Da Cor A Cor Inexistente Israel Pedrosa Pdf Download |TOP|
Da Cor A Cor Inexistente Israel Pedrosa Pdf Download
this is the title of the book by israel pedrosa, da cor cor inexistente. pedrosa considers color as a piece of space, a virtual space, and he wants to create a work of art that presents the sensation of color in the absence of color. the book is divided into three parts, in which pedrosa discusses the idea of color and the material used to create the experimental installations of the sixties and seventies. in the second part of the book, he shows some of his early works that present color and its absence. the final part of the book contains interviews in which the artist talks about his work and the theories that inspired him.
the book is divided into three parts, which include theoretical discussions and interviews with the artist.
pedrosa, in his book, intends to question the nature of color. he discusses the material used in his works, the sensations that color produce, and the process of experimentation and perception. the author tells us that color is an abstract concept that we use to define the physical sensation of color. he affirms that there is no physical space that we can define as color, since color is a mental concept. in other words, color is the sensation we have when we see and hear a piece of light, or when we touch a piece of material. pedrosa affirms that color is an illusion, a matter of perception, and we have no knowledge of the existence of the three primary colors, red, green, and blue. he defines that in a work of art, color is a matter of sensorial perception. the artist believes that color does not exist as an object. color, as a feeling, is materialized as an image in our nervous system. in his opinion, objects are defined only as the shape and volume that they have, which are physical entities. he considers color as a mental concept, defined by our experiences, as the light reflected or refracted by a piece of material. the author explains that in the book from color to nonexistent color, he intended to “defend a certain form of abstraction”. in addition to the concept of abstraction, he uses the notions of the “literal” and “figural” to characterize a work of art. the word literal means that the art object is related to a physical space, whereas the figurual means that the work of art is related to a mental space. as pedrosa states, the figurual does not mean that the work is not related to physical space. a work of art, which is related to a mental space, can be related to a physical space. pedrosa asserts that color is a mental concept.
pedrosa does not create colors, but refers to them. he is interested in what we perceive when we see colors, and uses light as the instrument for understanding this subject. he is also interested in the concepts of color and light, which he says are two sides of the same coin.  these concepts are linked to the theory of perception, which seeks to explain the process that we experience, the relationship between the light and the retina, the phenomenon of colors and light, and the process of seeing.  the book “from color to nonexistent color” is a result of these concepts.  in order to understand the world, we must understand the properties of light. it is light, not colors, that has been the center of interest in this work.
for pedrosa, light is a wave, and colors are the waves of the spectrum.  the spectrum is made up of wavelengths of light that stimulate the visual receptors of the eye, which are like the cells of the retina.  if we imagine that the retinal cells are represented by the black and white pixels of a television screen, each cell is stimulated by a particular wavelength. the spectrum is a range of wavelengths, which are the color of the spectrum.  the energy of light is distributed throughout the spectrum, and the image transmitted by the eye is a combination of the energy contained in all the wavelengths.
o filme foi montado com diferentes blocos de cor em material de cor de fundo, incluindo o cromo, o brilho, as cores bromuro, o fosfolipo, o prata, o verde, o amarillo, o azul, e o branco, em contactos de poligono de cromtica e metafonia, veio essa banda 557 em efecto na cor, que a forma de uma intima banda de q, que permanece no espectro e, no espectro de refrao, como uma banda de s. a figura 5 demonstra que o nome de da cor cor inexistente foi conferido a essa banda por israel pedrosa. ao atuar na refrao at, israel pedrosa pode ser considerado um pioneiro, nomeadamente nesta área cromtica.