Campbell, Robert Jean (2009). Campbell's Psychiatric Dictionary. Oxford University Press. pp.186–. ISBN 9780195341591 . Retrieved 22 August 2014. David Batchelor's work is concerned above all things with colour, a sheer delight in the myriad brilliant hues of the urban environment and underlined by a critical concern with how we see and respond to colour in this advanced technological age. YAX (yax) (T16) 1> adjective "green" 2> adjective "blue" 3> adjective "blue-green" 4> adjective "first."

Bleicher, Steven (2005). Contemporary Color Theory and Use. Cengage Learning. pp.17–. ISBN 9781401837402 . Retrieved 22 August 2014.

Walls, and more

Chromophobia (also known as chromatophobia [1] or chrematophobia [2]) is a persistent, irrational fear of, or aversion to, colors and is usually a conditioned response. [2] While actual clinical phobias to color are rare, colors can elicit hormonal responses and psychological reactions. [3] Remember there is no such thing as a ‘correct’ or ‘incorrect’ colour combination,” wrote Dorothy – but that doesn’t stop some of us worrying. A pattern comprising multiple colours can be invaluable, because somebody else has done the thinking already. And worth knowing is that it is preferable to introduce more than one colour, or pattern. “The more you have together, the calmer a room is. If you just have one fabric it’s a bit hotel-y, a bit static,” says Gavin Houghton. Again, start small, and know that stripes can be an excellent foil to florals. The importance of texture

Batchelor begins by pointing out that the pure white absence of Minimalism is a myth -- Dan Flavin used colored fluorescent tubes, Donald Judd used shiny metal and colored plastic. Bright industrial color dominated Minimalism, just like it did Pop Art. Like his work, the book is clever and unpretentious, and ranges through the ages, combining references from classical philosophy ("A painter is just a grinder and mixer of multicolor drugs" -- Plato), film (especially The Wizard of Oz) and literature, even the Bible ("Though your sins be as scarlet, they shall be as white as snow"). Sometimes, he mixes it all up, as when he notes that "Dorothy's Kansas, as we know, is gray: Huxley's Kansas is language, as language grays the world around us." I will not question the equivalence between “wild” and “savage” though “savage” carries a derogatory meaning in its Latin root. I will question the couple “uneducated – of refinement” for the German couple “ungebildete Menschen – gebildete Menschen.” The concept of “refinement” carries a positive meaning that rejects “uneducated” into some derogatory meaning. The German couple is more objective about one single concept, the first word negative and the second word positive. I insist it is the same concept, “unconstructed – constructed” or “uneducated – educated” or “unelaborate – elaborate,” the idea that on one side some process of complexification did not take place and on the other side it did take place. Maybe education leads to refinement, but refinement is a positive behavioral term whereas educated is the positive side of the negative side of the same concept, that of education. But the main objection to this translation comes from “lebhaft.” Though “vivid” is connected to the Latin root for “life,” it is not directly connected to the standard English concept of “life,” and the German version uses the word twice and its root is “Leben,” the verb or the noun. The translation uses a word that refers to the flashy brightness of the colors, not the fact that they are directly connected with life as is implied in German where the adjectival suffix “-haft” means “endowed with,” in this case “endowed with life.” Goethe was often using his words with great care. When in the concluding verses of the Second Faust he says the future of man is woman, he uses for “woman” the old neuter root “das Weib” instead of the more modern feminine root “die Frau” and in this case again in the form of the adjective “weiblich,” amplified as the fourth rhyming “-liche” line ending. These four rhymes are the echo of the final stage of Faust’s soul’s salvation by four women, Mater Gloriosa presiding over three “Büsserinnen” (penitent women): Magna Peccatrix, Mulier Samaritana, and Maria Aegyptiaca. Note the limit between ultraviolet and violet is fuzzy, the same way as it is between infrared and red. This is due to the human eye. Officially ultraviolet and infrared are invisible, but they vary with various individuals. This is typical of the vision of colors. What is blue for some is green for others and in many languages and cultures blue and green are one color, like for the Mayas who have only one word for “blue,” “green,” “blue-green,” and “first,” and the word is “YAX.”

The importance of tone

An interesting short introduction to the aversion to color held by many elite Western men of the last three centuries.

En definitiva, me quedo con mis propias divagaciones sobre el texto, usándo su posicionamiento como herramienta de análisis más que con el texto en sí que, como decía, es más bien fallido. The Luminous and the Grey is a voyage to places where colour comes into being and where it fades away, an inquiry into when colour begins and when it ends, both in the material world and in the imagination. Batchelor draws on a wide range of material, including neuroscience, philosophy, literature, film and the writings of artists; and makes use of his own experience as an artist who has worked with colour for more than twenty years.Beyond his visual practice, Batchelor has explored the importance of colour in his much-admired book Chromophobia, which explores the aversion to its use in western cultures, or as the author puts it, 'since antiquity, colour has been systematically marginalised, reviled, diminished and degraded'. Esto se debe, desde mi punto de vista, a su sesgo de clase y género. No es capaz de ver el potencial de sus propias tesis. Por ejemplo, expone una idea súper potente: la vinculación intrínseca del color con la otredad.