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The fascinating new world inside the nucleon, of quarks, gluons and colour, the nuclear strong force. How quantum chromodynamics (QCD) was discovered: probing the nucleons with scattering experiments and with increasing energy e+e− colliders, where quarks and gluons appear as hadronic jets.
The colour charges are three. Being the gauge of QCD non-Abelian, the gluons, not only the quarks, are ‘coloured’. How colour charges bind three quarks or a quark–antiquark pair forming hadrons that have zero overall colour charges.
The QCD coupling constant runs as the fine-structure constant, but with increasing momentum transfer, it decreases, instead of growing. Quarks become ‘free’, when they are very close to each other. Only a very small fraction of the proton mass is due to the quark masses, 99% being the energy of the colour field. The QCD vacuum, the status of minimum energy, a very active medium indeed, beautiful to study.
When matter first appeared in the universe, in the first microsecond after the Big Bang, quarks and gluons moved freely in a hot ‘soup’, the quark–gluon plasma. It is created in the laboratory in the ultra-relativistic heavy ion colliders and theoretically analysed with lattice QCD
Chapter 23 sets Goethe’s Farbenlehre (Theory of Colours) in context. Colour had been the subject of intensive study, both aesthetic and scientific, in the eighteenth century, and the chapter reconstructs the many influences on Goethe and his contemporaries, from the recent discoveries of Herschel and Ritter, to earlier figures, above all Newton, but even Aristotle and Hippocrates. The chapter also presents the central tenets of Goethe’s Farbenlehre, with a particular focus on the theoretical first part, which offers a physiological theory of colours and deals with the physical nature of light.
Minerals are supplemented routinely to dairy cows during the dry period to prevent metabolic issues postpartum. However, limited information exists on the impacts of mineral supplementation on colostrum carotenoids. This study aimed to determine the effects of prepartum supplementation with three micro-nutrients; inorganic selenium (INORG), organic selenium (ORG) or rumen-protected choline (RPC) on the carotenoid content of bovine colostrum and transition milk (TM) from pasture-based dairy cows. A total of 57 (12 primiparous and 45 multiparous) Holstein-Friesian (HF) and HF × Jersey (JEX) cows were supplemented daily for 49 ± 12.9 d before calving. Colostrum samples were collected from all cows immediately postpartum and TM one to five (TM1–TM5) were collected from a sub-set of 15 cows (five per treatment group) at each consecutive milking postpartum. Carotenoid concentration was determined using ultra-high performance liquid chromatography – diode array detection (UHPLC-DAD). With the use of transmittance, the colour index and colour parameters a*, b* and L* were used to determine colour variations over this period. Prepartum supplementation did not have a significant effect on colostrum β-carotene concentration or colour. Positive correlations between β-carotene and colour parameter b* (R2 = 0.671; P < 0.001) and β-carotene and colour index (R2 = 0.560; P < 0.001) were observed. Concentrations of β-carotene were highest in colostrum (1.34 μg/g) and decreased significantly with each milking postpartum (TM5 0.31 μg/g). Breed had a significant effect on colostrum colour with JEX animals producing a greater b* colostrum than HF animals (P = 0.030). Primiparous animals produced colostrum with the weakest colour compared to second or ≥third parity animals (P = 0.042). Despite statistical increases in the b* parameter in colostrum from JEX cows and multiparous cows, β-carotene concentrations did not significantly increase suggesting that other factors may influence colostrum colour. The b* parameter may be used as an indicator for estimating carotenoid concentrations in colostrum and TM, particularly when assessed via transmittance spectroscopy.
Whilst Richard Wagner has long been acknowledged as one of the central figures in the history of orchestration, his treatment of the orchestra has only rarely received scholarly attention. This chapter uses a series of analytical vignettes to examine Wagner’s approach to the orchestra, each addressing a paradox or opposition. The aim is not to expound some grand, overarching narrative, but, instead, to use the friction between competing factors to demonstrate the inherent complexity of Wagner’s approach to the orchestra. The multidimensionality of Wagner’s orchestration is also seen in the highly nuanced interaction of its three main parameters: texture, timbre, and spatiality. The development of Wagner’s orchestration over his lifetime is not presented as a continuous progression; the individuality of each of Wagner’s scores – and even of scenes within those operas – reflects the inseparability of Wagner’s orchestration from its dramatic motivation.
