks. This translates into a discussion of harm and protection within this material register. The substances here provide a link between the material use and politics of masking with its aesthetics.

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Dissertationen zum Thema "Colour materiality"

McBurney, Stephen. „Colour cinema in Scotland, 1896-1906 : the materiality of colour and its social contexts in Aberdeen, Inverness and Edinburgh“. Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30977/.

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Over the course of six chapters, this thesis documents colour cinema in Scotland between 1896-1906, focusing on three locations: Aberdeen, Inverness and Edinburgh. Chapter One sets out the scope of the thesis, and defines the terms ‘colour’, ‘cinema’ and ‘place’. An overview of the relevant existing literature is then provided, tracing the evolution of the historiography of Scottish cinema and that of early colour film more widely. This chapter argues that ideologically charged historiographies have largely dismissed or marginalised both Scottish cinema and early colour film; the former deemed irrelevant, and the latter juvenile or crude. Chapter One concludes with a discussion of the historiographic principles upheld in “New Cinema History”, drawing attention to the pertinence of such principles for this thesis’s methodology. Chapter Two profiles prominent colour film technologies and techniques that were in use between 1896-1906, and is split into six sections: coloured lights, tinting, toning, hand-painting, stencilling and Kinemacolor. Chapter Three focuses on early cinema in Aberdeen, in particular Walker & Company, and their experiments with hand- painted films and coloured lights. Walker & Company purchased and hand-painted Up the Nile, the Way to Atbara (1899) to conjure imperialist sentiment; produced and hand- painted The Great Fire of Bridge Place (1899) as a polemic against Aberdeen Council; and experimented with coloured lights on film in spectacular and innovative ways. Chapter Four addresses early cinema in Inverness, focusing on the town’s only filmmaker and exhibitor: John Mackenzie. Mackenzie dismissed painted films because they jarred with his aesthetic principles as a serious photographer. Furthermore, the serpentine dance was locally condemned as immoral, thus rendering the widely popular hand-painted film versions of this routine as a subversive force. Chapter Four concludes with a discussion of Mackenzie’s filmic representations of the Highlands, and how they dramatically changed once he accepted an offer of employment from the Charles Urban Trading Company in 1903. Chapter Five documents early cinema in Edinburgh, highlighting the colourful sensorial environments within which early local film exhibitions took place; the conspicuous presence of stereoscopy and colour photography in early cinema; and the influence of Edinburgh’s rich pantomime traditions on local exhibitors. Chapter Six stresses the importance of this thesis, and its potential ramifications for future research.

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Stirrup, Harold Robert. „Colour, paint and gold : the materiality of English manuscript illumination in the twelfth century“. Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/3982/.

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During the first quarter of the twelfth century artists in the scriptoria of English monastic houses began using a painting technique with a more extensive range of colours than had been usual, and used with thicker and more opaque paint. Later, the use of gold leaf increased and gesso grounds were introduced. Such materials were reserved mainly for prestigious liturgical manuscripts such as Bibles and psalters, and also for illustrated saints’ lives. The prefatory miniatures in the St Albans Psalter and the illustrations in the Bury and Winchester Bibles are examples. This study provides a visual and physical examination of many important illuminations—their paint, gold and colour—and explores their relationship with the texts they illustrate. Original contributions to the scholarship can be found in the chapter on colour, which provides a focus for discussion not available in the previous literature; this includes a survey of colour words used in the Vulgate, and an analysis of the symbolic use of colours by the Alexis Master which reflected centuries of biblical exegesis; in the new analysis and interpretation of the ‘Elkanah’s Gift’ miniature in the Bury Bible; in a new understanding of the materiality of the Four Psalter Leaves; in a clearer view of how the use of vellum was modified to accommodate thicker and heavier materials; in a better understanding of how gold was used, including details of a previously unrecognized decorative technique in the Auct. Bible; in the analysis and identification of hands in some of the manuscripts; in the new identification of an artist’s mark in the Bury Bible, and in the emphasis on the writings of Jerome as a source of novel imagery.

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Charliat, Anne-Camille. „De la couleur comme phénomène lumineux à la lumière comme matériau pictural : chemins vers Mark Rothko et Pierre Soulages“. Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL199.

