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Books on the topic 'Color purity'

Author: Grafiati

Published: 30 May 2022

Last updated: 31 May 2022

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1

Cleanse & purify thyself. Mt. Shasta, Calif: Christobe Pub., 2000.

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2

Anderson, Richard. Cleanse & purify thyself. 2nd ed. Medford, OR: Christobe Pub., 2002.

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3

Anderson, Richard. Cleanse & purify thyself. 4th ed. Clearwater, Fl: distributed by Health Freedom Resources, 1994.

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4

Gilbert Sorrentino: L'œil d'un puriste. Paris: Presses Sorbonne nouvelle, 2013.

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5

Cleanse & purify thyself: The definitive guide to internal cleansing. Medford, Or: Christobe Pub., 2007.

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6

The architectonic colour: Polychromy in the purist architecture of Le Corbusier. Rotterdam: 010 Publishers, 2009.

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7

Heer, Jan de. The architectonic colour: Polychromy in the purist architecture of Le Corbusier. Rotterdam: 010 Publishers, 2009.

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8

Richard, Anderson, ed. Cleanse & purify thyself. Triumph Business Trust, 1998.

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9

Gilley, Jennifer. Feminist Publishing/Publishing Feminism. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039805.003.0002.

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This chapter explores two case studies that each illustrate an attempt to infuse feminist politics into the economically driven apparatus of book publishing: Sisterhood Is Powerful (1970) and This Bridge Called My Back: Writings by Radical Women of Color (1981). Exploring the publication history of Sisterhood Is Powerful provides a landmark case study of feminist experimentation in publishing that was inevitably fraught with controversy due to the ideological struggles of the time over economic and political “purity.” This Bridge Called My Back was published under an unusual type of contract in which contributors, rather than receiving a one-time payment at the beginning, would continue to receive payments for every ten thousand copies sold. Overall, these studies show the variety of ways in which feminists tried to get around the “taint” of publishing's relationship to the power structure in order to enact a feminist sensibility not just in the content of their writing but also in its production and dissemination.

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10

Stevenson, Jane. Whiteness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.003.0010.

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The colour white was central to twenties aesthetics. Modernists associated it with purity, rigour, and absence of decoration: plain white privileges volume over surfaces. Modern baroque decorators used whiteness differently, to unify eclectically sourced objects. Their ‘amusing’ use of white combined multiple shades of near-white in different textures to create sophisticated effects. But, like the modernists, baroque decorators were more interested in shape than colour.

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11

Ott, Walter. Descartes, Malebranche, and the Crisis of Perception. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791713.001.0001.

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The seventeenth century witnesses the demise of two core doctrines in the theory of perception: naïve realism about color, sound, and other sensible qualities and the empirical theory, drawn from Alhacen and Roger Bacon, that underwrote it. Ejecting such sensible qualities from the mind-independent world at once makes for a cleaner ontology, since bodies can now be understood in purely geometrical terms, and spawns a variety of fascinating complications for the philosophy of perception. If sensible qualities are not part of the mind-independent world, just what are they, and what role, if any, do they play in our cognitive economy? We seemingly have to use color to visually experience objects. Do we do so by inferring size, shape, and motion from color? Or is it a purely automatic operation, accomplished by divine decree? This book traces the debate over perceptual experience in early modern France, covering such figures as Antoine Arnauld, Robert Desgabets, and Pierre-Sylvain Régis alongside their better-known countrymen René Descartes and Nicolas Malebranche.

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12

Tulloch, John, and Belinda Middleweek. “Intimacy is what hurts when it’s gone”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0005.

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This chapter considers the contestation within film studies between the “spectator” and the “social audience,” focusing on the real sex film Blue Is the Warmest Colour. It explores Horeck and Kendall’s edited book The New Extremism in Cinema, which puts in apposition chapters predominantly employing a textual analysis with Martin Barker’s stand-alone social audience study. Barker rejects spectator analysis as purely speculative and “particularly disappointing and disturbing” aspects of film studies and culture generally. Instead of this mutual apposition, the chapter explores, in a pilot social audience study of Blue Is the Warmest Colour, Jennifer Hyndman’s feminist call for a blending of interdisciplinary dialogical “understanding” with “galvanizing extension.” The study deploys qualitative methodology seldom used in cinema studies and generates new findings, both at the substantive experiential level and in terms of methodological differences in interviewing style.

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13

D’Errico, Lucia. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0003.

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There is no optical space in my experience of music. If I leave aside a spontaneous association of pitches with fields of colour (so flat and vibrant, though, that they acquire almost a haptic quality), the role of sight is relegated to the preliminary and purely intellectual moment of musical notation. The shape that delineates itself when listening to or making music is rather the blind density of my own body. It is a body subjected to forces of different magnitude that act from both inside and outside itself....

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14

Ott, Walter. Later Descartes. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791713.003.0005.

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Descartes’s third model of perception is stated in the sixth Replies. This chapter explores the three ‘grades of sensory perception’ and argues that, for the first and only time in his career, Descartes here claims that we must use our awareness of color to judge the common sensibles. Descartes’s final model abandons this claim. Instead, his later works posit a purely causal explanation for the occurrence of sensations and ideas. It is still up to the mind to ‘refer’ these things to objects in the subject’s environment. This chapter concludes with an argument from Nicolas Malebranche that makes all four stages problematic. According to this ‘selection argument,’ there is no way for the mind to know which of its ideas or sensations it should summon (stage one), nor is there any way to know which object should be paired with which idea or sensation (stages two, three, and four).

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15

Saito, Yuriko. The Aesthetics of Wind Farms. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199672103.003.0004.

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As one of the sustainable forms of energy production, wind farms are becoming increasingly prevalent, changing the global landscapes and seascapes. They are often met with resistance, primarily because of their presumed ‘eyesore’ effect. This chapter reviews several arguments based upon imagination and comparison to art that are intended to mitigate the negative aesthetic impact of wind farms. It concludes that the most promising aesthetic argument in support of wind farms must be a part of a larger aesthetics of sustainability informed by life values, sometimes referred to as the ‘thick’ sense of aesthetics. At the same time, life values, such as sustainability, cannot by themselves determine the aesthetic values, since purely sensuous, ‘thin,’ considerations, such as colors, shapes, and spatial arrangements, constitute the core of aesthetic values. Most importantly, aesthetic disputes involving public space call for civic environmentalism: empowerment and inclusion of those whose aesthetic lives are affected.

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