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Art --- installations [visual works] --- planes [mathematics] --- primary colors --- Tuttle, Richard
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Dyes --- Iconography --- History of civilization --- blue [color] --- psychological primary colors --- kleurgebruik
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Dyes --- Iconography --- History of civilization --- white [color] --- psychological primary colors --- kleurgebruik
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"Last Year at Betty and Bob’s: An Actual Occasion is the third in a series of three novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking.An Actual Occasion revisits the viral transitioning of the becoming rat-woman from Last Year at Betty and Bob's: A Novelty (vol. 1 in the trilogy). The adventure focuses on the Gritta’s, a gang of artists on retreat in the Dolomite Mountains, as they engage with the idiosyncratic, keeper of the keys, Roberta. Her other-worldly Café Arcadia, a magical cathedral of voluminous aphorism, is an archival refuge and durational homage to Benjaminian storytelling. This futurist fairy-tale is tinged with a curious mix of 19th-century feminist idioms and a queer, post-pandemic sanguinity."
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Sculpture --- sculpture [visual works] --- mobiles --- color [perceived attribute] --- primary colors --- monumental [size or dimensions] --- steel [alloy] --- Calder, Alexander
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Last Year at Betty and Bob's: A Novelty is the first in a series of novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking. A storyline, or genealogy, tinted a shade of RGB blue, is fashioned by thinking through the felt unthought of this between space. A fabulation, an anarchive of what passes through. Lucid dreaming of this type is rife with allusions to conceptual and material goings-on, manifesting in awkward imaginaries. The dream personas are rendered as complex character amalgams with nomadic ages, sexes, genders and phenotypes. Occurrences of lived "fact" elide with a hallucinatory real as speculation. In A Novelty, Bette B, an ageing quasi-academic artist researcher, and BOB, attuned urban rodent, are palindromic variants of a generic cast of Betty's and Bob's. The happenstance of their meeting on the super slick POMOC (PostOffice MotionCorridor) affects a trans-special contagion. These are the facts of the matter. The matters that come to concern both B's are more slippery and elusive.
Fiction --- Modern & contemporary fiction (post c 1945) --- Metafiction --- Novellas (Short novels) --- Novels --- Stories --- Literature --- Novelists --- Philosophy --- Fiction. --- primary colors --- transhumanism --- fiction --- consumerism --- feminism --- art collective --- artistic research
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Last Year at Betty and Bob's: An Adventure is the second in a series of three novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking. A storyline, or genealogy, tinted a shade of RGB red, is fashioned by thinking through the felt unthought of this between space -- a fabulation, an anarchive of what passes through. Lucid dreaming of this type is rife with allusions to conceptual and material goings-on, manifesting in awkward imaginaries. The dream personas are rendered as complex character amalgams with nomadic ages, sexes, genders, and phenotypes. Occurrences of lived "fact" elide with a hallucinatory real as speculation. In An Adventure, a feral feminist artist collective, The Bettys, inhabit a timeless Arcades Project. This is their experiment in wild hypo-consumerism. The event of Red Betty's fall generates the advent of a turn. A cleaving. The intra-play of personal politics and activist artistic practices is surreally suffused with attention to color, to life and death, to lightness and heaviness.
Fiction --- Metafiction --- Novellas (Short novels) --- Novels --- Stories --- Literature --- Novelists --- Philosophy --- Fiction. --- primary colors --- transhumanism --- fiction --- consumerism --- feminism --- art collective --- artistic research
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"The color red has represented many things, from the life force and the divine to love, lust, and anger. Up through the Middle Ages, red held a place of privilege in the Western world. For many cultures, red was not just one color of many but rather the only color worthy enough to be used for social purposes--in some languages, the word for red was the same as the word for color. The first color developed for painting and dying, red became associated in antiquity with war, wealth, and power. In the medieval period, red held both religious significance, as the color of the blood of Christ and the fires of Hell, and secular meaning, as a symbol of love, glory, and beauty. Yet during the Protestant Reformation, red began to decline in status. Viewed as indecent and immoral and linked to luxury and the excesses of the Catholic Church, red fell out of favor. After the French Revolution, red gained new respect as the color of progressive movements and radical left-wing politics. In this beautifully illustrated book, Michel Pastoureau, the acclaimed author of Blue, Black, and Green, now masterfully navigates centuries of symbolism and complex meanings to present the fascinating and sometimes controversial history of the color red. Pastoureau illuminates red's evolution through a diverse selection of captivating images, from the cave paintings of Lascaux, the works of Renaissance masters, to modern paintings and stained glass by Mark Rothko and Josef Albers."--Inside front jacket flap.