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Cette thèse interroge et analyse comment la lumière, en tant que phénomène naturel et physique, est devenue un phénomène proprement pictural. Si la lumière, qu’elle soit naturelle ou artificielle, est la force mettant en acte la visibilité du monde pour la majorité des êtres vivants, elle est également à l’origine des couleurs qui sont les effets de son action spécifique sur l’œil. En interagissant directement avec la matière, la lumière produit la couleur et penser philosophiquement le concept de lumière dans l’art pictural revient donc tout d’abord à comprendre le cheminement des voies propres de la couleur qui fut progressivement reconnue comme la spécificité même de la peinture. Intrinsèquement liées au sein de toute expérience perceptive, lumière et couleur impliquent un processus physiologique dont les paradigmes évoluèrent au fil des siècles. La couleur révèle un monde visible dont l’origine lumineuse échappe pourtant à la perception et les peintres œuvrèrent à dégager l’origine invisible du visible : la lumière, essence de la visibilité. Le sujet percevant, découvert comme l’agent actif de l’expérience optique impliqua une transformation radicale et le monde du visible, qui constituait jusqu’alors une forme privilégiée de connaissance, fut reconsidéré en fonction des caractéristiques subjectives de l’œil. En devenant objet de connaissance, la vision pénétra ainsi dans le champ de la philosophie et des sciences expérimentales. C’est plus particulièrement à travers l’analyse de l’œuvre de Mark Rothko et de celle de Pierre Soulages que nous orienterons la seconde partie de notre recherche tant le concept de lumière y rencontre de riches problématiques esthétiques qui entrent en résonance avec les paradigmes artistiques propres à l’histoire de la peinture
This doctoral thesis suggests questionning how light, a natural and physical phenomenon has also become a concept in the field of painting. Light, artifical or natural, is not only the mere driving force behind vision for the majority of beings in this world, it is also at the origin of colors, which result from the action of light on the eye. By interacting directly with the material, light produces color. Therefore, to think philosophically the concept of light in pictorial art would thus means first to understand the inner ways of color, which have been gradually recognized as the true specificity of painting. Intrinsically connected within any perceptive experience, light and color involve a physiological process paradigm which evolved in the course of the centuries. Color reveals a visible world whose bright origin still cannot be grasped by our perception, and painters have worked to release the invisible origin of the visible: light, the essence of the visibility. The role of the perceiving subject is then profoundly transformed as it becomes regarded as the active agent of the optical experience. The visible world, thus far a privileged shape of knowledge, is reconsidered according to the subjective characteristics of the eye. By becoming an object of knowledge, vision became associated to the fields of philosophy and experimental sciences. Most precisely, since the concept of light meets in their works such rich aesthetic problems which resonate with the artistic paradigms that belong to the history of painting, it is throughout an analysis of Mark Rothko’s and Pierre Soulages’s work that the research work has been focused in a second part

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Airiau, Mecthilde. „Les mots et les usages de la couleur chez les peintres du Trecento florentin“. Electronic Thesis or Diss., Sorbonne université, 2025. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2025SORUL017.pdf.

