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Emotions in art and relate to human experiences13/02/24

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Emotions in art and relate to human experiences13/02/24

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Nature, emotional relationship with the environment13.02.24  

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Nature, emotional relationship with the environment13.02.24  

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The American Indian's traditional idea about the relation between human beings and nature has been richly embodied in their literature.Such relationship is of inter-dependence and unity instead of abuse and exploitation.Through analyzing Leslie Marmon Silko's novel Gardens in the Dunes, the authors probe into the Indian ecological wisdom from both the material and the spiritual relationships between human beings and nature.Traditionally, the Indians would depend on nature for material support and closely connect with nature in spirit.While the white colonists and main stream American culture take the land and nature as the object of subjugation, utilization and exploitation, the deprived Indians deem the nature to be the mother creator.The divinity, religiousness and redemptiveness of the Indian man-nature relationship may well complement the deficiency of our modern society, which is characterized by avaricious exploitation of nature and egoistic anthropocentrism.

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Read 129 reviews from the world's largest community for readers. A sweeping, multifaceted tale of a young Native American pulled between the cherished trad...

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Embodied Cognition View資訊偏差 - 認知偏誤 - 刻板印象

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Embodied Cognition View資訊偏差 - 認知偏誤 - 刻板印象

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First project of Identities and Place.

THROUGH THE LENSE

From different lens to explore how does stereotype in the society.

Embodies cognition

具身認知觀

資訊偏差 - 認知偏誤 - 刻板印象

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Advances in Psychology
Vol.08 No.03(2018), Article ID:24248,10 pages
10.12677/AP.2018.83052

From an Embodied Cognition View: Research on Effects of Concept Formation of Body Experience

Ya Gao

Faculty of Psychology, Southwest University, Chongqing

Received: Mar. 13 th, 2018; accepted: Mar. 21 st, 2018; published: Mar. 28 th, 2018

ABSTRACT

The viewpoints of embodied cognition advocate that cognition is essentially embodied and the body plays a pivotal role in the cognitive processing. The concept is the basis of cognitive activity. Therefore, this paper explored the process of concept formation in embodiment perspective, and tried to explain how the body experience affected the process and representation of a concept. Concepts can be divided into two categories: concrete concept and abstract concept. Also, the different mechanisms of concrete concept and abstract concept have been under discussion. Through some classical embodied theories and research paradigms, this paper discussed in detail the relationship of the concrete and abstract concept formation, and found that there were not only different mechanisms existed between two kinds of concepts, but also a difference of the level of embodiment existed between concepts under one category. Therefore, I tried to propose a unified hypothesis according to the level of embodiment participated in the processing of concept formation.

Keywords: Embodied Cognition, Concept Formation, Body Experience, Concrete Concept, Abstract Concept

具身观视角：身体经验对概念形成的影响研究

高雅

西南大学心理学部，重庆

收稿日期：2018年3月13日；录用日期：2018年3月21日；发布日期：2018年3月28日

摘 要

具身认知观强调认知在本质上是具身的，身体经验在认知过程中发挥着关键作用，概念是认知活动的基础，因此，本文探讨在具身认知视角下的概念形成过程，试图说明身体经验是如何影响概念的加工与表征。概念又可被分为两类：抽象概念和具体概念，在这其中，两种概念受到身体经验的影响程度也在讨论范围中，本文通过梳理一些经典的具身观理论和研究范例，详细论述了身体经验对具体概念和抽象概念加工和形成的影响，发现不仅是具体概念和抽象概念之间有具身性差异，同一类概念间的不同概念之间也会存在身体经验参与程度的不同，因此，本文试图以概念的具身等级性为基础提出一个在概念形成上的不同概念间的统一的理论假设。

关键词 : 具身认知，概念形成，身体经验，具体概念，抽象概念

Copyright © 2018 by author and Hans Publishers Inc.

This work is licensed under the Creative Commons Attribution International License (CC BY).

http://creativecommons.org/licenses/by/4.0/

1. 引言

形成概念(concept formation)，在我们的日常生活与发展过程中是最平常普遍的事情了，概念是思维的基本单位，是认识的起点，是人们学习、推理、交流等高级认知能力的基础，其重要性不言而喻(殷融，苏得权，叶浩生，2013；张恩涛，方杰，林文毅，罗俊龙，2013)。传统认知对于概念形成过程的研究已有很多，既有从发展角度对儿童概念获得过程的研究，也有从思维角度研究成人人工概念形成的策略。而今，在第二代认知科学--具身认知观(embodied cognition)的视角下，本文通过梳理以往的相关理论和实验研究，对概念形成的过程产生一些新的观点和看法。具身认知观下的概念形成的过程如同"盲人摸象"，盲人无法见到象的真容，通过"手触之"来形成"象"这一概念，摸到象牙的盲人认为象类似于萝卜，摸到象腿的盲人认为象类似于柱子，而摸到象尾巴的盲人却认为象类似于绳索，因为身体经验的不同，形成的概念表征自然也就不同。

在传统符号加工理论的观点下，认知加工的过程是"离身的"，身体只是接受刺激并输出反应的机器。认知与身体运动间仅具有支配关系，身体动作是认知指令输出的结果，对于概念形成这种高级认知机能，身体运动经验不会对其产生任何实质性影响(叶浩生，2010)。以概念形成为例，传统认知观点认为概念的获得是在脑中发生的，且概念在脑中的表征是"符号性"的，概念的形成过程就是人们以感觉、知觉和表象为基础，通过分析综合、抽象概括等思维活动，从个别到一般，从具体到抽象，逐步把握一类事物的本质，然后将这一抽象符号储存在语言记忆中，这个过程是独立于主体的知觉、运动及情感系统的(谢久书，张常青，王瑞明，陆直，2011)。对概念的加工(conceptual processing)就是对长时记忆中的符号信息的提取。这些符号同身体的性质没有本质的联系。在整个过程中，身体的感觉和运动系统仅仅起到一种信息的传入和输出作用。身体经验本身并不能给认知加工带来任何本质影响。

然而，随着近些年具身认知观的发展和一些实证研究的支持，传统的离身观越来越缺乏说服力，心理学家开始逐渐认识到身体在认知活动中的重要性。具身认知观认为，身体的感觉-运动系统(包括情绪、本体感受)是概念形成的基础(叶浩生，2014)，所以，在概念形成过程中，身体线索至关重要。形成的概念又可以分为两类，一类是具体概念(如"椅子")，另一类是抽象概念(如"幸福")，具体概念因为其特性，很容易提出概念形成源自具体动作经验的假设，但抽象概念的获得要更加复杂的多，抽象概念不同于具体概念可以特指一些独立的、具体的、可操作的物体，抽象概念更多涉及的是物体间的关系，如"爱"、"恨"。对抽象概念的定义主要建立在情景、事件或心理状态上，这就使得开始用具身认知观点解释抽象概念的形成面临一些挑战，诸如"道德"、"公平"等抽象概念是否具有感知经验基础，离身认知理论认为，人类的感知经验本身并不足以建构抽象概念，因为对于"道德"这种抽象概念，它很明显没有一个独立的、容易辨别的、形象具体的指称物，我们既不能触摸到道德，也不能看到道德，更不能说听到了道德。所以在具身认知提出的早期，具身认知是否只能解释具体概念、能不能扩展抽象概念范围仍然是个问题。但需要注意的一点是，具体概念和抽象概念这两个范畴之间并不是二分性的(dualistic)，他们在概念这个大范畴下应该是一个连续体(continuum)，通过对大量词汇具体性(concreteness)的评价，发现具体概念和抽象概念呈双峰分布，研究是根据概念的可触性和可视性特点，才将概念分为两类(Choi, Wiemer-Hastings, & Moore, 2001; Nelson & Schreiber, 1992)。但目前的研究还是把两个过程放在不同体系下进行讨论。

前人关于具身认知在概念形成上的研究主要集中在以下几个方面：第一，对概念知识的提取加工会引发身体知觉运动状态的变换；第二，身体物理属性变化会对概念加工过程产生影响；第三，存在于知觉运动系统的现象，在概念表征中应可找到等价的效应(殷融，曲方炳，叶浩生，2012)。但其研究假设主要集中于具体概念，缺乏对两种概念的分类探讨，且对第一点"对概念知识的提取加工会引发身体知觉运动状态的变换"，无法解释其引发的变化是否只是对概念加工的附带现象，而不是概念词本身的具身性带来的变化。所以本文重点讨论身体经验对概念形成过程的影响，并对具体概念和抽象概念做了一个比较讨论。

2. 不同理论下具体概念和抽象概念形成的比较

经典的具身认知认为，抽象概念与具体概念的获得过程并无显著差别，两者都基于身体的感知、行为和情感系统。例如，儿童形成对数的概念源自于他们初学时数手指的经验。也有来自行为研究的证据表明，当个体知觉到特定概念时，会倾向于表现出与概念内容相符合的行为，这种现象被称为动作一致性效应(ACE, action compatibility effect)。实验用此效应来判断对两种概念的敏感性，例如"giving the pizza"和"giving the information"，结果都发现了ACE，即当被试实际动作与句子表述一致时，对两种概念的加工时间都减少了，身体的实际动作能够提高对概念的敏感性(Glenberg & Kaschak, 2002; Glenberg et al., 2008)。

Boulenger，Hauk和Pulvermuller (2009)采用脑成像技术探索了惯用语(Idiom)的理解中是否涉及运动信息的激活。实验比较了被试阅读包含动作动词的惯用语(例如，"John grasped the idea")和表示实际动作发生的句子("John grasped the object")时产生的大脑激活差异。实验结果发现，两种句子都共同激活了被认为是语言加工区域的左侧额叶-颞叶网络。更为重要的是，两种句子都诱发了大脑运动区域的激活，并且这种激活产生在句子加工的末尾，而不是由单个词汇引发的。因此，该研究支持甚至在抽象的惯用语理解中，也存在感觉运动信息的激活。以上实验都能证明，抽象概念("the information")与具体概念("the pizza")的潜在加工机制相同。

另一方面，也有其他具身观理论认为具体概念和抽象概念形成过程中的表征不同，这其中最有影响力的理论就是概念隐喻理论(Conceptual Metaphor Theory)。概念隐喻理论是Lakoff和Johnson (1997)在《Metaphors We Live By》一书中提出的。所谓隐喻，是指一个具体的概念域向一个抽象的概念域的系统映射，在这样的过程中，人们借助具体的、有形的、简单的始源域(source domain)概念(如温度、空间、动作等)来表达和理解抽象的、无形的、复杂的目标域(target domain)概念(如心理感受、社会关系、道德等)，例如"感情是火热的"，"道德是纯洁的"。在这里，我们对于"感情"、"道德"这样一些复杂和抽象概念的理解借助了身体的感觉器官。通过源域概念与靶域概念的匹配，使这些复杂的概念得以理解，抽象思维主要是依据这种方式进行的。但是那些最初的、最直接的隐喻往往是基于身体的，并且这种映射在大多数情况下是潜意识的。如方向性隐喻(Orientational metaphors)，说明了抽象概念的空间方向性映射，譬如"more is up"，映射到具体经验，可以解释为竖直堆叠的物体越多，堆得的高度越高。而"power is up"映射到具体经验有一个更加间接的联系，对于儿童来说，拥有更高权威的往往是身高很高的人(父母、老师)。

最近，由Vigliocco (Vigliocco et al., 2014)和Kousta (Kousta et al., 2011)新提出一个理论，认为抽象概念在内容上与具体概念的形成有很大差异，抽象概念的形成会依据更多的情绪体验。通过分析大量的数据，Kousta et al. (2011)得出结论，当可成象性(imageability)保持不变，情绪效价能够显著地预测词汇的具体性等级。Vigliocco et al. (2014)通过脑成像研究也证明了这一点。

还有一些其他理论，例如Barsalou等(2008)提出的语言和情景模仿理论(LASS)、Borghi & Binkofski (2014)提出的词汇工具理论(WAT)和Dove (2014)的观点都强调了语言作为一种信息途径，在概念形成和表征中，具有和感觉运动系统信息同等重要的作用。LASS并没有把关注点特别集中在抽象概念上，而是放在了抽象表征上，它认为，在概念加工过程中，语言和模仿系统同时被激活，语言系统的激活更加迅速和表层，而模仿系统则涉及了深层次的意义理解过程。所以，在一些情况下，语言系统的表征能够作为一个捷径，使得反应速度加快从而不必反应出概念的意义。

Borghi等提出的WAT和Dove的观点则更加关注抽象概念和具体概念在加工过程中的差异。两者都认为抽象词相比于具体词，更多地依赖于语言系统，Dove (2014)也更加强调语言在概念形成中的基础建构作用。WAT的主要观点包括以下几点：一、具体和抽象概念都是具身性的且根植于感知和运动系统；二、语言系统在抽象概念中起到更加重要的作用；三、且这种差异是源自两种概念的获取通道不同；四、这种分布上的差异反应在大脑对概念的表征上；五、考虑到语言对于抽象概念的影响，语言的多样性对于抽象概念表征也有显著影响。关于两种概念的获得机制，WAT有个重要的原则，对于具体词，其具体的实物(例如"书")可以与他们的语言标签同时获得。但对于抽象词，其语言经验也许更加重要，因为抽象词不具备具体指称物。我们在形成"自由"这个概念时，我们可能将不同的经验整合在一起，例如在草坪上奔跑、逃出监狱等。脑成像研究显示言语系统在加工抽象概念时有更高的激活水平，而感觉运动系统在加工具体概念时有更高的参与程度。特别地，概念获得任务也显示抽象概念和具体概念获得的过程有差异，在概念获得模式(MOA)研究中发现，儿童获得具体概念意义的过程，例如"水杯"，是将单词与实物联系起来的过程，通过动作作用于水杯来获得，形成的关于"水杯"的概念由其感知觉上的特点组成，如颜色、大小、形状、材质等；而抽象概念如"语法"、"哲学"等词，则需要通过语言来解释。

3. 不同研究范式下具体概念和抽象概念形成过程的比较

已有的对概念形成过程的研究可以分为两个过程，一是儿童的概念形成过程，主要是在日常生活或教学过程中研究儿童掌握现实概念的过程；二是成人的概念形成过程，主要通过人工概念的实验进行，即用实验方法模拟概念形成的过程，来探讨概念形成的条件和影响概念形成的因素。在具身认知视角下，对概念形成的研究与以往的研究具有相似之处，如在实验材料选择上等，但因为要考虑具身性，所以本文重点讨论身体经验对两种概念形成过程的影响研究。

3.1. 儿童概念获得任务

3.1.1. 儿童获得具体概念

具身认知可以通过儿童掌握概念的过程来研究概念形成的具身性。当婴儿可以坐起并用双手操作物体时，他们就可以通过与环境的互动获得动觉、触觉、视觉、听觉等信息，从而获得概念。Smith (2005)认为，儿童与客体互动的特殊方式，使得他们获得不同的感知运动经验，影响着他们对客体的概念化。在Smith (2005)的一项实验中，他们向2岁的儿童介绍一个名叫"wug"的物体，wug类似一个人工概念，实际上是无意义的。在实验中，实验员通过水平或竖直地移动物体来给物体"下定义"，其中一部分儿童也有机会沿着上述方向去实际移动物体。随后，儿童被要求从两个移动的物体中选择出哪一个是"wug"，一个物体与之前展示的wug一样高，但宽度要更长一点，另一个物体宽度相同，高度被加长了。实验结果显示，对于那些亲自移动过物体的儿童，存在一个显著的交互效应，即如果他们观察到并亲自在水平方向上移动物体，他们更加倾向于选择水平上加长的物体为"wug"，此现象在竖直方向上也成立。但对于没有亲自移动过物体的儿童，就不存在这种交互效应。

对于此实验结果，Smith (2005)从具身角度给出了解释，他认为儿童对物体的操作、移动构成了该物体的概念表征。也就是说，在儿童概念形成的过程中，儿童通过与物体的互动，获得了物体的感觉运动经验，最后在脑海中构成了对概念的表征，影响了对该物体形状的加工。从而在儿童概念掌握过程中，证明了身体经验对于概念形成的影响。

3.1.2. 儿童获得抽象概念

儿童在形成抽象概念时，身体的感觉运动系统依然起到很大的作用。例如，成人通过两种方式教授2岁的儿童一个新的形容词(例如，spiny, spongy)，一种方式是使用指示性的手势(例如，指向某一物体)，另一种方式是使用描述性的手势(例如，使用触觉手势，如挤捏一个海绵状的物体)。每一次实验开始，实验员提供给儿童一个动物玩具和一个形容词，然后通过上述两种方法向儿童展示这个形容词的内容，所以，儿童通过观察成人的描述性的手势并模仿该动作获得了关于此形容词的感觉运动信息，而指示性的手势并不能提供该方面的信息。在测试阶段，给儿童呈现两个玩具并让其指出呈现特殊性质的玩具(例如，"give me the lumpy one")，结果显示，通过描述性手势学习概念的儿童正确率更高，特别在形容词意义与视觉特征不太一致时尤为显著(O'Neill, Topolovec, & Stern-Cavalcante, 2002)。

有趣的是，尽管儿童的表现和与玩具的互动之间存在正相关关系，但更高的正确率与儿童与玩具互动的时间多少上却无显著关联，即并不是说增加儿童与玩具的互动时间，就能让他们在测试阶段表现的更好。所以，尽管儿童在两种教学条件下与玩具都产生了互动，但似乎成人的描述性手势给了儿童线索，使儿童将注意力更多地集中在事物的特殊特性上，他们能够从中获得了事物的触觉信息，最终构成了概念的形成基础，而指示性手势却不能提供这个信息。此实验似乎说明，在概念形成过程中，除了感觉运动系统的参与，还需要其他关键因素。

3.2. 促进任务(facilitation)

3.2.1. 动作一致性效应(ACE)与具体概念形成

行为研究发现，个体在概念加工时执行某些身体动作会对概念加工产生影响。例如，在Rueschemeyer，Pfeiffer和Bekkering (2010)的实验中，研究者要求被试在执行某些身体动作的同时完成概念判断任务。所使用的概念词汇涉及一些通常情况下会造成手臂趋近或远离身体的物品，如茶杯(手臂趋近身体)、钥匙(手臂远离身体)。研究发现，当被试执行的动作与概念所暗含的动作一致时，被试对概念的判断反应会更快。如当被试执行"推抽屉"(手臂远离身体)的动作时，对钥匙这一概念的反应会更快。这表明，身体动作并非认知的被动承载物，特定的身体动作有助于主体对概念的识别加工。

