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Colour psychology and colour therapy: Caveat emptor

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Abstract

Information about colour psychology and colour therapy abounds in popular culture. Articles found in mass media as well as a plethora of Internet websites are often devoted to colour and a range of psychological, biological, and behavioral effects. The information available, which varies from scant summaries with catchy titles to lengthy and comprehensive discussions, is often presented in an authoritative manner exhorting the reader to believe a range of claims such as red is physically stimulating and arousing and blue is calming, relaxing and healing. However, empirical evidence or evidence of any nature is only rarely cited and, when it is, it's often in reference to findings that are inappropriately generalized or out-of-date and superseded. This article discusses a range of colour psychology and colour therapy claims found in popular culture and notes the similarities between these claims and the writings of early theorists such as Birren, Goldstein, Gerard and Luscher. While these authors have a valid if somewhat dated place in the literature on colour, there are a number of key reasons to be wary of colour psychology and colour therapy claims made in popular culture. These reasons are discussed in some detail and provide compelling support for applying the caveat emptor principle to colour psychology and colour therapy claims found in nonacademic sources. © 2010 Wiley Periodicals, Inc. Col Res Appl, 36, 229–234, 2011;

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... Color theory is a discipline that investigates how colors impact humans both individually and collectively. The color wheel is a graphic depiction of color theory (De Bortoli & Maroto, 2001;Hye-Yeon;O'connor, 2011) as seen in the figure (1). ...
... In addition to their sentiments, this energy impacts blind people and others with poor vision. Active light activates the adrenal glands (pituitary and pineal glands), which control hormone output and have an impact on the body's physiological organs (Azeemi & Raza, 2005;O'connor, 2011). http://www.webology.org ...
... Color therapy is an ancient technique that may be traced back to Greece, India, Egypt and China. Historically, the sun light was used as a form of healing methods before using Color therapy (De Bortoli & Maroto, 2001;O'connor, 2011). Many studies (Azeemi & Raza, 2005;O'connor, 2011) dealt with the effect of colors on human health and refreshment. ...
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... Color theory is a discipline that investigates how colors impact humans both individually and collectively. The color wheel is a graphic depiction of color theory (De Bortoli & Maroto, 2001;Hye-Yeon;O'connor, 2011) as seen in the figure (1). ...
... In addition to their sentiments, this energy impacts blind people and others with poor vision. Active light activates the adrenal glands (pituitary and pineal glands), which control hormone output and have an impact on the body's physiological organs (Azeemi & Raza, 2005;O'connor, 2011). http://www.webology.org ...
... Color therapy is an ancient technique that may be traced back to Greece, India, Egypt and China. Historically, the sun light was used as a form of healing methods before using Color therapy (De Bortoli & Maroto, 2001;O'connor, 2011). Many studies (Azeemi & Raza, 2005;O'connor, 2011) dealt with the effect of colors on human health and refreshment. ...
Article
The Some phenomena have an impact on the health of people who use computers for lengthy periods. The physicians call these symptoms "distress symptoms related to the use of computers". In our unconsciousness, colors and music greatly affect the mood of a person. This effect differs according to the persons and their education. Colors and music have symbolic values related to each culture and country. Therefore, there is a difficulty to identify certain colors and music that can be considered as a standard to treat the users or prevent them from the resulted negative effects of using computers and mobile devices. The research aims at suggesting features called (interface style behavior) (ISB) to participate in treating and preventing the users of computer screens and mobile devices from "distress symptoms related to the use of computer" through integrating these features derived from color therapy science and the science of music therapy with the art of User Interface Design and then apply the results to the applications and web sites.
... Gaining an in-depth knowledge of the fundamental principles of color theory helps facilitate the creation and utilization of color palettes with greater efficacy, as it empowers individuals to begin unraveling the inherent logical framework behind colors. The result encompasses a distinct emotional response, atmosphere, or visual appeal (O'Connor, 2011). The use of color can have a big impact on how effective a marketing effort is, so the relationship between color and advertising is important. ...
... Conversely, black has also been connected to negative emotions including melancholy, depression, fear, seriousness, and rage. These negative associations contribute to the perception of black as representing themes of death, illness, and mourning (O'Connor, 2011). According to a recent independent study including a sample size of 1000 individuals, there exists a purported association between the color black and many positive attributes such as confidence, intelligence, and arrogance. ...
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... Their findings did not support the hue effect that red is more arousing than blue. Although many advances in recent research have shown, the precise role of the rods and cones of the retina as well as melanopsin in the control of circadian cycle remains to be determined [22]. ...
... Numerous studies have found variations in color preferences across age, gender, and culture, and most literature suggests age differences in color preferences. In addition, recent studies have found that responses to color may vary depending on age, gender, culture, and preference [4,22]. Preferences and emotional associations related to a color can be influenced by brightness or saturation [34,35]; however, saturation has been found to be more important than hue in terms of affecting people's perception of which color is more calming or exciting [14]. ...
... Here, we will review to which extend farmed ungulates discriminate colors. In humans, it has been shown that colors can affect mood (O'Connor, 2011;Elliot, 2015;Yang and Shen, 2022), however, little is known about the effect of color on domesticated ungulates and whether colors and colored light (indicated in nm) can affect physiological parameters, e.g., reduce stress levels. ...
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... Differences in affective connotations of colours could be explained through different communication needs (Twomey et al., 2021), with warm colours being more pertinent to human survival, and so corresponding to more arousing and empowering emotions. Future studies should investigate whether these abstract colour-emotion correspondences translate to colour impact on experienced emotions, which is important for applied domains like design or health sectors (e.g., see Divers, 2023;O'Connor, 2011O'Connor, , 2023Whitfield & Whelton, 2015). Thus, for now, we do not know if we feel colours, but we know that colours convey emotions. ...