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Cette thèse s'attache à montrer les usages et les fonctions de la couleur dans la peinture sur panneau de bois florentine au Trecento. Il s'agit du premier travail sur la question qui, pour dépasser la seule analyse des teintes, s'appuie sur une méthode pluridisciplinaire convoquant la lexicographie, les études matérielles et les analyses visuelles. Afin de déterminer la place de la couleur dans la société florentine, la première partie donne lieu à une vaste enquête sur le vocabulaire de la couleur dans les langues italiennes du Trecento, qui permet de constater l'importance du rouge pour la société florentine, d'une part, et la neutralité des termes de couleur indépendamment de tout contexte d'autre part. La deuxième partie est l'occasion d'une synthèse sur l'étude des sources de l'histoire matérielle de la couleur et d'un panorama des matériaux employés et de leur mise en œuvre. Elle met en évidence la complexité inhérente à la technique de la tempera et la systématicité de mise en œuvre des pigments qui en résultent, ce qui n'exclut pas pour autant une certaine adaptabilité de la technique aux désirs des peintres. Enfin, la troisième partie examine le fonctionnement et les fonctions de la couleur dans les images, tant d'un point de vue iconographique que pictural. L'étude met ainsi au jour les systèmes qui gouvernent les choix des peintres en matière de couleur en montrant que, si on peut révéler certaines préférences individuelles, le déploiement des couleurs dans les peintures sur panneau de bois répond à des logiques iconographique, rhétoriques et fonctionnelles, elles-mêmes découlant du contexte intellectuel, religieux et artistique dans lequel elles s'inscrivent
This thesis investigates the uses and functions of colour in Florentine panel painting of the Trecento. As the first study on this topic, it moves beyond a mere analysis of hues, using a multidisciplinary approach that incorporates lexicography, material studies, and visual analysis. To determine the role of colour within Florentine society, the first section undertakes a comprehensive examination of colour vocabulary in 14th-century Italian languages, revealing both the significance of red within Florentine culture and the neutrality of colour terms regardless of context. The second section provides a synthesis of previous studies on the material history of colour and an overview of the materials and their application techniques. It highlights the inherent complexity of tempera techniques and the systematic use of pigments, while also allowing for some adaptability to artists' preferences. Finally, the third section examines the functions of colour within images, from both iconographic and pictorial perspectives. This study brings to light the systems underpinning painter colour choices, showing that, while certain individual preferences may be identified, the use of colour in panel paintings follows iconographic, rhetorical, and functional rationales reflecting the intellectual, religious, and artistic context of the period

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Lucero, David Zachary, und David Zachary Lucero. „Historicizing Sexuality: Materialism, Recent Trends, and Surplus Populations“. Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625073.

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Traditional Marxist historical materialism employs a material analysis that privileges how capitalism interacts with subject formation and has been used in recent historicizations of sexuality. This paper understands that line of analysis to be gendering, racializing, and pathologizing and examines LGBTQ history as a starting point to decenter capitalism from the analysis. Using Roderick Ferguson's "queer of color" critique, this paper maintains that more specifically, history should attend to the emergence of surplus populations which capitalism keeps hidden. Under the umbrella of queer of color critique, migration studies, transnational perspectives, and the destabilizing nature of queer theory all have the capacity to provide a fuller view of sexual difference and the histories of LGBTQ and other surplus populations. Furthermore, a legal framework provides an opportunity to take theory into practice by examining legislation with the analytical scope of queer of color and from an anti-capitalist vantage point.

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Sundlöf, Sebastian. „Light and Paint:perceptual and emotional effects on space and humans“. Thesis, KTH, Ljusdesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280082.

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In 21st century Scandinavia, the use of colored paint in the built environment has decreasedconsiderably. Instead, color changing LEDs can be found in many homes. In this thesis, an experimentwas set up to investigate how these two coloring methods differ and coincide with regards toemotional response and perception of materiality. Four cubicles, two painted and two colored bylight, were evaluated by ten participants. The painted cubicles were perceived as more material intheir appearance with regards to texture and color than their counterparts. A greater feeling ofnervousness, stress, and disorientation was felt in the light-colored cubicles as opposed to aheightened feeling of inspiration, excitement and calmness in the painted cubicles. Though it isimportant to remember the difference was not significant. In addition, preconceived connotations tothe color tone could be an influencing factor and so further studies on additional tones should beconducted. Lastly, benefits and drawbacks with the coloring methods were discussed.

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Young, Diana Jane Barbara. „The colours of things : memory, materiality and an anthropology of the senses in north west South Australia“. Thesis, University College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271659.

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Camuzzi, Cecilia Chase. „Design For All: The Neutral Ground Market in Freret, New Orleans“. Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/78205.

