Can a Stroop Procedure Induce the Mehta and Zhu (2009) Color Effect?

2012 ◽  
Author(s):  
Kenneth M. Steele ◽  
Melissa Baker ◽  
Natsumi Kimura ◽  
Jennifer Gray ◽  
Elizabeth Strickland ◽  
...  
Keyword(s):  
Color Effect

scholarly journals Investigation of the color effect of the test object on the pupil response

2018 ◽  
Vol 1124 ◽  
pp. 031016 ◽  
Author(s):  
D Bobrova ◽  
N Bikberdina ◽  
M Boronenko
Keyword(s):  
Test Object ◽  
Pupil Response ◽  
Color Effect

An Interocular Color-Effect

1957 ◽  
Vol 70 (2) ◽  
pp. 318
Author(s):  
Fred Attneave
Keyword(s):  
Color Effect

Explanation for Neon Color Effect in Achromatic Line Segments on Chromatic Inducers Based on the Multiple Interpretation Hypothesis

2005 ◽  
Vol 101 (1) ◽  
pp. 267-282
Author(s):  
Seiyu Sohmiya
Keyword(s):  
Visual System ◽  
Line Segment ◽  
Color Contrast ◽  
Achromatic Color ◽  
Line Segments ◽  
Color Effect ◽  
Complementary Color ◽  
Multiple Interpretation ◽  
Color Induction ◽  
Simultaneous Color Contrast

In van Tuijl's neon configurations, an achromatic line segment on a blue inducer produces yellowish illusory color in the illusory area. This illusion has been explained based on the idea of the complementary color induced by the blue inducer. However, it is proposed here that this illusion can be also explained by introducing the assumption that the visual system unconsciously interprets an achromatic color as information that is constituted by transparent and nontransparent colors. If this explanation is correct, not only this illusion, but also the simultaneous color contrast illusion can be explained without using the idea of the complementary color induction.

ELEMENTAL ANALYSIS OF ANCIENT IRANIAN LUSTER DECORATED POTTERY

2002 ◽  
Vol 12 (03n04) ◽  
pp. 253-258 ◽  
Author(s):  
F. SHOKOUHI ◽  
P. OLIAIY ◽  
J. RAHIGHI ◽  
M. LAMEHI-RACHTI ◽  
Z. ROOHFAR ◽  
...  
Keyword(s):  
Elemental Analysis ◽  
Pixe Analysis ◽  
Color Effect ◽  
Elemental Concentrations ◽  
Principal Elements

Luster is a special type of decoration, which gives ceramics a particular iridescent gold translucency and was applied to the medieval surface of glazed pottery. In this work the PIXE technique has been applied to luster pottery dated back from the 10th to the 13th centuries, excavated in Neishabur, Ray and Kashan, located in the northeast and in the central part of Iran. The principal elements of the glaze were detected, as well as the elements which characterize the luster, such as Cu and Ag . The elemental concentrations of Ti , Mn , Fe , Co , Cu , Zn , Ag , Sn and Pb were also obtained from the PIXE analysis. This study clearly demonstrates that in addition to firing conditions and the presence of impurities in glaze, the ratio of Cu 2 O/Ag 2 O determines the color effect of luster.

scholarly journals Tutorial Review: Evidence for the Memory Color Effect, 1923–2016

2018 ◽  
Author(s):  
Ifedayo-Emmanuel Adeyefa-Olasupo ◽  
Jonathan Isaac Flombaum
Keyword(s):  
Empirical Research ◽  
Normal Condition ◽  
General Sense ◽  
Positive Evidence ◽  
Color Effect ◽  
Sensory Data ◽  
Interpretation Of Results

Is the appearance of an object solely determined by incoming sensory data? If not, to what extent is this sensation calibrated by what is memorized or know about the object? Under normal condition, do bananas, for example, appear more yellow because people know and or remember that bananas are yellow (most of the time), compared to other objects (all lighting and reflectance properties held constant)? Empirical research on this possibility has a long history, and it enjoys the reputation of perhaps the best example of an effect of cognition on perception. Here we review studies that are frequently cited as positive evidence, beginning in 1923 and continuing until present time. The intent is to provide a general sense of the methods that have been applied to the problem, and to conclude with a qualitative impression of the strength of extant evidence. Towards this end, we identify a number of pitfalls that persistently complicate the interpretation of results. And we highlight what we take to be the best evidence currently available, with suggestions for extending that work.

A Barbaric Rose

2018 ◽  
pp. 36-64
Author(s):  
Murray Pomerance
Keyword(s):  
Oil Painting ◽  
Printing Process ◽  
Life And Death ◽  
Color Effect ◽  
Color Printing

This chapter works through the color-printing process of the Technicolor Corporation, used in the mid-1940s, to explore the contradictory registers of dream and practicality to which film-watching moments offer entrance. It provides an analysis of a key color effect in Powell and Pressburger’s A Matter of Life and Death (1946), in which a transition from the monochromatic to the vibrantly colorful emphasizes the use of cinematic color beyond the perfunctory. It is argued, with reference to oil painting, that the brilliant and radiant pink of a single rose in this scene represents the potential of color to emotionally penetrate the viewer, not by supplementing the narrative, but by intruding upon and beyond it.

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