From painted embellishments on altars and temples, marble flooring, dyed sacrificial ribbons and even the colouration of ritual animals, colour was an inescapable aspect of religious experience. Polychromy was not only decorative, it created a visual medium with which those navigating sacred spaces could interact, together with the written word and the language of shape and form. Colour could communicate to the ancient viewer associations of its source; the significance of both where its pigment or dyestuff was harvested and the journey it undertook, both in terms of manufacture and simple geography, in order to arrive before the observer. The very conception of ancient sight, with rays reaching from the eyes in a particularly haptic process of sensory feedback, meant that looking at colours was for the ancient viewer an experience in itself. How would visitors to the sacred spaces of the ancient world have ‘read’ the visual cues surrounding them, and how could the design of colours in ritual spaces influence the reactions and emotions of those witnessing sacred activity? This paper seeks to investigate and unpick some of the chromatic language found in religious spaces to better inform an understanding of ritual activity in Greco-Roman society.
Messiaen’s use of orchestral colour is integral to the projection of his distinctive sound world. This chapter charts his development as an orchestrator, starting with his inheritance from the French tradition, not least his composition teacher Paul Dukas, as well as figures such as Stravinsky and Bartók. It outlines how Messiaen removed key traces of the nineteenth-century orchestral sound world from his palette and introduced new instruments and new approaches to the orchestra, including distinctive new combinations of ensembles. It discusses the exceptional challenge posed by Des canyons aux étoiles…, and considers the exceptional refinement of the music of his later years.
White marble sculpture is a cornerstone of Western art history. Archaeological inquiry, however, has demonstrated that Classical sculpture and its associated architecture were once coloured. The authors examine the Parthenon Sculptures at the British Museum to identify traces of colour and carving on their surfaces. Using close examination and archaeometric techniques, the study shows that the sculptors finished surfaces with textures that reflected specific elements (e.g. skin, wool, linen) and these were then enhanced through the application of colour, including a purple colourant and Egyptian blue. The latter was used extensively to paint elaborate figurative designs on the carved textiles. Despite the complexity of the carved drapery, elaborate ornament was applied to the finish. The findings encourage a reconsideration of the appearance of the Parthenon in the fifth century BC.
This chapter is divided into two parts. The first part introduces the quark model, following more or less the historical developments. It led to an approximate symmetry, based on the SU(3) flavour group, where u, d and s quarks are the three degrees of freedom. The second part introduces the quantum chromodynamics theory (QCD), i.e. the true formal gauge theory of the strong interaction. Here again, the symmetry group is SU(3), but the degrees of freedom are the three quark colours. This symmetry is assumed to be exact, which has consequences on the existence of gluons and their properties, the carriers of the strong interaction at the elementary particle level, briefly mentioned in the previous chapter. The QCD interaction is the first non-Abelian interaction encountered in the book. The non-perturbative regime of QCD is also presented with a short introduction to lattice QCD. A discussion about the colour confinement and the hadronisation of quarks is also given.
By exploring the associations that people make between emotions and colours, looking at how they vary across languages, and exploring the explanations that people provide for the associations that they make, this Element provides insight into the ways in which humans express emotions through colour, and the reasons why they do so. Metaphoric (and metonymic) language and thought play a key role on several levels in the formation of emotion–colour associations, interacting with physical, environmental and social factors. A strong metaphorical connection between the valence of the emotion and the lightness of the colours with which it is associated, and between the intensity of an emotion and the saturation level of the colours with which it is associated is found. However, the strength of this association varies according to the linguistic background of the speaker, and the gender in which the emotion is presented.
Volume 1 of The Cambridge History of Global Migrations documents the lives and experiences of everyday people through the lens of human movement and mobility from 1400 to 1800. Focusing on the most important typologies of preindustrial global migrations, this volume reveals how these movements transformed global paths of mobility, the impacts of which we still see in societies today. Case studies include those that arose from the demand for free, forced, and unfree labor, long- and short-distance trade, rural/urban displacement, religious mobility, and the rise of the number of refugees worldwide. With thirty chapters from leading experts in the field, this authoritative volume is an essential and detailed study of how migration shaped the nature of global human interactions before the age of modern globalization.
Aggression and agonism typically accompany the initial interactions exchanged between unfamiliar primates. As a part of a larger study examining the social function of scrotal colour in vervet monkeys (Cercopithecus aethiops sabaeus), this paper offers experimental data to show how scrotal colour can influence aggression, and how artificial colour treatment can be used as an effective tool for managing aggression. Study animals were 81 vervet monkey pairs composed of 162 similarly-sized, unfamiliar adult males originating from non-adjacent parishes in Barbados. Non-contact and contact aggression were recorded on a continuous basis during 90 minute introductions. The main effects of the Test male scrotal colour, Stimulus male colour, and the interaction of the Test male and Stimulus male colours were not significant predictors of non-contact aggression. The effects of scrotal colouration of the Test male and Stimulus male were not significant predictors of contact aggression either, but there was a significant interaction effect; pairs of males with similar scrotal colour engaged in contact aggression more often than pairs of males differing in colour. Painting the scrotum dark led to more aggression when these males were paired with dark coloured males and less aggression when these males were paired with pale coloured males. These findings suggest a practical and inexpensive means of reducing the likelihood of aggression when introducing new animals. These results may also be applicable for other taxa that have colourful sexual skin, such as mandrills, drills, talapoins, patas monkeys, and many guenon species.