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This project is a celebration. Inspired by time spent in Baltimore, this thesis examines how standardized elements can be utilized to create Architecture and make astute, functional, contextually sensitive, and pleasurable design accessible for all. With the heavy, stuccoed buildings of New Orleans as precedent, the Neutral Grounds Market utilizes CMUs for both practical and aesthetic purposes. Drawing from a rich lineage of structural polychromy and through knitting CMUs together into a subtle pattern, the building speaks to its colorful context, despite the lack of CMU structures in the area. Weaving ethics and aesthetics, the site sits within a Food Desert and this thesis begins at the seam of three neighborhoods - Freret, Milan, and Uptown. Block by block varies tremendously within these neighborhoods, and the static images of both the opulence and desolation of New Orleans becomes clear here. Aiming to bring not only fresh food into the neighborhood, but to work realistically within the diverse backgrounds of the residents’ lives, the program integrates a Farmer’s Market with a Grocery Store so fresh food will constantly be available and can meet the needs of all the citizens. In addressing context as a matter of both the material, built environment and the personal, human milieu this thesis addresses the economic and the emotional as a pair, realizing the importance of each. This integrated program creates a new civic space which will bolster the vibrant growth already begun on Freret St. and throughout the neighborhoods. This project is a celebration.
Master of Architecture
This project is a celebration. Inspired by time spent in Baltimore, this thesis examines how standardized elements can be utilized to create Architecture and make astute, functional, contextually sensitive, and pleasurable design accessible for all.

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Buccella, Mauro. „Color masterbatches for polyamide 6 fibers. Optimization of compounding and spinning processes. Physical-chemical characterization of industrial products“. Doctoral thesis, Università degli studi di Trento, 2014. https://hdl.handle.net/11572/368973.

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The objective of this work is the investigation of the industrial production process of the Color Masterbatches and of the parameters that influence the pigment dispersion into the polymer matrix. In particular, the project is focused on the production process optimization in order to increase the quality of the final product and to minimize their environmental impact.

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Buccella, Mauro. „Color masterbatches for polyamide 6 fibers. Optimization of compounding and spinning processes. Physical-chemical characterization of industrial products“. Doctoral thesis, University of Trento, 2014. http://eprints-phd.biblio.unitn.it/1236/1/PhD_Thesis_-_Eprints_-_Mauro_Buccella.pdf.

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Bücher zum Thema "Colour materiality"

Kenkyūkai, Shakaigaku, Hrsg. Bunka shakaigaku: "Bunka shakaigaku kenkyū sōsho III". Hoka. Tōkyō: Nihon Tosho Sentā, 2011.

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Dootson, Kirsty Sinclair. Rainbow's Gravity: Colour, Materiality and British Modernity. Yale University Press, 2023.

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Geczy, Adam. Phenomenology of Paint. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350452053.

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Analyzing the different modes of appearance and application of the most ubiquitous medium in art and ritual, this book examines the aesthetics, anthropology, ethnography and history of paint. The result is a clearly articulated account of both the materiality and phenomenology of paint, as substance and idea. Beginning with paint as ritual in prehistoric and ancient times, it discusses the provenance, politics and chemistry of pigments, the role of concealment and beautification as paint is applied to bodies, the stories and practices of hiding paint by artists, and efforts to isolate paint as an essential quantity, ending on the philosophical question as to whether paint is separable from colour. A phenomenology of paint is in many respects an ontology of the ways we seek to represent and mediate our existence: it is the medium for both covering (house paint, make-up) to revealing (art). By exploring paint in a multitude of roles, from bodily substances to chemical engineering, this study provides a fresh understanding of ritual and representation through this medium that reveals through covering.

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Skovmøller, Amalie. Facing the Colours of Roman Portraiture: Exploring the Materiality of Ancient Polychrome Forms. de Gruyter GmbH, Walter, 2020.

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Skovmøller, Amalie. Facing the Colours of Roman Portraiture: Exploring the Materiality of Ancient Polychrome Forms. de Gruyter GmbH, Walter, 2020.

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Facing the Colours of Roman Portraiture: Exploring the Materiality of Ancient Polychrome Forms. de Gruyter GmbH, Walter, 2020.

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Feeser, Andrea. Materiality of Color: The Production, Circulation, and Application of Dyes and Pigments, 1400 -1800. Taylor & Francis Group, 2017.

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Goggin, Maureen Daly, Andrea Feeser und Beth Fowkes Tobin. Materiality of Color: The Production, Circulation, and Application of Dyes and Pigments, 1400-1800. Taylor & Francis Group, 2017.

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The materiality of color: The production, circulation, and application of dyes and pigments, 1400-1800. Ashgate: Burlington, 2012.

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Die Malerei der Antike und ihre Farben: Aspekte und Materialien zur Koloritgeschichte. Weimar: VDG Weimar im Jonas Verlag für Kunst und Literatur GmbH, 2017.