在Zwaan和Taylor (2006)的实验中也发现了此种效应，当你正在读一部小说，书中主人公在开车的途中调高(turn up)收音机的声音，而此时你做出一个拧瓶盖的动作，会加快加工"调高"(turn up)这个概念。因为拧瓶盖的手部旋转动作与小说中调高收音机的所隐含的旋转动作相一致，所以使得这一部分内容得以快速被加工。

对于这种一致性效应，具身认知认为，我们在形成相关概念时，我们的身体经验也参与其中，概念通过身体的感觉运动活动获得，不同的感觉运动活动在大脑中留下不同的感觉运动印迹(经验)，与此对应，外部知觉、内部状态(躯体感觉、情绪、内省信息)和动作共同构筑了概念的表征。因此，相关身体动作的激活了概念加工过程。

3.2.2. 身体物体交互效应(BOI effects)与具体概念形成

身体与物体的交互效应(Body-object interaction effects)衡量的是人与词语指称物身体上相互作用的难易程度，据此，可把词汇分为高/低交互词汇(如"bench"和"booth")，在传统的对两种词汇进行按键反应时发现，人们对高交互词汇的反应速度更快，但对这种效应的解释却存在争议，因为实验是按键反应，根据前文语言系统相关理论，有可能只是因为对概念词加工过程中激活了其运动系统而产生的附带现象，而不是激活了存储在词汇语义系统中的运动信息。所以Michele et al. (2011)为了检验此假设，重新设计了一个实验，他们认为，如果这个假设是正确的，那么BOI效应将不会再口语报告实验中发现，于是，他们将实验在三种条件下进行，其中一种依然是按键反应，另外两种采取口语报告形式进行，结果发现，BOI效应在三种实验条件下都存在，证实了感觉运动信息也存储在词汇语义系统中。

3.2.3. 激活效应与具体概念形成

Connell，Lynott 和Dreyer (2012)完成的一次实验中也得到了类似的结果，在他们的研究中，被试被要求对呈现在屏幕上的指称实物的概念词汇进行判断，比较这些概念指称物体积的大小。实验在两种条件下进行，一种是被试的手放在震动垫上(脚放在震动垫上为对照组)；另一种条件下，被试被要求用手掌轻握一个沙滩排球(小腿轻夹沙滩排球为对照组)。同时，用来比较的概念词汇也分为两类，一类是可操作词语(manipulable)，例如钱包、钥匙、硬币，这类词语的特点是体积小的可放在手里；另一类词语是非操作词语(nonmanipulable)，如大厦、车、小别墅，这类词语通常体积较大，长度超过手臂。研究发现，被试在两种条件下都对可操作词语有促进效应，能更加精确、迅速地完成判断大小任务，但对于非操作词语却没有促进效应，这说明动觉的激活有利于个体提取概念知识中关于物体大小的信息。此研究结果证实了可操作概念的大小表征包括特异触觉通道特别是手部位置的触觉信息，但非操作概念应该缺乏相关信息。此实验将身体经验具体到了手部，而我们应该重视特异的身体结构获得的身体经验，这对于概念化我们周围的环境是一个重要的手段。

3.3. 内隐研究范式与抽象概念形成

在概念隐喻(conceptual metaphors)中，身体经验显得尤为重要。例如，人类有"前"、"后"的观念，这种观念是人类眼睛只能观察到前面，不能看到后方这种特殊的身体构造形成的。视野之内的物体往往是身体可以控制的，因而有了积极的意义；而身体后面的事物处在视野之外，身体难以控制，因此往往与消极的意义联系在一起。以"前"、"后"观念为基础，人类又衍生出"进步"、"后退"的抽象概念。

对于更为抽象的"政治"概念的形成，身体经验同样起着重要的作用。在政治隐喻(Political metaphors)中，政治上的左右往往代表的是派别，左边通常代表的是自由、激进、民主的党派，右边则是更为保守的共和党派。这种观念上的形成的左右党派别是否会被身体线索影响？Oppenheimer和Trail (2010)在三种实验条件下验证了这种效应：左手/右手握着把手；坐在一个偏左/右的椅子上；在电脑屏幕上点击左/右边。结果发现，向左的操作确实使得被试的政治意见偏向民主党派，但向右的操作却没有发现这一点。在听觉通道加工研究者也发现了类似的效应，被试会倾向于认为右耳听到的保守主义词汇声音更大，左耳听到的共产主义词汇声音更大。对于上述的效应不对称问题，研究者认为有可能是实验的意图被被试察觉，所以，在研究方法探讨时，需要一个更加内隐的方法去操纵身体线索的改变。在Eerland et al. (2011)的实验中，他们采用Wii Balance Board (WBB)作为一种内隐测量的工具，来研究身体线索对于概念形成和加工的影响。当人站在WBB上时，这种仪器能够精确感知人所站的压力中心位置(COP)，同时，它还可以轻微地改变倾斜度，使人的整个身体向左或向右，但这种倾斜操纵在人的感觉阈限以外，即站在上面的人并没有意识到自己是倾斜的。在这种操作下，向被试呈现一些关于政党的不同效价的描述，让被试口头报告此描述是关于左翼政党还是右翼政党。实验结果显示存在交互效应，即身体被操纵微向左偏的被试更容易把评价归于对左翼政党的描述。

此类实验利用WBB，使得身体经验不仅仅局限于身体局部，而是对整个身体的操作，它以相对内隐的方式说明了抽象概念能够被身体的感觉运动系统激活。但此实验也认为，如果被试被引导有意识的从更高层次、更加抽象的角度去知觉，他们或许会减少对身体线索的反应。所以在概念的具身研究框架下，概念的抽象性或具体性不是重点，或许身体线索操纵的有效性和被试的注意和知觉层次才是影响具身理论的重要因素。

3.4. 手语及特殊人群研究与抽象概念形成

有什么样的身体，就有什么样的心智，不同的身体，导致不同的身体体验。不同的身体体验又造就了认知上的差异，形成不同的思维方式。这是具身认知的核心观点。对于身体经验影响概念形成的研究，同样有来自特殊人群的证据，Borghi et al. (2014)的工作是通过研究手语是如何编码抽象概念，他们选取意大利手语(LIS)作为研究对象，选取手语的词汇，通过分析手语的动作，来分析抽象概念的具身性。首先，他们选取有关"脑"的动词，如"学习"、"理解"、"忘记"、"记忆"，结果发现这些动词的手语的手部动作的位置都在前额，我们用概念隐喻理论来理解，可以认为手语编码把脑作为一个容器，知觉痕迹、回忆、语言信息、概念网络等都在脑中加工和储存。在以上这些手语动作中，有两个动作会很清晰地表现出来，手朝向前额和手远离前额，我们以"学习"的手语为例，手语动作是手指快速触碰后再指向前额，好像将外部的信息放入脑中。而"忘记"的动作则是由虚握的拳头从前额的一侧移到另一侧然后张开，意味着把脑里的东西抛开。

同时，他们也发现，位于其他身体部位的手语动作也有同样的特点。例如，动作位于胸部的手语通常与"情感"概念有关，如"爱"、"憎恨"、"愤怒"，但"相信"的位置也在胸部，这可能与人们通常认为相信与心有关。概念"强迫(constrain)"的手语动作是首先拇指和食指弯曲，然后放在脖子处，其潜在隐喻可以看作是被人抓住了咽喉而不得不服从。由此可知，种种以上通过手语的研究案例都可表明，抽象概念的形成是基于感觉-运动系统，概念的形成受到人身体结构的影响。

Iossifova 和Marmolejo-Ramos (2013)从感觉-运动系统受损的儿童的角度来研究抽象概念形成的问题。她在视觉运动受损(VMG)、无视力(BG)、视力正常(CG)三组儿童中操纵实验条件，让他们用指示手势表达时间和空间的概念，结果证实视觉系统信息的缺乏会影响他们对抽象概念的加工，因此身体经验会作为一个补充机制发挥作用。

4. 对两种概念具身性的评述及未来发展方向

4.1. 具体概念词汇是否一定是强具身性的？

对于具体概念的定义，我们认为，具体概念是指存在于物质世界的事物，这意味着他们必定受到物质或空间的制约，就如同一颗长在森林中的树，但这棵树不可能在月球上生存。但具体概念并不局限于特定物体上，也可以指一些具体的行为，例如踢、微笑等。由于其具有独立的、容易辨别的、形象具体的指称物，其具身性不言而喻，而抽象概念，经过上述实验的验证，也可以说明其概念形成是建立在感觉-运动系统上。但从身体经验对两者的影响上来看，两者的形成过程又有区别，根据具身认知观点，可以认为具体概念是直接从感觉动作系统中发展出来的，而对于抽象概念来说，这种联系似乎要更加间接一些。根据前文的理论概述，认为语言系统对于抽象概念形成的影响更为重要，而具体概念更多的是基于感觉运动系统，但并不是所有的具体概念的具身性都是清晰可见的，在前文Connell，Lynott和Dreyer (2012)的对物体大小进行分类的实验中也发现，动觉的激活使得个体能更快的提取具体概念信息，但这种促进现象只在可操作词语中如"钥匙"、"手表"中出现，而对于"汽车""别墅"这类具体概念，则没有显著的促进效应。说明在具体概念中，概念词的具身性也是有差异的，但之前针对具体概念形成过程的研究，却很少涉及这方面的论述。

4.2. 是否需要对抽象概念词语进行分类研究？

在前文的理论概述部分，笔者总结了针对抽象概念的形成过程的不同理论解释，那么是否有必要将抽象概念分类，然后针对不同的子集建立不同的理论呢？例如，词汇"类别"、"真理"、"风险"这三个抽象概念可以用不同理论、不同的机制来解释他们的形成过程，"类别"可以运用概念隐喻理论，将不同的类别映射到不同的容器，从而形成类别的概念；"真理"可以用语言系统功能来解释说明什么为真；"风险"可以激活不同的情景，如"站在悬崖边"等。如果要建立此种模型，那么则意味着上述各种理论之间是相互排斥的，目前只有针对具体概念的分类，如将具体词汇分为可操作词语-非操作词语，高交互效应词汇-低交互效应词汇，但针对抽象概念词语，却没有一种连续的分类方式。所以目前针对抽象概念的理论都是一种割裂式的、非统一的，针对此问题，未来的研究或许要回归到具身认知的本质上，即概念形成是基于感觉运动这一点上来。

4.3. 具体概念和抽象概念的形成过程能否建立一个统一的理论？

关于具体概念和抽象概念的形成过程是否有差异，在理论部分已各有论述。而在Borghi et al. (2014)的文章中，他们选取意大利手语(LIS)作为研究对象并提出了一个统一的理论假设，即在具体概念和抽象概念的形成和表征中，有不同等级的具身性参与。这种不同等级的具身性的参与首先与概念本身的词性有关，但这种等级程度或许也与意识的参与程度有关。所以像"汽车"、"别墅"这类具体概念，其具身性参与程度肯定低于"手表""钥匙"这类概念。在形成抽象概念时，不同概念基于不同的身体经验，也有不同的具身等级，人们对"时间"长短的感知是基于对空间长短的认识，对于"民主"的概念是基于"有权利在投票厅中投票"这一事件，对于"道德"的概念，也许是基于本体的情感体验。

对于意识的参与对于概念形成和表征的影响，在Oppenheimer和Trail (2010)采用WBB的实验中就发现，采用概念隐喻理论的"政治隐喻"在表面效度较高的情况下，身体经验对概念表征的影响有不一致的情况，采用相对内隐的研究方法后，能够剔除这种不一致。说明在潜意识水平上，我们对概念的加工更容易受到身体经验的影响。在儿童形成抽象概念的实验中，也发现更高的正确率与儿童与玩具互动的时间多少并无显著关联，即并不是增加从感觉运动系统获得的信息，其概念的具身性表征就能增加。也许在这个过程中，儿童的意识参与程度才是关键。

所以，在一些实验结果的支持下，具体概念和抽象概念的形成过程或许可以建立一个统一的理论，即通过在概念表征过程中，有不同等级的具身性的参与，来解释具体概念和抽象概念表征的差异。但关于如何建立这种具身等级性，这种不同等级是在何种情况下如何起作用，以及这种不同等级的具身性在概念中如何区分，未来都还需不断研究和探讨；此外关于此种理论的假设，更多的是建立在行为学研究的基础上，对于具体概念和抽象概念形成过程中具身性的脑机制是否有共同基础或有差异，现阶段还不能得出结论，还需要通过更多的认知神经科学实验进行深入探讨。

5. 结束语

本文在具身认知的视野下，主要探讨了身体经验对于概念形成过程的影响，通过对具体概念、抽象概念的分类讨论，详述了目前具身认知下概念形成的研究进展，对相关理论、研究方法也做了一定的讨论，结果论证了不论是抽象概念还是具体概念，其形成和表征都有感觉运动系统基础，强调了身体经验在概念形成中的重要地位。同时，有些概念形成研究是从儿童角度来探讨，这种结合发展和教育领域的研究未来或许将概念形成的具身观应用于相关领域。

文章引用

高 雅. 具身观视角：身体经验对概念形成的影响研究
From an Embodied Cognition View: Research on Effects of Concept Formation of Body Experience[J]. 心理学进展, 2018, 08(03): 421-430. https://doi.org/10.12677/AP.2018.83052

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5. 5. 殷融, 苏得权, 叶浩生(2013). 具身认知视角下的概念隐喻理论. 心理科学进展, 21(2), 220-234.

6. 6. 张恩涛, 方杰, 林文毅, 罗俊龙(2013). 抽象概念表征的具身认知观. 心理科学进展, 21(3), 429-436.

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8. 8. Borghi, A. M., & Binkofski, F. (2014). Words as Social Tools: An Embodied View on Abstract Concepts: New York: Springer.

9. 9. Borghi, A. M., Capirci, O., Gianfreda, G., & Volterra, V. (2014). The Body and the Fading Away of Abstract Concepts and Words: A Sign Language Analysis. Frontiers in Psychology, 5. https://doi.org/10.3389/fpsyg.2014.00811

10. 10. Boulenger, V., Hauk, O., & Pulvermüller, F. (2009). Grasping Ideas with the Motor System: Semantic Somatotopy in Idiom Comprehension. Cerebral Cortex, 19, 1905-1914. https://doi.org/10.1093/cercor/bhn217

11. 11. Choi, F. Y. Y., Wiemer-Hastings, P., & Moore, J. (2001). Latent Semantic Analysis for Text Segmentation. Proceedings of Emnlp, 4, 109-117.

12. 12. Connell, L., Lynott, D., & Dreyer, F. (2012). A Functional Role for Modality-Specific Perceptual Systems in Conceptual Representations. PLoS ONE, 7, e33321. https://doi.org/10.1371/journal.pone.0033321

13. 13. Dove, G. (2014). Thinking in Words: Language as an Embodied Medium of Thought. Topics in Cognitive Science, 6, 371-389. https://doi.org/10.1111/tops.12102

14. 14. Eerland, A., Guadalupe, T. M., & Zwaan, R. A. (2011). Leaning to the Left Makes the Eiffel Tower Seem Smaller: Posture-Modulated Estimation. Psychological Science, 22, 1511-1514. https://doi.org/10.1177/0956797611420731

15. 15. Glenberg, A. M., & Kaschak, M. P. (2002). Grounding Language in Action. Psychonomic Bulletin & Review, 9, 558-565. https://doi.org/10.3758/BF03196313

16. 16. Glenberg, A. M., Sato, M., Cattaneo, L., Riggio, L., Palumbo, D., & Buccino, G. (2008). Processing Abstract Language Modulates Motor System Activity. Quarterly Journal of Experimental Psychology, 61, 905-919. https://doi.org/10.1080/17470210701625550

17. 17. Iossifova, R., & Marmolejo-Ramos, F. (2013). When the Body Is Time: Spatial and Temporal Deixis in Children with Visual Impairments and Sighted Children. Research in Developmental Disabilities, 34, 2173-2184. https://doi.org/10.1016/j.ridd.2013.03.030

18. 18. Kousta, S. T., Vigliocco, G., Vinson, D. P., Andrews, M., & Del Campo, E. (2011). The Representation of Abstract Words: Why Emotion Matters. Journal of Experimental Psychology General, 140, 14-34. https://doi.org/10.1037/a0021446

19. 19. Lakoff, G., & Johnson, M. (1997). Metaphors We Live By. Ethics, 19, 426-435.

20. 20. Michele, W., Siakaluk, P. D., Owen, W. J., & Pexman, P. M. (2011). Embodied Semantic Processing: The Body-Object Interaction Effect in a Non-Manual Task. Language & Cognition, 3, 1-14. https://doi.org/10.1515/langcog.2011.001

21. 21. Nelson, D. L., & Schreiber, T. A. (1992). Word Concreteness and Word Structure as Independent Determinants of Recall. Journal of Memory & Language, 31, 237-260. https://doi.org/10.1016/0749-596X(92)90013-N

22. 22. O'Neill, D. K., Topolovec, J., & Stern-Cavalcante, W. (2002). Feeling Sponginess: The Importance of Descriptive Gestures in 2- and 3-Year-Old Children's Acquisition of Adjectives. Journal of Cognition & Development, 3, 243-277. https://doi.org/10.1207/S15327647JCD0303_1

23. 23. Oppenheimer, D. M., & Trail, T. E. (2010). Why Leaning to the Left Makes You Lean to the Left: Effect of Spatial Orientation on Political Attitudes. Social Cognition, 28, 651-661. https://doi.org/10.1521/soco.2010.28.5.651

24. 24. Rueschemeyer, S.-A., Pfeiffer, C., & Bekkering, H. (2010). Body Schematics: On the Role of the Body Schema in Embodied Lexical-Semantic Representations. Neuropsychologia, 48, 774-781. https://doi.org/10.1016/j.neuropsychologia.2009.09.019

25. 25. Smith, L. B. (2005). Action Alters Shape Categories. Cognitive Science, 29, 665. https://doi.org/10.1207/s15516709cog0000_13

26. 26. Vigliocco, G., Kousta, S. T., Della Rosa, P. A., Vinson, D. P., Tettamanti, M., Devlin, J. T., & Cappa, S. F. (2014). The Neural Representation of Abstract Words: The Role of Emotion. Cerebral Cortex, 24, 1767-1777. https://doi.org/10.1093/cercor/bht025

27. 27. Zwaan, R. A., & Taylor, L. J. (2006). Seeing, Acting, Understanding: Motor Resonance in Language Comprehension. Journal of Experimental Psychology: General, 135, 1-11. https://doi.org/10.1037/0096-3445.135.1.1

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具身认知，概念形成，身体经验，具体概念，抽象概念 embodied cognition

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具身观视角：身体经验对概念形成的影响研究 From an Embodied Cognition View: Research on Effects of Concept Formation of Body Experience

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具身认知观强调认知在本质上是具身的，身体经验在认知过程中发挥着关键作用，概念是认知活动的基础，因此，本文探讨在具身认知视角下的概念形成过程，试图说明身体经验是如何影响概念的加工与表征。概念又可被分为两类：抽象概念和具体概念，在这其中，两种概念受到身体经验的影响程度也在讨论范围中，本文通过梳理一些经典的具身观理论和研究范例，详细论述了身体经验对具体概念和抽象概念加工和形成的影响，发现不仅是具体概念和抽象概念之间有具身性差异，同一类概念间的不同概念之间也会存在身体经验参与程度的不同，因此，本文试图以概念的具身等级性为基础提出一个在概念形成上的不同概念间的统一的理论假设。 The viewpoints of embodied cognition advocate that cognition is essentially embodied and the body plays a pivotal role in the cognitive processing. The concept is the basis of cognitive activity. Therefore, this paper explored the process of concept formation in embodiment perspective, and tried to explain how the body experience affected the process and representation of a concept.

