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Color Names Across Languages: Salient Colors and Term Translation in Multilingual Color Naming Models
EUROVIS 2019/ J. Johansson, F. Sadlo, and G. E. Marai Short Paper Color Names Across Languages: Salient Colors and Term Translation in Multilingual Color Naming Models Younghoon Kim, Kyle Thayer, Gabriella Silva Gorsky and Jeffrey Heer University of Washington orange brown red yellow green pink English gray black purple blue 갈 빨강 노랑 주황 연두 자주 초록 회 분홍 Korean 청록 보라 하늘 검정 남 연보라 파랑 Figure 1: Maximum probability maps of English and Korean color terms. Each point represents a 10 × 10 × 10 bin in CIELAB color space. Larger points have a greater likelihood of agreement on a single term. Each bin is colored using the average color of the most probable name term. Bins with insufficient data (< 4 terms) are left blank. English has 10 clusters corresponding to basic English color terms [BK69], whereas Korean exhibits additional clusters for ¨ ( ), ] ( ), 자주 ( ), X늘 ( ), 연P ( ), and 연보| ( ). Abstract Color names facilitate the identification and communication of colors, but may vary across languages. We contribute a set of human color name judgments across 14 common written languages and build probabilistic models that find different sets of nameable (salient) colors across languages. For example, we observe that unlike English and Chinese, Russian and Korean have more than one nameable blue color among fully-saturated RGB colors. In addition, we extend these probabilistic models to translate color terms from one language to another via a shared perceptual color space. We compare Korean-English trans- lations from our model to those from online translation tools and find that our method better preserves perceptual similarity of the colors corresponding to the source and target terms. -
Development and Difference in Germanic Colour Semantics
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/264981573 Two kinds of pink: development and difference in Germanic colour semantics ARTICLE in LANGUAGE SCIENCES · AUGUST 2014 Impact Factor: 0.44 · DOI: 10.1016/j.langsci.2014.07.007 CITATIONS READS 3 87 8 AUTHORS, INCLUDING: Cornelia van Scherpenberg Þórhalla Guðmundsdóttir Beck Ludwig-Maximilians-University of Mun… University of Iceland 3 PUBLICATIONS 4 CITATIONS 5 PUBLICATIONS 5 CITATIONS SEE PROFILE SEE PROFILE Linnaea Stockall Matthew Whelpton Queen Mary, University of London University of Iceland 18 PUBLICATIONS 137 CITATIONS 13 PUBLICATIONS 29 CITATIONS SEE PROFILE SEE PROFILE Available from: Linnaea Stockall Retrieved on: 03 March 2016 Language Sciences xxx (2014) 1–16 Contents lists available at ScienceDirect Language Sciences journal homepage: www.elsevier.com/locate/langsci Two kinds of pink: development and difference in Germanic colour semantics Susanne Vejdemo a,*, Carsten Levisen b, Cornelia van Scherpenberg c, þórhalla Guðmundsdóttir Beck d, Åshild Næss e, Martina Zimmermann f, Linnaea Stockall g, Matthew Whelpton h a Stockholm University, Department of Linguistics, 10691 Stockholm, Sweden b Linguistics and Semiotics, Department of Aesthetics and Communication, Aarhus University, Jens Chr. Skous Vej 2, Bygning 1485-335, 8000 Aarhus C, Denmark c Ludwig-Maximilians-Universität München, Geschwister-Scholl-Platz 1, 80539 München, Germany d University of Iceland, Háskóli Íslands, Sæmundargötu 2, 101 Reykjavík, Iceland -
Berlin and Kay Theory
Encyclopedia of Color Science and Technology DOI 10.1007/978-3-642-27851-8_62-2 # Springer Science+Business Media New York 2013 Berlin and Kay Theory C.L. Hardin* Department of Philosophy, Syracuse University, Syracuse, NY, USA Definition The Berlin-Kay theory of basic color terms maintains that the world’s languages share all or part of a common stock of color concepts and that terms for these concepts evolve in a constrained order. Basic Color Terms In 1969 Brent Berlin and Paul Kay advanced a theory of cross-cultural color concepts centered on the notion of a basic color term [1]. A basic color term (BCT) is a color word that is applicable to a wide class of objects (unlike blonde), is monolexemic (unlike light blue), and is reliably used by most native speakers (unlike chartreuse). The languages of modern industrial societies have thousands of color words, but only a very slender stock of basic color terms. English has 11: red, yellow, green, blue, black, white, gray, orange, brown, pink, and purple. Slavic languages have 12, with separate basic terms for light blue and dark blue. In unwritten and tribal languages the number of BCTs can be substantially smaller, perhaps as few as two or three, with denotations that span much larger regions of color space than the BCT denotations of major modern languages. Furthermore, reconstructions of the earlier vocabularies of modern languages show that they gain BCTs over time. These typically begin as terms referring to a narrow range of objects and properties, many of them noncolor properties, such as succulence, and gradually take on a more general and abstract meaning, with a pure color sense. -