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Buchteile zum Thema "Colour materiality"

Jenkins, Amber. „Conversations in Colour and Ink: Feminist Aesthetics in ‘The Mark on the Wall’ and Kew Gardens“. In Virginia Woolf, Literary Materiality, and Feminist Aesthetics, 35–64. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-32491-8_2.

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Chapelan, Alexis. „Repulsiveness and Dehumanisation“. In Postdisciplinary Studies in Discourse, 73–82. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-49238-9_5.

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AbstractFar from being a purely theoretical construct, anti-Jewish prejudice has also been inscribed into the very materiality of Jewish bodies, through a host of tropes and metaphors drawing on representations of physical corruption and repulsiveness. The pathologisation of the Jewish body predates biological antisemitism and has roots in Medieval antisemitism. Appearance, skin colour, hygiene or alimentation are external manifestations which mark the Jew as “other” or “foreign.” As the demonic Other was the archetype of maleficent alterity in Christian Europe, it was even believed that Jews have devilish horns, which explained the tradition of head-covering. Another bizarre medieval folk belief was that Jewish males menstruated; this allegedly “impure” bleeding was thought to be a punishment for Judas’ treason of Jesus. This also maps onto blood libel accusations, as the monthly loss of blood had to be compensated by consuming the blood of Christians. Such notions later fed into the stereotype of Jewish men being effeminate, weak and anaemic, as opposed to virile and healthy Aryans.

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Mullins, Paul R. „Consuming Individuality: Collective Identity Along the Color Line“. In The Materiality of Individuality, 207–19. New York, NY: Springer US, 2009. http://dx.doi.org/10.1007/978-1-4419-0498-0_12.

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Stager, Jennifer M. S. „The Materiality of Color in Ancient Mediterranean Art“. In Essays in Global Color History, herausgegeben von Rachael B. Goldman, 97–120. Piscataway, NJ, USA: Gorgias Press, 2016. http://dx.doi.org/10.31826/9781463236632-010.

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Bering, Kunibert. „Meaning and Materiality: Early Christian Theology of Color and Pagan Aesthetics“. In Essays in Global Color History, herausgegeben von Rachael B. Goldman, 191–208. Piscataway, NJ, USA: Gorgias Press, 2016. http://dx.doi.org/10.31826/9781463236632-015.

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Grand-Clément, Adeline. „Gold and Purple: Brilliance, Materiality and Agency of Color in Ancient Greece“. In Essays in Global Color History, herausgegeben von Rachael B. Goldman, 121–38. Piscataway, NJ, USA: Gorgias Press, 2016. http://dx.doi.org/10.31826/9781463236632-011.

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König, René. „b) White-collar Delikte Zur Frage der Marginalität in der Alltags-Moral der fortgeschrittenen Industriegesellschaften“. In Materialien zur Kriminalsoziologie, 201–13. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-28215-8_24.

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Dupey García, Élodie. „Aztec Reds: Investigating the Materiality of Color and Meaning in a Pre- Columbian Society“. In Essays in Global Color History, herausgegeben von Rachael B. Goldman, 245–64. Piscataway, NJ, USA: Gorgias Press, 2016. http://dx.doi.org/10.31826/9781463236632-018.

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Bhattacharya, Anindita. „Materialism, Commodification, and Alienation in Padraic Colum's Short Stories“. In The Writings of Padraic Colum, 107–17. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003349198-8.

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Laube, Stefan. „White-Collar Bodywork: Practice Centrism and the Materiality of Knowledge Work“. In Methodological Reflections on Practice Oriented Theories, 93–105. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52897-7_7.

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Konferenzberichte zum Thema "Colour materiality"

Moreira da Silva, Fernando, und Margarida Gamito. „Color materiality and urban equipment: factor of inclusion, comfort and safety“. In 5th International Conference on Human Systems Engineering and Design: Future Trends and Applications (IHSED 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004127.

