%FQBSUNFOUPG"SU $PMPVSBOE-JHIU $PODFQUTBOEDPOGVTJPOT )BSBME"SOLJM FE ,BSJO'SJEFMM"OUFS 6MG,MBSÀO "35 3&4&"3$)3&1035 %&4*(/ "3$)*5&$563& "BMUP6OJWFSTJUZQVCMJDBUJPOTFSJFT "35 %&4*(/ "3$)*5&$563& )&)/,ŗ(ŗ #!".ŗěŗ)(*.-ŗ(ŗ )( /-#)(-ŗ )BSBME"SOLJM FE ,BSJO'SJEFMM"OUFS 6MG,MBSÀO "BMUP6OJWFSTJUZ 4DIPPMPG"SUT %FTJHOBOE"SDIJUFDUVSF %FQBSUNFOUPG"SU 4:/5&4/PSEJD3FTFBSDI1SPKFDU "BMUP6OJWFSTJUZQVCMJDBUJPOTFSJFT "35 %&4*(/ "3$)*5&$563& 5IFBVUIPSTBOE"BMUP6OJWFSTJUZ4DIPPMPG"SUT %FTJHOBOE "SDIJUFDUVSF *4#/ QSJOUFE *4#/ QEG *44/- *44/ QSJOUFE *44/ QEG (SBQIJDEFTJHO)BSBME"SOLJMBOE+BOJ1VMLLB *NBHFT+BOJ1VMLLBBOEUIFBVUIPST 6OJHSBGJB0Z )FMTJOLJ 'JOMBOE 5IFQVCMJDBUJPODBOCFSFBEBUCPPLTBBMUPGJ 1VCMJDBUJPOPSEFST QSJOUFECPPL CPPLTBBMUPGJ 4:/5&4XBTGVOEFECZUIF4XFEJTI,OPXMFEHF'PVOEBUJPO Contents Foreword ................................................................................................................................................................................................................................................................................................................... 5 Introduction C.L. Hardin ...................................................................................................................................................................................................................................... 7 Natural Experiences and Physical Abstractions – On epistemology of colour and light Ulf Klarén ........................................................................... 16 Knowledge about the world ................................................................................................................................................................................................................................. 17 Knowledge beside the world ............................................................................................................................................................................................................................. 19 Knowledge as part of the world .............................................................................................................................................................................................................. 20 One world, several aspects .................................................................................................................................................................................................................................... 22 Human aesthetic coherence .............................................................................................................................................................................................................................. 25 What to do? .......................................................................................................................................................................................................................................................................................................... 29 .......................................................................................................................................................... Seeing and Perceiving Harald Arnkil 34 Training the eye ...................................................................................................................................................................................................................................................................................... 36 Seeing as a visual process ......................................................................................................................................................................................................................................... 38 Attention ...................................................................................................................................................................................................................................................................................................................... 40 The artist’s gaze ......................................................................................................................................................................................................................................................................................... 41 The parts and the whole ................................................................................................................................................................................................................................................ 42 Light and Colour: Concepts and their use Karin Fridell Anter ................ 45 Light and colour as experienced through the senses ........................................................................................................... 45 Light and colour according to physical theory ........................................................................................................................................ 52 Using physics to describe experience ................................................................................................................................................................................... 57 Conclusions: What do we mean by ‘light’ and ‘colour’? .............................................................................................. 65 Lightness and Brightness and Other Confusions Harald Arnkil 67 Lightness and brightness ……………………………………………………………........................................................................................................................................................................ 69 Attempts to systemize colour ......................................................................................................................................................................................................................... 76 Vividness of colour ........................................................................................................................................................................................................................................................................ 84 The real colour of objects .......................................................................................................................................................................................................................................... 92 About the authors ....................................................................................................................................................................................................................................................... 102 Further reading ...................................................................................................................................................................................................................................................................... 103 Index ................................................................................................................................................................................................................................................................................................................................. 105 Foreword The experiences of colour and light are interdependent and cannot be ana- lysed separately. The colours of the environment influence our experiences of light and the need for lighting – and vice versa: the intensity, quality and distribution of light are essential for our perception and experience of colour. The aesthetics of colour and light play an important role in the fields of art, design and communication. In the built environment they influence our ex- periences and feelings, our comfort or discomfort and our physiological well- being. A profound understanding of the interaction between colour, light and hu- man beings calls for an interdisciplinary approach which up to now has been rather rare. As a result researchers and practitioners have often had difficulty in understanding and relating to one another's methods and results, although they work with similar questions. One important aspect of this is the absence of common and generally accepted concepts. These were the starting points for the interdisciplinary research project SYN-TES: Human colour and light synthesis – towards a coherent field of knowledge, carried out in Konstfack, Stockholm during 2010–11. The SYN-TES project was funded by the Swedish Knowledge Foundation (KK-stiftelsen) and was supported by several Swedish companies working within the area of colour and light. The project has gathered internationally acknowledged scientific and technical experts within a number of fields work- ing in colour and light. These include art, architecture, psychology and healthcare sciences, as well as leading companies dealing with lighting, colour and window glass. SYN-TES has brought together researchers from five Nordic universities and institutions: The Aalto University School of Arts, Design and Architecture, The Centre for Visualization at Chalmers University of Technology, the De- partment of Environmental Psychology at Lund University, The Perception Studio at the University College of Arts, Crafts and Design (Konstfack), the Department of Architectural Design,