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Expression forms and emotional reactions

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Expression forms and emotional reactions

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MUSEO DE ARTE CONTEMPORÁNEO DE PUERTO RICO

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Expressive Forms - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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The Nature of Prejudice is a 1954 social psychology book by American psychologist Gordon Allport, on the topic of prejudice.

The book was written by Gordon Allport in the early 1950s and first published by Addison-Wesley in 1954. Thomas F. Pettigrew and Kerstin Hammann selected, as the book's most lasting contribution, its success in redefining the relation between intergroup contact and prejudice. While some previous scholars argued that contact between different groups leads to increased prejudice and conflict, Allport argued to the contrary, a view that Pettigrew and Hammann describe as supported by "literally hundreds of studies from dozens of nations".

Another idea introduced in the book became known as Allport's Scale, a measure of prejudice starting from antilocution and ending up at genocidal extermination. In simpler terms, Allport argued that even simple prejudice, if left unchecked, can develop into an extreme form.

The book was called a classic a decade after its initial publication, in 1965. Irwin Katz, writing in Political Psychology in 1991 on the topic of "classics in political psychology", called the book a landmark and "one of the most influential and often-cited publications in the entire field of intergroup relations". In 2016 Pettigrew and Hammann described the book as "probably the most read volume in the history of social psychology", noting that it has received numerous translations and remains influential in the modern study of prejudice. In a volume published roughly on the fiftieth anniversary of the book's original debut, On the Nature of Prejudice: Fifty Years after Allport (2008), the authors referred to Allport's book as "the fundamental work for social psychology of prejudice" and the most widely cited work on the subject, still used in teaching and quoted in modern research. Most contemporary research on how racism shapes public opinion is rooted in The Nature of Prejudice.

A further influence of the book was the later formulation of the common ingroup identity theory. Pettigrew and Hammann also credit Allport's ideas with influencing government policies, in the United States and elsewhere, which have successfully reduced levels of prejudice.

Describing the book's significance, Katz noted that it "defined the field of intergroup relations for social psychologist as the study of prejudice and its effects on group interactions". He noted, however, that Allport's assumption that prejudice causes discrimination has still to be proven beyond doubt; though other scholars also stressed that many of other assumptions Allport expressed in the book have become accepted since its publication.

In addition to being highly influential in the field of social psychology, the revised (and shortened) second edition of the book ( The Nature of Prejudice: Abridged) published in 1958 was also a success on the mass market, being written in a relatively simple way that was accessible to a general readership. One of the reasons for its success, in Pettigrew and Hammann's opinion, was the boldness of its topic: while targeting a white, Protestant, American, and mostly male readership, it discussed numerous examples of anti-African-American, anti-Jewish, anti-Catholic, and anti-female prejudices.

1. ^ Pettigrew, Thomas F., & Hammann, Kerstin. Gordon Willard. 2016. Allport: The nature of prejudice. In S. Salzborn (Ed.), Klassiker der Sozialwissenshaften [Classics of social science]. pp. 174-178. Wiesbaden, Germany: Springer. [English version].

2. ^ Caless, Bryn; Tong, Steve (18 January 2017). Leading Policing in Europe: An Empirical Study of Strategic Police Leadership. Policy Press. p. 203. ISBN 978-1-4473-1574-2.

3. ^ Gordon, Albert I. (1965). "Review of The Nature of Prejudice by Gordon W. Allport; The Religious Factor by Gerhard Lenski; Protestant, Catholic, Jew by Will Herberg; Religious Conflict in America by Earl Raab; American Race Relations Today by Earl Raab". American Jewish Historical Quarterly. 55 (1): 107-109. JSTOR 23873648.

4. ^ Katz, Irwin (1991). "Gordon Allport's "The Nature of Prejudice"". Political Psychology. 12 (1): 125-157. doi:10.2307/3791349. JSTOR 3791349.

5. ^ John F. Dovidio; Peter Glick; Laurie A. Rudman (15 April 2008). On the Nature of Prejudice: Fifty Years after Allport. John Wiley & Sons. p. 1. ISBN 978-1-4051-5192-4.

6. ^ Cramer, Katherine (2020). "Understanding the Role of Racism in Contemporary US Public Opinion". Annual Review of Political Science. 23: 153-169. doi:10.1146/annurev-polisci-060418-042842.

7. ^ Dovidio, John F. (2001). "On the Nature of Contemporary Prejudice: The Third Wave". Journal of Social Issues. 57 (4): 829-849. doi:10.1111/0022-4537.00244. ISSN 0022-4537.

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The Nature of Prejudice is a 1954 social psychology book by American psychologist Gordon Allport, on the topic of prejudice. The book was written by Gordon Allport in the early 1950s and first published by Addison-Wesley in 1954. Thomas F.

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In biology, color bias refers to the tendency for organisms to perceive and respond to certain colors more strongly or preferentially than others. This bias can arise from evolutionary adaptations, ecological pressures, or physiological factors. For example, many pollinators, such as bees and butterflies, are attracted to flowers with specific colors, such as bright blues, purples, and yellows, which are often associated with high nectar rewards. Similarly, predators may be more sensitive to certain colors when hunting for prey, while prey species may use coloration as a form of camouflage or warning signal. In addition, color bias can influence mate choice and reproductive success in many species, with individuals displaying vibrant or conspicuous colors to attract mates or establish dominance within a social group. Overall, color bias in biology reflects the complex interplay between sensory perception, ecological interactions, and evolutionary pressures shaping the diversity of coloration and color-related behaviors observed in the natural world.

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Color sense of cognition from different figure 19/04/24

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Color sense of cognition from different figure 19/04/24

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different between human cognition and animals view. we alway want to get more care about the animals for protect them, or maybe do some good thing to our pets. But we always stand on a view of human being, we will unconsicously the think that is better for animal the might like it.

Why Bull would be agreeesive when that saw the red color. what kinds of emotions or sign its want to express? The bias in human and animals is wildly huge range, how to build an connection with animals to understand their feeling?

Follow the research with animals view, color cognition with different animals. Create paintings using colors that animals can recognize. Build a visual bridge that allows humans and animals to communicate

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Seeing red? Colour biases of foraging birds are context dependent - Animal Cognition

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Colours are commonly used as visual cues when measuring animals’ cognitive abilities. However, animals can have innate biases towards certain colours that depend on ecological and evolutionary contexts, therefore potentially influencing their performance in experiments. For example, when foraging, the colour red can advertise profitable fruits or act as a warning signal about chemically defended prey, and an individual’s propensity to take food of that colour may depend on experience, age or physical condition. Here, we investigate how these contexts influence blue tits’ (Cyanistes caeruleus) and great tits’ (Parus major) responses to red-coloured almond flakes. We found that juvenile birds preferred red both when it was presented simultaneously with green, and when it was presented with three alternative colours (orange, purple, green). Adult birds, however, only preferred red after a positive experience with the colour, or when it was presented with the three alternative colours. We then tested whether colour influenced avoidance learning about food unpalatability. Despite the prediction that red is a more salient warning signal than green, we found only weak evidence that birds discriminated red unpalatable almonds from a green palatable alternative more quickly than when the colours were reversed. Our results suggest that biases towards red food may depend on birds’ age and previous experience, and this might influence their performance in experiments that use red stimuli. Considering the ecological relevance of colours is, therefore, important when designing experiments that involve colour cues.

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颜色是通过眼、脑和我们的生活经验所产生的一种对光的视觉效应，我们肉眼所见到的光线，是由波长范围很窄的电磁波产生的，不同波长的电磁波表现为不同的颜色，对色彩的辨认是肉眼受到电磁波辐射能刺激后所引起的一种视觉神经的感觉。

物质本身的颜色和我们所能看到它的颜色是不一样的。由于眼睛构造的不同，同样的物质，人类和动物看到的颜色也不一样。那今天小五带着大家一起来看看多彩的世界，还有有趣的动物视觉。

不要以为一只苍蝇眼中的世界是这样的：当你拿着苍蝇拍靠近它，它看到了一群拿着苍蝇拍的人......因为组成复眼的小眼无法有效的成像，只能侦测光源的有无（和文章中的蜜蜂很类似）。所以，真实的苍蝇复眼视觉其实是比较接近透过毛玻璃看马赛克拼贴的画面，其解像能力是很差很模糊的。

不过，也正因为如此，教给你一个简单驱赶苍蝇的方法： 找个透明塑料袋，装上水，里面放几枚硬币，然后把这个袋子悬挂放在一个采光好、苍蝇常出没的地方。

呃，请试着想象自己是一只苍蝇--水中数以百万计的水分子制造出一种特殊的棱镜效应，这意味着这么多的水分子以一种非常特殊的方式折射光线。而加入的硬币，被折射光线的积累效应也随之不断增强......这就意味着，这个水袋在苍蝇眼里几乎就是舞厅里的迪斯科球，它们会心烦意乱，感觉马上要受到捕食者的攻击，所以会尽快逃离。

文/Elizabeth Preston

译/刘玥

原文/ http:// nautil.us/issue/11/ligh t/how-animals-see-the-world

一些动物，包括你的宠物在内，可能多少都有点色盲，但是在某些方面，它们的视力可不比你差。生物对周围世界的视觉感知取决于它们的眼睛对光的处理方式。人类是 三色视者--意思就是我们的眼睛拥有三种被称为"视锥细胞"的感光器，对 红色，绿色和蓝色敏感。另一种被称为"视杆细胞"的感光器能感受弱光，让我们在暗处也能看清物体。而动物对光有着不同的处理方式-- 一些生物只有两种感光器，使它们无法辨别部分颜色；有些生物拥有四种感光体，能够看见紫外钱；还有一些能够分辨偏振光，即在一固定平面震动的光波。

从事视觉生理学研究的马里兰大学教授托马斯·克罗宁说："我们总认为我们能够猜出动物在想什么。"但是虽然猜测动物的想法只是个幻想，我们还是可以通过动物的眼睛来观察这个世界的。
猫

人眼中的世界

瑞典隆德大学的动物学教授，《动物之眼（Animal Eyes）》的合著者，丹-艾瑞克·尼尔森说："我们永远不会知道一只猫会有何经历。"但我们几乎能够见其所见。 与人类不同，猫是二色视者；它们的视网膜中只有两种视锥细胞。

尼尔森说，它们眼中的世界与红绿色盲眼中的世界相似。要给猫眼中的世界制作模型，我们就得把所有红色或绿色的东西做成一个颜色。

猫眼的分辨率没有人类的高，这就意味着它们眼中的世界更加模糊。由于我们的视网膜中央挤满了视锥细胞，我们的视力水平位于动物界前列。尼尔森说，比起人类，猫的昼视觉模糊了大约六倍，在上图中并没有显示出这一点。但是，由于猫比人拥有更多的视杆细胞，所以在月光下它们的优势就显现了出来。
蜜蜂

比起人类，猫的昼视觉模糊了大约六倍，所以猫眼中白天的世界应该更接近左图

蜜蜂眼中的世界

人眼中的世界
鸟

和人类一样，蜜蜂是三色视者。但是它们的三种感光器不是对红色、绿色和蓝色敏感，而是对 黄色、蓝色和紫外线敏感 。蜜蜂能看见紫外线的能力使得它们能够辨认花瓣上的图案从而找到花蜜。尼尔森说，事实上，蜜蜂能分辨许多种紫外线光谱范围内的光线，所以"它们可能能分辨多种紫外线的颜色"。

与只有一对晶状体的人眼不同，蜜蜂复眼里有成千上万的晶状体，使其表面就像足球的表面一样；每一个晶状体都会在蜜蜂的眼里产生一个 "像素"。但这一视觉机制也是有代价的--蜜蜂眼睛的分辨率极低，所以它们眼中的世界是非常模糊的。尼尔森将这一设计称为"对眼睛可用空间的最愚蠢的利用方式"。他说， 如果人类也有复眼，并且其功能还与我们真正的眼睛一样好，那我们的每只复眼都得有呼啦圈那么宽。

上图并没有显示出蜜蜂的视力有多模糊--如果要显示出来的话，我们就几乎什么都看不清了。 但是这张照片确实描绘出了我们无法看见的紫外线景象。
响尾蛇

鸟眼中的世界

人眼中的世界

乌贼

与人类不同，鸟类是 四色视者。它们眼中的四种视锥细胞能让它们辨别 红色、绿色、蓝色和紫外线。尼尔森说，一些肉食鸟的视力比人都好。一只巨鹰的视觉分辨率比我们高出大约2.5倍。

如果尼尔森真能进到其他动物的脑袋里，"鸟类的应该会很有趣，"他这样说道。但是我们既不能拥有超出人类极限的分辨率，也不能看见紫外线--因为我们并没有相应的感光器和脑神经元。我们能用双筒望远镜看清一只鹰能看清的远方物体，还能用照相机将紫外线转换为我们能够分辨的颜色，但是要是没有这些设备，"人类是无法真正感受巨鹰眼中的世界的，"尼尔森这样说道。

响尾蛇眼中的世界

人眼中的世界

响尾蛇白天对色彩的分辨力并不强，而在晚上其分辨率则有所加强，因为响尾蛇有许多视杆细胞。但响尾蛇的出众之处是它们能辨别 红外线。与毒蛇、大蟒和蟒蛇相似，响尾蛇拥有特殊的感知工具，即" 窝器"--一对小孔，分别位于其眼睛与鼻孔之间的口鼻部的两边。旧金山加利福尼亚大学的生理学教授戴维·朱利叶斯说，在其窝器内有一层能感应温度的薄膜。他发现， 在与这种薄膜相连的神经细胞上，有一种名为TRPA1的神经接受器，让蛇能够将红外线转化为神经信号。 人体内也有同样的接受器。在我们吃某些辛辣食物，比如芥末酱或芥末时，这种接收器就会让我们感到舌头刺痛。但是对蛇而言，这种接收器能检测到附近猎物的体温。

响尾蛇的大脑会将窝器得到的信息与眼睛得到的信息相融合，这样一来猎物的热像就会和视觉图像相重合。朱利叶斯说，要模拟蛇眼中的世界其实并不难--只要有一架红外摄像机就行了。

乌贼眼中的世界

人眼中的世界

要通过头足类动物，比如乌贼、章鱼或鹦鹉螺的眼睛看世界，这就需要我们充分发挥奇思妙想了。海洋生物眼睛的进化方式与脊椎动物不同，所以它们的图像处理机制与我们的大相径庭。比如，头足类动物的眼睛是 没有盲点的。乌贼的瞳孔呈"W"形，使其在海中追捕食猎物时凶猛无比。

虽然乌贼的捕食能力强大，但是其视力并没有我们好。 "它们看不清报纸上的小号字体，"托马斯·克罗宁说，"它们只能看清标题。"而且，虽然它们的变色能力强得让人难以置信--转眼之间就能从米黄色变为血红色或条纹图案--但是 乌贼是彻彻底底的色盲 。

克罗宁说，乌贼的眼睛中的一种感光器使其眼中的世界呈灰色调，另外一对感光器感应的是偏振光。人类只有在佩戴太阳镜时才能感受偏振光：太阳镜正是通过过滤掉一种定向震动的光波来减少阳光的刺眼度的。但是与乌贼不同，我们并没有能够辨别偏振光的感光器。

乌贼能在体表产生偏振光图案与其他乌贼交流。与同类对视时，乌贼能看见带有偏振光信息的灰色调的世界，这与响尾蛇对红外线的感应相似。

"我认为，我们是可以进入狗，猫或猴子的大脑中去观看它们眼中的世界的，"克罗宁说，"因为它们的大脑与我们的相似。"但是像乌贼这样的动物与我们的进化差别太大了--它们的大脑和感知方式与我们有着天壤之别--使得我们永远都无法了解他们的经历。 克罗宁说："我认为我们是无法进入它们的大脑的。"但是，他又补充道，"但是想象一下还是挺有趣的。"

色彩是视觉传达信息的一个重要因素，能表达情感，能给人们带来不同的情绪、精神以及行动反映。近几年，人们对于健康的关注越来越多，面对不同的生活压力和工作压力，身心疲惫，但人们又不知道怎样去调节种种压力，而色彩在某种程度上担当了这一角色。一个人所处的色彩环境不同，他(她)所表现出来的心理和身体的感受也会不同。

在我们生活的空间，到处都是五彩斑斓的色彩，也许人们早已习惯与色彩相伴，但并没有在意这些神奇的现象，正是这些不同的色彩，与人们生活的各个环节息息相关，包括健康。

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色界丨动物眼里的世界是什么颜色？

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颜色是通过眼、脑和我们的生活经验所产生的一种对光的视觉效应，我们肉眼所见到的光线，是由波长范围很窄的电磁波产生的，不同波长的电磁波表现为不同的颜色，对色彩的辨认是肉眼受到电磁波辐射能刺激后所引起的一...