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Color is inseparable from matter, shape, object. Color, as an integral part of light, is inherent to the project, and is therefore an element of form. As long as there is light, Color is a component of everything around us and of ourselves, affecting us at every moment of our lives: our body but also our emotions, disposition and mental faculties. Color is light made visible, through interaction with surfaces of all kinds: opaque or translucent surfaces make Color visible. Whether designing a hand-scale object or a piece of equipment, interior design or architecture or urban space, they all deal with spatialities. The characterization of these spatialities goes through the structure, surface texture, coating, type of light (natural or artificial), shape/background relationships, ways of approaching and reading modes, and their correct use or fruition. Color, being matter, directly linked to the surfaces of objects, has to be understood globally and as part of the conceptual process of the product.However, designers are not always aware that the product they design, such as the Color inherent to the respective material used in its construction, can be a factor of inclusion or exclusion of its users, in addition to several other components that can value or not its use or fruition. The main aim of this paper is exactly Color as the material of urban equipment, addressing psychological and physiological aspects of Color, and the importance of its knowledge and correct handling in the act of designing equipment for urban space, not only as an integral part of the creative process, assuming itself as a cultural and imaginative act, but also as a product of a rational approach that can allow greater inclusion and provide greater comfort and safety to its users. In the development of this research Project, a mixed methodology was used, consisting of a literature review and a survey of users of urban garden equipment, aged between 35 and 75. The results achieved so far are presented, which underline the importance of a correct application of the Color materiality when designing urban equipment.

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Regidor Ros, José Luis, Clara Portilla Romero, Juan Valcárcel Andrés und Pilar Roig Picazo. „Pictorial reconstruction of Palomino’s ceiling by digital techniques“. In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13528.

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The case of the frescos by Palomino in the church of Santos Juanes in Valencia is a challenge that requires new alternatives to traditional mural restoration. Part of the paintings burnt in 1936 were detached and partly relocated in the vault afterwards. One third of the paintings, which were not detached, have been restored. A new phase of intervention has now begun, using a system of aesthetic reconstruction generated by digital images. This technique, already used successfully in a previous intervention, aims to recover the pictorial and functional atmosphere of this religious space.In order to fulfil the goal of trying to give a global solution to Palomino's work, it is necessary to find a chromatic solution to the apse of the church due to the absence of its original frescos. We propose the use of video mapping based on a historical black and white photograph taken by J. Alcon before the fire. Taking chromatic and iconographic references from other pictorial works that are in the same space-time context as the original painting and were executed by the same author, an aesthetic approach to the work would be made through the technique of video mapping. Mapping allows the viewer to see the pictorial and functional values of the artwork, without using an invasive form, and favours a vision of its historical-artistic context. Without physically altering the heritage, the final audiovisual presentation can reach multiple levels of information, helping the observer to understand, for example, the technique and pictorial materiality of the frescos and, at the same time, to discover the different iconographic representations.On the other hand, the successful system realised in the first phase was based on digital treatment of another historical photograph in black and white. This procedure was carried out in several ways such as straightening, rectifying and scaling of historical photograph. After the previous process, the following step was a digital colouring based on the superposition of the captures of the existing fragments to the picture taken by J. Alcon, always taking the colours of the original painting as a reference. The creation of the virtual final image also requires colour management calculations to be transformed into a printed or projected reality. The last step is to print and transfer the image to the wall. This was done with Papelgel®, a temporary support for the transfer of inkjet and pigmented printing inks. In this case the main novelty is the use of an adhesive pattern which improves the transfer of digital print fidelity and maintains the breathability of the wall. In the current phase of intervention, this system is intended to be applied to the rest of the vault once the detached fragments have been relocated to their original position.This project is an important attempt in the search for perfect harmony between the different computing elements. Information technologies offer a new and wide range of possibilities to preserve cultural heritage and participate directly in the intervention processes required for their conservation and restoration.

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Coover, Abigail. „two-and-a-half-dimensional“. In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.33.

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Flickering lines dance in constant motion above, below, around and through the richly textured fields of the multilayered drawings of architecture. This proposal seeks to investigate the interplay of geometry, materiality, color, and perception to create unique spatial and volumetric experiences that oscillate in the area between drawing, installation and permanent structure. Through the transition from the speculative two-dimensional architectural project to that of the project realized in three dimensions, exists a middle ground for investigation. This is the space of the two-and-a-half-dimensional or 2.5D.