Article
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Colour is an integral part of natural and constructed environments. For many, it also has an aesthetic appeal, with some colours being more pleasant than others. Moreover, humans seem to systematically and reliably associate colours with emotions, such as yellow with joy, black with sadness, light colours with positive and dark colours with negative emotions. To systematise such colour–emotion correspondences, we identified 132 relevant peer-reviewed articles published in English between 1895 and 2022. These articles covered a total of 42,266 participants from 64 different countries. We found that all basic colour categories had systematic correspondences with affective dimensions (valence, arousal, power) as well as with discrete affective terms (e.g., love, happy, sad, bored). Most correspondences were many-to-many, with systematic effects driven by lightness, saturation, and hue (‘colour temperature’). More specifically, (i) LIGHT and DARK colours were associated with positive and negative emotions, respectively; (ii) RED with empowering, high arousal positive and negative emotions; (iii) YELLOW and ORANGE with positive, high arousal emotions; (iv) BLUE, GREEN, GREEN–BLUE, and WHITE with positive, low arousal emotions; (v) PINK with positive emotions; (vi) PURPLE with empowering emotions; (vii) GREY with negative, low arousal emotions; and (viii) BLACK with negative, high arousal emotions. Shared communication needs might explain these consistencies across studies, making colour an excellent medium for communication of emotion. As most colour–emotion correspondences were tested on an abstract level (i.e., associations), it remains to be seen whether such correspondences translate to the impact of colour on experienced emotions and specific contexts.
... Numerous studies have demonstrated that the classroom environment affects students' performance and academic achievement from psychological (e.g., attention and memory) [8][9][10][11] and neurophysiological (e.g., heart rate variability and electroencephalography) perspectives [12,13]. Individuals' positive and negative emotions affect their mental health [14], and different color stimuli cause different emotional preferences and health effects [15]. Positive color schemes in spatial environments help to eliminate social stress [16]. ...
Article
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Although it has been shown that color can influence mental health and behavior, few studies have discussed the effects of cool and warm colors in classrooms on the perceived emotions of elementary school students. In this study, we investigated the emotional changes of elementary school students in Yinchuan City, Northwest China in classrooms with cool and warm color tones. By using the Positive and Negative Affect Scale for Children (PANAS-C), the emotions of 123 third- to sixth-grade students in classrooms with cool and warm color tones were measured. We found the following conclusions: (1) Overall, the emotional responses of the subjects in both the cool- and warm-colored classrooms showed a tendency for positive emotions to be higher than negative emotions. (2) There was no significant difference between the effects of cool and warm colors on the overall emotion of elementary school students, but there were significant differences in specific emotions; Compared to warm colors, cool colors had a more significant effect on increasing feelings of calm (β = −0.365, p = 0.041). Compared to cool colors, warm colors were more likely to cause participants to feel mad (β = 0.186, p = 0.099). (3) The effects of cool and warm colors on students’ emotions differed significantly by gender and grade level. Cool and warm color tones had a significantly greater positive impact on females. In contrast, cool and warm colors had a more pronounced effect on males’ negative emotions. In addition, we found that grade level was significantly negatively correlated with overall emotion (β = −0.696, p < 0.001), with lower grades perceiving emotion more positively than higher grades. These findings provide important insights into the spatial design of elementary school classrooms and provide valuable comparative data for studies in different regional and cultural contexts, further enriching the empirical support of color psychology theory.
... Bu yönüyle sinema ve renk ilişkisi, görsel hikâye anlatımında hem teknik hem de sanatsal açıdan derinlemesine incelenmesi gereken bir konudur. Akademik literatürde, renklerin insan psikolojisindeki karşılıklarına (O'Connor, 2011), satın almaya yönelik etkilerine (Yüksel, 2009), atletik-fiziksel performansla ilişkisine (Hill & Barton, 2005), renk ve psikolojik işlevsellik ilişkisine değinen ve insan doğasındaki farklı etkileşimlerini inceleyen teorik ve empirik çalışmalar bulunmaktadır. Sinema ve renk ilişkisi bağlamında bakıldığında ise renk öğesinin çeşitli amaçlar dahilinde kullanımına yönelik birçok araştırma olduğu görülmektedir. ...
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Sinema sanatı birçok görsel ve sessel öğenin bir araya gelmesi ile oluşan kompleks bir yapıdır. Sahneler, kameranın hareketi ile değişen planlar, görsel kompozisyonlar, kurgu gibi faktörlerle birlikte düşünüldüğünde anlamı oluşturan her bir birimin stratejik önemi daha da ön plana çıkmaktadır. Bu öğeler arasında renk, hem görsel estetik ve kompozisyon bağlamında, hem de insan psikolojisi, duygulanımlar ve özdeşim bağlamında etkili olan önemli bir öğe olarak karşımıza çıkar. Sinemanın siyah beyazla başlayan ilk yıllarından bu yana renk yönetmenlerin ve araştırmacıların odağında olmuştur. Bu alanda yapılan araştırmalardan farklı olarak bu makale, renkle ilk ilişkisi resim sanatı üzerinden kurulmuş olan ve özgün filmleriyle dünya çapında bilinirlik kazanmış bir yönetmen olan Akira Kurosawa’ya ve Ran (1985) filmine odaklanmaktadır. Araştırma, yönetmenin ressam kimliğinin filmdeki renk kullanımı üzerindeki etkisini ve sinemasal üretimlerinde renklerin görsel kompozisyon, karakter temsili ve dramatik yapı üzerindeki işlevlerini ve kullanımını incelemektedir. Bu bağlamda hem Kurosawa’nın çekim öncesinde yaptığı resimlerde renge yönelik yaklaşımı saptanmış, hem de Ran filminde anlatıyı oluşturan olay örgüsü takip edilerek renk odaklı görsel ve içerik analizi yapılmıştır. Bu analizin sonucunda, Kurosawa’nın "Ran" filminde renk öğesini bilinçli bir şekilde, çok yönlü ve işlevsel olarak kullandığı görülmüştür. Film boyunca kullanılan sıcak- canlı ve ya soğuk-koyu tonlardaki renk paletleri, sahnelerin atmosferini ve dramatik yapısını izleyiciye daha yoğun ve derinlikli bir şekilde aktarmak için, ana karakterleri, karakteristik özelliklerini ve film boyunca süregelen yolculuklarını, izleyicinin özdeşim kurabileceği en etkin şekilde ifade etmek için ve izleyicinin kalabalık savaş sahnelerinde filmi kolaylıkla takip edebilmesini sağlamak için kullandığı sonucuna ulaşılmıştır. Elde edilen bulgular, renklerin film anlatısında nasıl etkili bir araç olabileceğine dair önemli çıkarımlar sunarken sinema ve renk alanındaki çalışmalar için yeni perspektifler sunmayı amaçlamaktadır.