Chapter 7 describes a study investigating cross-cultural differences in the ways in which the visual layout and colours are used figuratively in the design of app icons for food-related products and services in two very different cultures: the US and Japan. The study shows how the different colour-meaning associations that operate in these countries shape the designers’ choice of colour for the background of apps for different products (food and beverages) and services (including cooking, food delivery, exploration of new recipes, and calorie-counting). The presence of both metaphor and metonymy in the app icons is found to be comparable across the two cultures, with high levels of metonymy across the board. However, when metaphor or metonymy are used in the Japanese app icons, they are more likely to appear in clusters, whereas in the US app icons, they are more likely to appear in isolation. Both cultures use mainly schematic app icons, but the Japanese app icons are more likely to be content-rich than the US ones. In terms of the visual layout, verbo-pictorial images are most popular across the board; in addition to this, Japanese apps tend to be more visual than the US apps. Apps that appear towards the top of the downloads ranking in both the US and in Japan were more likely to contain metonymy but not necessarily metaphor. These apps are more likely to be schematic and are more likely to contain combinations of words and images. Taken together, the findings suggest that app designs are closely related to the product and service being provided by the app. They also suggest that schematic, metonymic apps that contain combinations of words and images are most likely to be successful in both cultures, but that different designs are preferred by the different cultures, with Japanese app culture being more visual than US app culture.
Chapter 6 presents findings from a study into the figurative use of colour and shape in app icons. The study explores the values that are conveyed by different colours and shapes and examines how these are used to express the personalities of different brands and products. Findings from the study show that there is a degree of systematicity in the colours and shapes that are selected for particular kinds of products and services, and there are figurative links between the colours chosen for the apps and the types of service they offer. This strategy works best when different figurative messages are combined through the use of two or more colours along with an iconic metonymic or metaphorical image. This creates a narrative through which the qualities of the app can be conveyed. Blue, white, and green apps tend to receive the most downloads, which is partially a reflection of the values that those colours connote, and partially a reflection of the fact that they feature heavily in communication apps, which are the most downloaded category.
When Turner daubed a red buoy in his seascape Helvoetsluys, what did he mean? In nature, red may repel or attract, signalling toxicity or ripeness, anger, ruddy health or sexual readiness. For Turner, the red created contrast, and in making that mark, he meant to generate salience and arouse interest, to dominate his rivals and draw in his admirers. Colour has long excited emotions and intellectual debate, not only for visual art, but also in philosophy, psychology and physiology. In contemporary vision science studies, colour helps people find objects faster, discern material properties, learn, conceptualise and memorise. Yet colour is made in the mind, not out there in the world. It is a subjective phenomenon, a personal possession, one that varies between individual eyes, and one that people cling to with ardour when challenged: witness the public divide over the 'blue/black', 'white/gold' dress. So the question is not only what does colour mean, in life and in art, but how does it mean anything? How does the human brain create colour, stabilise it, and make its meaning? And why does it evoke emotion and aesthetic appreciation?
There are no qualia. The phenomenological difference between seeing and visualizing something is that the propositions which the experient begins to believe in the first case are only entertained in the second. We can know what it's like to be a bat by knowing that their echolocation informs them non-inferentially of the shapes, sizes, and directional distances away of nearby surfaces. The terms for secondary qualities like colours, though, are names of the type-properties they designate, tracing back causally to a verbal ‘baptism,’ and so experients don't know the character of colour experiences until they study brain physiology.
In this target article the following hypotheses are discussed:
(1) Colour is autonomous: a perceptuolinguistic and behavioural
universal. (2) It is completely described by three independent
attributes: hue, brightness, and saturation: (3) Phenomenologically
and psychophysically there are four unique hues: red, green, blue,
and yellow; (4) The unique hues are underpinned by two opponent
psychophysical and/or neuronal channels: red/green, blue/yellow.
The relevant literature is reviewed. We conclude: (i) Psychophysics
and neurophysiology fail to set nontrivial constraints on colour
categorization. (ii) Linguistic evidence provides no grounds for the
universality of basic colour categories. (iii) Neither the opponent
hues red/green, blue/yellow nor hue, brightness, and saturation
are intrinsic to a universal concept of colour. (iv) Colour is not
autonomous.
