Colour Theories 设计 assignment 代写

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Colour Theories 设计 assignment 代写

Colour Theories Models and

Constructs – Part 1

The nature of theory

Defining theory…

A set of related statements & hypotheses that a;empt to

explain and/or predict a phenomenon

A theory should:

• Be testable in prac6ce or principle

• Have corrobora6ve evidence or empirical findings

• Have internal consistency: ideas are logically linked

• Be flexible enough to adjust to new data or evidence

(Moore, 1997)

Theories of colour of 18 th and 19 th centuries

Reduc@onism:

• The complexity of reality can be broken down & studied in terms of smaller

parts/components;

Colour Theories 设计 assignment 代写

• Colour is reducible, quan6fiable & can be studied in isola6on

• Allowed the complex phenomenon of colour to be explained by

representa6onal colour wheels using one size fits all rules and principles.

Determinism:

• Every event & ac6on comes about due to a chain of unbroken prior

circumstances….cause & effect…ac6on & reac6on

• An irrefutable causal link exists between colour & human response

Posi@vist

•  Knowledge of reality is apprehendable, quan6fiable and reduce-‐able

atomis6cally for empirical study…. (objec6ve/discoverable)

•  Incorporated the twin doctrines of Reduc6onism & Determinism

The nature of theory

These early colour theories were:

Ra6onalist:

• Knowledge of reality established purely by reasoning

• Ra@onalism emerged as a reac6on to the Church’s power over thought &

scien6fic discovery:

• Knowledge about the world comes about through reason, logical deduc6on

& by examining ‘facts’

• Underpinned by Determinism & Reduc@onism

A key weakness of colour theories was the tendency to uncri@cally

build on earlier theories:

• Lack of inves6ga6ve or cri6cal analysis

• Ignored developments in philosophy/scien6fic thought

Many colour theorists s6ll held 6ghtly to the doctrines of

Reduc@onism and Determinism

• Ideas about diversity, pluralism, etc, were overlooked

• Predic6ve colour models reign supreme over probabilis6c models

Most colour theories varied only marginally from earlier theories & were

essen6ally Norma@ve Theories – that is, they represent “a doctrine or

ideology, a largely programma6c idea of how things ought to be

done” (Moore, 1997b, p. 24).

Colour theories: 20 th to 21 st Century

Consequently three key approaches have emerged in 21 st

century

• Post-‐posi@vism:

• Phenomenology

• Network theory

Colour theories: 21 st Century

Post-‐posi@vism

• Emerged from the inherent weakness in Posi6vism as well as the

doctrines of Reduc6onism and Determinism

• Knowledge of reality is conjectural

• Any aspect of reality is assumed to be only “imperfectly and

probabilis6cally apprehendable” (Guba & Lincoln, 1994, p109).

• A theory is always open to review (other factors)

• Considered unsound to transfer findings from one study to other

situa6ons or contexts

• Findings from research are used to either support or reject hypotheses

not prove them

Phenomenology

• The study of phenomena arising from our conscious experience of the

world around us (from the Greek: phainómenon "that which appears" and

lógos "study).

Determined by percep6on

Determined by culture

• Merleau-‐Ponty referred to Cezanne’s idea that “Colour is the place where

our brain and universe meet” (Cezanne cited in Merleau-‐Ponty, 1962,

p180).

Colour theories: 21 st Century

• Network theory

• The emerging field of network theory may provide a new approach to the

study of colour as a phenomenon as well as human response to colour

(O'Connor, 2010)

• Under network theory, phenomena are considered to exist within a

framework of connec6ons wherein clusters of similari6es form nodes (also

referred to as ver6ces) and connec6ons between nodes are referred to as

edges (Newman, 2003; Strogatz, 2001).

Colour & Network Theory

‘Yellow’ ‘Green’ ‘Blue’ ‘Purple’ ‘Red’

• As a means of describing non-‐linear dynamic phenomena, network theory

provides an innova6ve way of understanding colour & is well-‐suited for

discussing the less-‐than-‐predictable nature colour

• In the following Figure, hypothesised preferences for ‘Red’ may vary

depending on the context but can be clustered using network theory.

Colour & Network Theory

Red car colours Red lips6ck colours

The nature of theory

More recent theories of colour tend to be….

Post-‐posi6vist:

and / or

Construc6vist:

•  Meaning is not discovered but constructed Reality “is assumed to be in

the form of mul6ple, tangible mental construc6ons” (Lincoln & Guba, 1994)

•  Constructs: An idea, the defini6on of which is shared.

•  Prevalence of constructs such as colour harmony, primary colour, etc

Ontology & theories of colour

Ontology:

•  Has to do with the nature or essence of things & our

perspec6ve on them (Moore, 1997; OED, 2007)

•  Ontology can be said to study concep6ons of reality.