... Color preference, as a concept, refers to individual and collective inclinations towards certain colors or color palettes, and understanding these inclinations can lead to the difference between successfully and unsuccessfully designed communication materials [5][6]. By selecting colors according to user preferences, it is possible to increase brand recognition, improve the perception and understanding of information, and stimulate desired reactions from observers, one of the most important being the retention of attention [6][7][8][9][10][11][12][13]. ...
Article
Attracting and retaining the attention of users, or motivating them to use the particular product being the main task of designers in graphic design for all materials, from printed to digital media. It is crucial to select colors that are more appealing to the target audience. The aim of this paper is to explore the differences in color preferences depending on age groups in a nationally representative sample of the Republic of Croatia consisting of 1,000 research participants. For this purpose, a questionnaire was created to collect information on the color preferences of participants, and as a result of this research, it was determined that there are statistically significant differences in the preferences for certain colors depending on the age groups of the participants. It has also been shown that there are both increasing and stable or decreasing trends in color preferences depending on age groups.
... Green has been found to be a soothing colour(De Long, & Martinson, 2013, O'Connor, 2011. And green is a colour that people tend to associate with healthy products(Luo et al., 2019). ...
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To prevent lifestyle-related diseases, consumers must opt for healthy food choices. Front-of-package (FOP) logos can help the consumer in doing so. Since 1 January 2024, the Nutri-Score is the official food logo in The Netherlands. This FOP logo causes both positive and negative effects of the Nutri-Score that can be explained by six mechanisms. Whilst plenty of research has been done about the positive effects of the Nutri-Score, these effects were based on clinical research. Therefore, generalisable research is lacking. The current research focuses on qualitative research by using focus groups to determine the perceptions, experiences, and intended use of the Nutri-Score by consumers. 25 individuals took part in four different focus groups on Nutri-Scores. Four focus groups were held with different participants: namely lower educated participants (n=7), students (n=7), co-habituating participants (n=8), and higher educated participants (n=6). From these focus groups, it became clear that most consumers are confused by the Nutri-Score as they were (a) unaware that the Nutri-Score compares products within a food category and (b) they do not know what these categories are exactly. Most consumers did not have the intention to use the Nutri-Score, however, some participants stated that they plan to use the Nutri-Score to compare unhealthy products with one another. To relieve some of the confusion, it is important that the government provides more information about the Nutri-Score and its categories.
... Thus, popular claims and intuitions about emotional correspondence with color should be considered with caution until sufficient scientific evidence has been collected. 7 Fortunately, empirical work in this area has been gradually accumulating. Among others, studies have linked color with cognitive representations of emotion, [8][9][10][11] facial and bodily expression of emotion, [12][13][14][15][16] and emotion experiences, [17][18][19] while also considering these across diverse cultural groups. ...
Article
This Special Collection aims to report the latest research that advances scientific knowledge and theory regarding the interplay between color perception, color cognition, and emotional processes. There is a great public interest in understanding how colors and emotions are interconnected, and how colors might be utilized to shape emotional experiences. To facilitate empirically grounded understanding in this domain, the Editors welcome scholarly articles pertaining to the study of color and emotion. Topics might include, but are not limited to, conceptual correspondences between color and emotion, the effects of perceiving color on emotion, and the application of color toward enhancing emotion-regulation, well-being, or emotive communication.
... 20,27 Yellow is associated with the sun and fire, representing warmth, luminosity, and energy. 27,28 Orange, a blend of red and yellow, incorporates characteristics from both colors. 19,27,[29][30][31] Representations of each color are multifaceted and relatively stable over a short period. ...
Article
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Color significantly shapes our perceptions of the world, and extensive scientific research has explored various aspects of color, including color linguistics, aesthetics, color and marketing, color therapy, and color psychology. Notably, there has been an increasing interest in understanding the psychological domain of color in recent years. However, limited scholarly attention has been given to studying the changes in color representations and emotions over the decades. To address this gap, we utilized word embedding models of Google Books Ngrams corpus to examine the most strongly associated entities and traits with colors and their evolution in color emotions over 200 years. Analyzing three emotional dimensions—pleasure, arousal, and dominance (PAD), we found that red, green, white, black, orange, purple, brown, and pink were related to the exuberant type (+P + A + D) in PAD emotional space. In contrast, blue was linked to the relaxed type (+P−A + D), and yellow constituted the anxious type (−P + A−D). Among all basic English color terms, the emotion‐driven perceptions associated with white, brown, and pink have significantly changed over time.
... A constant feature of this work points to important methodological problems that precluded rigorous testing and clear interpretation (O'Connor, 2011). One such problem has been the inability to pay attention to scientific procedures including investigator blindness to the condition, identification and exclusion of color-deficient participants, and standardization of the duration of color presentation or exposure. ...