This chapter will provide a foundation for the provision of quality visual arts educational experiences in early childhood and primary years. Practical suggestions for planning a high-quality visual arts program are linked to recent theory in a way that helps you construct your own visual arts program. Visual arts concepts, language, elements and principles will be defined and explained, with examples of the progression in visual arts education from early childhood through the primary years. Practicalities such as classroom management, safety and materials are addressed and additional interactive material can be found through the icons.
The late Miocene is a time of strong environmental change in SW Asia. Himalayan foreland stable isotope data show a shift in the dominant vegetation of the flood plains away from trees and shrubs towards more C4 grasslands at a time when oceanic upwelling increased along the Oman margin. We present integrated geochemical and colour spectral records from International Ocean Discovery Program Site U1456 in the eastern Arabian Sea to reconstruct changing chemical weathering and erosion, as well as relative humidity during this climatic transition. Increasing hematite/goethite ratios derived from spectral data are consistent with long-term drying after c. 7.7 Ma. Times of dry conditions are largely associated with weaker chemical alteration measured by K/Rb and reduced coarse clastic flux, constrained by Si/Al and Zr/Al. A temporary phase of increased humidity from 6.3 to 5.95 Ma shows a reversal to stronger weathering and erosion. Wetter conditions can result in both more and less alteration due to the nonlinear relationship between weathering rates, precipitation and sediment transport times. Trends in relative aridity do not follow existing palaeoceanographic records and are not apparently linked to changes in Tibetan or Himalayan elevation, but more closely correlate with global cooling. An apparent opposing trend in the humidity evolution in the Indus compared to southern China, as tracked by spectrally estimated hematite/goethite, likely reflects differences in the topography in the Indus compared to the Pearl River drainage basins, as well as the generally wetter climate in southern China.
Many plant traits might explain the different ecological and network roles of fruit-eating birds. We assessed the relationship of plant productivity, fruit traits (colour, seed size and nutritional quality) and dietary specialization, with the network roles of fruit-eating birds (number of partners, centrality and selectivity) in the Atlantic Forest, Brazil. We classified bird species according to their dietary specialization into three categories: obligate, partial and opportunistic fruit-eating birds. To test if network roles changed according to dietary specialization, fruit productivity and traits, we used a generalized linear model analysis. The selected 14 species of plant interacted with 52 bird species, which consumed 2199 fruits. The most central and generalist fruit-eating bird, Turdus albicolis, interacted with plants that produced more fruits, such as Miconia cinerascens, and had, on average, larger seeds, such as Myrcia splendens. The most selective birds interacted with fruits with a higher concentration of lipids and less intense colour, and plants that produced fewer fruits. Obligate fruit-eating birds, such as Patagioenas plumbea, were more selective than partial and opportunistic birds. Different plant traits are therefore related to the different network roles of fruit-eating birds in the Atlantic Forest, which are also dependent on bird dietary specialization.
Lambs grazing alfalfa or white clover are prone to flavour taint which can be an impediment to consumer acceptance. Here we investigated whether condensed tannin (CT)-rich sainfoin pellet supplementation of lambs grazing alfalfa influences meat sensory quality. Using three groups of 18 male Romane weaned lambs, we compared three feeding regimes: alfalfa grazing (AF), alfalfa grazing + daily supplementation with CT-rich sainfoin pellets (15 g dry matter (DM)/kg live weight, AS) and stall feeding with concentrate and grass hay indoors (SI). We also investigated the potential interest of sainfoin pellet supplementation for controlling digestive parasitism. The sainfoin pellets contained 42 g of CT/kg of DM and they represented on average 36% of the diet in AS lambs. Skatole and indole were detected in most of the AF and AS lambs, whereas in very few SI lambs. Skatole and indole concentrations in perirenal and dorsal fat were lower in the AS lambs than the AF lambs (P < 0.025 to P < 0.001), but the intensity of ‘animal’ odour and ‘animal’ flavour of the chops did not differ between both forage-grazing groups. Longissimus thoracis et lumborum muscle lightness was lower in the AF and AS lambs than the SI lambs (P < 0.001) with the other muscle colour coordinates being unaffected by the treatment and between-treatment group differences in muscle colour coordinates remaining constant throughout the 9-day display period. Subcutaneous fat colour coordinates were not influenced by the treatment. The number of individual anthelmintic drenches necessary to keep nematode faecal egg count below a threshold of 550 eggs/g of faeces was lower in the AS than the AF lambs (0.94 per lamb v. 1.63 per lamb; P < 0.001). Faecal oocyst count was lower in the AS than the AF lambs for the first measurement made 56 days after the beginning of the experiment (P < 0.001) and was not significantly different between both forage-grazing groups thereafter. The use of CT-rich sainfoin pellets to supplement lambs that are concurrently grazing alfalfa reduced fat volatile skatole and indole concentrations and delayed the onset of both helminth and coccidian infections.