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Earth: How might being colorblind impact color constancy and how can computational models provide further insight?
Sunflower: How does the idea of color and color perception change in the context of edge manipulation and color outlining, especially with regard to after-effects of color? For instance, if we had a black outline of a rectangle but then added an orange outline on the inside of the initial black outline, the orange color seems to bleed through toward the center of the rectangle. We don’t sense this as much with the black outline, however. Also, if we performed some of the paper or edge manipulations like those mentioned in the “Interaction of Color” reading on such a rectangle or similar image, how does our perception of color change even with regard to an imaged after-effect of color?
Iapetus: I am curious about the relative frequency of different colors occurring in nature. I imagine some colors might be more rare in a natural scene than others. I wonder how this impacts our ability to recognize and perceive them. I wonder whether the probability distribution of colors changes in non-natural, man-made landscapes.
Mygeeto: If black & white printing/photography advanced human perception of lighter and darker tones of grey, how does digital media/technology affect our perception and ability to identity/distinguish higher and lower light intensities of hues? To speculate further, how would a young brain be trained to perceive color if only exposed to RGB devices?
Neptune: In terms of color mixture, as mentioned in the book "Interaction of Color", when painting when a overla
Neptune: (sorry I accidentally sent out my unfinished question) In terms of color mixture, as mentioned in the book "Interaction of Color", when painting when an overlap of yellow and blue normal vision people would see green, with a little yellow and blue. How would color blind people see this mixture? Relating back to depth perception, as we talked about in class people use shadow and color to perceive depth, how do color blind people use these cues to perceive depth? Or do they generate another set of cues?
Whirlpool: When reading Albers, I was reminded of various recipes that we have designed over the course of the seminar. For example, XXII “vibrating boundaries” reminded me of Dustin’s recent recipe where the edges of his orb pulsed and vibrated into and out of my screen. XXIII “vanishing boundaries” reminded me of one of Ian’s first recipes where he used a mirror to create an image. Some of the colour chapters XV onwards reminded me of Layla’s paintings … the list goes on! This makes me wonder - what kind of colour experiment can we design in our home-grown studios that tackle the experiments Albers lays out? For example, VII on page 20 “2 different colours look alike - subtraction of colour”?
Whirlpool: Sorry, I meant Leyla*. Ugh to auto-correct.
Sullust: How does the distribution lexical categories of color reflect the perceptions of the cultures which produce them? Why do some cultures distinguish between light and dark blue with basic words for each or don't distinguish between shades of blue and green? In the case of the Pirahã people of Brazil, there are no basic words for colors and instead descriptive phrases such as "blood like" or "leaf like".