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Books on the topic 'Color purity'

Author: Grafiati

Published: 30 May 2022

Last updated: 31 July 2025

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Consult the top 17 books for your research on the topic 'Color purity.'

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1

Anderson, Richard. Cleanse & purify thyself. 2nd ed. Christobe Pub., 2002.

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2

Anderson, Richard. Cleanse & purify thyself. 4th ed. distributed by Health Freedom Resources, 1994.

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3

Heer, Jan de. The architectonic colour: Polychromy in the purist architecture of Le Corbusier. 010 Publishers, 2009.

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4

The color of pure: A story of life, love, and sexual purity, rated PG-13. LJB Communications, 2013.

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5

Plan, Simplify. Subliminal Notebook - White the Color of Perfection, Purity, Innocence, New Beginnings: Useful Color Meaning, Unlined/ Blank Cozy Journal, White Planner for Openness, Tranquillity White Planner. Lulu Press, Inc., 2020.

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6

Richard, Anderson, ed. Cleanse & purify thyself. Triumph Business Trust, 1998.

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7

Golden, Tina. Purely Patterns: 30 Delightful Designs to Color. Independently Published, 2019.

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8

Gilley, Jennifer. Feminist Publishing/Publishing Feminism. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039805.003.0002.

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This chapter explores two case studies that each illustrate an attempt to infuse feminist politics into the economically driven apparatus of book publishing: Sisterhood Is Powerful (1970) and This Bridge Called My Back: Writings by Radical Women of Color (1981). Exploring the publication history of Sisterhood Is Powerful provides a landmark case study of feminist experimentation in publishing that was inevitably fraught with controversy due to the ideological struggles of the time over economic and political “purity.” This Bridge Called My Back was published under an unusual type of contract i

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9

Stevenson, Jane. Whiteness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.003.0010.

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The colour white was central to twenties aesthetics. Modernists associated it with purity, rigour, and absence of decoration: plain white privileges volume over surfaces. Modern baroque decorators used whiteness differently, to unify eclectically sourced objects. Their ‘amusing’ use of white combined multiple shades of near-white in different textures to create sophisticated effects. But, like the modernists, baroque decorators were more interested in shape than colour.

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10

Ott, Walter. Descartes, Malebranche, and the Crisis of Perception. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791713.001.0001.

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The seventeenth century witnesses the demise of two core doctrines in the theory of perception: naïve realism about color, sound, and other sensible qualities and the empirical theory, drawn from Alhacen and Roger Bacon, that underwrote it. Ejecting such sensible qualities from the mind-independent world at once makes for a cleaner ontology, since bodies can now be understood in purely geometrical terms, and spawns a variety of fascinating complications for the philosophy of perception. If sensible qualities are not part of the mind-independent world, just what are they, and what role, if any,

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11

Tulloch, John, and Belinda Middleweek. “Intimacy is what hurts when it’s gone”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0005.

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This chapter considers the contestation within film studies between the “spectator” and the “social audience,” focusing on the real sex film Blue Is the Warmest Colour. It explores Horeck and Kendall’s edited book The New Extremism in Cinema, which puts in apposition chapters predominantly employing a textual analysis with Martin Barker’s stand-alone social audience study. Barker rejects spectator analysis as purely speculative and “particularly disappointing and disturbing” aspects of film studies and culture generally. Instead of this mutual apposition, the chapter explores, in a pilot socia

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12

D’Errico, Lucia. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0003.

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There is no optical space in my experience of music. If I leave aside a spontaneous association of pitches with fields of colour (so flat and vibrant, though, that they acquire almost a haptic quality), the role of sight is relegated to the preliminary and purely intellectual moment of musical notation. The shape that delineates itself when listening to or making music is rather the blind density of my own body. It is a body subjected to forces of different magnitude that act from both inside and outside itself....

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13

Artists' Manual of Pigments: Showing Their Composition, Conditions of Permanency, Non-Permanency, and Adulterations, Effects in Combination with Each Other and with Vehicles, and the Most Reliable Tests of Purity, Together with the Science and Art... Creative Media Partners, LLC, 2021.

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14

Ott, Walter. Later Descartes. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791713.003.0005.

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Descartes’s third model of perception is stated in the sixth Replies. This chapter explores the three ‘grades of sensory perception’ and argues that, for the first and only time in his career, Descartes here claims that we must use our awareness of color to judge the common sensibles. Descartes’s final model abandons this claim. Instead, his later works posit a purely causal explanation for the occurrence of sensations and ideas. It is still up to the mind to ‘refer’ these things to objects in the subject’s environment. This chapter concludes with an argument from Nicolas Malebranche that make

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15

Morrison, Annie. The Moment of Speech. Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9781350107915.

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Annie Morrison, creator of the Morrison Bone Prop, abandons the notion that language and thought are mainly processed in the left cerebral hemisphere, and coaches the actor to speak from the heart. Through this method, words acquire physical properties, such as weight, texture, colour and kinetic force. Think about Martin Luther King, Mao Zedong or Malala Yousafzai; potent speech impacts external events. And internally, it forms and shapes the world of the speaker. Seeing articulation as a purely mechanical skill is detrimental to an actor’s process: it is crucial to understand what language i

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16

The architectonic colour: Polychromy in the purist architecture of Le Corbusier. 010 Publishers, 2009.

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17

Saito, Yuriko. The Aesthetics of Wind Farms. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199672103.003.0004.

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As one of the sustainable forms of energy production, wind farms are becoming increasingly prevalent, changing the global landscapes and seascapes. They are often met with resistance, primarily because of their presumed ‘eyesore’ effect. This chapter reviews several arguments based upon imagination and comparison to art that are intended to mitigate the negative aesthetic impact of wind farms. It concludes that the most promising aesthetic argument in support of wind farms must be a part of a larger aesthetics of sustainability informed by life values, sometimes referred to as the ‘thick’ sens

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