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五色比象，昭其物也。世间万物皆可以色述之，色乃基本特征之一。言及生命之色彩，何止五颜六色、万紫千红！自然造物，鬼斧神工，五气五色，甚至形体色理，以目异。
--中科院动物研究所工程师、国家动物博物馆研究馆员张劲硕

色彩是如何产生的？《眼生万物》一书从5.53亿年前到2000万年前讲起，通过生物体眼睛的演化，逐步探索了眼睛是如何从只能感知明暗到看见色彩斑斓的世界。随着视觉的突飞猛进，催生了动物对色彩的精湛运用，人类也产生了色彩文化，彷佛色彩开始具备了新的意义。《眼生万物》获得了《英国卫报》、《TimeOut伦敦》评论家五星推荐，也受到了我国自然博物馆人员高度赞扬。

下面，让我们从物理学、生物学、心理学三个角度，走进"色彩"的神秘世界。

产生色彩的基本原理

自然界总共有多少种色彩呢？我们人类又能分辨出多少呢？在解开这一切的谜题之前，我们需要先了解产生色彩的基本原理是什么。
从物理学中，我们得知：颜色是由不同波长的电磁波组成。而我们人眼的可见光波长为400～780纳米之间，某些天生感知能力强的人则可以捕捉到380～880纳米的波长。 1665年，科学家艾萨克·牛顿通过三棱镜的折射将太阳光分解为红、橙、黄、绿、蓝、靛、紫七种主要色彩，称之为光谱。其中较短的波位于光谱中蓝色和紫色那端，中长波位于光谱中黄色和绿色的中间段，较长的波则位于光谱中红色和橙色的顶端。

色彩的产生方式是怎样呢？其实，它与光波的波长有着重大关系。
色彩的产生方式主要有两种：结构和色素。 结构色是通过物体的表面特征产生的颜色，而这些表面特征多为脊、孔或投射多分子层等微小的结构。正因如此，结构色会随着落在物体表面的光照角度以及光被观测的角度而发生变化。
比如生活中我们常见的DVD和CD，通过调整观察角度，DVD和CD会展现出彩虹般的闪烁效果。

色素色是着色物质或色素通过选择性地吸收、散射或反射不同波长的光而产生色彩。与结构色不同，色素色不随光照角度和观测角度的变化而变化，在生活中也更为常见。
谈到"色素"，很多人都会想到纺织行业与服装行业，这些染料大多是由天然动植物中提取出的色素组成，不仅需要考虑潮流元素，更要符合洗涤、摩擦、日晒等要求。

比如金丝雀羽毛中的黄色素就吸收或散射太阳光中除黄色以外的所有波长，只反射570～590纳米波长的黄色光。
在大自然中，由于不同物体的表面特征、透射性质和反射特性，以及太阳光照射在物体上的角度等因素各不相同，才造就了自然界斑斓多彩的景象。
自然界对色彩的运用

生物学家达尔文在《人类的由来及性选择》一书中指出："根据我们的判断，各类动物色彩为某种特殊目的被修改的行为要么出于直接或间接的保护目的，要么出于两性之间的吸引。"
自然界对色彩的运用不胜枚举：警告、恐吓、引诱、排斥、求偶、调节体温等等。在这些行为中，色彩无疑发挥着重要的作用。
许多分泌毒液的生物都具有明亮的色彩，这种现象并非巧合。1878年，德国自然学家弗里茨·米勒对这一现象做出了解释，提出米勒式拟态理论。即生物之间互相复制或模仿具备明亮色彩警戒色的现象，目的是为了给捕食者或敌人统一的信号，起到威慑的作用。

在遇到捕食者或敌人时，有毒物种会发出各种警告。比如令人不安的声音，令人厌恶的臭味，还有令人害怕的色彩鲜艳、反差鲜明的视觉图案。

一些生物并无毒素，为了在自然界得以生存，它们具备与周围环境融合的伪装技术--保护色。 比如北极熊与冰雪世界融合的白色，这可以帮它捕捉到竖琴海豹的幼崽；茶色蟆口鸱这种鸟类的羽毛由银色、灰色、米色、棕色、黑色的斑点和条纹组成，这可以与树皮外形完美融合，避免了被敌人识别攻击；还有大家熟知的变色龙，甚至可以改变着色来匹配不同环境。

除此之外，一些生物还可以通过改变颜色来调节自己的体温。物理学表明，颜色较深的物体所吸收的热量更多，并因此升温。海龟会通过肤色变深与伸展四肢的方式来使自身升温，通过肤色变浅与收回四肢防止身体过热。

在一些物种中，雄性会使用色彩，伴随着展示行为、声音、气味等方式，吸引异性前来交配。而使用绚丽的色彩则是向潜在配偶展示自己的强壮与健康，是将基因延续的合适人选。 比如尾羽华丽的孔雀以及带有蓝红色面部的山魈。

由于光的存在，自然界产生了绚丽多姿的色彩，各种生物为了生存又将色彩大加利用。彷佛这一刻，色彩除了它的物理属性，又衍生出了新的意义。
色彩文化与人类的心理息息相关

我们人类虽不如动物会产生毒液警告潜在敌人，亦不会利用我们的天然肤色做伪装。然而，我们却乐于使用各种各样的方式为我们的生活"增添色彩"。

服装、头发、指甲、卧室墙壁、建筑、各类商品，甚至包括食品与饮料等，全部都被色彩所充斥。 我们通过视觉与色彩的不断互动，开始形成色彩文化。久而久之，色彩已经不知不觉对我们的情绪、心理和行为造成影响。当不同波长的色光进入我们的眼睛，诸如冷暖、软硬、轻重等心理感应也开始涌入心头。

色彩也有温度，这里的温度并不是色彩具备物理属性中的冷暖，而是色彩感知带给人类色彩认知中的冷暖体验。当我们冬天看到红色时，往往会有一种熊熊火焰燃烧般温暖的感觉；当我们夏天看到蓝色时，又会有一种冰冷的凉爽感觉。

这是因为， 在我们的色彩心理感知认知中，偏向于认为诸如蓝色等短波光线色彩让人感到寒冷，诸如红色等长波光线色彩让人感到温暖。

从我们通过生活经验的认知中得知：棉花是软的，石头是硬的；云朵是软的，钢铁是硬的。通过大量的视觉色彩经验，我们发现色彩的软硬与明度和饱和度息息相关。

明度低、饱和度高的色彩给人坚硬、冷漠的感觉；明度高、饱和度低的色彩则给人柔软、亲切的感觉。
当我们看同样大小的两个物体时，往往黑色给人感觉重一些，白色则轻一些。这是由于我们人类对色彩的联想产生了心理轻重的感知。黑色会让人想到金属、煤块、钢铁等厚重物品，白色则会让人想到雪花、棉花、薄雾等轻柔物质。

色彩的轻重主要取决于纯度和明度。明度高的色彩感觉轻盈、明度低的色彩感觉沉重。当明度相同时，纯度高的色彩感觉相对较轻，而纯度低的色彩则感觉相对较重。
除此之外，色彩也与人类的个性特征相关，设计师与艺术家会运用色彩来抒发个性的表现力。红色象征着激情、强大、澎湃的精神；橙色代表着热情和鼓励；黄色给人透明、辉煌的印象；绿色象征着生命、健康与活力；蓝色则具有冷静、悠远、忧郁等神秘特质。

眼生万物--看见看不见的"视"界

1665年，牛顿揭示了光的秘密，向世间展示了太阳光的七种色彩；1871年，达尔文揭示了色彩的秘密，让人类了解了自然界对色彩的运用；20世纪，系统的色彩心理学理论相继诞生，让我们意识到色彩与人类的心理息息相关。

经过计算，自然界存在大约1677万种色彩，这让世界变得如此丰富多彩。若没有眼睛去看，色彩岂不是失去了意义，人类也无法深入体会大自然的迷人魅力。我们人类的眼睛对色彩的体验有不少限制因素，大概能辨认出百万种色彩。随着科学技术的发展，科学家可以通过检测红外线、紫外线等设备，将图像转换为可见光，让人类得以看到肉眼无法感知的事物。

技术的进步拓展了人类的"眼界"，让我们可以看见更多看不见的"视"界。

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《眼生万物》：三种认知角度，带你领略世间万物之好"色"景象

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五色比象，昭其物也。世间万物皆可以色述之，色乃基本特征之一。言及生命之色彩，何止五颜六色、万紫千红！自然造物，鬼斧神工，五气五色，甚至形体色理，以目异。--中科院动物研究所工程师、国家动物博物馆研究馆员张劲硕 ...

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Comfort Paradise [A journey to show the relevant between color sense and emotional expression]

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Comfort Paradise [A journey to show the relevant between color sense and emotional expression]

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色觉是一個生物體或機器基於物體所反射，發出或透過的光的波長（或頻率） 以區分物體的能力。在本質上，不同的人也許會以不同的方式看同一個物體。眼睛构造的不同，同样的物质，人类和动物看到的颜色也不一样。在心理学上，色彩通常与生物体的情绪有关。颜色对情绪的影响同样也是相对的。

色觉使得不同生物之间所看到和认知的世界都存在大大小小的差异。 因为颜色之识别的信息之偏差，所能感受到情绪也会有所不同。 通过利用不同物种的色觉认知对于颜色带来的情绪认知，去视觉化颜色对于情绪理解的差异。利用视觉化语言建立起颜色和情感的相互作用。有赖于使用视觉艺术去和观众作有效的‘对话’。

旨在强调不同物种间对于色彩感知和情绪上的建立起共通点的“语言”

Formations 展现方式

[1]

绘本[叙事性故事,

科普类or 纯故事叙述

[2]

琉璃窗/满洲窗 [利用色彩与情绪关系在视觉上的转译与再造]

窗+结合拼图特性

琉璃窗的色彩结合光的折射具有短暂性和不确定性。对于图像的移动，利用类似拼图，积木可拆分重组的方式。以不断变换作品[琉璃窗] 的排序喝光影的环境形成对同一作品不同的诠释。

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Language - changes the color in your eyes and mine 24/02/24

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Language - changes the color in your eyes and mine 24/02/24

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The human eye can perceive millions of colors, but not all of them can be distinguished.

Some people are unable to distinguish between colors, commonly known as color blindness, because their retinas lack a type of cone cell that is sensitive to longer wavelengths of light. However, even if you are not color blind, everyone will see the same color slightly differently, because the distribution and density of cone cells vary from person to person.

In addition to this individual physiological modification of color, human color perception is not only about seeing what the external world is like, but also about how our brains interpret these colors to classify things and give them meaning. The concept of color occurs mainly in our minds and is therefore subjective and can be influenced by personal experience.

Take synesthesia (in neuroscience, a phenomenon in which one sensory stimulation or cognitive pathway spontaneously causes another perception or cognition) as an example. People with synaesthesia can perceive colors when they see letters or numbers. Synesthesia is also often described as synesthesia (sensory connection), which means that some people can see sounds and hear colors. But the colors they hear also vary from person to person. Another classic example is Adelson's checker-shadow illusion. In this picture, although the two marked squares are the same color, our brains think otherwise.

From the day we are born, we learn to use language to categorize objects, colors, emotions, and pretty much anything meaningful. Although our eyes can perceive thousands of colors, the way we use language and communicate in our daily lives means that this vast array of colors must be divided into recognizable and meaningful categories.

Just like the various color terms used by painters and fashionistas to refer to and distinguish hues and lightness, in fact, to laypeople, they may be the same word.

Different language and cultural groups have completely different color spectrums. Some languages, such as Dani, spoken in Papua New Guinea, and Bassa, spoken in Liberia and Sierra Leone, have only two words for color, "dark" and "light." "Dark" roughly translates to cold tones in other languages, and "light" to warm tones. So colors such as black, blue, and green can be interpreted as cool colors, while light colors such as white, red, orange, and yellow can be interpreted as warm colors.

The Warlpiri people live in northern Australia. The language of these indigenous people does not even have a word for "color". For human groups in cultures like this, what we call "color" is described using a variety of words referring to materials, physical sensations, and functional purposes.

It's worth noting that most of the world's languages ​​have five basic color terms. From the Himba people on the plains of Namibia to the Boyinmo people in the lush tropical rainforests of Papua New Guinea, the color systems of these various cultures all consist of five characters. In addition to dark, light, and red, these languages ​​usually have a word for yellow and a word for blue and green. That is, these languages ​​do not have separate words for "green" or "blue", but use the same word to describe both colors, a "blue-green".

Historically, there was a word for "blue-green" in Wales, England, called "glas", and there were similar words in Japan and China (the Chinese word was called cyan). Today, the words that originally meant "blue-green" in these languages ​​can only mean blue, and another word is used to mean green. This is either due to changes within the language, as in the case of Japanese, or the borrowing of foreign words, as in the case of Wells.

Russian, Greek, Turkish, and many other languages ​​have two different words for blue, one specifically for dark blue and one for light blue.

Perception of color also changes throughout a person's life. Greek speakers have two basic color words to describe dark blue and light blue, "ghalazio" and "ble". However, if you live in the UK for a long time, you will feel that these two colors tend to be the same color. Because in English, both colors are based on the same color word - blue.

After living in an environment where English is spoken every day for a long time, the brains of native Greek speakers begin to classify dark blue and light blue as the same color.

In fact, differences in language can affect our perception of all aspects of life, not just color. In our lab at Lancaster University in the UK, we study how using and being exposed to different languages ​​changes the way people perceive everyday objects. It turns out that learning a new language gives the brain the ability to reinterpret the world, including how we see and process color.

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www.psychspace.com心理学空间网

语言--改变你我眼中的色彩

人类的肉眼能感知上百万种色彩，却并非能一一辨别出来。

有些人无法分辨色彩间的差异，俗称色盲，因为他们的视网膜中缺乏一种对波长较长的光线十分敏感的视锥细胞。不过就算不是色盲，每个人看同一种颜色时也稍有区别，因为视锥细胞的分布和密度是因人而异的。

除了这种个体生理上对颜色的修正，人类的色彩感知不仅仅是看清外部世界到底什么样，更是关乎我们的大脑如何阐释这些色彩，以对事物分门别类，赋予意义。色彩的概念主要出现在我们的脑海中，因而是主观的，能为个人经验所左右。

以 通感（ 神经科学 中指一种感官刺激或认知途径会自发引起另一种感知或认识的现象）为例。有通感的人，看见字母或数字时能感受到色彩。也经常有人将通感描述为连觉（感觉连接），也就是有的人可以看到声音、听到颜色。不过他们所听到的颜色也是因个人而异。

另一个例子十分经典--奥尔德森的方格阴影错觉（Adelson's checker-shadow illusion）。这张图里，虽然两个有标记的方块是同一个颜色，但我们的大脑却不这么想。

从生下来那天起，人们就开始学习用语言给物体、颜色、 情绪 ，几乎所有有意义的事物分类。虽然我们的眼睛可以感知数以千计的颜色，但我们日常生活中使用语言、交流语言的方式，都意味着得把这一大堆颜色划分出可辨认、有意义的类别。

就像画家和时尚达人用来指代和区分色调及明暗度的各种色彩术语，其实到了外行人那儿，可能就是同一个词。

不同的语言和文化群体，划分色谱也截然不同。一些语言，比如如巴布亚新几内亚所说的丹尼语，利比里亚和塞拉利昂所说的巴萨语，颜色只有两个词，"暗"和"亮"。"暗"大致可译为其他语言中的冷色调，"亮"为暖色调。所以黑、蓝、绿等颜色可解释为冷色，而白、红、橙、黄等浅色调可解释为暖色。

瓦尔皮里人生活在澳大利亚北部，这些土著的语言里甚至没有"颜色"一词。对于类似这种文化的人类群体而言，我们所谓的"颜色"，他们是用各种指代材质、身体感觉和功能目的的词来描述。

值得注意的是，世界上大多数语言都有五个基本颜色术语。从纳米比亚平原上的辛巴族，到巴布亚新几内亚苍翠繁茂的热带雨林中的伯因摩族，这些形形色色的文化，其色彩体系都由五个词组成。 除了暗、亮、红，这些语言通常都有一个表示黄色的词，一个表示蓝和绿的词。也就是说，这些语言没有单独表示"绿"或"蓝"的词，而是用同一个词来描述这两种颜色，即一种"蓝绿色"。

历史上，英国威尔士有一个表示"蓝绿色"的词，叫"glas"，日本和中国也有类似的词（中国这个词叫青色）。如今，这些语言中原本表示"蓝绿色"的词都只能表示蓝色，而用另外的词表示绿色。这要么是源自语言内部的变化发展，比如日本，要么是借用了外来词，如威尔士。

俄语、希腊语、土耳其语和许多其他语言，都有两个不同的词来形容蓝色，一个专指深蓝，一个指浅蓝。

人的一生中，对色彩的感知也会变化。说希腊语的人形容深蓝和浅蓝时有两个基本色彩词，"ghalazio"和"ble"，不过若是长期住在英国，就会觉得这两个颜色趋于同色。因为在英语中，这两个颜色都基于同一个颜色词--蓝色。

长期生活在天天都讲英语的大环境中，以希腊语为母语的人大脑就开始将深蓝和浅蓝归纳为同一种色彩。

事实上，语言的不同能影响到我们对生活中方方面面的感知，而不仅仅只有颜色。在英国兰卡斯特大学的实验室里，我们研究了使用和接触不同的语言，如何改变人们感知日常物体的方式。最后证明，学习一门新语言 ，像是赋予了大脑一种重新阐释世界的能力，包括我们如何看待和处理色彩。

www.psychspace.com心理学空间网

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语言--改变你我眼中的色彩 - 心理学空间

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语言--改变你我眼中的色彩人类的肉眼能感知上百万种色彩，却并非能一一辨别出来。有些人无法分辨色彩间的差异，俗称色盲，因为他们的视网膜中缺乏一种对波长较长的光线十分敏感的视锥细胞。不过就算不是色盲，每

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中国民间故事代表什么颜色-好想看

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东方为木，色为青。南方为火，色为赤。西方为金，色为白。北方为水，色为玄（即黑色）。中央为土，色为黄。四象神兽就是东苍龙，南朱雀，西白虎，北玄武。在中国几千年的历史中，除了先秦以及秦朝，人们对于颜色的使用在很长时间是五彩缤纷的，同今天人们认识的相反，明朝之前的古人并不是特…

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Language: Color Terms and Color Cognition 25/02/25

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Language: Color Terms and Color Cognition 25/02/25

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你是否曾覺得藍色憂鬱、綠色代表嫉妒，或是看到紅色就感到生氣呢？或是你曾因為出乎意料（英文可用out of the blue形容）得到良機（golden opportunity）而心花怒放（tickled pink）？顏色在生活裡扮演非常重要的角色，甚至可以形塑我們描述情緒的方式，以及 設計的風格，在商業 行銷上，善用顏色的象徵，更有有助於創造大眾有感、會心一笑的 視覺 廣告。