Harvest Records Discography
Harvest Records Discography Capitol 100 series SKAO 314 - Quatermass - QUATERMASS [1970] Entropy/Black Sheep Of The Family/Post War Saturday Echo/Good Lord Knows/Up On The Ground//Gemini/Make Up Your Mind/Laughin’ Tackle/Entropy (Reprise) SKAO 351 - Horizons - The GREATEST SHOW ON EARTH [1970] Again And Again/Angelina/Day Of The Lady/Horizons/I Fought For Love/Real Cool World/Skylight Man/Sunflower Morning [*] ST 370 - Anthems In Eden - SHIRLEY & DOROTHY COLLINS [1969] Awakening-Whitesun Dance/Beginning/Bonny Cuckoo/Ca’ The Yowes/Courtship-Wedding Song/Denying- Blacksmith/Dream-Lowlands/Foresaking-Our Captain Cried/Gathering Rushes In The Month Of May/God Dog/Gower Wassail/Leavetaking-Pleasant And Delightful/Meeting-Searching For Lambs/Nellie/New Beginning-Staines Morris/Ramble Away [*] ST 371 - Wasa Wasa - The EDGAR BROUGHTON BAND [1969] Death Of An Electric Citizen/American Body Soldier/Why Can’t Somebody Love You/Neptune/Evil//Crying/Love In The Rain/Dawn Crept Away ST 376 - Alchemy - THIRD EAR BAND [1969] Area Three/Dragon Lines/Druid One/Egyptian Book Of The Dead/Ghetto Raga/Lark Rise/Mosaic/Stone Circle [*] SKAO 382 - Atom Heart Mother - The PINK FLOYD [1970] Atom Heart Mother Suite (Father’s Shout-Breast Milky-Mother Fore-Funky Dung-Mind Your Throats Please- Remergence)//If/Summer ’68/Fat Old Sun/Alan’s Psychedelic Breakfast (Rise And Shine-Sunny Side Up- Morning Glory) SKAO 387 - Panama Limited Jug Band - PANAMA LIMITED JUG BAND [1969] Canned Heat/Cocaine Habit/Don’t You Ease Me In/Going To Germany/Railroad/Rich Girl/Sundown/38 -
Color Term Comprehension and the Perception of Focal Color in Young Children
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 1973 Color term comprehension and the perception of focal color in young children. Charles G. Verge University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Verge, Charles G., "Color term comprehension and the perception of focal color in young children." (1973). Masters Theses 1911 - February 2014. 2050. Retrieved from https://scholarworks.umass.edu/theses/2050 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. COLOR TERM COMPREHENSION AND THE PERCEPTION OF FOCAL COLOR IN YOUNG CHILDREN A thesis presented By CHARLES G. VERGE Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE March 1973 Psychology COLOR TERI^ COMPREHENSION AND THE PERCEPTION OF FOCAL COLOR IN YOUNG CHILDREN A Thesis By CHARLES G. VERGE Approved as to style and content by: March 1973 ABSTRACT Thirty 2-year-old subjects participated in a color per- ception task designed to assess the :i.nfluence of color term comprehension on the perception of "focal" color areas. The subject's task was to choose a color from an array of Munsell color chips consisting of one focal color chip with a series of non focal color chips. Eacn subject was given a color com- prehension and color naming task. -
April 7 School Toolkit 2021 Edition
Green Shirt Day - April 7 School Toolkit 2021 Edition This school toolkit has been adapted by Canadian Blood Services on behalf of Canada’s Organ and Tissue Donation Community. We gratefully acknowledge BC Transplant for permission to adapt this material for a broader audience. 1 #GreenShirtDay #LoganBouletEffect #TogetherStrong #organstissuesforlife Message to educators In April 2018, Canadians rallied together in support of the victims, survivors and families of the tragic Humboldt Broncos bus crash that took place in Saskatchewan. Many students and teachers took part by placing hockey sticks in front of their classrooms and wearing their jerseys to school. In 2019, the family of Logan Boulet held the first annual national Green Shirt Day in honour of their son Logan and the Broncos family. They aimed to increase awareness about the importance of organ donation and honour Logan’s precious gift. This highly impactful annual campaign is known as Green Shirt Day and takes place on April 7. Weeks before Logan Boulet was fatally injured in the Broncos bus crash, he had registered his decision to be an organ donor and discussed his wishes with friends and family. The 21-year old defenseman went on to help six lives live on through his generous gifts. In the weeks that followed, Logan’s story inspired more than 150,000 Canadians to become registered organ donors. This became known as the “Logan Boulet Effect”. Today, the Boulet family continues to champion that spirit of giving through Green Shirt Day (greenshirtday.ca, #GreenShirtDay). We hope your school will join the Canadian organ and tissue donation community in championing this movement of hope and inspiration by wearing green on April 7. -
Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Greek Color Theory and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Greek Color Theory and the Four Elements [full text, not including figures]" (2000). Greek Color Theory and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgc/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire ABOUT THIS BOOK Why does earlier Greek painting (Archaic/Classical) seem so clear and—deceptively— simple while the latest painting (Hellenistic/Graeco-Roman) is so much more complex but also familiar to us? Is there a single, coherent explanation that will cover this remarkable range? What can we recover from ancient documents and practices that can objectively be called “Greek color theory”? Present day historians of ancient art consistently conceive of color in terms of triads: red, yellow, blue or, less often, red, green, blue. This habitude derives ultimately from the color wheel invented by J.W. Goethe some two centuries ago. So familiar and useful is his system that it is only natural to judge the color orientation of the Greeks on its basis. To do so, however, assumes, consciously or not, that the color understanding of our age is the definitive paradigm for that subject. -
Diachronic Trends in Latin's Basic Color Vocabulary
Diachronic Trends in Latin’s Basic Color Vocabulary Emily Gering University of North Carolina at Greensboro Faculty Mentor: David Wharton University of North Carolina at Greensboro ABSTRACT The Latin language contains a number of synonymous terms in its basic color categories. The goal of this essay is to trace the diachronic trends of such terms; to discover which term, if any, is the favored term for a color category; and to determine whether it became established as such in sequence with the Universal Evolution (UE) model. I examine the frequencies of all potentially-basic color terms in the extant texts of five authors chosen to represent a span of about six hundred years: Plautus, Cato the Elder, Cicero, Seneca, and Saint Jerome. My initial hypothesis was that niger was displacing ater as the basic Black term; a similar shift was occurring as candidus displaced albus as the default White term; and other shifts between Red and Yellow terms are uncertain. The hypothesis that niger was displacing ater proved to be accurate; niger increased from occurring only incidentally in Plautus (third century BCE) to being the dominant Black term in Seneca (first century CE), although it did not completely displace ater until late antiquity. In Plautus, candidus and albus formed an equal percentage of total color vocabulary, and displayed only slightly divergent trends, which may reflect the use of albus for “matte white” and candidus for “shiny white.” Ruber was the favored Red term, but it was not displacing other Red terms, nor were the other Red terms displacing each other. -
Tutorial on the Importance of Color in Language and Culture
Tutorial on the Importance of Color in Language and Culture James A. Schirillo Department of Psychology, Wake Forest University, Winston–Salem, NC 27109 Received 11 December 1998; revised 30 July 1999; accepted 13 July 2000 Abstract: This tutorial examines how people of various the eye are considered first. A brief description follows of cultures classify different colors as belonging together un- the medium that transposes these external events into per- der common color names. This is addressed by examining ceptions, that is, the human biology that regulates color Berlin and Kay’s (1969) hierarchical classification scheme. vision. Once the physics of external reality and the biolog- Special attention is paid to the additional five (derived) ical filter that processes those energies has been outlined, a color terms (i.e., brown, purple, pink, orange, and gray) discussion of Berlin & Kay’s 1969 hypothesis1 and support- that must be added to Herings’ six primaries (i.e., white, ing works are used to tie color categorization to linguistics. black, red, green, yellow, blue) to constitute Berlin and Since Berlin & Kay’s work has received several significant Kay’s basic color terms. © 2001 John Wiley & Sons, Inc. Col Res criticisms, a number of counterexamples follow. What is Appl, 26, 179–192, 2001 most significant regarding Berlin & Kay’s hypothesis is that as cultures develop, they acquire additional color names in Key words: color naming; language; culture; evolution; systematic order. Berlin & Kay initially postulated that this development was due to successive encoding of color foci, while in later work they considered it to be due to the successive parti- INTRODUCTION tioning of color space. -
Colour Play in Arundhati Roy's the God of Small Things
