Mandala of Vishnu, Painting; Pata/Paubha, Mineral pigments on cotton cloth, 28 3/8 x 23 3/8 in. (72.07 x 59.37 cm) Made in: Nepal From the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase (M.77.19.5) "The circle is an ever present thing. It's the centre from which you've come, back to which you go. In The … Continue reading The circle as a mythological symbol
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Cyclopes in Greek mythology
Head of a Cyclops Colosseum. First century CE. In Hesiod the Cyclopes were storm genii, as their names indicate: Brontes, thunder; Steropes, lightning; Arges, thunderbolt. As for the Hecatoncheires or Centimanes-the 'hundred-handed'-their names are sufficient to characterise them. They, too, were three in number: Cottus, the Furious; Briareus, the Vigorous; Gyges, the Big-limbed. Titans, Cyclopes … Continue reading Cyclopes in Greek mythology
A cheerful circle and a serious square
When roundness is connected to symmetry as seen in a circle, it has a meaning in the depth dimension and perceived as cheerful and pleasant. While straight corners are perceived as more serious (Poffenberger en Barrows, 1924). Lakoff and Johnson (1999) saw that there are many proverbs and sayings that have to do with form … Continue reading A cheerful circle and a serious square
Contraction and expansion
Simonds (1983) connects contraction and expansion with decrease and increase.
Kilmeadan – The Cosy Thatch Pub interior
Joseph Mischyshyn / Kilmeadan - The Cosy Thatch Pub interior
cross-culture research
Osgood (1960) showed with his research that the difference between cultures was not as big as people thought. Participants from three different countries (and cultures) were asked to link emotions to form descriptive words (such as thick, thin, horizontal, vertical, up, down, etc …). It turned out that 90% percent of the links in all … Continue reading cross-culture research
Clods of earth
copy Inez Michiels
Colour genes
Opsins (protein molecules which serve as visual pigments sitting in the cones and rods) are made under the influence of genes. DNA differences result in opsins that are sensitive to different colours. Since all genes are present in all cells, the difference between a red cone and a blue cone is not which genes they … Continue reading Colour genes
‘Critical situation’ and colour in Germany
Critical situation: black 35%, grey 18%, brown 14%, ... Heller (1989)
‘Cosiness’ and colour in Germany
Cosiness: orange 22%, yellow 17%, red 13%, ... Heller (1989)
‘Conversational’ and colour in Germany
Conversational: brown 39%, ... Heller (1989)
‘Conservative’ and colour in Germany
Conservative: black 40%, brown 28%, ... Heller (1989)
‘Confidence in the future’ and colour in Germany
Confidence in the future: green 26%, blue 17%, ... Heller (1989)
‘Concentration’ and colour in Germany
Concentration: blue 19%, white 19%, black 13%, ... Heller (1989)
‘Close proximity’ and colour in Germany
Close proximity: red 29%, orange 15%, pink 12%, ... Heller (1989)
‘Cleanliness’ and colour in Germany
Cleanliness: white 82%, blue 11%, ...Heller (1989)
‘Childhood’ and colour in Germany
Childhood: pink 34%, green 13%, yellow 9%, ... Heller (1989)
‘Cheap’ and colour in Germany
Cheap: orange 19%, brown 15%, grey 15%, ... Heller (1989)
‘Charm’ and colour in Germany
Charm: pink 19%, white 16%, purple 10%, ... Heller (1989)
‘Calming’ and colour in Germany
Calming: green 30%, blue 15%, .... Heller (1989)
The colour of ‘cheap’ in 9 countries
Spread out on many hues, lighter colours than in Expensive. Jung et al (2018)
The colour of ‘calm’ in 9 countries
All countries: light and chromatic colours. Jung et al. (2018)
The colour of ‘cold’ in 9 countries
Light blue is the most chosen colour in all countries. Germany, Iran, and Sweden have the strongest connection between Cold and light blue. Jung et al. (2018)
Colour weight and synaesthesia
T-tests indicated that black was judged significantly heavier than the modulus assigned to white. Apparent weight is a decreasing non-linear function of value. Value and chroma are the major determinants of colour weight. Apparent weight is a decreasing function of value and an increasing function of chroma. These results support the earlier qualitative findings that … Continue reading Colour weight and synaesthesia
Cold/warm suggestion of depth
The perceptual and psychological effects of the cold / warm contrast indicate that warm colours tend to appear to the front in an image, while cool colours tend to fall behind. In classical landscape paintings, for example, the blue colour was applied to suggest depth and distance. (Michiels, DSD 2021)
Cooperativeness
Cooperativeness quantifies the extent to which individuals conceive themselves as integral parts of human society, and corresponds with the psychoticism trait. Low in cooperativeness: aggressively self-centred and hostile, intolerant, callous, unhelpful, and vengeful. intolerance, social disinterest, unhelpfulness, revengefulness, self-advantage. High in cooperativeness: agreeable in their relations with other people, socially tolerant, empathic, helpful, and compassionate, … Continue reading Cooperativeness
Cafeine, cognitive tasks and extraversion
Moderate doses of caffeine hindered the performance of introverts and helped the performance of extraverts on a cognitive task. However, these phenomena were affected by time of day and impulsivity. Low impulsives are more aroused in the morning and less aroused in the evening than are the high impulsives. (Revelle et al., 1980)
‘Cold /coolness’ and colour in Germany
Cold: blue 47%, white 23%, grey 14%, ... The coolness: blue 46%, silver 14%, white 13%, ... Heller E. (1989)
Cold and warm colours
The distinction between cold and warm colours is very old, rooted in the language about colours (Berlin & Kay, 1969) and is perceptually important. Psychological research at the University of Padua into the cold / warm qualities of colours shows that the subjective colour temperature experience changes abruptly when the limit of the hue values … Continue reading Cold and warm colours
Cold blue, a detached, indifferent colour
Cold blue is symbolic and metaphorically a rejecting color