Theory of Colours by Johann Wolfgang von GOETHE (1749 - 1832), translated by Charles Lock EASTLAKE (1793 - 1865)
Genre(s): Art, Design & Architecture, Astronomy, Physics & Mechanics
Read by: Lynne T, Nathan Rosquist, Dylan Campbell, Deborah Balm, Kieren Metts, playonwords, Gillian Hendrie, Michelle Tan, DrPGould, Katarina Petric, Simona Rusu, jcrosbie, ToddHW, Suzie, Chris Gray, jenno, brianna, Availle in English
Parts:
Part 2 [ Ссылка ]
Chapters:
00:00:00 - 01 - Translator's Preface and Preface to the First Edition
00:29:03 - 02 - Introduction
00:45:15 - 03 - Part I - Physiological Colours Section 1 - Effects of Light and Dark on the Eye
00:50:27 - 04 - Section II - Effects of Black and White Objects on the Eye
01:03:59 - 05 - Section III - Grey Surfaces and Objects; Section IV - Dazzling Colourless Objects
01:13:18 - 06 - Section V - Coloured Objects
01:26:57 - 07 - Section VI - Coloured Shadows
01:39:40 - 08 - Section VII - Faint Lights; Section VIII - Subjective Halos
01:48:35 - 09 - Pathological Colours - Appendix
02:02:50 - 10 - Part 2 - Physical Colours - Section IX - Diotropical Colours
02:09:09 - 11 - Section X - Diotropical Colours of the First Class
02:28:04 - 12 - Section XI - Diotropical Colours of the Second Class - Refraction
02:36:14 - 13 - Subjective Experiments - Section XII - Refraction Without the Appearance of Colour; Section XIII - Conditions of the Appearance of Colour
02:43:27 - 14 - Section XIV - Conditions Under Which the Appearance of Colour Increases
02:48:50 - 15 - Section XV - Explanation of the Foregoing Phenomena
03:00:51 - 16 - Section XVI - Decrease of the Appearance of Colour; Section XVII - Grey Objects Displaced by Refraction
03:07:44 - 17 - Section XVIII - Coloured Objects Displaced by Refraction
03:27:34 - 18 - Section XIX - Achromatism and Hyperchromatism; Section XX - Advantages of Subjective Experiments. - Transition to the Objective
03:38:36 - 19 - Objective Experiments - Section XXI - Refraction Without the Appearance of Colour; Section XXII - Conditions of the Appearance of Colour
03:47:37 - 20 - Section XXIII - Conditions of the Increase of Colour; Section XXIV - Explanation of the Foregoing Phenomena
03:56:04 - 21 - Section XXV - Decrease of the Appearance of Colour; Section XXVI - Grey Objects ; Section XXVII - Coloured Objects; Section XXVIII - Achromatism and Hyperchromatism
04:07:19 - 22 - Section XXIX - Combination of Subjective and Objective Experiments; Section XXX - Transition
04:15:42 - 23 - Section XXXI - Catatropical Colours
04:26:53 - 24 - Section XXXII - Paroptical Colours
04:44:15 - 25 - Section XXXIII - Epoptical Colours
05:14:14 - 26 - Part III - Chemical Colours - Section XXXIV - Chemical Contrast
05:17:40 - 27 - Section XXXV - White; Section XXXVI - Black; Section XXXVII - First Excitation of Colour
05:28:02 - 28 - Section XXXVIII - Augmentation of Colour; Section XXXIX - Culmination; Section XL - Fluctuation; Section XLI - Passage Through the Whole Scale
05:37:27 - 29 - Section XLII - Inversion; Section XLIII - Fixation; Section XLIV - Intermixture, Real; Section XLV - Intermixture, Apparent
05:48:26 - 30 - Section XLVI - Communication, Actual; Section XLVII - Communication, Apparent
05:56:52 - 31 - Section XLVIII - Extraction; Section XLIX - Nomenclature
06:09:33 - 32 - Section L - Minerals; Section LI - Plants
06:19:18 - 33 - Section LII - Worms, Insects, Fishes; Section LIII - Birds
06:31:49 - 34 - Section LIV - Mammalia and Human Beings
06:47:21 - 35 - Section LV - Physical and Chemical Effects of the Transmission of Light Through Coloured Mediums; Section LVI - Chemical Effect in Dioptrical Achromatism;
06:55:20 - 36 - Part IV - General Characteristics
Newton's observations on the optical spectrum were widely accepted but Goethe noticed the difference between the scientific explanation and the phenomena as experienced by the human eye. He did not try to explain this, but rather collected and presented data, conducting experiments on the interplay of light and dark. His work was rejected as 'unscientific' by physicists but his color wheel is still used by artists today. - Summary by Lynne Thompson
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