Colour Play in Arundhati Roy’s The God of Small Things Shazia Sadaf The God of Small Things is complex in its simplicity. Its language is a tan- talizing play on the familiarly unfamiliar. The monsoon moist, intensely coloured Keralese backdrop is startlingly novel for Western readership. The characters, their names, and issues of class are an immediate chal- lenge to the apathetical reader. The movement is dynamic, yet subjec- tive in tone; the narrative detached, yet painfully moving. For all its seemingly erratic stylistic devices, The God of Small Things emerges as a perfectly harmonious work because of an underlying threadwork of connecting ideas. One such connecting mesh is the use of colour-codes within the novel, which gives it direction and coherence. Colours are used as a suggestive device to help invoke the required feelings in the readers. The importance of colour perception in philosophical studies can be traced as far back as Locke’s Essay Concerning Human Understanding where he theorizes that the perception of colour by each individual may be a subjective experience. Inversely, research has claimed that “coloured light can powerfully affect the human condition” (Humphrey 38). In more recent years theories of colour psychology have gained ground in many subject areas. The term “mental colour” today generally stands for qualitative mental properties of colour experiences. In fact, colour psy- chology has become an effective tool as means of silent manipulation in marketing and advertising fields. Subjectivism in colour theory means that the hues we attribute to physical objects in colour experiences are mental qualitative proper- ties of visual states themselves. -
1969 DRAMATIS/ATION 2 X CD / 1 X DVD / 1 X Blu-Ray
PINK FLOYD THE EARLY YEARS 1969 DRAMATIS/ATION 2 x CD / 1 x DVD / 1 x Blu-ray ...................................................................................................................................................... CD 1: PFREY3CD1 Alternative versions from ‘More’ album 1. Hollywood – non album track 1.21 2. Theme (Beat version) (Alternative version) 5.38 3. More Blues (Alternative version) 3.49 4. Seabirds (Instrumental) – non album track 4.20 5. Embryo (from ‘Picnic’) 4.43 BBC Session, 12 May 1969 6. Grantchester Meadows 3.46 7. Cymbaline BBC Session, 12 May 1969 3.38 8. The Narrow Way 4.48 9. Green Is The Colour / BBC Session, 12 May 3.23 10.Careful With That Axe, Eugene 3.27 Live at the Paradiso, Amsterdam, 9 Aug 1969 11. Interstellar Overdrive 4.15 12. Set The Controls For The Heart Of The Sun 12.25 13. Careful With That Axe, Eugene 10.09 14. A Saucerful Of Secrets 13.0 (NB: vocal mics failed, so all-instrumental set) Total 78.50 mins approx. Tracks 1-4, 6-14 released in 2016 for the first time CD 2: Live PFREY3CD2 ‘The Man’ and ‘The Journey’, performed at the Concertgebouw, Amsterdam, 17 Sept 1969 Part 1, The Man 1. Daybreak (Grantchester Meadows) 8.14 2. Work 4.12 3. Afternoon (Biding My Time) 6.39 4. Doing It 3.54 5. Sleeping 4.38 6. Nightmare (Cymbaline) 9.15 7. Labyrinth 1.10 Part 2, The Journey 8. The Beginning (Green Is The Colour) 3.25 9. Beset By Creatures Of The Deep (Careful With That Axe, Eugene) 6.27 10. The Narrow Way, Part 3 5.11 11. -
Track List: All Songs Written by Syd Barrett, Except Where Noted. ”UK Release” Side One 1
Track List: All songs written by Syd Barrett, except where noted. ”UK release” Side one 1. "Astronomy Domine" – 4:12 2. "Lucifer Sam" – 3:07 3. "Matilda Mother" – 3:08 4. "Flaming" – 2:46 5. "Pow R. Toc H." (Syd Barrett, Roger Waters, Rick Wright, Nick Mason) – 4:26 6. "Take Up Thy Stethoscope and Walk" (Roger Waters) – 3:05 Side two 1. "Interstellar Overdrive" (Syd Barrett, Roger Waters, Rick Wright, Nick Mason) – 9:41 2. "The Gnome" – 2:13 The Piper at the Gates of Dawn – August 5, 1967 3. "Chapter 24" – 3:42 Syd Barrett – guitar, lead vocals, back cover design 4. "The Scarecrow" – 2:11 5. "Bike" – 3:21 Roger Waters – bass guitar, vocals Rick Wright – Farfisa Compact Duo, Hammond organ, Certifications: piano, vocals TBR Nick Mason – drums, percussion "Astronomy Domine" Lime and limpid green, a second scene A fight between the blue you once knew. Floating down, the sound resounds Around the icy waters underground. Jupiter and Saturn, Oberon, Miranda and Titania. Neptune, Titan, Stars can frighten. Lime and limpid green, a second scene A fight between the blue you once knew. Floating down, the sound resounds Around the icy waters underground. Jupiter and Saturn, Oberon, Miranda and Titania. Neptune, Titan, Stars can frighten. Blinding signs flap, Flicker, flicker, flicker blam. Pow, pow. Stairway scare, Dan Dare, who's there? Lime and limpid green, the sounds around The icy waters under Lime and limpid green, the sounds around The icy waters underground. "Lucifer Sam" Lucifer Sam, siam cat. Always sitting by your side Always by your side.