Book
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The structure of the book is designed to provide a comprehensive exploration of the principles of neuromarketing and their application to the wine production industry in the Abruzzo region of Italy. The book is divided into several sections that build on each other to create a coherent narrative and provide a thorough analysis of the topic. Section 2, introduces the concept of decision-making and its relevance to marketing, psychology, and neuroscience. This section also discusses the emerging field of neuroeconomics, which combines principles from neuroscience and economics to study decision-making processes. Section 3, explores the science of neuromarketing, including its history, tools, and methods. This section also discusses the benefits of using neuromarketing to uncover hidden motivations of consumers and gain insights into their emotional and cognitive responses to marketing stimuli. Section 4, focuses on individual differences in consumer behavior and preferences and how they can be studied using neuromarketing techniques. This section also explores the role of aesthetic properties of products in consumer decision-making. Section 5, delves into the role of color in decision-making processes, including its properties, perception, and preference. This section also discusses the difficulties associated with studying color and its use in marketing. Section 6, examines the wine industry and its properties, as well as consumer preferences in relation to wine. This section argues that wine is an ideal product for neuromarketing research due to its unique properties and consumer appeal. Section 7, explores the concept of cross modal correspondence, which refers to the relationship between different sensory modalities such as color, taste, and aroma. This section discusses color associations and meanings, as well as their relationship with emotions and consumer expectations. Section 8, focuses specifically on the use of color in the wine industry, including explicit and implicit consumer preferences. This section presents the results of empirical research on the impact of label color on consumer behavior and provides a detailed discussion of the findings. Section 9, concludes the book and discusses potential new directions for research and the limitations of the current study. Finally, the book ends with a section on references and supplementary materials. Overall, the structure of the book is designed to provide a comprehensive analysis of the principles of neuromarketing and their application to the wine industry, with a particular emphasis on the role of color in consumer decision-making processes.
... Urban spatial perception, an intricate interplay between individuals and their urban environment, significantly shapes human behavior and emotional reactions within the spheres of architecture and urban design [1][2][3]. This psychological process, rooted in the perception of forms [4], structures [4], colors [5], and aesthetics [6], underscores the importance of aligning urban spaces with the human biological structure and satisfying human needs, thereby enhancing the quality of urban life [7]. Within the research of spatial perception, the phenomenon of "bias" is commonplace, referring to a discrepancy between the output of a certain process and its anticipated outcome [8]. ...
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Urban spatial perception critically influences human behavior and emotional reactions, emphasizing the necessity of aligning urban spaces with human needs for enhanced urban living. However, functionality-based categorization of urban architecture is prone to biases, stemming from disparities between objective mapping and subjective perception. These biases can result in urban planning and designs that fail to cater adequately to the needs and preferences of city residents, negatively impacting their quality of life and the city’s overall functionality. This research scrutinizes the perceptual biases and disparities in architectural function distribution within urban spaces, with a particular focus on Shanghai’s central urban district. The study employs machine learning to clarify these biases within urban spatial perception research, utilizing a tripartite methodology: objective mapping, subjective perception analysis, and perception deviation assessment. The study revealed significant discrepancies in the distribution centroids between commercial buildings and residential or public buildings. This result illuminates the spatial organization characteristics of urban architectural functions, serving as a valuable reference for urban planning and development. Furthermore, it uncovers the advantages and disadvantages of different data sources and techniques in interpreting urban spatial perception, paving the way for a more comprehensive understanding of the subject. Our findings underscore the need for urban planning strategies that align with human perceptual needs, thereby enhancing the quality of the urban environment and fostering a more habitable and sustainable urban space. The study’s implications suggest that a deeper understanding of perceptual needs can optimize architectural function distribution, enhancing the urban environment’s quality.
... She utilized this functionality for a sensual output that allows the painting to darken or light up depending on the time of the day, thus simulating how days progress slowly in nature. She relied heavily on not only the given colours but also on mixing them to paint with hues that have positive effects on one's welfare as suggested by previous research [6,45]. ...
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This paper describes our collaborative journey of creating everyday interactive artefacts to help us think, reflect, and live through self-isolation. Through a co-design approach, we designed interactive homeware objects (that we collectively refer to as ‘COVIDware’) to address the challenges of isolation during the pandemic. Five artefacts were developed by self-isolated designers as interactive art installations. We discuss how each creator reflected on her design concept, process, and encounter through concepts of critical making, speculation, and engagement via in-the-isolated-wild deployments. By empowering early researchers/enthusiasts to design ‘with’ smart-materials, and off-the-shelf items, we reflect on how these homey interfaces can enhance people’s wellbeing beyond screen-based interactions. Despite not collaborating in the making process, our findings from the designer’s making process show how all the designed artefacts shared attributes of biophilic design, imperfection, and unconventional interactions with the overarching goal of promoting wellbeing, and meaningful connection with nature, self, and others.
... Renk, estetik açıdan düşünülen algısal bir uyarıcıdır. Renk psikolojisi genel anlamda belirli renklerle bağlantılı bir dizi duygusal, bilişsel ve davranışsal tepkileri irdelemektedir (O'Connor, 2011;Elliot ve Maier, 2014). Eysenck (1941) yılında gerçekleştirdiği renk tercihlerine ilişkin deneysel çalışmasında psikolojik faktörlere ilişkin önemli sonuçlara ulaşmıştır. ...
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Son yıllarda dijitalleşmenin de artan etkisiyle birlikte, sürekli olarak evrilen tüketici davranışlarına ilişkin önemli içgörüler elde etmenin önemli bir yolu, pazarlama araştırmalarında multidisipliner yöntemleri daha sık kullanmaktan geçmektedir. Nörobilim’in de bir parçası olarak düşünülebilecek olan nöropazarlama araştırmaları yöntemleri sayesinde, tüketici davranışlarına ilişkin önemli ipuçları sağlayan biyometrik ve nörometrik bulgular elde edilebilmektedir. Nöropazarlama üzerine kavramsal ve teorik içerikler sunan, bilimsel bir kaynak niteliğindeki bu kitap ile özellikle ulusal çapta henüz emekleme aşamasında olan nöropazarlama literatürüne ve araştırmacılarına katkı sağlanması hedeflenmiştir. Bu hedef doğrultusunda; etik, tüketici karar süreçleri, duygular ve beyin, renkler, müzik, marka, alışveriş, sosyal medya, paylaşım ekonomisi, kâr amaçsız örgütler ve kamu politikaları gibi başlıklar ile nöropazarlama araştırmalarının ilişkisi, alanında uzman akademisyenler tarafından ele alınmıştır. Keyifli okumalar. Dr. Talha BAYIR Dr. Gökhan AKEL
... 1. Colour is a primary factor people notice when entering a landscape, and is a major determinant when selecting flowering plants or cut flowers (Hansen and Alvarez, 2010). 2. Emotional responses to colour has been studied in other contexts (O'Connor, 2011;Gul et al., 2015;Jonauskaite et al., 2020) and these provide a comparison for this study. Such studies suggest psychological responses varying with colour; red is used to excite, activate and arouse, blue to calm and relax, green to offer equilibrium, and yellow to uplift (Aktekin & Ş imaşek, 2012;Azeemi et al., 2019). ...