世界各地不同的文化看待和描述顏色的含意差異很大。舉例來說，賴比瑞亞的巴薩人只用兩個字來分別顏色（ziza代表紅/橘/黃色，hui表示綠/藍/紫色），但是因紐特人光是形容白色就有17個用字，根據不同的雪況而有所調整。

以下深入探討世界各地不同顏色的含意及象徵。

藍色

藍色被認為是世界上最安全的顏色，因為它有許多正面的聯繫。在北美洲和歐洲，藍色代表信任、安全以及權威，也被視為是撫慰並平和的。然而它也可能表示抑鬱、孤單和傷心（因此有藍色憂鬱的說法）。

在一些國家中，藍色象徵了治癒和驅邪。被相信可以對抗邪惡的藍色眼形護身符，在土耳其、希臘、伊朗、阿富汗和阿爾巴尼亞都很常見。在東方文化裡，藍色象徵永生，而烏克蘭則認為它表示健康。印度教中的藍色和主奎師那神有莫大關聯，代表愛與神聖的喜樂。

綠色

綠色在西方文化裡代表好運、自然、新鮮、春天、環保意識、財富、缺乏經驗以及嫉妒（英文中「綠眼怪」的說法）。當然。綠色也是愛爾蘭的代表色，更因其蔥鬱的綠色大地景觀而贏得「翡翠島」的稱號。

印尼傳統中綠色是被禁止的，但在墨西哥它卻是代表獨立的民族色彩。綠色在中東地區則象徵繁衍、好運以及財富，也被視為伊斯蘭教的傳統顏色。東方文化裡，綠色有青春、繁衍和新生的含意，但也有情感不忠的意思。事實上在中國，綠帽對男人們來說是大忌，因為它代表了妻子偷情！

紅色

紅色在西方文化裡象徵著激動、活力、熱情、行動、愛，以及危險。在俄羅斯等國家，它也與共產主義和革命有關聯。在亞洲文化裡，紅色是非常重要的顏色-它象徵了好運、歡樂、繁榮、慶典、快樂以及長壽。因為紅色是這麼吉祥的一個顏色，新娘在婚禮上通常穿著紅色禮服，在節慶及特定場合中也會包紅包。

紅色在印度會有純潔、好色，和靈性的聯想。另一方面，非洲有些國家把紅色視為死亡，而在奈及利亞則代表了侵略以及活力。埃及把紅色當成幸運符，而伊朗的紅色象徵了好運和勇氣。

黃色

在西方社會裡，黃色就是快樂、激勵、樂觀、溫暖（如同陽光的顏色）、歡樂，以及希望的代表，也和警告與怯弱有聯繫。在德國，黃色代表嫉妒，但在埃及，它傳達了快樂和好運的含意。

橘色

橘色在西方文化中代表秋天、豐收、溫暖，以及顯著。印度教裡的藏紅色（一種柔和的橘色）被認為是吉祥和神聖的。荷蘭的橘色是皇室代表色，但在哥倫比亞它代表了性與繁衍。東方社會中的橘色象徵著愛、快樂、謙遜和健康。佛教裡和尚的袍子通常是橘色的。

紫色

紫色在全球各地通常會與王權、財富、靈性，以及貴族作為聯想。日本在歷史上只有最高級別的和尚才能穿紫袍。紫色也會被聯繫為虔誠與信仰，在天主教中則是懺悔。然而在巴西和泰國，紫色是哀悼的顏色。它也是榮譽的色彩-紫心勛章是美國軍方歷史最悠久，且目前還持續頒發的榮譽獎章。

白色

西方文化裡，白色象徵純潔、優雅、和平以及整潔；傳統裡新娘會在婚禮中穿白色禮服。但對於中國、韓國以及部分亞洲國家來說，白色代表死亡、哀悼與厄運，所以傳統上是喪禮中穿著的顏色。在祕魯，白色聯繫著天使、健康，以及時間。

黑色

黑色在許多國家裡象徵著老練與正式，但也代表了死亡、邪惡、哀悼、魔力、兇猛、疾病、厄運，以及神祕。中東國家中的黑色同時代表新生和哀悼。在非洲黑色則象徵年齡、成熟與陽剛之氣。

隨著公司企業變得更加國際化，能夠了解色彩的跨文化含意是相當有益處的。了解世界各地對顏色不同的象徵，你就能在文化上恰當且有效的與目標客群溝通了。

從下方 世界色彩展示 中探索更多繽紛斑斕的照片"

頂圖： 中國燈籠，由Toa55拍攝

想為你的設計找到更多有關色彩應用？請參考這些實用的文章：

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色彩象徵意義 和世界各地顏色背後代表的意涵與文化

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你是否曾覺得藍色憂鬱、綠色代表嫉妒，或是看到紅色就感到生氣呢？或是你曾因為出乎意料（英文可用out of the blue形容）得到良機（golden opportunity）而心花怒放（tickled pink）？顏色在生活裡扮演非常重要的角色，甚至可以形塑我們描述情緒的方式，以及 設計的風格，在商業 行銷上，善用顏色的象徵，更有有助於創造大眾有感、會心一笑的 視覺 廣告。 ...

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Color is fundamental to life and art yet so diverse that it has seldom been studied in a comprehensive way. This ground-breaking analysis of color in Western culture from the ancient Greeks to the late twentieth century is aditionage century , he describes the first theories of color articulated by philosophers from Democritus to Aristotle and the subsequent attempts by the Romans and their Renaissance disciples to organize color systematically or endow itupion orthciples to organize color 顏色 mectly or endr. Goethe's color theory , and the theories and practices that have attempted to unite color and music are among the intriguing topics this award-winning book illuminates.

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Color is fundamental to life and art yet so diverse that it has seldom been studied in a comprehensive way. This ground-breaking analysis of color in Western culture from the ancient Greeks to the late twentieth century is a John Gage triumph. With originality and erudition, he describes the first theories of color articulated by philosophers from Democritus to Aristotle and the subsequent attempts by the Romans and their Renaissance disciples to organize color systematically or endow it with symbolic power. The place of color in religion, Newton’s analysis of the spectrum, Goethe’s color theory, and the theories and practices that have attempted to unite color and music are among the intriguing topics this award-winning book illuminates.With a large classified bibliography, discursive footnotes, and an exhaustive index, Color and Culture is an invaluable resource for artists, historians of art and culture, psychologists, linguists, and anyone fascinated by this most inescapable and evocative element of our perceptions.

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Click here to view the presentation and learn more about how color theory informs our creative work at Media Cause.
Media Cause Art Director Rob Shaw and Senior Designer Ansley Luce recently gave an agency-wide (virtual) talk on Color Theory: Emotion + Bias. In it, they talk about the emotional responses to color and how color is used to convey meaning, but also how color can be deceiving and foster a culturally conditioned subconscious bias. We've provided a summary, as well as the whole recording of the presentation here because of its timeliness and timelessness.

Part 1: The cross-cultural meanings of specific colors and culturally-specific associations

Color is an important form of communication among communities, but is not always perceived in the same way everywhere in the world. Here are some examples of the way that colors are understood across cultures:

Part 2: How organizations use color in their brands to quickly convey specific values about their mission

Many nonprofits in the animal rights space use red to communicate urgency and visual the harm being done to animals.

Very few nonprofits use yellow, but the ones who do are primarily in the education space. This makes sense because of the happiness and warmth that yellow provides, which is something we want to feel when associating with schools our children may go to.

Interestingly enough, the majority of nonprofits - regardless of their impact areas - use blue as their primary brand color. This confirms earlier statements about blue being the most popular color in business and the fact that it conveys trustworthiness and dependability.

Another popular color with nonprofits is green. As you'd suspect, most of these organizations are in the environmental space.

Many organizations using orange have varied impact areas but use the color to energize or mobilize their audience.

Some nonprofits using purple are in the education space and many organizations using pink are involved in women's health.

Whether orgs choose color in order to blend in to the field or stand apart from it, it's important to use color that reinforces one's mission.

Part 3: How colors work in the brain to create relationships - for better or worse

Josef Albers said, "Color is the most relative medium in art." We may understand a color as it relates to others within our culture, but our eyes can play tricks on us. There are some fascinating optical illusions that Albers created that help illustrate this, a few of which I include in the presentation. Color can play with our eyes and our minds, and can create boundaries and shapes that don't really exist.

We can't talk about color without talking about race.

The history of how the color came to define humans is, of course, one of white man's colonization. It began with slave owners wanting to differentiate themselves from their slaves. In the 1700s, Swedish naturalist Carl Linnaeus went so far as to publish a classification of humans that separated people into different races. For centuries upon centuries, color has been used to oppress certain groups of people and maintain a white supremacist agenda. Think about your own subconscious biases about white vs. black. What have you been taught to relate to each of those colors? White is often related to purity, cleanliness, even godliness. And black? The threat that comes with darkness, bile, and dirtiness. Throughout the world, light skin is overwhelmingly favored over darker skin. Of course, that has contributed to much violence here in America.

Though like we've discovered, color is relative, and can be perceived in so many different ways, we've used it to create boundaries and prejudice that have shaped our world. And, as marketers, it's kind of our fault.

Marketers have both capitalized on the color bias and perpetuated it by continually presenting white as pure and clean, or even... sexy? And black or brown as dirty or less beautiful and powerful. Brands might not get away with things like this as easily anymore, but they still pop up every once in a while.

There are some things we can do to try to fight this color bias. First, acknowledge that it's there - consider taking this test called the Implicit Association test to learn your subconscious bias towards race. Then, take steps to counteract the stereotypes, such as using diversity in your imagery, and avoiding cliche stereotypes (white=good, black=bad).

Though we use it to communicate, color can also be divisive. When it comes to race, remember that color can create illusions! We must all work to dismantle this way of using color to divide humans and keep learning about how things came to be this way.

Check out examples of our design work here and contact us for help bringing your nonprofit's mission to life through design.

Looking for more design tips? Check out our free resource, Designing for Good.

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Join Media Cause Art Director Rob Shaw and Senior Designer Ansley Luce talk about Color Theory: Emotion + Bias.

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Drawing to transparent medium 03/03/2024

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Drawing to transparent medium 03/03/2024

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Grace is a graphic designer and design writer from the UK, based in Bordeaux, France. She's a self-confessed 'print geek' and loves all things InDesign, print design, and branding. She shares her experience in the design industry via blogs and her e-teaching business, InDesignSkills.com.

Color quite literally colors the way we view our world. Let's take a deep dive into the symbolism of colors in cultures around the world.

In art and anthropology, color symbolism refers to color's ability to signify meaning and communicate intangible ideas and emotions. If you've ever "had the blues" or been so angry "you saw red," then you're already familiar with the concept.

From red's primal association with passion and aggression, to blue 's association with conservatism and peace-keeping, there are near-universal symbolic meanings behind almost every color in the rainbow.

Additionally, there are a range of cultural influences that can affect one's view of a specific color, like political and historical associations (think flag colors), mythological and religious associations (such as references to color in spiritual texts), and linguistic associations, including idioms and expressions.

If your next adventure in color is establishing a palette for your brand identity, then you should pay a visit to the Shutterstock color palette generator. We offer a whole spectrum of colors to use in your projects.

But, first, let's explore the common symbolism of colors around the world in more detail.
Clockwise, from top-left: License these images via Anneleven Stock, Finder 6, Jan Bures, and Fred S. Pinheiro. License this image via Srgr.
What Is Color Symbolism?

Color symbolism is the cultural evolution of our psychological associations with color.

Over millennia, particular colors have come to represent specific meanings or life events. These meanings are often shared near-universally or, in other cases, have cultural-specific meanings, depending on which part of the world we are looking at.

For example, in Western cultures, white is often associated with purity and innocence. It's the traditional dress color of choice for Western brides, thanks to Queen Victoria, who began the fashion with her own white wedding dress in 1840. By contrast, in the East, where white is commonly associated with death, Chinese brides will often opt for a red gown, as this is considered a prosperous color that brings good fortune.

Given the sometimes wildly different meanings behind colors, it's important to know about these color meanings in order for us to better understand different societies.

Think you know color meanings? Take this quiz and find out:

Red is the color of life, blood, and earth. It's often used to symbolize primal energy, carnality, and passion.

Red is a universal color of life. A strong, hot color, humans commonly associate red with fire, aggression, and impulsion. In some cultures, red is a sacred color, connected with ritual and the purifying power of fire.
Clockwise, from left: License these images via Sutipond Somnam, Yuliia Bezuglaya, and Protasov AN.
The Color of Love Is Pink

While the color of fiery passion is red, the color of love is pink. Pink is soft and gentle, and it's traditionally associated with femininity, motherhood, and children.

Today, we might associate pink with femininity, but, until the 1920s, it was actually a masculine color commonly worn by young boys and men in the United States. In recent decades, pink has also been embraced by alt-culture and fringe groups, such as the 1970s punk movement and the late 20th century LGBTQ+ community.

The Color of Happiness Is Yellow

Yellow is symbolic of sunlight and the bloom of early spring flowers. It radiates warmth and joy while shedding the fiery, aggressive heat of red.

Yellow is considered to be a lucky color in many parts of the world. In Canada and the United States, families display yellow ribbons on the walls of their home to keep hope alive for loved ones at war.

The Color of Peace Is Blue

Blue, a cool and calming color, is often associated with the vastness of the sea and sky. It instills a sense of inner stability.

Blue is the coolest of colors on the spectrum, sitting opposite of orange on the color wheel. Its cool, sedate character has led to an association with rationality and conservatism across the world, with navy blue often being the color of choice for uniforms and government agencies.

The Color of Jealousy Is Green

Back in 1603, William Shakespeare referred to jealousy as a " green-eyed monster" in his tragic play Othello. These days, the idiomatic phrase "green with envy" is common in the West.

Aside from jealousy, green also has a universally positive association with vitality, being the color of fresh growth and vegetation.

The Color of Death Is Black

Black commonly symbolizes death and mourning. Interestingly enough, it's also a sleek and elegant choice in design, especially minimalistic ones.

Black isn't all doom and gloom. This darkest of colors was readily adopted by the fashion industry, treasured for its ability to slim the body and create a chic neutral backdrop to jewelry or accessories.
License this image via Charlie Edward.
Discover the Meaning of Colors Around the World

From yellow's connection to royalty in China, to the ancient Egyptians' belief that blue was talismanic, colors have a wide range of symbolic associations that range from the spiritual to the psychological. Read on to discover the meaning behind particular colors, and learn more about the cultural symbolism of these hues around the globe.

Almost universally, the color red symbolizes aggression, passion, and impulsion. This color's primal association with blood has led to its cultural and literary associations with violence, sensuality, and romance.

There are some cultural variations for red, however, that stray from this primal symbolism. In China, red equates to good fortune. At Chinese New Year, children receive red envelopes ( 紅包, hóngbāo)which contain money. Chinese brides wear red gowns, in hopes of prosperity. In the West, red often takes on romantic connotations, being the symbolic color of St. Valentine.

Popular Shades of Red

Crimson: strong, bright, and deep, generally combined with blue or violet.

dark brownish-red, its name comes from the French word marron (chestnut).

Vermilion: a brilliant red or scarlet pigment, originally made from the powdered mineral cinnabar.

Red is visually arresting and contrasts strongly against most other colors. As a result, countries around the world use it to signify stop in traffic lights, as well as using red as a warning color.

Most dictionaries refer to fire or blood in order to define " red." It's a versatile color that holds both positive and negative connotations. Because of the East/West discrepancy between good fortune and warning, East Asian stock markets use red to signify a rise in stock prices, whereas it signifies a fall in North American markets.

Additionally, in the West, red often carries associations with straying from the norm or bad behavior. To be "caught red-handed" means to be caught in the middle of a wrongdoing, while a "red flag" refers to a warning sign.

In South Africa, red is commonly associated with mourning. The red section of the country's flag represents the bloodshed-both in terms of violence and sacrifice-that occurred during the country's struggle for independence.

The color orange symbolizes sacredness and spirituality in Southeast Asia, with monks donning robes in a saffron hue to communicate their commitment to piety. In Western culture, orange is frequently associated with Halloween and the fall season, as well as being used as a highly visible color for warning and traffic signage. In most cultures, orange has largely positive associations, being a warm and optimistic hue that tempers red's overt aggression.

Popular Shades of Orange

vivid reddish-orange, like sea coral.

Peach: orange lightened to a pale yellow, similar in hue to the fruit.

Salmon: pinkish-orange, named after the color of salmon flesh.

Orange is the easiest color to see in dim light, as well as providing the ultimate contrast against blue sky or ocean. It's no surprise then that life rafts, life jackets, and buoys are manufactured in a vibrant shade of "safety orange."

In the West, orange is often associated with the fall and harvest time. When paired with black, orange represents Halloween, a time when the veil between worlds is supposedly thinner than usual. Some academics have suggested that orange and black were chosen for their opposing associations-orange being the warmth of life and black the darkness of death.

Western culture also associates orange with frivolity and amusement. Clowns wear orange wigs. Mythological paintings depict Bacchus -the god of wine-making, fertility, ritual madness, and religious ecstasy-in orange robes.

In Southeast Asia (namely Laos, Thailand, Cambodia, and Myanmar), Buddhist monks of the Theravada tradition wear saffron-colored robes. Monks chose this hue centuries ago mainly due to the dye available at the time, but the tradition has continued into the present and is considered a sacred, ritualized color.

There's a phenomenon in the Netherlands called Oranjegekte (orange craze) that occurs during major sporting events, the F1 Grand Prix, and an annual holiday that celebrates the king's birthday.

When the orange craze takes over the Dutch, they wear orange clothing and decorate their cars, houses, shops, and streets in orange. This started as a way to celebrate the Dutch royal family-the House of Orange-Nassau.

The color yellow symbolizes sunshine and optimism in Western culture, but its color meanings in Eastern culture are more complex. In China, people historically associated yellow with royalty. In Mexico, yellow traverses both life and death, with bright yellow being the color of both life-giving maize and death, an association inherited from the Mayan culture.
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Popular Shades of Yellow

Canary: bright yellow, resembles the plumage of a canary bird.

Gold: vivid yellow, sometimes metallic in color, associated with wealth.

Lemon Chiffon: very light yellow, like that of a lemon-chiffon pie.

Need to grab a viewer's attention? Yellow is the most visible color on the spectrum and the first color the human eye absorbs.

