Bart Steele, the recent graduate of the Space Academy on Earth, learns that his father has been murdered but has sent him a message: "Bart, I send money and instructions by my friend. Do as he says. Don't go home, Dad." In a far future space travel is common, but the secret of traveling faster than the speed of light is jealously guarded by a non-human race, the Lhari. Lhari are the species that is color-blind in the sense that everything they see is monochromatic. The pace is relentless and Bart must extort the secret from the Lhari by going undercover as one of them.

It has been postulated that humans can differentiate between millions of gradations in color. Not surprisingly, no completely adequate, detailed catalog of colors has yet been devised, however the quest to understand, record, and depict color is as old as the quest to understand the fundamentals of the physical world and the nature of human consciousness. Rolf Kuehni’s Color Space and Its Divisions: Color Order from Antiquity to the Present represents an ambitious and unprecedented history of man’s inquiry into color order, focusing on the practical applications of the most contemporary developments in the field. Kuehni devotes much of his study to geometric, three-dimensional arrangements of color experiences, a type of system developed only in the mid-nineteenth century. Color spaces are of particular interest for color quality-control purposes in the manufacturing and graphics industries. The author analyzes three major color order systems in detail: Munsell, OSA-UCS, and NCS. He presents historical and current information on color space developments in color vision, psychology, psychophysics, and color technology. Chapter topics include: A historical account of color order systems Fundamentals of psychophysics and the relationship between stimuli and experience Results of perceptual scaling of colors according to attributes History of the development of mathematical color space and difference formulas Analysis of the agreements and discrepancies in psychophysical data describing color differences An experimental plan for the reliable, replicated perceptual data necessary to make progress in the field Experts in academia and industry, neuroscientists, designers, art historians, and anyone interested in the nature of color will find Color Space and Its Divisions to be the authoritative reference in its field.

In "The Colors of Space," Marion Zimmer Bradley tells the story of Bart Steele, a human being who is disguised as a member of an alien species in order to discover the secrets of their space travel. This book is a science fiction novel set in the future, a time when humans can already travel faster than the speed of light and can reach the remote corners of the universe with the help of another type of beings called the Lhari.

Bart Steele, the recent graduate of the Space Academy on Earth, learns that his father has been murdered but has sent him a message: "Bart, I send money and instructions by my friend. Do as he says. Don't go home, Dad." In a far future space travel is common, but the secret of traveling faster than the speed of light is jealously guarded by a non-human race, the Lhari. Lhari are the species that is color-blind in the sense that everything they see is monochromatic. The pace is relentless and Bart must extort the secret from the Lhari by going undercover as one of them.

"This study of Virginia Woolf, D. H. Lawrence, Joyce Cary, Lawrence Durrell, and A. S. Byatt focuses on color, space, and creativity in selected novels, stories, travel texts, essays, and letters." "Stewart highlights a nexus of color, space, and creativity that takes on ontological dimensions in the writing of five writers who are linked by stylistic affinities and correspondingly calibrated sensibilities. They engage writing with painting and their acts of attention converge in a zone where color, space, and creativity sustain the imaginative life-world of their characters. This study should lead to ongoing reflections on the roles of color and space in modernist and postmodernist texts and direct attention to the subtle and pervasive interactions of literature with painting."--BOOK JACKET.

What is Color Space A color space is a particular arrangement of colors in a given space. In conjunction with color profiling, which is supported by a variety of physical devices, it is capable of supporting repeatable representations of color, regardless of whether such representations involve an analog or a digital representation. It is possible for a color space to be arbitrary, in which case the colors that are physically realized are allocated to a set of physical color swatches that have matching color names, or it can be structured with mathematical precision. The concept of a "color space" is a helpful conceptual tool that may be utilized to gain a knowledge of the color capabilities of a certain digital file or device. In the process of attempting to replicate color on a different device, color spaces can indicate whether or not shadow/highlight detail and color saturation can be preserved, as well as the degree to which either of these aspects will be diminished. How you will benefit (I) Insights, and validations about the following topics: Chapter 1: Color space Chapter 2: RGB color model Chapter 3: CMYK color model Chapter 4: RGB color spaces Chapter 5: HSL and HSV Chapter 6: Chromaticity Chapter 7: CIELAB color space Chapter 8: Gamut Chapter 9: Grayscale Chapter 10: Adobe RGB color space (II) Answering the public top questions about color space. (III) Real world examples for the usage of color space in many fields. Who this book is for Professionals, undergraduate and graduate students, enthusiasts, hobbyists, and those who want to go beyond basic knowledge or information for any kind of Color Space.

In Rediscovering Colors: A Study in Pollyanna Realism, Michael Watkins endorses the Moorean view that colors are simple, non-reducible, properties of objects. Consequently, Watkins breaks from what has become the received view that either colors are reducible to certain properties of interest to science, or else nothing is really colored. What is novel about the work is that Watkins, unlike other Mooreans, takes seriously the metaphysics of colors. Consequently, Watkins provides an account of what colors are, how they are related to the physical properties on which they supervene, and how colors can be causally efficacious without the threat of causal overdetermination. Along the way, he provides novel accounts of normal conditions and non-human color properties. The book will be of interest to any metaphysician and philosopher of mind interested in colors and color perception.