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Fernandez Leon, Deborah, und Lourdes Royo-Naranjo. „Documentation and conservation of contemporary heritage. Daniel Buren's installation at Centre Pompidou Málaga (Spain)“. In HEDIT 2024 - International Congress for Heritage Digital Technologies and Tourism Management. Valencia: Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/hedit2024.2024.17713.

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In this communication we present the work done where the use of photogrammetry has been the protagonist to virtualize the heritage in 3D model of the installation work Incubé (2015), installation of the artist Daniel Buren at the Centre Pompidou Malaga. On this occasion, by means of various glass panels in primary colours projected on the architecture, the work generated a play of interspersed stripes of light. Photogrammetry gives us the opportunity to produce accurate models of two-dimensional images, which allows the documentation and conservation of heritage elements, especially those that are endowed with a certain materiality that does not rely on the projection of light or sound reproduction, thus allowing the documentation and conservation of the work.

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LIN, TIFFANY, LISA MOLIX und EMILIE TAYLOR WELTY. „Public Space & Scrutiny: Examining Monuments through Social Psychology“. In 2021 AIA/ACSA Intersections Research Conference. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.aia.inter.21.16.

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With fewer than 1 in 5 new architects identifying as a racial or ethnic minority, the field of architecture has some catching up to do in order to reflect the public for whom urban spaces are designed.1 This project proposes a study of existing public spaces, monuments, and memorials through the lens of social psychology, in order to establish a broader frame of reference for future design. We are employing an interdisciplinary approach to investigate community members’ reactions (e.g., stress, positive/negative associations, value judgments, perceptions of bias, inclusion, empowerment) to experiencing public spaces and monuments that memorialize contentious historical figures and events. Using a community-based participatory action approach (e.g., focus groups, survey study), we will identify elements of design (e.g., scale, materiality, abstraction, figuration, symbolism, color) that contribute to the general public’s perceptions of public spaces and monuments. Data gleaned from the first phase of the research will generate the framework for the second phase of applied re- search, conducted through an advanced architecture design/ build studio. Using a data-driven, community-informed strategy, the design/build studio will collaborate with the research team and community partners to explore proposals that work to bridge the gap between the architects and the general public when creating urban spaces marked by racial injustice.

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Scalici, Maria, Angela Di Paola, Sara Garuglieri und Irene Nizzi. „Il Fortino Lorense a Forte dei Marmi: caratterizzazione petrografica dei materiali e tecniche di restauro“. In FORTMED2025 - Defensive Architecture of the Mediterranean, 829–36. València: edUPV. Editorial Universitat Politècnica de València, 2025. https://doi.org/10.4995/fortmed2025.2025.20332.

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The Fortino Lorenese in Forte dei Marmi, a town sited in the province of Lucca, was built in the 18th century, during the Grand Duchy of Pietro Leopoldo d’Asburgo Lorena. Realised to play the double role of coastal defense tower and customs, it is composed by a three-floor, plastered building sided by a rough bastion with rounded corners, oriented towards the sea. During the quadriennium 2020-2023, a two-phase project was undertaken to restore its external surfaces. The first phase of the project was devoted to the characterisation of the bedding mortar of the brick vestment by conducting a petrograhical analysis on a wall sample and a classification of the lithotypes employed to construct the marble elements of the bastion. Such a characterisation allowed the state of conservation of the Fortino Lorenese to be established by clarifying the nature of the degredation mechanisms acting on the brick and stone rough surfaces. During the second phase of the project, the study of the processes that altered the plastered surfaces and stone cornices of the fortress revealed that their state of conservation was compromised by the restoration carried out in 2013, during which materials whose physical properties were not compatible with the ones of the support were employed. A thorough study of the colours that have been employed to paint the Fortino Lorenese across its history has led to novel hypotheses about its appearance at the time of the construction. The choices animating the project couldn’t ignore the reputation gained by the fortress as Palazzo Littorio, leading us to opt for not bringing the building back to any of its previous versions, as this would have canceled the traces of its passage through time.

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Margarido, Andreia. „Dinâmicas urbanas: entre a expansão periférica e o esvaziamento do centro da cidade de Coimbra“. In International Conference Virtual City and Territory. Rio de Janeiro: Universidade Federal do Rio de Janeiro, 2012. http://dx.doi.org/10.5821/ctv.7882.