The yellow ochre pigment dates back thousands of years and was one of the first colors used in human cave paintings. For example, the Lascaux Cave in France has a 17,000-year-old painting of a yellow horse.

In the United States, Canada, and Europe, surveys find that people associate yellow with gentleness and spontaneity, but also with greed and duplicity.

People in the United States also associate yellow with cowardice. The phrase "yellow-bellied" is a term used to describe a cowardly person.

In China, yellow has strong historical and cultural associations. The first emperor was the Yellow Emperor. When the Song Dynasty ended in 1279, the emperor was the only person allowed to wear bright yellow. A sweeping yellow carpet also welcomed and honored distinguished visitors to China.

In current Chinese pop culture, however, yellow is now more commonly connected with the erotic-a "yellow movie" refers to films that are adult in nature.

Yellow is a sacred color in Polynesia, and considered to be the color of divine essence. In local languages, yellow shares its name with the curcuma longa plant, which is thought to be the favored food of the gods.

The color green symbolizes growth, new life, and nature in numerous cultures worldwide. However, green is one of the most conflicted colors, in terms of cultural meaning. Despite being associated with fertility and vitality, it is also frequently connected with sickness in the Western world.

In Irish and English folklore, the color green is associated with magic and deceit. Mythical characters, such as leprechauns and The Green Man, are known for their trickery and mischievous behavior.
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Popular Shades of Green

Forest Green: vivid yellowish-green, resembles trees and plants in a forest.

Lime: vivid yellow-green, named after the citrus fruit.

Olive: a dark, earthy, subdued shade.

Surveys show that green is commonly associated with nature, spring, and good health in North and South America, Europe, and Islamic countries. Somewhat confusingly, green is also often symbolic of sickness and poor health in the same cultures. The saying "green around the gills" refers to someone who appears sick.

Although the origin of the phrase is lost, it's likely due to the discoloration of one's skin when they are nauseated. You will also notice that European pharmacies use green in their cross symbol signs, which encompasses green's dual associations with sickness and healing.

In many cultures, green means go, with traffic lights turning green to show cars when to pass. Hollywood greenlights projects for production. We also see this in the United States immigration process. A "green card" is what immigrants receive when they have permission to permanently stay in the country.

Ireland is synonymous with green, being called the Emerald Isle because of its abundantly green countryside (a product of heavy rainfall). American country singer Johnny Cash even has a song about the lush landscapes of Ireland entitled "Forty Shades of Green."

Green also symbolized magical beings in Irish and English folklore. For example, the Irish leprechaun wears a green suit. Legend has it that leprechauns pinch those who aren't wearing green on St. Patrick's Day, an Irish holiday that celebrates their foremost patron saint.

Green is the traditional color of Islam and is associated with paradise in the Qur'an. This holy text states that the people of paradise wear green and sit upon green cushions. The Prophet Muhammad's favorite color was green-the color he was buried in.

The color blue symbolizes calmness, authority, and peace almost universally. This soothing color recalls the peaceful expanse of sea and sky. In many ancient religions, blue took on a spiritual or talismanic quality, protecting the ancient Egyptians from harm in the afterlife and warding off evil spirits in Mesopotamia and Assyria. In the West, blue takes on authoritative and often conservative meanings. Members of state, police officers, and suited businessmen often wear blue.

Popular Shades of Blue

a range of colors that includes teal, sky-blue, azure, and deep cyan. The name comes from the Latin word caeruleum, which means "sky" or "heavens."

Indigo: deep rich blue, close to the blue shade on the color wheel, named after the ancient dye.

Periwinkle: light purplish-blue, named after the flower.

Blue is an expansive, introspective color, bringing to mind the sea and sky. Blue transcends many cultural boundaries, with its most prominent color symbolism being calmness and tranquility. This is also the reason most airplane interiors are blue, to comfort anxious flyers.

In the corporate world, blue also has an association with conservatism, being the chosen color of suits and uniforms, and in government organizations is often associated with stability and diplomacy.

No wonder then that the United Nations opted for blue as the color of its flag.

Blue has significant religious meanings around the world, and is frequently connected with spirituality and wisdom.

The ancient Egyptians associated blue with divinity and the sky. Amun, the chief deity of the Egyptian Empire (also known as King of Gods), would turn his skin blue in order to fly (invisibly) across the sky.

In Hinduism, gods such as Vishnu, Krishna, and Shiva are all depicted as having blue skin, symbolic of their connection to the cosmos.

The Nazar, or Evil Eye, is a blue glass bead. It traces back to ancient Egypt and the god Osiris. His followers believed Osiris's eye had protective powers. Now, people wear the Nazar as a protective talisman.

Turkey, Greece, Pakistan, Iran, and other countries believe it wards off evil and brings good luck.

The color purple symbolizes mystery, magic, and wealth across many parts of the world. Some cultures, such as Italy and Brazil, consider the color to be symbolic of mourning and bad fortune. Historically, purple has a complex and sometimes negative color meaning. In recent decades, this ambiguous hue has taken on a new role as a symbol of bisexuality and the LGBTQ+ community.

Popular Shades of Purple

Lavender: pale, light bluish-purple, often associated with softness and femininity.

pale purple containing gray and blue, named after the mallow flower.

dark brownish or reddish-purple, named after the fruit.

In Europe and the United States, purple is often symbolic of magic and mystery, royalty, and religious faith.

Purple fabric used to be extremely expensive to produce. Producing just one gram of Tyrian purple required nine thousand small mollusks. Today, purple still retains its association with wealth, luxury, and exclusivity.

Purple takes its name from Tyrian Purple, a dye invented in the Phoenician trading city of Tyre around 1200 BC. The color went on to dye the clothes of the imperial classes of Rome, Egypt, and Persia, and only the rich and powerful could afford it.

Blending the primary colors of red and blue produces purple. As a result, the color often evokes a sense of ambiguity, mystery, or the quality of being open to more than one interpretation.

The color is also often linked to bisexuality, due in large part to the bisexual pride flag which combines pink (representative of homosexuality) and blue (suggestive of heterosexuality).

The United States views a state equally balanced between Republicans (associated with red) and Democrats (associated with blue) as a "purple state."

In many cultures, purple is the color of death or mourning.Thai widows wear purple, as do devout Catholic mourners in Brazil.

Italy also strongly associates purple with funerals. Therefore, Italians consider wrapping a gift in purple paper poor taste, and brides avoid the color when planning their big day.

It is even bad luck to wear purple to an opera!

The color white symbolizes purity and innocence in the West. Brides traditionally don the color as a historic ode to virginity. In many Eastern cultures, however, white has a completely opposing color symbolism, where it references death and the supernatural. White is far from a blank canvas, instead being one of the most complex and culturally loaded colors in the world.

Popular Shades of White

Cream: white mixed with a touch of yellow, named after the dairy product produced by cows.

Eggshell: pale yellowish-white with little or no gloss.

Ivory: white with a very slight tint of yellow, named after the material that comprises animal tusks and teeth.

The palest color, white represents perfection, purity, and neutrality in the West. Despite having no hue, white plays a surprisingly colorful role in religions around the world.

Christian children wear white when baptized as a symbol of the purification of their young souls. The Pope (head of the Roman Catholic Church) has worn white since 1566, to symbolize sacrifice and devotion.

Muslim pilgrims wear Ihram, a simple white attire intended to signify that before God, all are equal.

The Bedouin (Arab-speaking nomads of the Middle Eastern deserts) associate white with milk and the central role this food plays in surviving harsh desert environments.

Camel milk is a staple food for the people-highly nutritious, good for the bones, and a strengthener of the immune system. This explains why white is considered the color of gratitude, fertility, and joy.

Many are familiar with the Western tradition of brides in white dresses. Some believe this dates back more than 2,000 years to the Roman Republic, when brides wore white tunics to represent their chastity.

The modern trend came into fashion thanks to Queen Victoria, who in 1840 chose to wear a white lace gown instead of the coronation robes of royal tradition.

However, not every association with white is pleasant. In many cultures, it's the color of death, ghosts, and phantoms (consider the English phrase, "pale as a ghost").

White also represented death in ancient Egypt because of the washed-out color of the lifeless desert that covered much of the land.

The color black symbolizes death and mystery across a broad range of cultures. The darkest of hues, black is representative of all that is unknown in the world-the color of night and underground, the traditional domains of the dead.

Black does have positive aspects, however, despite often associated with death and the supernatural.

In Western society, contemporary fashion has reshaped black as a supremely elegant color, and led to the ultimate statement in chic Parisian fashion, the Little Black Dress.

Popular Shades of Black

Ebony: dark black, related to the dark wood that comes from the persimmon tree.

Jet Black: a glossy, deeply dark black, refers to the geological material "jet."

Sable: dark brownish-black, related to the fur of the small animal of the same name.

The darkest color, black is the result of the absence or complete absorption of visible light.

Europe and North America often associate it withmourning, magic, evil, elegance, and death. Many religions believe that the world was created from a primordial darkness.

Christian theology states that black was the color of the universe before God created light.

Kali (the Hindu goddess of time, change, and death) has black or dark blue skin. Her Sanskrit name translates into English as "She Who is Black" or "She Who is Death."

In India, black is also the color of protection against evil. A black dot is painted under a person's chin or behind their ears to protect against the evil eye.

The Japanese associate black with mystery, with all that is supernatural, unknown, and invisible, including death. In the 10 th and 11 th centuries, it was believed that wearing black could bring misfortune, so only renegades or those who had renounced material possessions dared to wear the color in court.

In the East, black is also symbolic of experience and skill. The black belt in martial arts is the highest rank one can achieve, for example.

China associates the color black with water, winter, cold, and the direction North. When the first Emperor of China, Qin Shi Huang, seized power, he changed the imperial color from red to black, stating that black extinguishes red (the color was later changed back to red in 206 BCE).

While many associate black with death, the ancient Egyptians positively connected black with life due to the rich, black soil that flooded the Nile. It was also the color of the god Anubis (ruler of the Underworld), who took the form of a black jackal and offered the dead protection against evil.

What Is the Best Color in the World?

Color is certainly a subjective topic, with everyone claiming their own favorite color (although according to most recent surveys, 80% of people will likely choose blue as their favorite hue).

As for what is the most popular color in the world, both cultural conditioning and the color trend industry has much to do with it.

Each year, color institute Pantone declares a particular pigment to be their much-anticipated Color of the Year. These trend-setting colors filter down into product design, fashion, and retail over the subsequent months, and certainly contribute to which colors we think about more favorably at a certain point in time.

Nonetheless, our long-standing associations with color-through cultural, social, and evolutionary conditioning-remain as the strongest factors in helping humans decide which is the best color in the world.

These associations are with us from an incredibly early age-children are more likely to draw villains in black, or choose cozy red hues when drawing a house, for example.

Conclusion: The Meaning of Colors

In this article, we've looked at how color symbolism plays a major role in shaping cultural experiences in societies across the world. The meaning of color is important in that it bypasses linguistic differences, serving as an immediately recognizable form of communication.

However, the symbolism of color can radically shift depending on where you are in the world.

While white is a bridal and innocent color in the Western world, in Eastern cultures it's more commonly associated with death. Being aware of these geographical differences in the meaning of color can help us to communicate more effectively with other societies and understand cultural differences on a deeper level.

This need for sensitivity also applies to the spiritual meaning of colors, which can differ according to faith. The spiritual meaning of colors encompasses which colors are perceived to be positive or negative, protective or destructive, as well as which colors are symbolic of significant life events, such as births, marriages, and deaths.

While the meaning of color can vary across cultures and religions, its significance cannot be understated. We see and understand the world vividly in color. Humans can use it as a tool for social communication and deeper cultural understanding.

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The Meaning of Colors in Cultures Around the World

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Dive into color symbolism and explore the significance of colors in cultures around the world. Learn how to use color in your own projects.

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Color cognition bias / Colour Symbolism 05/03/24

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Color cognition bias / Colour Symbolism 05/03/24

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Color has a profound impact on people. Color can convey emotions, temperature, and atmosphere. In the study of literature. People's understanding of color can be divided into the following two types. People have a natural understanding of color. The appearance of some special colors is accompanied by some natural phenomena. Green, for example, is directly associated with trees, growth and the origin of life. Because in the human growth environment, humans have indeed witnessed these phenomena. And our visual system helps us connect this phenomenon to the colors we see. This also becomes our first understanding of color.

The second level of understanding comes from society. There are diverse civilizations in human society, and their emergence has developed thousands of nations and races. Different ethnic groups have unique cultures. There are connections and intersections between each other. The use of color is ubiquitous, and it can be given new understandings. Like language, language defines color. Language feeds back the meaning of color through words. In Europe green and blue are often interpreted separately. In East Asia, green and blue usually become cyan; the deeper integration of color and human society is the symbolic use of color, giving color a more social understanding. For example, in Western Europe, purple pigment was used as a symbol of imperial power because of its preciousness. The symbol of imperial power in East Asia is yellow. Therefore, the symbolism of color makes many differences between different social environments and nationalities.

顏色對於人的影響是深遠的，顏色能夠傳達情感，溫度，氛圍。 在對於文獻的學習當中。 人們對於顏色的理解可以分為以下兩種。 人們對顏色會有一種自然而然的理解。 一些特殊的顏色出現會伴隨一些自然現象。 像是綠色，會直接聯想到與樹木，生長還有生命的起源。 因為在人類的生長環境裡人類也確確實實的見證了這些現象。 而我們的視覺系統幫我們將這種現象和所見色彩連結起來。 這也從而成為我們對顏色的第一層理解。

第二層理解是來自社會。 人類社會當中擁有多元的文明，它們的出現又發展出數以千計的民族，種族。 不同的族群擁有的文化都是獨一無二。 彼此之間有聯繫亦有交錯。 顏色的運用是無所不在的，它是可以被賦予新的理解。 像語言，語言為顏色定義。 語言透過文字回饋出顏色的意思。 像是在歐洲綠色和藍色通常會分開解釋。 而在東亞，綠色和藍色通常會成為青；顏色和人類社會更深層的融合是，是將顏色象徵性的使用，賦予顏色更社會性的一種理解。 例如在西歐因為紫色顏料而生產的珍貴會將其作為皇權的象徵。 皇權的象徵在東亞地區卻是黃色。 所以顏色的象徵性使得不同的社會環境，民族之間有著許多的不同。

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The significance of color in literature is multifaceted and deeply ingrained in both natural and societal contexts.By acknowledging both the natural and societal dimensions of color, literary works can leverage the rich tapestry of associations and meanings associated with different hues to enhance storytelling, evoke emotions, and convey deeper layers of meaning.

1. Natural Understanding of Color:

Colors often carry innate associations due to their connection with natural phenomena. For instance, green's association with growth and life stems from its prevalence in the natural world, particularly in plants and landscapes.

Our visual system, honed through evolutionary processes, reinforces these associations, linking certain colors with specific phenomena or emotions. This primal understanding forms the foundation of our relationship with color in literature and art.

2. Societal Understanding of Color:

Societal factors play a crucial role in shaping our perception of color. Different cultures assign varied meanings and associations to colors based on historical, religious, and cultural contexts.

Language serves as a vehicle for defining and reinforcing these associations. Words used to describe colors carry cultural connotations and influence how individuals perceive and interpret them. For instance, the distinction between green and blue in European languages contrasts with the combined categorization of these colors as "cyan" in East Asian languages.

Symbolic use of color further enriches its significance in literature and society. Colors may be imbued with specific meanings or used as symbols to convey complex ideas or themes. For example, purple's association with imperial power in Western Europe and yellow's symbolic significance in East Asian cultures demonstrate how color symbolism reflects and shapes social norms and values.

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[1] Eyes reflection

[2] Body and energy

In this moments of time i'm trying to draw few drawing and illustrate drawing with an objects with an specific color to construct a bridge of vision and color's symbolization.

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[3] Passion

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I want to create an book art to show my conceptual studies about color vision and the color symbolism about the sense of specific color representation in different dimensions like biology, sociology, psychology. In order to using the color the represent the relationship about those elements in my studies.

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In order for the work to express the core concept, it needs to establish a connection with the audience. Among the several creative directions I currently plan, narrative picture books, pure art paintings and sculptures are the creative media through which I want to express the theme concepts. Through narrative picture books, plots can be created to visualize the theme. Pure art themed paintings that visualize the main concepts can visually display the results of the research and strengthen the subjectivity of the concepts to present. Sculptures can be used as an extension of picture books or paintings, and can be displayed in more diversified ways.

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[Research Reference]Contrast, violation and common sense (colour cognitive and representation)08/03/24

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[Research Reference]Contrast, violation and common sense (colour cognitive and representation)08/03/24

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Color cognitive bias refers to the systematic errors in perception, memory, or judgment related to colors. These biases can influence how individuals perceive, interpret, and remember colors in various contexts, leading to deviations from objective reality. Color cognitive biases can manifest in different ways and are often influenced by psychological, cultural, and contextual factors.

Color cognitive bias encompasses systematic errors in perception, memory, and judgment related to colors, influencing how individuals perceive, remember, and interpret colored stimuli. These biases, including perception, memory, association, preference, and attribution biases, are shaped by psychological, cultural, and contextual factors. Examples range from perceiving colors differently based on surrounding stimuli to misremembering colors or associating specific emotions or qualities with certain colors. Awareness of these biases is crucial across various domains, including design, marketing, communication, and social interactions, enabling individuals to make more informed and objective judgments involving colors and mitigate their impact on decision-making processes.

顏色認知偏差包括與顏色相關的感知、記憶和判斷的系統性錯誤，影響個體如何感知、記憶和解釋顏色刺激。 這些偏見，包括知覺、記憶、聯想、偏好和歸因偏見，是由心理、文化和背景因素所形成的。 例如根據周圍的刺激對顏色進行不同的感知，錯誤記住顏色或將特定的情緒或品質與某些顏色聯繫起來。 對這些偏見的認識在設計、行銷、溝通和社交互動等各個領域都至關重要，使個人能夠就顏色做出更明智和客觀的判斷，並減輕其對決策過程的影響。

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[Case Study] Colonialism/development movement in color symbolism

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[Case Study] Colonialism/development movement in color symbolism

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Color symbolism serves as a powerful lens through which to examine the complex and contested relations between colonizers and colonized peoples. It reveals the ways in which color was used to assert dominance, resist oppression, and negotiate identities in the context of colonialism and its legacies.