History of civilization --- Iconography --- Semiotics --- psychological primary colors --- red [color] --- iconography --- Red. --- Color --- Symbolism of colors --- Red in art. --- Symbolism of colors. --- Rouge. --- Couleur --- Symbolisme des couleurs --- Rouge dans l'art. --- Psychological aspects --- History. --- Social aspects --- Psychological aspects. --- Social aspects. --- Aspect psychologique --- Histoire. --- Aspect social --- MAD-faculty 18 --- kleurenpsychologie --- kleuren in kunst --- cultuurgeschiedenis --- kleurgebruik
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Black, favorite color of priests and penitents, artists and ascetics, fashion designers and fascists, has always stood for powerfully opposed ideas: authority and humility, sin and holiness, rebellion and conformity, wealth and poverty, good and bad. In this book, the author of Blue now tells the fascinating social history of the color black in Europe. In the beginning was black, he tells us. The archetypal color of darkness and death, black was associated in the early Christian period with hell and the devil but also with monastic virtue. In the medieval era, black became the habit of courtiers and a hallmark of royal luxury. Black took on new meanings for early modern Europeans as they began to print words and images in black and white, and to absorb Isaac Newton's announcement that black was no color after all. During the romantic period, black was melancholy's friend, while in the twentieth century black (and white) came to dominate art, print, photography, and film, and was finally restored to the status of a true color. For the author, the history of any color must be a social history first because it is societies that give colors everything from their changing names to their changing meanings, and black is exemplary in this regard. In dyes, fabrics, and clothing, and in painting and other art works, black has always been a forceful and ambivalent shaper of social, symbolic, and ideological meaning in European societies.
Black --- Color --- Symbolism of colors --- Black in art --- Psychological aspects&delete& --- History --- Social aspects&delete& --- Color symbolism --- Symbolic colors --- Colors --- Chromatics --- Colour --- Chemistry --- Light --- Optics --- Thermochromism --- Dyes and dyeing --- Psychological aspects --- psychological primary colors --- Semiotics --- Iconography --- History of civilization --- black [color] --- Black in art. --- Black. --- History. --- Social aspects --- kleurgebruik
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Illuminated with a wide variety of images, this book traces the long history of yellow around the world. In antiquity, yellow was considered a sacred color, a symbol of light, warmth, wealth, and prosperity. But in medieval Europe, it became highly ambivalent: greenish yellow came to signify demonic sulfur and bile, the color of forgers, felon knights, traitors, Judas, and Lucifer-while warm yellow recalled honey and gold, serving as a sign of joy, pleasure and abundance. The yellow stars of the Holocaust were seared into the color's negative tradition. In Europe today, yellow has diminished to a discreet color. Greenish yellow can still be seen as dangerous, sickly, or poisonous, and golden yellow remains positive, but the color is absent in much of everyday life and is lacking in symbolism. In Asia, however, yellow pigments like ocher and orpiment and dyes like saffron, curcuma, and gaude are abundant. Painting and dyeing in this color has been easier than in Europe, offering a richer and more varied palette of yellows that has granted the color a more positive meaning. In ancient China, for example, yellow clothing was reserved for the emperor. In India, the color is seen as a source of happiness: wearing a little yellow is believed to keep evil away. And importantly, it is the color of Buddhism, whose temple doors are marked with the color. Yellow continues to have different meanings in different cultural traditions, but in most, the color remains associated with light and sun, something that can be seen from afar and that seems warm and always in motion.
Affective and dynamic functions --- Iconography --- History of civilization --- yellow [color] --- psychological primary colors --- Yellow --- Color --- Symbolism of colors --- Yellow in art --- Psychological aspects&delete& --- History --- Social aspects&delete& --- Color symbolism --- Symbolic colors --- Colors --- Psychological aspects --- Chromatics --- Colour --- Chemistry --- Light --- Optics --- Thermochromism --- Social aspects --- kleurgebruik
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