[{"data":1,"prerenderedAt":81},["ShallowReactive",2],{"article:not-to-say-i-did-not-mention-the-colors-chromatic-oppositions-and-meanings-of-lack-of-colors-in-desi":3},{"success":4,"article":5,"request":78},true,{"parent":6,"langs":7,"_id":10,"contributors":11,"typeData":16,"data":67,"slugs":76,"slug":77},"39f260d6-d61f-4dfe-b1f7-a6c315c260bd",[8,9],"primary","secondary","80ed02d5-fa3a-4966-86f2-9d4361aba5b2",[12],{"lastName":13,"name":14,"_id":15},"Pereira","Carla Patrícia de Araújo","f4a073cf-3da9-4286-be10-c2112bd78f0a",{"startPage":17,"references":18,"endPage":64,"track":65,"has_file":4,"doi":66},2526,[19,22,25,28,31,34,37,40,43,46,49,52,55,58,61],{"id":20,"label":21},"7bd95b4f-62f6-4a60-9c77-1385c191ae78","\u003Cp>ARNHEIM, R. \u003Cstrong>Arte e percepção visual\u003C/strong>. 11.ed. São Paulo: Pioneira/EDUSP, 1997.\u003C/p>",{"id":23,"label":24},"b916f509-442d-4427-8a74-b97d10cd06f8","\u003Cp>BATCHELOR, D. \u003Cstrong>Cromofobia\u003C/strong>. São Paulo: Senac, 2007.\u003C/p>",{"id":26,"label":27},"d04b985d-6240-4c19-8ea1-5f7766ce823f","\u003Cp>BRUSATIN, M. \u003Cstrong>Historia de los colores\u003C/strong>. Barcelona: Ediciones Paidós, 1987.\u003C/p>",{"id":29,"label":30},"84adae77-57e4-4560-b3c9-5763efb3a392","\u003Cp>COHEN, J.L. \u003Cstrong>Le Corbusier\u003C/strong>: 1887-1965. Köln: Taschen, 2010.\u003C/p>",{"id":32,"label":33},"8b97a961-3da7-4755-b99a-c0661f11af5a","\u003Cp>GAGE, J. \u003Cstrong>Colour and culture\u003C/strong>: practice and meaning from antiquity to abstraction. London: Thames and Hudson, 1993.\u003C/p>",{"label":35,"id":36},"\u003Cp>GOETHE, J. W. \u003Cstrong>Doutrina das cores\u003C/strong>. São Paulo: Nova Alexandria, 1993.\u003C/p>","1388bd67-3670-447a-9bd7-47cfb465177b",{"id":38,"label":39},"7fe40fdc-c440-45f2-8878-ea69cafde47c","\u003Cp>KANDINSKY, W. \u003Cstrong>Do espiritual na arte\u003C/strong>. São Paulo: Matins Fontes, 2000.\u003C/p>",{"id":41,"label":42},"17a727a0-15ff-4310-8c51-c347471bdecc","\u003Cp>LE CORBUSIER. \u003Cstrong>L'art décoratif d'aujourd'hui\u003C/strong>. Paris: Éditions Vincent, 1959.\u003C/p>",{"label":44,"id":45},"\u003Cp>NEWHALL, S. M. Psychological concepts: perceptual and affective aspects of color. In: OPTICAL SOCIETY OF AMERICA. \u003Cstrong>The science of color\u003C/strong>. New York: T.Y. Crowell, 1953.\u003C/p>","a9058dcd-167f-48bb-9f16-cef5cc7b5340",{"label":47,"id":48},"\u003Cp>NOBLET, J. (Ed.). \u003Cstrong>Industrial Design\u003C/strong>: reflection of a century. Paris: Flammarion, 1993.\u003C/p>","78545c1e-1258-495f-8730-7467048a271a",{"id":50,"label":51},"ffb0a659-8bc4-4016-b93b-4af584137ac3","\u003Cp>PASTOUREAU, M. \u003Cstrong>Bleu\u003C/strong>: histoire d'une couleur. S.l.: Éditions du Seuil, 2000.\u003C/p>",{"label":53,"id":54},"\u003Cp>——. \u003Cstrong>Dicionário das cores do nosso tempo\u003C/strong>: simbólica e sociedade. Lisboa: Editorial Estampa, 1993.\u003C/p>","3bba0667-a3fe-4c84-a2e1-2aa4918d28f0",{"label":56,"id":57},"\u003Cp>RILEY, C. \u003Cstrong>Color codes\u003C/strong>: modern theories of color in philosophy, painting and architecture, literature, music and psychology. London: University Press of New England, 1995.\u003C/p>","7f6df101-193d-4374-a7fd-7d6ad50b6273",{"label":59,"id":60},"\u003Cp>RYBCZYNSKI, W. \u003Cstrong>Casa\u003C/strong>: pequena história de uma idéia. Rio de Janeiro: Record, 1996.\u003C/p>","2d73e1ed-ab22-457d-ab69-7fb6eeda9409",{"label":62,"id":63},"\u003Cp>SAUSSURE, F. \u003Cstrong>Curso de lingüística geral\u003C/strong>. 27.ed. São Paulo: Cultrix, 2006.\u003C/p>","756190b2-1db1-4ac0-a134-85e82d5943f3",2537,"mfl52tvij","",{"primary":68,"secondary":72},{"keywords":69,"excerpt":70,"title":71},"\u003Cp>cor (simbologia), design (cultura, história), semiótica\u003C/p>","Este estudo investiga a linguagem das cores como um sistema de signos, cuja estrutura é formada pelas relações de identidade, de associação, de diferenciação e oposição entre seus elementos. O artigo destaca a oposição cromático/acromático como uma estrutura de base da linguagem das cores, demonstrando que as cores cromáticas assumem significados opostos às cores acromáticas em diferentes sistemas de significado da cultura ocidental — como na religião, na arte, na arquitetura e, particularmente, no design, onde a supressão do colorido tem sido recorrente ao longo da história.","Pra Não Dizer Que Não Falei das Cores: Oposições Cromáticas e Significados da Ausência de Cores no Design",{"keywords":73,"excerpt":74,"title":75},"\u003Cp>color (symbology), design (culture, history), semiotics\u003C/p>","This study investigates the color language as a sign system, whose structure is formed by the relations of identity, association, differentiation and opposition among its elements. The paper stands out the chromatic/achromatic opposition as a basic structure of color language, demonstrating that chromatic colors assume opposite meanings to achromatic colors in various systems of meaning of Western culture — such as religion, art, architecture, and particularly in design, where the suppression of the colorful has been recurrent throughout history.","Not to Say I Did Not Mention the Colors: Chromatic Oppositions and Meanings of Lack of Colors in Design.",[77],"not-to-say-i-did-not-mention-the-colors-chromatic-oppositions-and-meanings-of-lack-of-colors-in-desi",{"target":79,"query":80},"articles/get",{"slug":77},1780316007016]