Ontological assump6ons:

•  Ooen embedded within a theory

•  Assume certain details about reality & the nature of the

world that is the topic of research (Moore, 1997)

Ontology & theories of colour

Idiographic

Open to individual differences

& can’t be explained

via Universal laws

Stochas@c

Reality is more randomly

determined & therefore less

predictable

Holis@c

The whole is more than the

sum of the parts & should be

studied as a whole

Nomothe@c

Reality is subject to Universal

laws & principles that apply

to all

Determinis@c

Subject to a complex

sequence of cause & effect

Atomis@c

The whole can be broken

down & studied in isolated

parts

Ontology & theories of colour

Idiographic

Responses to colour are individual

& can’t be

explained via Universal laws

Stochas@c

Responses to colour are more

randomly determined & therefore

less predictable

Holis@c

Colour is more than the sum of the

parts & shouldn’t be studied in

isola6on

Nomothe@c

Colour is subject to Universal

laws & principles that

apply to all

Determinis@c

Colour is subject to a complex

sequence of cause & effect

Atomis@c

Colour can be broken down &

studied in isolated parts

Ontology & research in general

“Bench sciences” study physical characteris6cs:

• We all share roughly similar physical characteris6cs

• Grow & mature at roughly similar rates

• Respond to nutri6on, medical treatments in a similar way

• Suits research that focuses on the physical

So, ontological assump6ons in the “bench sciences” tend to have

Nomothe6c, Determinis6c focus

Colour models & common constructs

Colour models provide a basis:

• Descrip6on and explana6on of colour

• Defining constructs (e.g. colour harmony, primary colour)

• Serve as a basis for colour combina6on.

Sir Isaac Newton (1643-‐1727)

• A key Ra6onalist, Newton ‘discovered’ that light decomposes

into the colour spectrum when passed through a prism (Gage,

1995; Kuehni & Schwarz, 2008

Sir Isaac Newton (1643-‐1727)

• Newton had a singular focus on the colours of the spectrum

(colours of the rainbow) – spectral profile colour

• Plus Newton strongly championed a parallel between colour

and music –divided the spectrum into seven parts

Sir Isaac Newton (1643-‐1727)

Why seven?

“propor6onal to the seven musical tones or intervals of the eight

sounds...let the first part DE represent a red colour, the second EF

orange, the third FG yellow...” (Newton, 1704, p. 134).

Sir Isaac Newton (1643-‐1727)

• Newton rolled the colour spectrum into a circular arrangement

and added O at the centre to represent colour that has “lost all

its intenseness, and become a white” with Z represen6ng the

fullest intenseness of colour & Y represen6ng the absence of

light (Newton, 1704, p. 136).

Sir Isaac Newton (1643-‐1727)

Op4cs, 1704

• Such circular colour wheel models have become standard

reference tools in art and design ever since (Gage, 1995).

• Newton had fixed ideas about colour harmony – which

depended on the propor6onal arrangement of colour akin to

musical harmony (Newton, 1704).

Moses Harris (1731-‐1785)

• An English engraver &

entomologist

• Harris published The Natural

System of Colours in 1766.

• Harris asserted the existence of

three ‘grand or principal

colours’ :

red, yellow & blue

Moses Harris (1731-‐1785)

• ‘Mediate’ colours:

orange, purple & green

• ‘Mediate’ colours created by

mixing two principal colours

• ‘Mediate’ colours used to

create ‘Compound’ colours:

olive green, brown, etc

Johann Wolfgang Goethe (1749-‐1832)

• Focussed on visual percep6on & the experience of colour

• Published Zur Farbenlehre (Theory of Colours) in 1810 & his

ideas reflected those of Aristotle & Heraclitus

• Goethe believed that colour arose from an interplay between

light & dark reinforcing the idea the binary nature of the

universe & the no6on of opposing forces (Gage, 1995)

Johann Wolfgang Goethe (1749-‐1832)

“Colour is determined towards one of two sides. It thus presents

a contrast which we call a polarity, and which we may

designate by the expressions plus and minus.

Plus Minus

Yellow Blue

Ac6on Nega6on

Light Shadow

Brightness Darkness

Force Weakness

Warmth Coldness

Proximity Distance

Repulsion Arrac6on

Affinity with acids Affinity with alkalis” (Goethe, 1810, p276)

Johann Wolfgang Goethe (1749-‐1832)

“...the painter is jus6fied in assuming that there are three

primi6ve colours from which he combines all others [that is, red,

yellow and blue]. The natural philosopher [ie Goethe himself &

Aristotle, etc], on the other hand, assumes only two elementary

colours [yellow and blue]” (Goethe, 1810, p270).

Johann Wolfgang Goethe (1749-‐1832)

Goethe suggested that responses to colour were underpinned

by biological/psychological impulses & he suggested, for

example, “that blue produced anxious, tender and yearning

responses” (Theroux, 1996, p63).

This idea influenced later colour theorists such as Albers

Newton vs Goethe

Newton’s theories essen@ally Ra@onalist

• Focus on scien6fic method of inves6ga6on

• Objec6ve, analy6cal approach

Goethe theories essen@ally Phenomenological

• Visual percep6on: a subjec6ve experience

• A complex interac6on of sensa6ons, experience, memory,

cogni6on, affec6ve response, etc

• More of a phenomenological approach to examining

colour and responses to colour

Time for a break

hrp://www.zuzafun.com/sleeping-‐animals

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Other images: Wiki Commons and Public Domain

Colour Theories 设计 assignment 代写