Colonized peoples often subverted colonial color symbolism as a form of resistance and cultural assertion. Through art, fashion, and ritual practices, they reclaimed indigenous color traditions and imbued them with new meanings. For instance, traditional colors and motifs were used to assert cultural identity, resist assimilation, and challenge colonial narratives of inferiority.

Also, In the postcolonial era, artists, writers, and activists have reinterpreted color symbolism to confront colonial legacies and imagine alternative futures. Postcolonial literature and art often interrogate the symbolism of colors associated with colonialism, exploring themes of identity, memory, and belonging in the aftermath of colonization.

Colonialism had profound environmental consequences, including deforestation, pollution, and habitat destruction. The symbolism of colors associated with nature and the land reflects both the exploitation of natural resources by colonial powers and indigenous peoples' struggles for ecological justice and land rights.

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color | sybolism and development movement

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color | sybolism and development movement

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Project FUEL would like to thank the Maasai community in the Losimingori village of Arusha, Tanzania for opening their hearts and home to this research.

This exhibit is part of the Wise Wall Project, an initiative of Project FUEL, to document, design, and strengthen the wisdom of rural communities and marginalized villages using art and community outreach programs. In the third edition of this project, we collaborated with the Maasai, in Arusha, Tanzania, to build an on-ground community centre for the people and bring an exclusive insight into the life, lifestyle, and learnings of this inspiring community.

Photography: Vibhor Yadav, Siddharth Govindan
Wall Murals: Poornima Sukumar
Canvas Art: Advithi Emmi
Cultural Consultant and Translators: Kaay Ndoika Lengima, Elisha Olchakai Kirumui and Lemali Ndoika
Research, Interviews and Curation: Project FUELProject Partners: Vijana Inspiring Foundation, Vikram Solar Ltd., Lions Club of Dar es Salaam and Arusha, Google Arts & Culture

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Decoding The Maasai Colours - Google Arts & Culture

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Come explore and learn about the meaning and significance of the Maasai symbols and colours.

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The Secret History of the Color Black - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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More on The Trulli of Alberobello and World Heritage: whc.unesco.org/en/list/787/

Photos: Pietro Crivelli, Franco Cappellari, Roberto Rocca, Carlos Solito, Holger Uwe Schmitt, Carlo Pelagalli, Palickap, Martial75, Raimondo Perrina, FrancescaRm74, Maurizio Moro5153

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The Trulli of Alberobello, Italy - Google Arts & Culture

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Remarkable examples of dry-stone construction, a prehistoric building technique still in use in the region

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[STORYBOARD] une division de couleur 10/03/24

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[STORYBOARD] une division de couleur 10/03/24

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In a rich country, it has many colorful civilizations and arts. The seven colors are their favorite colors. They are happy about it and create a rich culture because of it. Colorful colors are sought after by people here and are the most precious wealth.

The ruler of this country wanted more people to love the seven colors, so he sent a fleet to undiscovered places with colorful objects, fabrics, and accessories.

There is a group of indigenous people living on an island that has never been discovered. They live in tribes. In this place, each tribe advocates a color that is unique to their culture.

The first tribe that the fleet came to was filled with red tribes, and it was so bloody that they felt a little uneasy. The skin color of the people here is bright red. The tribal people believe that red is a color that makes them stable. They believe that the environment in the womb before birth is the most comfortable. Red is the color that surrounds them at the beginning of their lives. Living in red ordered them to feel at ease.

When we came to the second tribe, it was filled with golden color. But people here can only recognize blue and yellow. They love yellow and are afraid of blue because they think blue represents the dark night, which is full of unknowns and dangers. But yellow makes them feel at ease, it is like the yellow light from the stars minus the blue that brings them safety.

When I went to the third tribe, it was not much different from the normal world, and the colors were even brighter. But people here prefer to live underground in dark colors. They use black to cover up other colors on their bodies. They worship black infinitely, thinking it is the most noble, and thinking it is the synthesis of all colors mixed together. But this weird behavior made some people not understand and left here in a hurry.

When we arrived at the last tribe, the strange thing was that it was a plain world. The group of people thought that the people here would recognize their colorful colors better, so they took out the items they brought and displayed them. It's a pity that the reason why people here like plain colors is because in their perception, all colors are considered unclean. The party came under heavy attack and were driven away from the Plain Tribe until they were driven back to the ship.

They were forced to leave the island with confusion and fear. END

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Eye is an essential tool for the most of the objects in the earth to recevice information. Also people could be reach lot of signal form eyes. especially it could be showing emotional change.

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Colour representation and Emotional expression 10/03/23

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Colour representation and Emotional expression 10/03/23

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Second Retina [a lens that color cognitive symbolism, in our eyes] 10/03/24]

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Second Retina [a lens that color cognitive symbolism, in our eyes] 10/03/24]

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Color vision cognition is a filter that people give to society and a "retina" placed in the brain. It helps you and me filter and receive what comes from outside All kinds of information in the world also make us spontaneously have an emotion towards unknown things. The impact of color on emotions is relative. Different cultural groups have biases in their understanding of colors, resulting in different emotions attached to things.

Utilize the diversity of color vision cognition to explore the process of color translation and reconstruction of the world. Using the human second retina as the subject to reflect a sense of expression of human emotions highlights the differences in cognition attributed to the same emotion by different cultural groups.

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This speech mainly focused on the research results of the entire subject, as well as several directions for the continued development of the project. It mainly focuses on how to convey the core content of the entire concept through visual art. There are also some tests and plans for media use.

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Currently my project going to show about human's vision of color. And the specific that i had researched is the retina. For the following weeks i would be doing some art making to get in deep of creating some works could be reflect the main structure in my concept.

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My Plan to be do list at this period of time, would be focus on constructing the brief and display form.

1] Writing the brief

2] Organize reference

3] Visualize the concept

4] Experience test with transparent media,(Drawing; Print]

5] Storytelling Forms study

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Theirs two plans for the outcome of the final works.

1]Picture book

2]Conceptual art installation

For book art, in the spring break i would gonna visualized the storyboard and searching for more references to struct the story frame. Edit the scrip to summarize the main part of describing the words and image.

Also, Plan for what kind of medium that going to use on final work.

[Watercolor, Soft pastel, pencil]

[Digital draw]

For Conceptual art. Conceptual art is a form of abstract representation of a subject. When conceptual art is combined with sculpture or pure painting, the effect produced can well establish an indirect and in-depth communication between the audience and the author. Through visual output, the main consciousness of the work is displayed. It gives the work a narrative concept.

[Fine art drawing]

[Drawing with sculptural picture frame]

[Mixed media art installation]

Overall. i will though those media to peach that which would be more suitable for the final display. Which could be better to visualize my concept.

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Test Transparent media print [Risogaraph] 14/03/24

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Test Transparent media print [Risogaraph] 14/03/24

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First to be test with different type of paper to print the digital drawing.

The benefit of using riso print could be save more textures of drawing details. Halftone using could gapping and giving more space to showing transparent part.

These time i was using tracing paper to print. it could be transfer drawing very well. Also the riso ink could make my drawing shows more transparency. but nonetheless, the paper seen too light when it being print out. It too easy to be damage.

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In a rich country, it has many colorful civilizations and arts. The seven colors are their favorite colors. They are happy about it and create a rich culture because of it. Colorful colors are sought after by people here and are the most precious wealth.

The ruler of this country wanted more people to love the seven colors, so he sent a fleet to undiscovered places with colorful objects, fabrics, and accessories.

There is a group of indigenous people living on an island that has never been discovered. They live in tribes. In this place, each tribe advocates a color that is unique to their culture.

The first tribe that the fleet came to was filled with red tribes, and it was so bloody that they felt a little uneasy. The skin color of the people here is bright red. The tribal people believe that red is a color that makes them stable. They believe that the environment in the womb before birth is the most comfortable. Red is the color that surrounds them at the beginning of their lives. Living in red ordered them to feel at ease.

When we came to the second tribe, it was filled with golden color. But people here can only recognize blue and yellow. They love yellow and are afraid of blue because they think blue represents the dark night, which is full of unknowns and dangers. But yellow makes them feel at ease, it is like the yellow light from the stars minus the blue that brings them safety.

When I went to the third tribe, it was not much different from the normal world, and the colors were even brighter. But people here prefer to live underground in dark colors. They use black to cover up other colors on their bodies. They worship black infinitely, thinking it is the most noble, and thinking it is the synthesis of all colors mixed together. But this weird behavior made some people not understand and left here in a hurry.

When we arrived at the last tribe, the strange thing was that it was a plain world. The group of people thought that the people here would recognize their colorful colors better, so they took out the items they brought and displayed them. It's a pity that the reason why people here like plain colors is because in their perception, all colors are considered unclean. The party came under heavy attack and were driven away from the Plain Tribe until they were driven back to the ship.

They were forced to leave the island with confusion and fear. END

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Showing the bias of color symbolization. An exploration about some universal colors meaning it a dramatic story.

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[Storyboard and Story frame] Picture Book Sketch

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[Storyboard and Story frame] Picture Book Sketch

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Reference of how to illustrate Mix colors

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Reference of how to illustrate Mix colors

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Experience of drawing media of mix color

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Experience of drawing media of mix color

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The manifestation of color, the absence of color.

Color changes, color fusion.

The diversity of colors displayed demonstrates the main function of color vision in biology.

Represents what is born with

The painted utensils are combined with different color combinations, and the same image is different in color. It is a layer of color vision given by the social environment.

Represents acquired formation

颜色的表现形式，颜色的缺失形式。

颜色的变调形式，颜色的融合形式。

展现的颜色的多样性展示出色觉在生物学所代表着的主体功能。

代表天生具备的

绘制的器皿结合不同的颜色搭配，同一形象不同是颜色。是社会环境所赋予的一层色觉。

代表着后天形成

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RETINA

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The symbolism of colors in religion varies widely across different cultures and geographical regions, reflecting the diverse interpretations and expressions of spirituality. While certain colors may hold universal meanings within a particular religious tradition, their significance can also be shaped by local customs, historical context, and regional symbolism.

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Color is a visual language which helps people acquaint the world. In sociology, color can also reflect your knowledge and cultural identification, habitually comes with literal. The words of the color could be characteristic in individually with particularly culture.

Generally, the relationship between color and bio’s motion is related. It’s is part of Emotional expression. World under the long-term development, color of use in everywhere. Society gives color with vibrant explanations. So it comes with full of symbolism.

Retina in biology to shows how does organic figure to recognize the world. Which would say t is the key standard. From color looking back to the world. No Matter in which demotion that where you are. The circle of color is content. But it has rich meaning. Color comes with an interpretation becomes the identity of different groups or ethnic.

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After communicating with the group, I found that there were still many areas for improvement in my project. The first is picture books. Although the plot of the story is related to color vision. But the main body of the story was not well connected to the concept of the project. The studio I choose is more about the human experience. and artistic experience of conceptual visualization. The presentation medium of picture books is not easy to reflect a conceptual subject.

Among the two current creative plans. Installation art works will be the direction I focus on creating and researching. Combining more figurative expressions with abstract expressive media.

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Adding color for the storyboard

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‍ 曹舒怡

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曹舒怡是一位驻纽约的艺术家，她的创作实践体现材料、物质与知识的炼金术，通过思辨考古与生态科幻，探索科学、技术文化与宇宙学之间相互渗透的多元关系。近期展览包括蜂巢当代艺术中心个展"软流"，Para Site双人展"嬑形陌客"，群展包括阿那亚艺术中心，北京现代汽车文化中心，今日美术馆，明当代美术馆，长征空间，新时线媒体艺术空间，加拿大班夫艺术中心，纽约艺术基金会、A.I.R. 第 13 届双年展、MASS MoCA，纽约前波画廊等。她曾获王式廓青年艺术家扶持项目暨今日青年艺术家提名奖，新学院Tishman环境与设计中心研究奖金，马萨诸塞当代艺术博物馆艺术家奖金。她是普瑞特艺术学院的访问助理教授，帕森斯设计学院讲师，新美术馆NEW INC项目成员。她在复旦大学获得法学学士学位（2013）及公共管理硕士学位（2016），在帕森斯设计学院获得纯艺术硕士学位（2018）。

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曺柱泫
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曺柱泫1992年生于首尔，现生活、工作于首尔。她对于现实结构中不易揭示的规则和条件感兴趣。她的创作实践通过多种媒介探索对不可见事物进行揭示的对象。她于弘益大学获得了绘画专业学士学位。她的个展曾在首尔Insa艺术空间（2022）和首尔Weekend（2020）举办。她参与的群展和项目曾在首尔Hapjungjigu（2022）、首尔Uooyoung空间（2022）、首尔alterside（2023）、Hall1（2022）、首尔The Reference（2022）等地举办。她出版了《黑色与黑暗》（2020），并获得了韩国文化艺术委员会艺术与技术研究与发展奖（2022）、首尔艺术文化基金会的展览资助（2020）。

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张奕满
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张奕满的作品介于图像、行为表演、装置、情境以及写作等多种形式的中间地带。他的实践可以被解读为对基础设施作为政治日常媒介的想象、诘问，有时也是干预。他的个展曾在STPI画廊、鹿特丹新研究院、韦斯堡博物馆、迪拜贾米尔艺术中心、纽约瑞士学院、纽约Art in General空间、首尔Art Sonje中心、上海外滩美术馆、南伦敦画廊、新加坡国立大学博物馆等地举办。他与勒内·斯塔尔（Renée Staal）共同创立并管理《未读之书图书馆》（The Library of Unread Books），收集捐赠者未曾阅读过的书籍。

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潘逸舟
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1987年出生于上海，现工作、生活于日本东京。潘逸舟运用影像、装置、摄影和表演等多种媒介进行创作，审视集体和个人所铭刻的身份和差异的主观本质。他的大部分作品来自于他的个人经历，从童年移居日本到如今在东京的生活。他利用物品、个人身体与他者身体，暗指我们的目光和日常行为中所包含的意识形态和社会规范。他的作品运用诗意的视觉语言，时常带有幽默感的方式，提供了一个充满想象力的空间来与这些力量进行交涉。潘逸舟曾多次参加在美国、英国、澳大利亚和中国举办的展览和驻留活动。他于2020年获得日产艺术奖大奖。

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蒋志
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蒋志1971年生于湖南沅江，1995年毕业于中国美术学院。蒋志为中国当今最多样性的艺术家之一，他的创作包括摄影、绘画、录像及装置；小说和诗作亦是他开始艺术创作以来的重要媒介。他长期深入地关注各类当代社会与文化的议题，自觉地处在诗学与社会学这两个维度的交汇处上，并著力于如何使那些我们熟悉的日常社会和个人经验转换进作品文本中。

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蒋志曾于深圳OCAT美术馆（2016）和广东时代美术馆（2012）举办个人回顾展。他曾参与多个国际机构展览和年展，包括美国古根汉美术馆的"1989后的艺术与中国-世界剧场"（2017）、第九届上海双年展（2012）、第四届广州三年展（2012）、北京今日美术馆的 "首届今日文献展"(2007)，美国国际摄影中心，和亚洲协会的"在过去与未来之间"（2004）、第50届威尼斯双年展的"紧急地带"（2003）和第四届光州双年展的"暂停"（2002）。蒋志曾获颁的奖项包括2000年的中国当代艺术提名奖（CCAA），2010年的改造历史（2000－2009年中国新艺术）学术大奖，以及2012年的瑞信‧今日艺术奖。

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雅浸·金朝恩
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画家和多媒体艺术家雅浸·金朝恩（Joeun Kim Aatchim）出生于韩国，现居纽约，获得纽约大学艺术学士学位和哥伦比亚大学艺术硕士学位。她近期于纽约François Ghebaly画廊（2022年）；洛杉矶 Make Room画廊（2022年、2020年）；纽约东汉普顿哈珀（Harper's）画廊（2021年）和纽约 Vacation画廊（2019年）举办个展。最近的群展包括：纽约东汉普顿哈珀（Harper's）画廊（2023年、2022年）、纽约François Ghebaly画廊（2022年）、洛杉矶 Make Room画廊（2021年）和纽约绘画中心（2019年）。雅浸曾分别获得三角艺术协会（2021年）、当代艺术基金会（2019年）、纽约绘画中心（2018-2020年）和缅因州斯科希根绘画与雕塑学院（2017年）的奖学金。

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李宇城
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李宇城1983 年出生于首尔，现生活和工作于首尔。在他的作品中，他捕捉当今社会的肖像，并从关注普通事件开始。他在弘益大学获得绘画学士学位，在韩国国立艺术大学获得美术硕士学位。近期个展包括：首尔 Hakgojae画廊（2023、2017）、首尔Doosan画廊（2021）、首尔 Amado艺术空间/实验室（2017）、首尔Art Space Pool（2015）。近期的群展和项目包括：DMZ 展览"Checkpoint"（涟川坡州，2023 ；沃尔夫斯堡艺术博物馆，2022）、GIAF江陵国际艺术节（2023）、蔚山美术馆（2023）、釜山当代艺术博物馆（2022）、安山京畿道美术馆（2021）、 首届济南国际双年展"和动力"，山东美术馆，济南（2020）、Arko艺术中心（2020）、一民美术馆（2019）、高雄市立美术馆（2019）和光州双年展（2018）等。

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梁志和 + 黄志恒
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梁志和
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梁志和（1968年生于香港）透过摄影、文字、现成物、行为及装置，融合历史资料搜集及概念化的探究，驱使我们对记忆、权力体系和历史矛盾产生怀疑。他还收保和拼合现成旧物、档案资料和影像，从而将微不足道的日常事件与政治事件并列和对照。他的研究式创作时常关注历史编纂学中的裂隙与暧昧性。对梁氏来说，历史总是有权力的掌握者所书写的。他近期的研究和创作以香港殖民历史及后殖民现实为重点。

2001年，梁志和与他的长期拍档黄志恒代表香港参加威尼斯双年展，此为香港馆于威尼斯双年展的首次呈现。梁志和于2015年在中国深圳OCT当代艺术中心举办回顾展"请按钮......胆前顾后-梁志和个展"。他的作品曾于多间主要国际博物馆及机构展出，包括德国杜塞尔多夫NRW Forum（2015）、美国纽约国际工作室及策展计划（ISCP）（2013）、英国伦敦泰特现代美术馆（2010）、巴西圣保罗影像声音博物馆（2008）、及美国皇后区艺术博物馆（2000）。他亦曾参与其他年展包括深港城市\建筑双城双年展（2017）、以及英国曼彻斯特亚洲艺术三年展（2014）、马拉喀什双年展（2012）、上海双年展（2020）、广州三年展（2008）。

