AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Pagina 80
... color , for example , scales have been selected out of the intrinsic color orders , and variations memorized as at definite color intervals from one another , in specified color dimensions . But while the facts of harmony and contrast ...
... color , for example , scales have been selected out of the intrinsic color orders , and variations memorized as at definite color intervals from one another , in specified color dimensions . But while the facts of harmony and contrast ...
Pagina 81
... colors that lie far apart in hue or in one of the other color dimensions . But these are comparatively gross and unmeasured distinctions , especially as named in our far from systematic or complete color terms . So - called scaled ...
... colors that lie far apart in hue or in one of the other color dimensions . But these are comparatively gross and unmeasured distinctions , especially as named in our far from systematic or complete color terms . So - called scaled ...
Pagina 82
... color and color combinations as available pigments furnished , and as the colors given in nature upon objects - sky , leaves , flowers , flesh , jewels , fabrics - led them to recognize and to desire . It is equally plain that a great ...
... color and color combinations as available pigments furnished , and as the colors given in nature upon objects - sky , leaves , flowers , flesh , jewels , fabrics - led them to recognize and to desire . It is equally plain that a great ...
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absolute pitch abstract accent acquaintance actual adequate æsthetic analysis æsthetic content æsthetic objects æsthetic theory apply apprehended artists asthetic attention basic Berkeley Berkeley blank verse CALIFORNIA LIBRARY called character characteristic clear clearly color variations complex concrete conscious constitute cretely criticism defined definitely degree determinate dimension directly discerned discriminating distinct distinguished Dominant duration elements English poetry exhibited experience expressive fact familiar feeling felt formal function fundamental give grasp hence human human voice iambic pentameter iambs indicated intelligible intrinsic knowledge length means Mediant merely musical scale nature notes obvious octave particular perception physical pitch intervals pitch pattern pitch relations Polyclitus present processes qualitative orders relevant rhythmical scale scheme selected sense sensory sensuous serial orders simply sort sound spatial specific string structure Subdominant syllables systematic temporal aspect temporal pattern tern things timbre tion Tonic trochees UNIVERSITY OF CALIFORNIA vibration rate whole words