AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Pagina 16
... variation in color , we could not count on the variations to give the specific effects intended . This ordered variation , where the order is constituted by the single relation redder - than , is only one of at least three systematic ...
... variation in color , we could not count on the variations to give the specific effects intended . This ordered variation , where the order is constituted by the single relation redder - than , is only one of at least three systematic ...
Pagina 50
David Wight Prall. of color variation , all compactly illustrated in the familiar diagram of a double cone . The neutral variations , white to black through the grays , are represented along the vertical axis from upper to lower apex ...
David Wight Prall. of color variation , all compactly illustrated in the familiar diagram of a double cone . The neutral variations , white to black through the grays , are represented along the vertical axis from upper to lower apex ...
Pagina 51
... variations is guided by relations peculiar to color and not strictly parallel to the relations that make up musical scales . For in color , although hue is perhaps funda- mentally characteristic , variations in hue are no more sig ...
... variations is guided by relations peculiar to color and not strictly parallel to the relations that make up musical scales . For in color , although hue is perhaps funda- mentally characteristic , variations in hue are no more sig ...
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abstract accent acquaintance actual adequate aesthetic æsthetic content æsthetic experience æsthetic objects æsthetic surface æsthetic theory appre apprehended artists attention basic body called carbonated water character characteristic clear clearly color variations complex concrete conscious constitute crete criticism defined definitely degree determinate direct directly discerned discriminating distinct distinguished Dominant duration El Greco elements emotional exhibited expressive fact familiar felt formal function fundamental give given grasp human iambs indicate individual intelligible intrinsic knowledge Leverett House means measure Mediant merely musical scale notes obvious octave particular Pathétique Sonata perceptual physical pitch intervals pitch relation Polyclitus Prall processes qualitative orders relevant rhythmical scale scheme sculpture sense sensuous serial orders simply sonata form sort sound spatial specific string structure Subdominant syllables systematic temporal aspect temporal pattern tern theory of forms timbre tion Tonic trochees University of Michigan-Flint vague vibration rate whole words