Article
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The natural environment is increasingly valued for its positive effect in retaining/restoring good mental health. Landscape architects are now challenged to embed therapeutic aspects within certain landscape designs, but what does this mean in practice? Flower colour has been one area that has attracted attention as potentially improving the restorative aspects of a designed landscape. In this research, 670 UK residents were surveyed to examine their preferences and emotional responses to flower colour using computer-generated images of ‘daisy-like’ flowers in 8 separate colours. Results showed that white, blue and orange were the most preferred flower colours. The data suggested, however, two separate phenomena were determining the psychological benefits associated with flower colour. The first is that there are some generic responses associated with key floral colours – flowers in blue play an effective role in relaxation/stress reduction; and warm colours - orange, yellow and red evoke uplifted emotions and deliver better positive affect. Interestingly, white was a colour that could both relax and provide uplifted emotions. The second phenomenon though, suggests that additionally and independently, an individual preference for a particular colour can also elicit positive psychological benefits, irrespective of what that particular colour is. In effect, favoured colours have a separate restorative effect that acts at a personal level. This finding has significance for landscape architects in that certain flower colours can be used to promote ‘generic’ therapeutic responses in appropriate locations, but that components of any designed landscape still need to take some account of personal responses and preferences.
... The effect of colors in addition to psyche affects human functioning (Jalil, Yunus, & Said, 2012;O'Connor, 2011). The effect of color on blood pressure, respiration, and time is the sample of these effects (Marini, 2019;Palumbo & Di Domenico, 2017). ...
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... Though no research has revealed a one-to-one relationship between mood and colour [46], it is believed that different colours have corresponding emotional preferences and different degrees of health effects [47]. For example, warm colours stimulate the spirits and help relieve depression, while cool colours are more calming and relaxing for nerv-ousness [48,49]. ...
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... Based on the perspective of psychology, blue can stimulate clear thinking and help win minds and increase concentration. If associated with blue personality type associated with the type of melancholy [32], [33]. ...
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span lang="EN-US">This descriptive qualitative study described the personality or characteristics of children based on the colors used in drawing activities. The subjects in this study were the Pembina Kindergarten students in the city of Padang, West Sumatra, Indonesia. They were determined by using snowball sampling technique. The data collected through observations and documentation analysis by researchers without being directly involved in activities. The data analysis technique used was an interactive model which consists of three activity lines: i) Data reduction; ii) Data display; and iii) Drawing conclusions and data verification. </span
... A constant feature of this work points to important methodological problems that precluded rigorous testing and clear interpretation (O'Connor, 2011). One such problem has been the inability to pay attention to scientific procedures including investigator blindness to the condition, identification and exclusion of colordeficient participants, and standardization of the duration of color presentation or exposure. ...
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The perception of color is a fundamental cognitive feature of our psychological experience, with an essential role in many aspects of human behavior. Several studies used magnetoencephalography, functional magnetic resonance imaging, and electroencephalography (EEG) approaches to investigate color perception. Their methods includes the event-related potential and spectral power activity of different color spaces, such as Derrington-Krauskopf-Lennie and red-green-blue (RGB), in addition to exploring the psychological and emotional effects of colors. However, we found insufficient studies in RGB space that considered combining all aspects of EEG signals. Thus, in the present study, focusing on RGB stimuli and using a data-driven approach, we investigated significant differences in the perception of colors. Our findings show that beta oscillation of green compared to red and blue colors occurs in early sensory periods with a latency shifting in the occipital region. Furthermore, in the occipital region, the theta power of the blue color decreases noticeably compared to the other colors. Concurrently, in the prefrontal area, we observed an increase in phase consistency in response to the green color, while the blue color showed a decrease. Therefore, our results can be used to interpret the brain activity mechanism of color perception in RGB color space and to choose suitable colors for more efficient performance in cognitive activities.
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This study investigates strategies for developing visual sensory-based quiet rooms for individuals with autism spectrum disorders to reduce maladaptive behaviours and emotions. Optimizing visual sensory comfort in a quiet room is expected to help a person relieve the maladaptive behaviours and emotions that he/she is experiencing. This laboratory-based case study was conducted through a literature review and case studies in two quiet rooms in a school as the laboratory observation. Both schools provide special education services and an inclusive education school. This study aims to provide a reference for creating spaces for autistic individuals in supporting a more inclusive and sustainable environment. A total of eight respondents (four students from each school), aged between 7-21 years old, were involved in this study. Data for the analysis was obtained by observing the physical conditions of the existing quiet room and assessing the respondents' behaviour and emotions while they were inside the room. The behaviour and emotion assessments were based on 12 active behaviours and emotions on the Aberrant Behavior Checklist-Irritability (ABC-I) instrument. Meanwhile, lighting simulations were also conducted using the software DIALux evo 8.1 to determine the rooms' lighting situation. The case studies showed that (1) most of the respondents showed response related to the ◼ 70 ◼ quiet room's visual comfort; (2) the respondents in a quiet room with less lighting contrast intensity were more likely to experience a decrease in maladaptive behaviour and emotion; and (3) one of the respondents gave more response in auditory stimulation, which showed that non-visual sensory stimulation should also be put into consideration for a quiet room design. It was concluded that visual stimulation in a quiet room might affect the users' maladaptive behaviour or emotional change. Therefore, a visual-sensory-based intervention for a quiet room potentially increases its effectiveness. Keywords: quiet room, maladaptive behaviour, and emotions, autism spectrum disorders, visual sensory, visual comfort, quiet room needs, quiet room security.
