Dobzhansky's ability to combine genetics and natural history attracted many other biologists to join him in the effort to find a unified explanation of how evolution happens. Their combined work, known as "The Modern Synthesis," brought together genetics, paleontology, systematics, and many other sciences into one powerful explanation of evolution, showing how mutations and natural selection could produce large-scale evolutionary change. The Modern Synthesis certainly did not bring the study of evolution to an end, but it became the foundation for future research.
The (for example, the recent CIE models CIELAB or CIECAM, Manfred Richter's DIN, the OSA UCS system) do not impose colorant boundaries or a specific geometrical shape on the distribution of colors. They only require the hue circle and chroma to be perpendicular to the lightness dimension: colors are located by measuring their actual lightness, hue and hue purity.
Modern.Starting "The Modern Synthesis": Theodosius Dobzhansky.
Peceptual color spaces describe all visual colors, either of light or of materials or both, and are standard in color vision research. Colorant color models are not visual color spaces, because lightness/brightness, hue and hue purity are not defined within them. Instead they are geometrically simplified diagrams of the colors produced by all possible mixture proportions among the primary colorants used in subtractive (paints, inks) or additive (phosphors, lights) color reproduction media.
Postmodernism, or the Cultural Logic of Late Capitalism.
The (UCS) models, in contrast, , pigment models include the and color solids and the Ostwald and color models. These are generally closer to the painter's traditional conceptions of color mixing; is the preferred measure of hue purity, and hues are proportional mixtures of "pure colors" that are commonly either the painter's primaries (CYM) or artist's primaries (RYGB).
on poetry; what poetry is, the language of poetry, etc.
What is a color space good for? First, it provides an unambiguous way to systematically label and display colors using the colormaking attributes: any possible combination of lightness, hue and hue purity (chroma or saturation) locates a specific point in the color space, and that point represents every surface or object with those three color attributes. Second, a color space provides an explicit way to compare colors: similar colors will be located near each other in the color space, and very dissimilar colors will be located far apart, so we can use within the color space to specify the between any two colors. Third, the color space allows the conceptual description or grouping of colors according to their within the color space such as or Of course, this third purpose is how the hue circle, as a , has been used in traditional color theory.
History of Modern Poetry: from the 1890’s to the High Modernist Mode.
Before we can lay out a modern color theory, we have to address and dispell the most significant of these traditional color misconceptions. The most important, and the most enlightening to explore, involve "primary" colors and color mixtures.
Understanding Modern Evolutionary Synthesis - …
We start with the traditional conception of what color To unravel this conception, ask yourself: Is the color in a paint, or in the light, or in the mind? Can we have an ounce of yellow, or a lux of yellow, or a sensory unit of pure imagined yellow? Where is the yellow we are talking about?