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Planckian locus in the CIE 1931 chromaticity diagram. In physics and color science, the Planckian locus or black body locus is the path or locus that the color of an incandescent black body would take in a particular chromaticity space as the blackbody temperature changes.
The solid curve with dots on it, through the middle, is the Planckian locus, with the dots corresponding to a few select black-body temperatures that are indicated just above the x-axis. Since the human eye has three types of color sensors that respond to different ranges of wavelengths , a full plot of all visible colors is a three-dimensional ...
The Planckian locus on the MacAdam (u, v) chromaticity diagram. The normals are lines of equal correlated color temperature. The CIE 1960 color space ("CIE 1960 UCS", variously expanded Uniform Color Space, Uniform Color Scale, Uniform Chromaticity Scale, Uniform Chromaticity Space) is another name for the (u, v) chromaticity space devised by David MacAdam.
The Planckian locus is depicted on the CIE 1960 UCS, along with isotherms (lines of constant correlated color temperature) and representative illuminant coordinates By the time the D-series was formalized by the CIE, [ 12 ] a computation of the chromaticity ( x , y ) {\displaystyle (x,y)} for a particular isotherm was included. [ 13 ]
The CIE 1931 x,y chromaticity space, also showing the chromaticities of black-body light sources of various temperatures (Planckian locus), and lines of constant correlated color temperature Color temperature is a parameter describing the color of a visible light source by comparing it to the color of light emitted by an idealized opaque, non ...
The even spacing of the isotherms on the locus implies that the mired scale is a better measure of perceptual color difference than the temperature scale. The notion of using Planckian radiators as a yardstick against which to judge other light sources is not new. [6]
A theory of art is intended to contrast with a definition of art. Traditionally, definitions are composed of necessary and sufficient conditions, and a single counterexample overthrows such a definition. Theorizing about art, on the other hand, is analogous to a theory of a natural phenomenon like gravity.
Theosophy takes art into Dan Brown territory. No serious student of art history wants to touch it. [205] Januszczak claimed also that Theosophy was "fraudulent" and "ridiculous," and that "one day, someone will write a big book on the remarkable influence of Theosophy on modern art" and "its nonsensical spell" on so many modern artists. [206]