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The aim of this chapter is to discuss the common causes of anxiety in both clients and practitioners whilst exploring solutions to help reduce anxiety levels. Whilst the main causes of client anxiety arise from pain and discomfort, waiting, fear, the physical environment and staff interactions, for practitioners the main causes are burnout, errors, challenging situations and result disclosure. To help reduce anxiety in clients, this chapter discusses the use of psychoeducation and relaxation techniques, along with consideration of adaptations practitioners can make to the physical environment and to their communication style. To help reduce practitioner anxiety, the chapter discusses the inclusion of regular support sessions with managers, utilisation of peer support, education on mindfulness, stress management and relaxation techniques, and the inclusion of a serenity room.
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During online hotel booking, travelers are exposed to numerous hotel options, possibly making them feel overwhelmed with choices. Based on an online hotel booking scenario, two 2 × 2 factorial design experiments (Study one: 2 choice sizes × 2 amount of information; Study two: 2 choice sizes × 2 presentation of information), each with a sample of 242 participants, have been conducted to test the effect of choice size on perceived overload. The results find the choice overload effects and the associated internal mechanism, as well as the moderating effects of amount of information and presentation of information.
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Colors rarely appear alone, they usually appear together. Since the number of colors is very large, the number of color combinations is almost infinite. Consequently, it is difficult to investigate how people perceive and evaluate color constellations in various contexts. It seems pointless to study arbitrarily chosen combinations. To bring order into the large number of possible color combinations, a structure is needed. The following article presents such a theoretical model—a theory of colors in combination. The article is based on the Natural Color System for the ordering of singular colors, which is in turn the practical extension of Hering's phenomenologically based Opponent Color Theory. Thus, the model is descriptive, i.e., the variables carry immediate meaning regarding the actual color appearance. Since the model is purely descriptive, it contains no information per se of whether colors are beautiful together or not. However, the model can be used as a reference structure to investigate the attributes and connotations of the experience of a given color combination (some examples of this are given). The most relevant attributes, or dimensions, of color combinations are categorized into three main groups, each with three subfactors: The Color Interval, with the subvariables Distinctness of Border, Interval Kind, and Interval Size, is the perceptual phenomenon that occurs in the transition from one color percept to another. The Color Chord, with subvariables Complexity, Chord Category, and Chord Type, expresses the character of the combination, how the colors “sound” together, i.e., the totality of the Color Gestalt. The Color Tuning, with subvariables Surface Relations, Color Relations, and Order Rhythm, refers to some of the different ways color combinations can be varied. The present color combination model should be seen as a theoretical, albeit empirically based, starting point for further studies of people's perception of color constellations, a scientific area that still, probably because of its complexity, seems to be uncharted territory. © 2001 John Wiley & Sons, Inc. Col Res Appl, 26, 4–28, 2001
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In this study three colour preference models for single colours were developed. The first model was developed on the basis of the colour emotions, clean–dirty, tense–relaxed, and heavy–light. In this model colour preference was found affected most by the emotional feeling “clean.” The second model was developed on the basis of the three colour-emotion factors identified in Part I, colour activity, colour weight, and colour heat. By combining this model with the colour-science-based formulae of these three factors, which have been developed in Part I, one can predict colour preference of a test colour from its colour-appearance attributes. The third colour preference model was directly developed from colour-appearance attributes. In this model colour preference is determined by the colour difference between a test colour and the reference colour (L*, a*, b*) = (50, −8, 30). The above approaches to modeling single-colour preference were also adopted in modeling colour preference for colour combinations. The results show that it was difficult to predict colour-combination preference by colour emotions only. This study also clarifies the relationship between colour preference and colour harmony. The results show that although colour preference is strongly correlated with colour harmony, there are still colours of which the two scales disagree with each other. © 2004 Wiley Periodicals, Inc. Col Res Appl, 29, 381–389, 2004; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20047
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The present study examined the effect of season of the year on depression and other moods. Previous work, primarily cross sectional or retrospective in design and involving clinically depressed or seasonally affective disordered samples, has suggested that mood changes as a function of season. However, the literature also shows conflicting and/or inconsistent findings about the extent and nature of this relationship. Importantly, these prior studies have not adequately answered the question of whether there is a seasonal effect in nondepressed people. The present study employed a longitudinal design and a large sample drawn from a normal population. The results, based on those participants for whom mood measures were collected in each season, demonstrated strong seasonal effects. Beck Depression Inventory (BDI) scores were highest in winter and lowest in summer. Ratings on scales of hostility, anger, irritability, and anxiety also showed very strong seasonal effects. Further analyses revealed that seasonal variation in BDI scores differed for females and males. Females had higher BDI scores that showed strong seasonal variation, whereas males had lower BDI scores that did not vary significantly across season of the year.
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The photopigment in the human eye that transduces light for circadian and neuroendocrine regulation, is unknown. The aim of this study was to establish an action spectrum for light-induced melatonin suppression that could help elucidate the ocular photoreceptor system for regulating the human pineal gland. Subjects (37 females, 35 males, mean age of 24.5 +/- 0.3 years) were healthy and had normal color vision. Full-field, monochromatic light exposures took place between 2:00 and 3:30 A.M. while subjects' pupils were dilated. Blood samples collected before and after light exposures were quantified for melatonin. Each subject was tested with at least seven different irradiances of one wavelength with a minimum of 1 week between each nighttime exposure. Nighttime melatonin suppression tests (n = 627) were completed with wavelengths from 420 to 600 nm. The data were fit to eight univariant, sigmoidal fluence-response curves (R(2) = 0.81-0.95). The action spectrum constructed from these data fit an opsin template (R(2) = 0.91), which identifies 446-477 nm as the most potent wavelength region providing circadian input for regulating melatonin secretion. The results suggest that, in humans, a single photopigment may be primarily responsible for melatonin suppression, and its peak absorbance appears to be distinct from that of rod and cone cell photopigments for vision. The data also suggest that this new photopigment is retinaldehyde based. These findings suggest that there is a novel opsin photopigment in the human eye that mediates circadian photoreception.