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O presente artigo pretende contribuir para a discussão das medidas de contenção do crescimento extensivo e indeterminado das cidades, focando o problema da desertificação dos seus centros. Este tipo de crescimento materializa-se, na sua maioria, numa urbanização difusa, de baixa densidade e maioritariamente monofuncional que tem contribuído para a fragmentação e empobrecimento da estrutura, da forma e da vida urbana. Este trabalho foca o caso de Coimbra e apresenta indicadores que revelam o esvaziamento (de população e funções) das freguesias centrais em oposição ao crescimento das freguesias periféricas. Constatado o progressivo abandono do centro urbano à custa de avanços extensivos no território, coloca-se a questão: Porquê continuar a esticar e multiplicar infra-estruturas e estruturas, quando possuímos um significativo número desaproveitadas, desabitadas, depreciadas? Assim, este trabalho defende a densificação do centro da cidade de Coimbra como proposta de contenção ao crescimento extensivo e disperso, considerando que através do adequado (re)aproveitamento dos espaços vazios expectantes (construídos ou livres) é possível (re)habitar e dinamizar o centro urbano potenciando, desta forma, o predicado essencial das cidades: o sentido de urbanidade

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Balaminutti, Lara D., und Rachel Zuanon. „Sensorial Design applied to teaching-learning in Artistic Drawing“. In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.133.

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The present research focuses on the Sensorial Design approach applied to the teaching-learning of artistic drawing. The Sensorial Design is subsidized by the SEE BEYOND method [LIMA JR. G.C.; ZUANON, R. 2017-2019], which is based on cognitive-behavioral neuroscience and neuroeducation studies to develop and apply didactic-pedagogical and didactic-andragogics resources aimed at teaching and learning of Design by students with and without visual impairment. In this approach, the practice of drawing is understood as an intrinsic element to the mental mechanisms of human beings and acting in their sensorimotor, cognitive and behavioral evolution. This is because through the lines, textures, colors and other compositional elements present in the drawing practice, it is possible to elaborate or express affections and materialize emotions, sensations and thoughts, which are experienced in the mind and experienced in the body as a whole. From this understanding, the approach between the fields of artistic drawing and cognitive-behavioral neuroscience is natural. In the context of higher education, specifically in Visual Arts, the cooperation between the fields of drawing, neuroscience and neuroeducation is shown to be capable of equipping educators with pedagogical practices that contribute to the formation of contemporary artists, especially with regard to the achievement of a poetic-artistic and authorial project expression. The activities carried out from the practical approach of Sensorial Design seek to question the protagonism of vision by sensitizing and enhancing the other senses. In this process, hearing, tasting, smelling, and touching also gain prominence in the formation of mental images, unlike other teaching-learning methods in which this protagonism focuses only on vision. The Sensorial Design approach is developed in the context of higher education in Visual Arts and applied in the Artistic Drawing I and II disciplines, which are part of the Visual Arts undergraduate course’s curriculum at the University of Campinas, since 2019. Through of student’s somatosensory and sensorimotor stimulations, the classes address several thematic axes fundamental to the field of artistic drawing practice, which are at the base of most artistic drawing teaching programs in Brazil for example: line, contour, filling, figure, ground, movement and rhythm. From this global stimulation of the senses, students are encouraged to expand their perceptive limits and their creative processes while expanding their sensory repertoires. Furthermore, the Sensorial Design approach corroborates the rupture of pre-established visual compositional patterns and, consequently, the reach of an authorial poetic-artistic expressiveness. It is important to highlight that in the period prior to the COVID-19 pandemic, all activities carried out with students took place in the face-to-face education context, and the drawing practice happened mostly through analogical instruments and mediums. With the pandemic already unleashed, such activities were adapted for distance education, in order to preserve their original characteristics, especially with regard to ensuring the application of somatosensory and sensorimotor stimulation in the students. The experience acquired along this methodological adaptation process (from face-to-face to distance education) has indicated relevant contributions to increment this approach in the post-pandemic context, e.g. to increase the number of digital media resources applied in the Sensorial Design practice, which point out to the formulation of a hybrid learning-teaching method (physical-digital).

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