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此外，梁氏亦于1996年参与创立了香港存在时间最长的独立艺术机构Para Site。他现于香港居住和工作。

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黄志恒
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黄志恒于1968年生于香港，1992年毕业于香港中文大学艺术系，并于1997年获得香港大学园境建筑硕士学位，是ParaSite创办成员。黄曾参加美国纽约MoMA PS1当代艺术中心及布朗士美术馆、瑞士瓦莱州立艺术学院等艺术家驻场计划，近年展出包括艺术门画廊展览（2013）及油街艺术中心的委约装置计划（2013）。黄亦为执业园境设计师，现为Para Site艺术空间董事及香港知专设计学院高级讲师。

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普拉·皮亚斯塔普恩
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普拉·皮亚斯塔普恩1981 年出生于曼谷，现生活和工作于泰国曼谷。她于2015年获得德国杜塞尔多夫艺术学院美术硕士学位，2007 年获得德国美因河畔奥芬巴赫艺术学院美术硕士学位。她曾在曼谷 Nova Contemporary画廊、曼谷BUG画廊、帕德博恩Maerzhase画廊和威利希Schloss Neersen画廊举办个展。曾参与参伦敦 Workplace、曼谷国家美术馆、曼谷Nova Contemporary画廊和雅加达ROH Projects的群展。皮亚斯塔普恩的作品被曼谷文化部永久收藏。

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铁木尔·斯琴
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铁木尔·斯琴（出生于1984年，柏林）关注于文化演进、动态认知及当代哲学，并将其串联创作出新类型的环境艺术。通过综合媒介、3D打印的雕塑装置、灯箱、互联网、文本及虚拟现实，斯琴的作品常常挑战了西方意识中关于有机与合成、自然与文明，人类与非人类等二元论的既定认知。

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斯琴长期推进的项目是关于面对气候变化、全球流行病和生物多样性崩溃等派生出的新世俗信仰，称为"新和平"。通过"新和平"中的各类型创作聚合，衍生出一个超广域、具有符号性质的生态系统品牌。斯琴借鉴了宗教人类学、市场心理学和新唯物主义哲学，把灵性视为能够植入深层行为和政治干预的文化芯片。"新和平"面对的是我们与非人之间的观念和精神关系，是一个必须再次进行协商的新协定。

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"新和平"是一件艺术作品，一座圣殿，一个品牌，也是一台模因机器。斯琴出生于柏林，拥有德国与中国蒙古族血统的艺术家。他成长于柏林、北京和美国西南部，目前常驻纽约。近期重要个展和个人项目包括：Ecotone Dawn，Kunsthalle Winterthur，温特图尔，瑞士（2023）；Natural Origin，Société，柏林，德国（2023）；Take Me, I Love You, Von Ammon Co.，华盛顿，美国 (2020)；东、南、西、北，魔金石空间，北京，中国（2018）；新协定运动：第三部分，Spazio Maiocchi，米兰，意大利（2018）；新协定运动：第二部分，Spazio Maiocchi，米兰，意大利（2018）；新协定运动：第一部分，Société，柏林，德国（2018）；生物基因岩，魔金石空间，北京，中国（2015），等。重要群展包括：混乱：平静，第三届曼谷艺术双年展，曼谷，泰国（2022）；摸着石头过河--首届迪里耶当代艺术双年展，迪里耶，沙特阿拉伯（2021）；第二届里加当代艺术双年展，里加，拉脱维亚（2020）；敢当：当代神石注疏，UCCA沙丘，北戴河（2019）；亚洲艺术双年展，来自山与海的异人，台湾（2019）；第五届乌拉尔当代艺术工业双年展，永生，叶卡捷琳堡，俄罗斯（2019）；第九届柏林双年展，柏林，德国（2016）等。

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唐潮
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1990年出生于湖南，现工作生活于上海。

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作品曾展出于时代美术馆、上海当代艺术博物馆、西班牙国际影像艺术节、中国美术学院美术馆、现代汽车文化中心、OCAT上海馆、油罐艺术中心、 UCCA Edge、江苏德基美术馆、三影堂艺术中心等艺术机构。

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唐潮的工作本质像在实践写作中一种深思之轻的建议，比如把剧本提炼成一句话："身处现代岛屿的困境，一个自我放逐的乐园。"到最近："几种心旷神怡的点状覆盖一连串孱弱的呼声。"你可以集中在这句话的语气、节奏，换成摄像机的话，就是聚焦在晃动、光线还有景别。话的内容不是最重要的，有时候轻声细语、结巴，或颠三倒四。当然他偶尔也用图片、行为、装置或戏剧来说出，甚至是键盘上敲击几个字母。唐潮擅长在特定的地方摁下空格，连续摁住几秒也可以。他总是试图在每段平铺直叙的空白处释放一些言外之意。

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帕姆·维拉达
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帕姆·维拉达1993年出生于曼谷，现生活和工作于曼谷和阿姆斯特丹两地。她的作品探索电影和时间之间的交叉点，以此来驾驭家庭领域中的幽灵力量和私密故事。通过混合媒介装置和动态影像，维拉达重新配置了现有的语境和叙事，在空间安排、物品、文本和扩展的电影中探究无常和亲密不安的主题。她持续进行社会政治和微观叙事研究，调查各种个人和集体记忆。

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她的作品曾在Liste巴塞尔艺术博览会、Nova Contemporary画廊（曼谷）、Eye电影博物馆（阿姆斯特丹）、伯贝克动态影像学院（伦敦）、史密森尼国立亚洲艺术博物馆（华盛顿特区）、东京摄影艺术博物馆、新加坡国际电影节和Meno Avilys（维尔纽斯）等地展出和放映。

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王拓
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在王拓（1984年生于中国长春）的创作中，中国现代史、文化档案、小说及神话相互交织，形成虚构叙事。一如虚构写作，他在历史文本及档案记录中上演一幕幕介入性表演，模糊时间与空间、真实与想象的边界。王拓的创作横跨影像、表演与绘画，构建多维的事件谱系。他的作品中充斥着可见或不可见的线索，揭示着社会背后的历史及文化力量。王拓在作品中回应中国独特的「幽灵学」，提出以「泛萨满化」召唤中国二十世纪被压抑及忽视的记忆。他的创作时常以不安且戏剧性的手法探究历史，揭示集体无意识及历史创伤。王拓的近期创作批判当代审查机制，以及其中艺术家与执法者的紧张角力。

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王拓近年在 UCCA 尤伦斯当代艺术中心，北京；Present Company，纽约；Salt Project，北京；泰康空间，北京举办了个展，并参加了在韩国国立现代美术馆，首尔；尤莉娅·施托含克收藏，杜塞尔多夫；巴登巴登国立美术馆，巴登巴登；皇后美术馆，纽约；Zarya 当代艺术中心，符拉迪沃斯托克；上海当代艺术博物馆，上海；OCAT，上海/深圳；昊美术馆，上海；广东时代美术馆，广州；国立台湾美术馆，台中等机构举办的群展。王拓曾为纽约皇后美术馆2015至2017年度驻馆艺术家，并于2018年获授"三影堂摄影奖"，同年获北京国际短片联展"杰出艺术探索奖"和"玲珑塔"短片奖，2019年获授青年当代艺术乌镇奖，2020年获授旧金山卡蒂斯特支持的研究驻地。

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瑞秋·尹
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瑞秋·尹1994年出生于宾夕法尼亚州阿宾顿，现生活和工作于康涅狄格州纽黑文。尹的创作涉及雕塑和装置艺术，通过线上二手购物来寻找包含渴望与失败历史的材料。尹将电动按摩器从郊区的废墟中"解救"，并且将人造植物固定在按摩器上，以创造出笨拙但色情且荒诞的动感雕塑。艺术家的作品受到其移民父亲追求美国梦的影响，既有渴望真实的复制品，也有模拟关爱和亲密关系的故障物品。

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个展包括："Sargent's Daughters"（纽约州纽约市）、"Soy Capitán"（德国柏林）和当代艺术博物馆（密苏里州圣路易斯市）。尹的作品曾在桑德雷托·瑞·瑞宝迪戈基金会（意大利都灵）、Belenius画廊（瑞典斯德哥尔摩）、当代艺术中心（俄亥俄州辛辛那提）、国立现代及当代艺术美术馆（意大利罗马）和 Night画廊（加利福尼亚州洛杉矶）举办的群展中展出。尹在圣路易斯华盛顿大学山姆福克斯设计与视觉艺术学院获得了学士学位，目前是康涅狄格州纽黑文耶鲁大学艺术学院的艺术硕士候选人。

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朱荧荧
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1989年生于西安，目前工作生活于北京。2011年毕业于重庆四川美术学院油画系，2014年毕业于北京中央美术学院实验艺术系获硕士学位。她的创作媒介主要包含绘画、摄影和影像。在绘画作品中，集中探讨了图像在具象与抽象、现实与超现实之间相互转换的微妙关系，通过在现实与意识中不断徘徊往复，所画的对象便成为了操控情感意识与调动感官记忆的载体，形成半自主意识流的图像表达方式。在摄影和影像项目中，从更广阔的社会领域对废弃影像进行回收和提取，持续探索图像构成的各种叙事方式，个人和集体记忆之于摄影媒介的承载方式。

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策展人

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陈立
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独立策展人和研究者，现生活并工作在中国北京。他曾于魔金石空间担任研究主管，并在中国香港与内地从事独立策展。他的研究主要关注于地缘政治、表演性及流动影像，探索身份与主体的复杂性，及其如何超越地理的界限。陈立曾策划"琢面"（画廊周北京公共单元，北京，2023）、"比赛继续、舞台留下"（广东时代美术馆，广州，2019）、"今天应该很高兴"（泰康空间，北京，2019）、"世变"（Para Site，香港，2016）、"他/她从海上来"（OCAT，深圳，2016）等展览。陈立参与了多个国际驻留项目：2016年亚洲艺术文献库研究者驻留；2019年韩国国立现代美术馆国际研究者项目驻留；2019年获得亚洲文化协会纽约策展驻留奖助金。

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朴美珠
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朴美珠（Mijoo Park），独立策展人和研究者，现工作生活于韩国首尔。她在韩国组织了话语平台"Bul-teok"和Meddle Melody策展夏令营，并在2014至2021年管理艺术家自办学校RAT school of ART。她的策展实践主要关注并调查机构模式以及不同机构对可持续艺术实践的作用。她近期的策展实践包括：" Desengaño "（马德里文化会所，2023）、"非暗即黑"（Weekend，首尔，2020）、安养公共艺术计划（助理策展人，APAP6，韩国安养，2019）、"无所不在"（ONE AND J. +1，首尔，2018）、"Wishy-washy Bodies"（A中心，温哥华，2017）、"传统的频率"（副策展人，广东时代美术馆，仁川艺术平台，旧金山卡蒂斯特，2020-2021）、"祖母"（Post Territory Ujeongguk，首尔，2022）。她曾参加第七届光州双年展国际策展人课程（2016）、萨尔茨堡夏季学院（2017，奥地利）、ARKO策展人创意学院（2017）和山区艺术学院（2019，洛杉矶）以及马德里山德雷托·雷·雷包登戈基金会的青年策展人驻留计划（2023）。

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‍ ‍ ‍ 曹舒怡 ‍ 曹舒怡是一位驻纽约的艺术家，她的创作实践体现材料、物质与知识的炼金术，通过思辨考古与生态科幻，探索科学、技术文化与宇宙学之间相互渗透的多元关系。近期展览包括蜂巢当代艺术中心个展"软流"，Para ...

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Ann West’s Patchwork - Google Arts & Culture

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Explore this 19th-century patchwork masterpiece in exquisite detail

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Khruangbin is a universe. The musical trio own their position at the trailhead of a nostalgic age, incorporating psychedelic funk, rock, dub and soul to a perfect balance that avoids all notions of mimicry. They're long-lasting. Profound enough to have their instrumentals sampled by the likes of Knxwledge and humbly assist the laments of Jay Z and Jay Electronica, while maintaining a partial anonymity that is often substituted by their visual domain. Their videos when looked at together don't offer up a visual consistency, but are inextricably dealing in human emotion - the desire to be happy, connected and free.

For the band's upcoming album, A La Sala, the visual sentiment seems to be the same. Of its singles, May Ninth is standing out to many for its liking to that of a soft stream of consciousness (there are Reddit threads of fans proclaiming it to be an instant favourite after three studio albums and five EP's worth of music). The animated video for the track, directed by Jenny Lucia Mascia and Jeremy Higgins, leans into this through the motif of a child's discovery and ascension, that portrays a clear understanding of the potential that each Khruangbin video has. "We first started by doing research and writing the story. It included things such as ancestral plants, simple life forms, and things in nature that represented interconnectivity," Jeremy tells us. "It helped us to design this world of 'life before life'," he adds.

The May Ninth video's ethereal feel hinges not only on the 2D hand drawn animations, but the 3D generated camera movements, that sum up the contrasting visual approaches that Jenny and Jeremy have in their work. Jenny was born and raised in the outskirts of Urbino, a municipality in Marche, Italy, by her artist parents, and could be found illustrating stories from elementary school age. "I remember creating an 'epic journey' following me, my dogs and cats venturing into the forest surrounding my home," she tells us, "rather than relying solely on words, I always approached things visually with accompanying text. Words always seemed a bit elusive to me, whereas pictures feel like home." And Jeremy grew up in northern New Jersey, a lover of animation from Studio Ghibli to Disney, but he just didn't consider himself a producer in the realm, until he began studying at the School of Visual Arts. "Once I started, I couldn't stop. It quickly became clear to me that animation, and maybe one day films, was what I wanted to focus on," he shares. "And as for directing, it just felt like a natural direction to head in if I ever wanted to create stories as beautiful as my inspirations growing up."

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Alice in Wonderland but make it Khruangbin: Inside the video for the band's single May Ninth

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Jenny Lucia Mascia, Jeremy Higgins and a wider team of 2D and 3D animators endow the band's world with spellbinding visuals.

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This stylistic tendency of Sara's is rare in contemporary illustration, where the common idea is that vibrant colour combinations, gradients and textures are the key to capturing a viewer's eye. Yet amongst this trend Sara's work, in its minimality, has this desired effect. Scrolling through Instagram her illustrations offer a moment to pause and reflect, maybe laugh or feel slightly emotional. Because in such precision Sara is able to pick up on a relatable moment. "It goes back to capturing a moment, but a more physical one," she elaborates.

At the heart of much of Sara's work is also a central wide-eyed character, one the illustrator explains is actually based on herself. "This version of me came from sketching about my experiences - usually after a day of working at a computer and taking coffee breaks in my car narrated by the classical segment on NPR." It's still the process she adopts to this day, beginning by drawing a stylised version of herself with whatever haircut she has at the time ("currently a quarantine self-cut fringe and bob-ish chop"). The character will then be drawn experiencing a recent real life event from Sara's own life, acting as her own journal or archive from being curled up in bed unwell, or hilariously waiting at the table in the back of a restaurant alone. "It feels really specific too," she adds, "like a pod filled with a memory. I have maybe the most fun drawing these pieces because they are fairly quick and I allow them to be a bit messier."

Recreating such everyday personal moments extends the relatability of Sara's work and, since starting her art account on Instagram in 2016, she's gained a huge following. "I am always really surprised by, and thankful for, the understanding and interest that I have gotten from so many people," she adds on her work's ability to resonate with viewers. "Most of the time it feels like this abstract, nebulous thing, which helps me not get too in my head about it. Other times it scares me because it's just a lot of people." Given the calming nature of her work, Sara also takes a backseat never offering too much explanation or interaction of her pieces, explaining how "I like the idea of letting my work be my work, while I just kind of exist next to it." After all, one of the driving factors of her work is to create a safe space for an audience member who stumbles across it. "I mean, it's always amazing when someone feels understood," she concludes on the feeling she hopes her pieces evoke. "It's like a two-way street. In a way I feel more understood too. Most of the time, though, I think I just want viewers to feel."

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Sara Hagale offers a breath of fresh air with her illustrative precision

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Beloved by her growing following for her ability to create calming moments in a hectic world, Sara Hagale shows how less really can be more.

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My emotional creative world is littered with undetonated grenades.

I do not know whether I will take these with me to the grave, or whether they will explode at some point in time into colour and form.

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Exploration about drawing on transparent medium 03/03/24

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Exploration about drawing on transparent medium 03/03/24

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Regarding the presentation of the final work, I plan to use fine art painting combined with multi-media techniques. Combine visual arts to narrate concepts.

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Color symbolism is deeply embedded in social and cultural norms, influencing everything from fashion trends to interpersonal interactions. For example, certain colors may be associated with gender norms or societal roles, leading to expectations regarding appropriate dress or behavior. Understanding these cultural codes is essential for navigating social contexts and communicating effectively.

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Drawing involves creating images also can emphasizing the artist's thought process and emotions. Installation art transforms spaces through three-dimensional, site-specific works that engage multiple senses.

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The extended picture frame refers to the idea that the boundaries of an artwork extend beyond its physical frame to include the context, ideas, and concepts that surround it. This approach challenges traditional notions of art being confined to a single, isolated object or image and instead emphasizes the importance of context and the viewer's interaction with the piece.

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SHOWING SYMBOLISM OF COLOR [Colours that energize spectators] 

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SHOWING SYMBOLISM OF COLOR [Colours that energize spectators] 

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Red is the colour of blood, representing life.

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The symbolism of colors in religion varies widely across different cultures and geographical regions, reflecting the diverse interpretations and expressions of spirituality. While certain colors may hold universal meanings within a particular religious tradition, their significance can also be shaped by local customs, historical context, and regional symbolism.

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1/4 Blue : A History of Art in Three Colours (Ep2)

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Red is a multifaceted color with profound and often contrasting symbolic meanings across different cultures and contexts. It commonly represents intense emotions such as anger and rage, evoking images of heat and fury, as seen in phrases like "seeing red." This association with anger stems from the physiological response of increased heart rate and flushed skin during moments of intense emotion. Conversely, red also symbolizes death and mourning in certain cultures. For example, in some African and Indian traditions, red is worn during mourning to signify the blood of life and the intensity of loss. The color's dual representation of both life's fiery passion and the solemnity of death highlights its powerful and complex role in human expression and cultural rituals.

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In every different culture, everyone have different descibination of color red, The most common sense red symbolize as intense emotions such as anger and rage, evoking images of heat and fury. red also symbolizes death and mourning in certain cultures.