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A newly discovered system of photoreceptors for circadian rhythms works non-visual and responds to blue light (460 nm). We report a longitudinal study in 44 adults, showing that a significant increase in alertness and speed of information processing could be achieved by blue light as compared to normal light.
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Light, including artificial light, has a range of effects on human physiology and behavior and can therefore alter human physiology when inappropriately timed. One example of potential light-induced disruption is the effect of light on circadian organization, including the production of several hormone rhythms. Changes in light-dark exposure (e.g., by nonday occupation or transmeridian travel) shift the timing of the circadian system such that internal rhythms can become desynchronized from both the external environment and internally with each other, impairing our ability to sleep and wake at the appropriate times and compromising physiologic and metabolic processes. Light can also have direct acute effects on neuroendocrine systems, for example, in suppressing melatonin synthesis or elevating cortisol production that may have untoward long-term consequences. For these reasons, the National Institute of Environmental Health Sciences convened a workshop of a diverse group of scientists to consider how best to conduct research on possible connections between lighting and health. According to the participants in the workshop, there are three broad areas of research effort that need to be addressed. First are the basic biophysical and molecular genetic mechanisms for phototransduction for circadian, neuroendocrine, and neurobehavioral regulation. Second are the possible physiologic consequences of disrupting these circadian regulatory processes such as on hormone production, particularly melatonin, and normal and neoplastic tissue growth dynamics. Third are effects of light-induced physiologic disruption on disease occurrence and prognosis, and how prevention and treatment could be improved by application of this knowledge.
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Geographical Information Systems are responsible for a tremendous increase in map production and map use over the last decades. This, and general technological advancement, created opportunities that challenged the cartographer to elaborate on cartographic representations that were tedious and laborious to make before. The three-dimensional map is an example of such a representation. This paper deals with design aspects of the three-dimensional map. Traditional cartographic textbooks acknowledge the existence of three-dimensional maps. However, they do not offer design tools for them, as they do for traditional two-dimensional maps. A discussion on the Why?, What? Where? of three-dimensional maps is followed by some design considerations. They involve three-dimensional perception, depth cues and possible presentation techniques. The paper finishes with some thoughts on the three-dimensional environment in which the maps should be produced and used.
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24 Ss spent 20 minutes in a room that was painted half red and half blue, under each of 4 visual field (VF) conditions: completely red, completely blue, left red-right blue, and left blue-right red. During this time, EEG and EKG recordings were made. After the experiment, Ss' introspections were noted, and time estimation and galvanic skin response measures were obtained. Findings suggest no significant differences in the experience of a red and blue space at the level of the central nervous system (CNS). Unexpectedly, there was more alpha and theta activity in the red VF than in the blue VF. Chromatic strength (saturation), and not hue, appeared to be the key dimension affecting how exciting or calming a color was perceived to be. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Article
This study examines existing beliefs about “color” focusing on color-emotion associations by discussing how color can be used as a way of communicator to fulfill human needs in residences. Fifty people from various age groups participated in the study. They were asked to match a list of adjectives with the proper color samples from the catalogue of a quite popular color producer firm in Turkey. Results indicate that there is a strong dependency between the choice and use of green at residences. Emotional responses to colors change with value and saturation levels. According to the test results, gender and age are determining factors in the selection of achromatic black. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 144 – 150, 2007
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The theory of psychological reversals asserts that there are two levels of preferred felt arousal, one high and one low. Only one of them is preferred at a given time, although discrete switches (reversals) occur from time to time, so that each level is preferred at different times. In order to document such changes in preferred levels of arousal, 75 subjects were asked to make color preference choices at regular intervals during their working day, some for as many as 8 days. The assumption was that different colors are arousing or relaxing, and that color choice indicates arousal preference. The typical patterns of color choices that occurred clearly displayed the expected reversal effect over time and were considerably more consistent with reversal theory than with optimal arousal theory. In a second study, 41 new subjects were asked to respond to a simple mood adjective checklist each time they made their color preference choices. The results strongly supported the association between arousal preference and color preference and also supported the reversal theory thesis that low arousal preference is associated with seriousness and planning orientation (all these characterizing the telic state), and that high arousal preference is associated with playfulness and spontaneity (all these characterizing the paratelic state). Finally, both studies showed that there is a systematic tendency for long-wavelength colors to induce feelings of high arousal and for short-wavelength colors to induce feelings of low arousal.
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Light is defined as that part of the electromagnetic spectrum (∼380–780 nm) that gives rise to a visual sensation. Lighting in buildings, whether through use of daylight or by artificial means, is designed primarily for the visual needs of the occupants and their expected tasks within a given space. However, solar radiation, and, depending on spectral output of the source, artificial radiation, has other effects on human physiology and behaviour. Blue light affects the circadian rhythm, mood and behaviour; at shorter wavelengths in the ultraviolet (UV) the detriments of photoaging and sunburn are balanced by the benefits of Vitamin D synthesis.
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• This book notes that an understanding of the relations of mind and body is difficult due to many seemingly paradoxical facts. The controversies over localization of functions, reflex and organismal theories, mechanism and vitalism express the inconsistency of the results of investigations. This author considers the problem of neural and behavioral organization from a broadly biological point of view. Goldstein's investigations of visual disorders and of aphasia revealed fundamental disturbances of thought and personality of which the recognized symptoms are only a superficial expression. From these studies has grown the conception of behavior as a result of a unified activity of the organism, which is the theme of this book. The data presented go far toward a solution of the apparent contradictions between the facts of elementary nervous activity and those derived from the study of cerebral function by showing that functions of parts are dependent in large measure upon the total setting in which they occur. The author's interpretation avoids many of the difficulties of both reflexology and vitalism and provides an alternative view for those whose scientific aims are satisfied neither by extreme oversimplification of facts nor by postulation of forces which cannot be investigated. (PsycINFO Database Record (c) 2012 APA, all rights reserved) • This book notes that an understanding of the relations of mind and body is difficult due to many seemingly paradoxical facts. The controversies over localization of functions, reflex and organismal theories, mechanism and vitalism express the inconsistency of the results of investigations. This author considers the problem of neural and behavioral organization from a broadly biological point of view. Goldstein's investigations of visual disorders and of aphasia revealed fundamental disturbances of thought and personality of which the recognized symptoms are only a superficial expression. From these studies has grown the conception of behavior as a result of a unified activity of the organism, which is the theme of this book. The data presented go far toward a solution of the apparent contradictions between the facts of elementary nervous activity and those derived from the study of cerebral function by showing that functions of parts are dependent in large measure upon the total setting in which they occur. The author's interpretation avoids many of the difficulties of both reflexology and vitalism and provides an alternative view for those whose scientific aims are satisfied neither by extreme oversimplification of facts nor by postulation of forces which cannot be investigated. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
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Thesis--University of California, Los Angeles. Includes bibliographical references (leaves [281]-301). Microfilm of typescript. Los Angeles : Library Photographic Service, University of California, Los Angeles, 1965. -- 1 reel ; 35 mm. Leaves 198, 200-203, 216 filmed at end.
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The literature on environmental color to enhance habitability in the design of Space Station interiors is reviewed. Some 200 studies were examined to determine the relative contributions of the three dimensions of color (hue, saturation, and brightness or lightness) to responses to environmental colorations. Implications of the study for color usage in novel settings and locales include: (1) There are no hard-wired linkages between environmental colors and particular judgmental or emotional states; (2) Perceptual impressions of color applications can, however, affect experiences and performances in settings; (3) Color behavior studies cannot yet specify an optimal color scheme, but instead must consider differing objectives, the relative importance of each, and design features such as the coordination of geometry, color, texture, etc.; (4) Some color-behavior effects are governed by low-level retinal and limbal mechanisms as well as by cognitive processes; and (5) Colors should first be specified in terms of what they are to do instead of what they are. Some exercise of choice is therefore needed to establish a sense of personal competence in the setting, since color must be ultimately be accepted by the people who are to live with it.
Article
Patterns of seasonal changes in mood and behavior in Montgomery County, Maryland, were evaluated in randomly selected household samples by lay interviewers using a telephone version of the Seasonal Pattern Assessment Questionnaire. The method for selecting the sample unit was random-digit dialing. We found that 92% of the survey subjects noticed seasonal changes of mood and behavior to varying degrees. For 27% of the sample seasonal changes were a problem and 4.3% to 10% of subjects, depending on the case-finding definition, rated a degree of seasonal impairment equivalent to that of patients with seasonal affective disorder. The seasonal pattern of "feeling worst" exhibited a bimodal distribution with a greater winter and a substantially lower summer peak (ratio, 4.5:1). Younger women who have a problem with seasonal changes and who feel worse on short days tended to exhibit the highest seasonality scores. It is apparent from our study that seasonal affective disorder represents the extreme end of the spectrum of seasonality that affects a large percentage of the general population. The influence of environmental factors on mood disorders and mood changes in the general population might provide valuable insight into pathogenesis, treatment, and prevention of affective illness.
Article
Cortical habituation response (CHR) to constant stimuli has been investigated. The amount of alpha recovery after the onset of the stimulus is taken to be a quantitative measure of the response habituation of the central nervous system. The present study was designed to investigate whether the CHR is affected by the variation of the stimulus wave length, specifically, whether CHR is delayed more under red light than under blue light. The subjects were ten normal, male adults. Their ages ranged from 22 to 30 years. The colored stimulus (red or blue light) was thrown directly on the eyes of the subject through a projector. The maximal duration of the stimulus presentation was 600 sec. EEGs were recorded throughout the period of stimulation following a 1 min record under resting condition. The EEG data (from electromagnetic tapes) were quantified by passing them through a Muirhead low frequency analyzer to a low-inertia motor-driven counter. The data were analyzed in terms of the percentage of alpha gain during the period under the two colored lights; t for related measure was computed. The percentage difference in alpha gain under the two conditions was found significant. The results of this study that there is a greater recovery in the alpha wave under red than under blue light. This finding indicates that CHR under red light is delayed more than under blue light and the result is interpreted in terms of a greater cortical arousal following the presentation of red light.
Article
Blind subjects with defective retinal processing provide a good model to study the effects of light (or absence of light) on the human circadian system. The circadian rhythms (melatonin, cortisol, timing of sleep/wake) of individuals with different degrees of light perception (n = 67) have been studied. Blind subjects with some degree of light perception (LP) mainly have normally entrained circadian rhythms, whereas subjects with no conscious light perception (NPL) are more likely to exhibit disturbed circadian rhythms. All subjects who were bilaterally enucleated showed free running melatonin and cortisol rhythms. Studies assessing the light-induced suppression of melatonin show the response to be intensity and wavelength dependent. In contrast to ocular light exposure, extraocular light failed to suppress night-time melatonin. Thus, ocular light appears to be the predominant time cue and major determinant of circadian rhythm type. Optimisation of the light for entrainment (intensity, duration, wavelength, time of administration) requires further study.
Article
The photoreceptor(s) responsible for photoresetting of the human circadian system have not been identified. The aim of the present study was to assess the ability of short wavelength light to alter the timing of circadian rhythms. Eleven male subjects were studied in 15 4-day trials with a single 4 h light pulse administered on day 3, immediately after habitual wake time. The magnitude of the phase shifts in the melatonin acrophase and offset were similar after white (4300 microW/cm(2)) and short wavelength (28 microW/cm(2)) light exposure even though the white light pulse contained 185-fold more photons than the short wavelength light. This finding suggests short wavelength sensitivity of the photoreceptors mediating synchronization of human circadian rhythms.
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